In every form Lord Ganesha is the custodian of knowledge and promoter of learning; however, as Ekadanta his role as the patron of literature is outstanding.
As one of the traditions in regard to his single tusk form has it, it was for scribing the great epic Mahabharata that he had removed one of his tusks.
After great persuasion sage Vyasa agreed to compose the great epic but on condition that he would dictate it nonstop and wanted someone who recorded it uninterrupted.
Lord Ganesha agreed but when taking dictation his pen broke. Pressed under the condition he removed one his tusks and noted with it the rest of the epic.
The myth affords the rationale not only as to why the worship of Ganesh precedes the worship of Saraswati, the goddess of learning, when a child begins schooling, but also as to why, till recent times before the use of ivory was legally banned for minimizing cruelty against the innocent animal, an ivory pen was considered as the most prestigious tool of learning.
Except a variation or two in the attributes that the two forms carry, the two images are almost identical, being four-armed, carrying in normal right hand the broken tusk, ‘modak’ in one of the other hands and a pot in the knotted trunk, and a large pot belly often tied with a serpent comprising a bellyband, alike characteristic of both forms. In other two hands, Ekadanta carries rosary and battle-axe, and Lambodara, noose and goad.
The pot : ‘purna-ghata’ is symbolic of accomplishment which the great Lord makes possible. In both manifestations the figure of Lord Ganesha is voluminous cast with bold but highly balanced forms. Hence, ‘utkut akasana’, as this brass-image has, is the best suited sitting mode for these forms.
Installed on a three-tiered high pedestal consisting of an octagonal base moulding adorned with lotus forms, a plain narrower one in the middle, and another, as large as the base moulding, on the top, the figure of Lord Ganesha has its thighs straightened as if to support the belly’s volume and bulk on them. In both manifestations the figure of the elephant god has an average height and is adorned with few ornaments, a modest crown and often just a loincloth.
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.
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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