42" Superlarge Maha Ganapati with Riddhi-Siddhi (From Ganesha Purana) | Handmade | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai (Shipped by Sea)

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The ten arms of Sri Ganesha, that amplify the divine vastness of this Lakshmi-Ganesha bronze are a characteristic feature of his form as the “Maha Ganapti” (great Ganapati) or the “Dashabhuja” Ganapati (“Dasha”-ten, “bhuja”-arms)- both forms worshipped in the Tantric sects that originated with Ganesha at their center. Maha Ganapati is visualized in Hindu-Tantra tradition as seated on a lotus, in the middle of the ocean of sugarcane juice, complemented by “Pushti” or the goddess of fulfillment. In this exceptional Panchaloha Ganesha statue, the vahana (mount) of Ganesha, the rat becomes a secondary element, replaced by a magnificently designed inverted lotus throne- the flower being a symbol of the latent consciousness, the “Brahma-Gyan” or primordial wisdom whose embodiment is Ganesha.

The Ganesha Purana and the Mudgala Purana, seminal texts on Sri Ganesha’s glory talk about the purpose of Siddhi and Buddhi, daughters of the creator Lord Brahma, alongside Ganesha. “Siddhi is the great Maya who fills our surroundings with elements that please our senses and sits to the left of Ganesha. Buddhi or wisdom who maintains the Maya takes her place on the right side of Ganesha.” In this manner, Lakshmi Ganapati is the coming together of the powers that are at the root of Creation or Srishti. In the Tantric rituals surrounding Lakshmi-Ganapati and Maha-Ganapati, he is believed to be situated in the “Muladhara-Chakra”, the first level of consciousness required for the expedition of awakening the Kundalini potency. Centring Ganesha in the Muladhara or the root chakra, which is at the base of Kundalini Shakti attaches him with the commencement of the spiritual journey, the most important and powerful beginning of all.

The maker of this Lakshmi-Ganapati bronze has borrowed iconography from Dasha-bhjua, Mahaganpati form, to bring an outlandish grandeur to the Panchaloha Ganesha, but the attributes carried by him stick to the traditional description of Lakshmi- Ganapati form, in which the lord has eight hands, in seven of which he carries a goad, a sword, a pomegranate, a parrot, a noose, a sprig from the Kalpavriksha or wish-fulfilling tree, and a pot full of jewels. With his eighth hand, Ganesha forms the gesture of disseminating boons (Varada-mudra). Besides the more popular attributes of Sri Ganesha, the pomegranate, parrot, and the twig of the wish-fulfilling tree carry are lesser-known elements, that highlight the ideas connected to the Lakshmi-Ganapati Roopa. The pomegranate with its ruby-red seeds signifies “Chaitanya” mindfulness, the parrot with its associations to the sphere of learning based on repetition of knowledge is an extension of Ganesha’s role as the Lord of Speech, and the branch of the Kalpa tree is an attribute used to represent elegance and beauty.

The two other arms that make this Ganesha bronze a composite of Lakshmi and Maha Ganapati, are wrapped around the waists of his consorts, who contentedly rest on his lap, lovingly reciprocating to him by holding his waist on each side. With an imposing regal crown that adds to the splendor of his titanic head and giant fan-like ears, the upper portion of the Panchaloha bronze catches the eye. The “Karandamukuta”, the basket-shaped crown of Ganesha is intricately carved to frame the broad forehead on which is etched an open lotus- an artistic trope to highlight the opening of the Third Eye. Betraying the solidity of bronze, the hands of the skilled Sthapati have sculpted the curving trunk of Lakshmi- Ganapati with a lovely bell as an adornment and an auspicious pot (containing water, coconut fruit, and leaves of the mango tree)- a Hindu symbol of fertility and wealth. The humongous torso of the Sri Ganesha bronze statue too, resplendent with ornaments of precious metal, pearls, and snakes appears to be an enormous “Purna-ghata” (auspicious pot), filled with the celestial powers to create. The treatment of the images of Siddhi-Buddhi, both presented with fine attire, jewelry, holding beautiful lotuses in their hands, a softness in their countenance, and attention to the detailing of their supple forms has succeeded in bringing to life the female counterparts of Maha Ganpati.

The “Bheema-Kaaya” (“Bheema”-huge, “Kaaya”-body) Maha Ganapati is enthroned on a two-tiered pedestal, on the left corner of which sits the Mushaka (rat), looking up to his master, with a small Modaka (sweet) in his hand, a benign offering to the feet of Sri Ganesha.

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.