This brass-cast, a four-armed standing image of Lord Ganesha, unique in its gold-like lustre, divine aura and grace, is a transform of one of his classical forms enshrining various texts. It has been classified as Tryakshara Ganapati – Lord of three alphabets : AUM. Like this statue Tryakshara Ganapati is also a four-armed image carrying in them goad, noose, broken tusk and ‘laddu’ – sweet, but while Tryakshara Ganapati has been conceived as seated this image is standing. Apart, while this image has on its forehead a trident mark, Tryakshara Ganapati has, instead inscribed on it, the Hindus’ most sacred syllable AUM. Considered as the most auspicious of any syllable in Hindu tradition AUM doubles the auspiciousness of Lord Ganesha – otherwise the most auspicious of any divine image in the pantheon. Obviously as a votive image, enshrining a sanctum or otherwise, at least in popular worship Tryakshara Ganapati precedes his other forms in auspiciousness and divinity. The presence of Tryakshara Ganapati bestows upon the devotees endless blessings showering from all sides.
In this form of Tryakshara Ganapati the trident mark has alternated AUM. In wider Hindu tradition the trident mark has the same symbolic dimensions as the syllable AUM. An ascending sound AUM when transformed into sound waves vibrates ‘Brahmanda’ – cosmos, and thus unites the being with cosmic totality; ‘trisula’ – trident, an upward form vibrating three worlds by its triple prick, also elevates the being to the highest plane as does AUM by its ascending sound. Thus in wider symbolic tradition in Ganapati iconography the form of trident and the sound of AUM often alternate each other. Besides, this form of Ganapati has a graphic ‘Tripunda’ mark over the trident suggesting that the trident holds over it all three worlds that ‘Tripunda’ symbolizes. Even formally, if the trident mark is turned to right, its forms changes to that of AUM.
The foremost among other aspects of the image that defines this form of Ganesha as Tryakshara Ganapati is its gold-like lustrous body colour with which it radiates even in darkness. The artist has so anodized the image that the brightness of the brass has been subdued for giving place to the gold’s eye-pleasing ever sustaining lustre. The anatomy of Tryakshara Ganapati has been conceived with winnowing basket like big floppy ears and with normal build, not with pot belly. The figure’s elaborate ornamentation, elegant, graceful and brilliant, but not resplendent, is yet another aspect of the image that links it with Tryakshara Ganapati known to have elaborate but decent adornment. Another component of Tryakshara Ganapati imagery, though not seated on lotus, this image of Tryakshara Ganapati stands on a lotus pedestal. Of the three tiered pedestal two consist of lotus motifs.
The image of the auspicious Ganapati has been installed on a lotus pedestal. Moderate in height, belly large but not unwieldy or cumbersome, muscles well contained and divine composure on the face define this Ganapati image. His entire figure has been most beautifully adorned but his trunk in special. It has been adorned with a gold leaf engraved with floral vines. Though less common, it is turned to right, a form known in the Ganapati iconography as Valampuri pose. Besides a moderately sized halo he is putting on a magnificent crown with a towering apex which attributes to it the form also of a headgear or helmet. A large snake, the mythical serpent Vasuki, tied around his belly, serves as belly-band – Naga-bandha as it is known. Besides a richly laced sash suspending down his thighs on either side his loincloth, held on his waist using an elaborate girdle with a beautiful buckle is one of the most beautiful components of the image.