Shankhas were utilized as battle trumpets and have been hailed in Hindu texts as a giver of reputation, longevity, and fortune, a cleanser of sin, and the dwelling of Lakshmi - the goddess of riches and Vishnu's spouse. Vamavarti Shankh, Dakshinavarti Shankh, Moti Shankh, Gaumukhi Shankh, Heera Shankh, Kala Gurjari Shanka, and Kauri Shankh are the many varieties of Shankas. This statue, made of pure brass, carries the structure of a Shankha and is identified as a Kala Gurjari Shankha. It is a meticulously crafted art piece that exemplifies the fusion of artistic mastery and spiritual symbolism. This ornate conch shell, intricately designed in brass, serves as a symbol of divinity and purity in Hinduism.
Adorned with intricate motifs and patterns, it represents the artistic heritage of India. Its spiritual significance lies in its association with ceremonial rituals, where its sacred sound is believed to purify the environment and evoke positive energy. This Shankha is also used for storing and pouring water during rituals. It also comes with a brass stand that can be used for placing other Shankhas. The Kala Gurjari Shankha not only embodies aesthetic beauty but also carries the essence of spirituality, making it a cherished art piece in Hindu culture and devotion.
This brilliant brass-statue, a decorative artifact, or perhaps a tiny casket designed for casually dropping in jewellery articles or whatever, is a fish-form conceived and cast like a conch, an art-piece of rare merit with hardly any thought given to its utility aspect. Its extra stylised muzzle, tail and legs-structure apart, the fish form that the artist seems to have had in mind when conceiving this artifact could be the fish from the class of Powder Blue Sturgeon. A fish from the biological family of acanthurus leucosternon, Powder Blue Sturgeon has relatively short length, rounded and inflated belly, or middle, with sharp slope towards the head and gradual descent towards the tail, much like a conch, and a horizontally stretching wings-type tail. For protecting it against danger from the bottom side the fish has below its belly a protective cover, a structure with front and back facing sharp piercing nails and saws-like edged projections on sides. In imminence of danger the fish withdraws its legs and secures them under this protective cover and moves to safety.
The other way, while adhering to the anatomy of a Powder Blue Sturgeon fish in conceiving and casting this form, the artist has ingeniously manipulated it for revealing the form of a conch, a sacred article having alike significance in worship rites as in war, far more than the fish which is just auspicious, not conch-like sacred. The opening, besides the grooves for fingers on the opening’s right side, provided on its middle part, greatly helps the artifact’s transformation from a fish to a sacred conch. What appears to be affected and stylised – head-part, tail or legs, when the artifact is seen revealing the form of a fish, becomes its most ornate aspect when it is seen as a conch.
A conch, one of the paraphernalia of worship rites, at a public shrine or domestic, a king’s or an ordinary man’s, and one of the principal attributes of Lord Vishnu, has always been the object of everyone’ reverence and, hence, was not only always adored but also adorned with gold, silver or with whatever one could afford. Ritual conches or those consecrated by royal families to be blown during wars, and even such as are sold in shops at shore-side pilgrim sites, are hardly ever unadorned and plain. At least it muzzle-part would have a small thin leaf of gold, silver, copper or brass.
This conch form has, besides a brilliantly ornamented muzzle, neck and breast part, floral brooches on its middle and an exceptionally ornate tail, studded with precious stones, designed like a peacock’s tail, appended to its bottom, perhaps for providing it with a proper grip, as also for adding to it exceptional beauty. The base with three legs, a head and a tail, and a back-support, which in the fish iconography looks like its protective cover securing it from any imminent danger, becomes a mini canon which carries on it the divine conch sprawling over it in full majesty, when the form is seen as a conch.
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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