Aum ekadantaya vidmahe, vakratundaya dhimahe, tanno dantih prachodayat that is, We devote our thought to the one-tusked Lord. We meditate upon Him who has a curved trunk. May the tusked One guide us on the right path. This is precisely for what we worship Lord Ganesh. The single tusked, or the one tusk broken form of Ganesh suggests that for accomplishing his devotee's prayer he would not hesitate in sacrificing even one of his body parts. Aum ekadantaya namah is the mantra that ends the duality, leads to a one-pointed mind, and singleness of object. The Elephant headed Ganesh with his long curved trunk has power to reach the far-off regions, all directions, all cherished objects, and all devotees. In Aum vakratundaya hum the syllable hum is suggestive of the prayer that with his curved trunk the remover of evils Lord Ganesh straightens the paths of curve-minded people and curbs the atrocities of the cruel ones.
This benign blend of Ekadanta and Vakratunda manifestations of the
auspicious Lord enshrines this three feet high lustrous bronze cast. This
statue, carved in the finest and the most characteristic details, blends two
of the most auspicious manifestations of the iconography of Lord Ganesh,
namely, the Varada and the Sankatahara. The Varada Ganapati bestows upon the
devotee all that is blissful in life as also after it and the Sankatahara
Ganapati removes all obstacles from his path. The compassionate Ganesh is
always a pleasant deity, as here in his Lalitasana posture, that is, a
loving mode of being seated. Obviously, the Sankatahara Ganapati is not a
destruction-loving god who eliminates or even penalizes the evil or the
obstructing ones. He only arrests or holds them by his noose to let the good
prevail and goads them to the right path. He, thus, blesses his devotees to
accomplish their objects without being obstructed and at the same time leads
the detriments to the right path. The Sankatahara Ganapati hence has a
compassionate bearing and just four hands, in two of which he carries
weapons but only a goad and a noose, that is, the instruments, the one of
which holds an object in control and the other one leads it to the right
Deity's benign face where enshrines the celestial calm and composure, his
lalitasana, his two lower hands, one raised in varada and the other carrying
modaka, his lambodara or the large pot belly and his nagabandha, the ritual
band consisting of a serpent, are features of Ganapati in his Varada
manifestation. The varada assures awefree blessed life; the modaka fills
life with prosperity and fragrance of success; the large pot belly contains
all riches and oceans of knowledge; and, the nagabandha is the symbol of
good health, long life and of the spiritual control of the material world.
The Ganapati has been cast wearing on his head both, a rich crown and a
sturdy helmet, one depicting his majesty and splendour by which he rules the
cosmos and radiates it and the other his rock-like formidability, which
detriments dare not face.
This marvelous piece, requiring exceptional skill in its casting,
represents Lord Ganesh in Lalitasana, a mode of sitting which allures by
itself. The image proper has been installed on a raised pedestal consisting
of conventionalised lotus petals and beads. The right leg of the deity
suspends to its mid-height. His vehicle mouse has stationed itself on the
upper ridge of the pedestal. It is around here that the circular fold of the
dhoti of Lord Ganesh and the ends of his sash beautifully lay. Cast in
copper mixed alloy, the image naturally obtains
the lustrous deep brown complexion against which the golden brilliance of
garments and ornaments gets many more times multiplied. The raised ornaments
have such appearance as if these are superimposed or are really worn and not
carved with the figure. Figure's eyes give a feeling of deep thoughtfulness
and the face has a benign bearing. The well shaped ears are further
beautified by additional ornaments and so are the other parts of the
auspicious god. Besides the nagabandha he is also wearing yajnopavita.
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
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.
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