The Divine Couple Shiva and Parvati with Ganesha

Item Code: XL84
Brass Sculpture
Height: 13 inch
Width: 11.2 inch
Depth: 4 inch
Weight: 6.80 kg
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
This brass-statue, exceptionally elaborate in details, unparalleled in lustre, divine aura and its power to elevate and charge the ambience with spiritual fervour, and rare in its transcendental quality, represents Lord Shiva, his consort Parvati and son Ganesha seated on a rock symbolising mount Kailash, in myths Shiva’s regular abode. His mount, the bull Nandi, with its eyes fixed on the Master’s feet is seated close to his right leg almost around the foot of the hill. Exactly on the other side, the left, almost diagonally opposite, is Shiva’s aniconic manifestation, the votive Shiva-ling. Lord Ganesha is seated on his father’s left thigh and comprises the centre of the artifact. Delightfully poised, the three forms, Nandi, Shiva-ling and Lord Ganesha, the three points of the triangle, comprise a pleasant geometrical formation almost exactly corresponding to the angular apex of the ‘prabhavali’ – fire-arch.

But for the inclusion of child Ganesha this representation of Shiva and Parvati could be classified as Uma-Maheshvara. Almost in the same manner as in Uma-Maheshvara icons Lord Shiva is holding Parvati in one of his hands. However, their representation with Ganesha is more often seen in the iconographic tradition as holy family, though in its fuller form the holy family also includes Karttikeya, their other son, and besides Nandi also the lion, mouse and peacock, respectively the mounts of Shiva, Parvati, Ganesha and Karttikeya, and sometimes one or both of Virabhadra, Shiva’s wrath manifest, and Bana, one of Shiva’s devotees he elevated to the status of his son. Deviating from the established tradition this statue does not incorporate even Parvati’s mount lion and Ganesha’s mouse, and includes instead one of Shiva’s aniconic manifestation, a Shiva-ling. Meaningfully included the presence of Shiva-ling is quite significant. Its inclusion transforms this aesthetic art-piece also into an image for the sanctum : a votive image.

Mount Kailash is the more usual geography for the holy family imagery. However, this representation has in addition also an elaborately cast fire-arch. Not a mere frame as the fire-arch is sometimes used in divine icons, this ‘prabhavali’ consists of the flames of fire, an element of Shiva’s form in Ananda-Tandava. Thus this representation of the holy family also incorporates an element of Tandava. Further, instead of a floral arch or one which a Shrimukha motif tops, this fire-arch has atop it a serpent hood, an element strictly related to Shiva. Apart, this form also blends other aspects of his image. Usually considered as mere iconographic motifs, the representations of river Ganga discharging from his coiffure and the crescent on his hair have been quite prominently conceived adding to his form the elements of his Gangadhara and Shashidhara manifestations. The artist has added to his figure, as also to those of Parvati and Ganesha, crowns and halos, symbolic of their divine status, though not a regular aspect of Shaivite iconography.

The four-armed image of Lord Shiva abounding in child-like innocence and endowed with exceptional softness and divine glow on the face has been conceived as seated in semi-lalitasana posture. He is carrying in the upper right hand his usual trident with his ‘damaru’ – double drum, hung on it, granting ‘abhaya’ – freedom from fear with his lower right, supporting Lord Ganesha, with the lower left, and with his upper left, Parvati. But for a pointed chin he has a round face, moderately sized but fascinating eyes, cute small lips, well-modeled nose and a high neck. He is wearing as a loincloth his usual tiger skin, a huge serpent around his neck and a few ornaments consisting mainly of large beads. The two-armed figure of Parvati has been as beautifully conceived. With her right hand she is holding child Ganesha, while her left, held over her left knee, seems to carry some object as if making offering to the votive Shiva-ling which has been consecrated right below it. She is wearing a rich traditional sari and appropriate ornaments. The four-armed child Ganesha is carrying in two upper ones goad and noose, his usual attributes, the normal right is held in ‘abhaya’, and in the normal left, he is holding a ‘modak’ which he is eating.

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.


  • The best and simplest way to maintain a brass statue is to clean it at least twice a week using a soft cloth or cotton rag. This will prevent dust from accumulating on the surface. Dusting is especially important for outdoor statues since it is prone to dust accumulation much more than indoors.


  • Another way is to cleanse the statue with mild soap, warm water, and a cotton cloth. You must go to every inch of the statue and even to the crevices and cracks. After this, clean the article with a dry towel to wipe off pools of water left on the surface.


  • To give a natural shine and luster to the statue, you may apply coconut or olive oil using cotton on every portion. You can use a toothbrush to get to the small crevices but do not be too harsh. This will make the brass statue appear fresh and new with a polished look.

  • 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. 

Frequently Asked Questions
  • Q. Is the statue hollow or solid ?
    A. Brass statues are made through a process of clay casting, hence are hollow. Whereas, panchaloha bronze statues are made through a process of lost wax casting, hence they are solid.
  • Q. Can I see the original photo of the product ?
    A. For original pictures of the statue, kindly email us at
  • Q. Can I return the statue ?
    A. All returns must be postmarked within seven (7) days of the delivery date. All returned items must be in new and unused condition, with all original tags and labels attached. To know more please view our return policy.
  • Q. Can you customise the statue for me ?
    A. For any customisation, kindly email us at
Add a review
Have A Question

For privacy concerns, please view our Privacy Policy