This four-armed divine image cast in brass carrying lotuses in upper hands and holding the lower right in ‘abhaya’, and left, in ‘varada’, represents Padmavati, venerated in South Indian Vaishnavism as the goddess of riches, prosperity, abundance, and fertility and accomplishment. Though more versatile, independent, and widely worshipped and attributed to a personality of her own Padmavati is considered a form of Lakshmi or Shri and as Lord Vishnu’s consort. Unlike Lakshmi who rarely has independent shrines dedicated to her and is not in independent worship except occasionally, a larger proportion of Padmavati imagery is votive and the goddess has dedicated to her many independent shrines.
In South Indian tradition in the matter of emergence, Padmavati had preceded Vishnu, and hence in South Indian worship cult she sometimes seems to have priority over her consort Vishnu.
The modeling of the goddess’s image is different from the imagery of the goddess Lakshmi. The ‘tri-bala’ – three-curves, the figure has been dramatized with, and the rhythm which a posture of dance has infused into her being, attribute to this image of the goddess romantic twist, something that could hardly be an aspect of Lakshmi’s iconography: Vishnu’s humble consort. The infusion of dance as an essential element of divine and celestial imagery has been the most outstanding feature of South Indian bronzes and metal casts right since the days of early Chola rulers and has continued ever since. The carefree casualness that is revealed in the posture of the goddess, protruded hip, subdued belly, and the figure’s upper part bent with the weight and volume of her breasts, are so characteristic of South Indian iconographic norms.
Such distinction in her anatomy, basic nature, and worship cult apart, an abundance of lotus motifs is yet another essential feature of Padmavati’s iconography that this image abounds. Besides a lotus pedestal, almost like divine standards, as if meant to reveal her identity, she is carrying in both upper hands two large size lotuses, half bloom – suggestive of past that which has occurred, and the other half yet to sprout – suggestive of the ‘unrevealed’ that which awaits to happen, and it is in the lotus – the present, that both states reveal one seeking in it its termination, and other, its emergence. Not merely an attribute associated with her, the lotus represents earth, ocean, and sky – the entire cosmos, also defines Padmavati’s essence: her form and intrinsic being. She sprouts lotus-like within a devotee’s heart, and the lotus forms on the palms of her hands define her body texture.
A brilliantly ornamented metal cast – a tall Vaishnava crown with a helmet-type apex in typical South Indian iconographic tradition, lavish and gorgeous ornaments – frilled waistband, necklaces, ear-ornaments and arms bands in particular, beautifully turned and conceived sash-ends, and artistically pleated ‘antariya’ – lower wear, the statue is one of the finest examples of South Indian sculptural art, a cult of image-cast and decorating it matured over centuries. A perfect specimen of South Indian sculptural art, whatever its medium, metal, wood, stone, or any, this image of the goddess has the same maturity of form as its early masterpieces. It has the same well-defined sharp features – round face, lotus eyes, arched eye-brows, sharp nose, pointed chin, sensually modeled lips and rounded cheeks, and a balanced figure with absolute anatomical proportions, especially in conceiving breasts, waist and hips and in gesticulating various parts and the entire anatomy.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes in 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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