This resplendent four-armed brass statue, anodized for revealing copper-effect, exceptional in its divine lustre, is a representation of Avalokiteshvara, the Bodhisattva of Compassion. Spiritual emanation of Amitabha : the infinite light, the light-like bursts from the statue’s every part the divinity of Avalokiteshvara.
Attributed the widest role of assisting all wade across the cycle of
birth and death and every turmoil, a role next to Buddha himself, the
Mahayana Buddhism attached special significance to Avalokiteshvara. As
Mahayana was the sole vehicle in Tibetan Buddhism the
Avalokiteshvara-cult gained greater ground enshrining a larger number
of temples in the Tibetan land than even Buddha. Obviously, the
Tibetan Buddhism burst with innumerable Avalokiteshvara contexts and
iconographic manifestations, each surpassing the other giving to the
Buddhist visual tradition the finest and the most accomplished models
of his image. Tibet developed its own iconography of Avalokiteshvara
images, its perception of their physical and spiritual quality :
refinement of form, luminosity and a blend of majesty with divinity.
This gave to the Buddhist tradition the model of a highly
spiritualized and strongly aesthetic image of Avalokiteshvara. This
brass-statue is one of the finest example of Avalokiteshvara images
rendered pursuing the best of Tibetan models.
Equated sometimes with Buddha : Virochana Buddha or Amitabha, or
Metrey – the Buddha to be, and sometimes with a holy Buddhist monk in
his new birth – but essentially the embodiment of the compassion of
all Buddhas, Avalokiteshvara has been conceived with multifarious role
of redeeming all living ones across eons, and hence, with multifarious
arms from normal two to a thousand, and alike with many faces, from
the normal one to as many as eleven, so that the compassionate
Avalokiteshvara : the ‘Lord who looks down’ the world in full – all
ten directions with his ten faces and all unknown spaces with the
eleventh. One of his forms being Padmapani, Avalokiteshvara images
usually carry in one of their hands a lotus which in this statue has
transformed into a stylized flower. Like Manjushree, one of his roles
being removing the darkness of ignorance, Avalokiteshvara sometimes
carries a sword to tear with it darkness, and sometimes, an
'Akshamala' or rosary, the tool of meditation and exploring the light
within across darkness. When rotating, rosary is the instrument that
dragged people out of cyclic existence to the path of righteousness.
This statue of Avalokiteshvara does not carry a sword but holds in one
of its hands a rosary.
The other two hands, the normal ones, held semi-folded in the centre
of the breast are in a posture of holding ‘Ratna-mani’ or
‘chintamani’, the diamond, which as 'truth' is neither rusted or
defaced nor eroded or lost. Apart, in simultaneity the two hands are
in a posture of elaboration or interpretation, an aspect of teaching
Buddha by which Avalokiteshvara helps people know their miseries and
come out of them. In Buddhist tradition Avalokiteshvara, like other
Bodhisattvas : Manjushree, Maitreya among others, is perceived as one
of the stages in the attainment of Buddhattva, though unlike them he
keeps it postponing to remain available to help sentient devotees to
seek redemption, and hence, he enjoys among the followers of Buddhism
a far superior divine status. With his upwards turned feet resembling
lotus-petals, a posture of seating identified in iconographic
tradition as ‘Padmasana’, the figure of Avalokiteshvara , highly
accomplished, perfectly modeled and unparalleled in plasticity and
anatomical balance, has been installed on a large lotus pedestal.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.
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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