This magnificent metal-cast, a stylistic synthesis of India's great art traditions, represents Devi as she has been conceived in ancient art. The statue, though a contemporary work, represents, thus, the continuity of ancient India's great sculptural tradition, rivals the best of medieval bronzes, the Chola and Pala, and is a great master- piece by any parameter. This statue excels the classical art style of South Indian bronzes in the style of its features -a sharp well defined nose, angular face, pointed chin, broad forehead, small cute lips, lotus eyes and eye-lashes surmounting like Kamadeva's or Cupid's bow, in the beauty of form and elegant ornamentation.
Well shaped breasts with finial like nipples enshrining their
apex, a bottle-neck like narrow belly with mild folds, slender waist and
heavy thighs, elegantly cast tall arms coming down to knees and broad
curving shoulders define the exceptional beauty of Devi's form. This statue,
cast in a posture of celestial dance, is the finest model of beauty as per
Indian aesthetic tradition. The curves and knots of fingers, cast for giving
expression to the desired 'bhava' or emotion, impart to the figure its
exceptional appeal and effects. The figure of the goddess is so life-like
that, while looking at it, one feels that she will step down the pedestal
and will begin walking any moment.
In Indian tradition, Devi, the manifestation of primordial female energy,
has often been identified as one or the other of the Puranic deities,
usually either as Parvati or as Lakshmi, and sometimes as both. However,
before Devi emerged as Parvati or Lakshmi, she has, in scriptural tradition,
her own cult also. As this tradition has it, Mahavishnu, soon after the
great deluge subsided, emerged as a child floating on a fig leaf. The
dismayed Mahavishnu questioned himself as to who he was and whatfor he was
there. The silence broke and there emerged a voice: 'Sarvam khalvidamevaham
nanyadasty sanatanam', that is, 'All that is, it is me. There is nothing
lasting but me'. When Vishnu was yet in trance, he saw a female form, Devi,
appear before him. She was attended by many powers representing primarily
riches and prosperity, wisdom and intellect and love and womanhood. These
three faculties incarnated respectively as Mahalakshmi, Mahasaraswati and
Parvati. In later Trinity cult, Laksmi got associated with Vishnu, Saraswati
with Brahma and Parvati with Shiva. Subsequently, there evolved other Devi
forms and Mahavidyas, first five, then seven, then nine and then gradually
more than fifty. The number of Mahavidyas was first seven and then ten.
Later, when there developed Shaivism and Vaishnavism as two devotional
cults, Devi forms, too, despite a single origin, took two different lines,
the Shaivite and Vaishnavite. Lakshmi, the custodian of riches and
prosperity, came to be the principal Vaishnavite deity and Parvati,
representing perfect womanhood and perpetual love, Shaivite. In iconographic
representations Parvati got associated with her attributes of Shiva and
Laksmi those of Vishnu. Of the two Parvati has been more popular with
sculptors and artists. Hence, in art, Devi merged with Parvati. She has been
endowed with a more versatile form, ornamentation and personality. Despite
some Vaishnavite attributes, the Devi form, represented in this statue, is
close to Parvati. As for Vaishnavite attributes, it is said Vishnu once
offered to serve Shiva as his Shakti and incarnated as Parvati. Obviously,
Parvati got associated with her some of Vaishnavite attributes, especially
his crown, as here in this statue, consisting of Vaishnava brooch and
'Kirtimukha'. She is wearing also on her arms 'Kirtimukha' bracelets. The
towering crown, with auspicious 'Kirtimukha', is also typical of SouthIndian images.
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.
Send as free online greeting card
Email a Friend