The red-hued Ganapati, red indexing his youthful vigour and great
energy, the essential attributes of Kshipra Ganapati, manifests him as
one who acts with utmost quickness in his grants. The quickness of
Kshipra Ganapati is not revealed in any of his bodily act or
demeanour, which better reflects in his forms like Nratya Ganapati or
Simha Ganapati, but in his effectiveness, his power and intent to
effect. “Kshipra’ is one of the epithets that the Rig-Veda attributes
also to Lord Vishnu as this earliest text, equating him with the sun,
or alternating the sun and Vishnu mutually, perceived him as fast
moving spanning the universe in three strides. The subsequent Puranas
humanized this Vedic attribute of Vishnu. They personified him into
the god, one of the Trinity, who rushed as the fasted ever or any to
protect and help a devotee summoning him. Unlike Vishnu, and almost
like contemporary days e-power Kshipra Ganapati effects his bounties
by commanding and dispatching his divine powers.
Obviously sprawling in full ease, a sitting mode classified in Indian
iconographic tradition as Utkut Akasana – both legs diagonally turned,
collected and laid on the seat, as manifests in the statue, is the
usual body posture of Kshipra Ganapati. Ordinarily the seat that Lord
Ganesha enshrines in the statue seems to consist of a single moulding
with plain top and the rising adorned with repeats of a design-motif,
a tiny plant form that seems to radiate its aura above; however, with
its roots and trunk drawn skywards, and foliage and the glow that it
radiates, earthwards, the plant motif reveals a rare symbolism. Of all
trees and plants it is only the mythical Kalpa-taru – the
wish-fulfilling divine tree, that has its roots skywards, and its
foliage, earthwards. As texts prescribe, a sprig of Kalpa-taru is one
of the attributes that Kshipra Ganapati carries in one of his hands.
This image of the elephant god does not carry any. The artist seems to
have modified his vision of Kshipra Ganapati. He has modeled the
divine figure with one of his hands held in ‘abhaya’ – gesture of
assurance, which he thought was more relevant to Kshipra Ganapati
form. The iconographic element of Kalpa-taru he has incorporated with
the ‘pitha’ – seat, he is seated on and pervades.
As is the classical tradition, this brass image of Kshipra Ganapati
represents him as four-armed. For transforming it into lustrous red,
which is the body-colour of Kshipra Ganapati, except some selective
parts, such as trunk, palms and attributes carried in hands, the
statue has been anodized in copper blended with bright reddish tint
which in contrast endows gold-like lustre to the undyed parts. The
body-colour represents youthfulness, vigour and physical and spiritual
energy. Broadly, Kshipra Ganapati carries in his hands goad, noose,
broken tusk and sprig of Kalpa-taru, and either of a pot of gems or
‘modak’ is held in the trunk. In reasonable deviation the image
replaces the ‘Kalpa-taru’ element as a form in the ‘pitha’ and
incorporates instead ‘abhaya’. Similarly, it replaces broken tusk,
symbolic of sacrifice and the means of accomplishing an end, with
‘modak’ that the hand holding it is feeding to the trunk, symbolic of
accomplishment and hence more appropriate to the imagery of Kshipra
Ganapati. The image is in ‘utkut akasana’ revealing carefree ease as
in intimate moments. Perfect in modeling, unparalleled in lustre, the
two halves cast with delightful symmetry and strange visual effects
the image reveals great aesthetic beauty and far greater divine aura.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
How to keep a Brass statue well-maintained?
Brass statues are known and appreciated for their exquisite beauty and luster. The brilliant bright gold appearance of Brass makes it appropriate for casting aesthetic statues and sculptures. Brass is a metal alloy composed mainly of copper and zinc. This chemical composition makes brass a highly durable and corrosion-resistant material. Due to these properties, Brass statues and sculptures can be kept both indoors as well as outdoors. They also last for many decades without losing all their natural shine.
Brass statues can withstand even harsh weather conditions very well due to their corrosion-resistance properties. However, maintaining the luster and natural beauty of brass statues is essential if you want to prolong their life and appearance.
In case you have a colored brass statue, you may apply mustard oil using a soft brush or clean cloth on the brass portion while for the colored portion of the statue, you may use coconut oil with a cotton cloth.
Brass idols of Hindu Gods and Goddesses are especially known for their intricate and detailed work of art. Nepalese sculptures are famous for small brass idols portraying Buddhist deities. These sculptures are beautified with gold gilding and inlay of precious or semi-precious stones. Religious brass statues can be kept at home altars. You can keep a decorative brass statue in your garden or roof to embellish the area and fill it with divinity.
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