An imposing pedestal with an upturned lotus serves as the Peetha (platform) for the Panchaloha Veera Ganapati whose aayudha (weapons) create a powerful halo around his gigantic form. Among the 32 forms of Ganesha described in the 19th-century treatise on iconography by Krishna Raja Woodeyar III, the king of Mysore, the roopa of Veera Ganapati armed with 16 armaments presents the most bewitching iconography of Sri Ganesha.

Owing to his connections with innumerable battles, Veera Ganapati is evoked by his followers as a Universal sovereign and victor, an idea which is spellbindingly captured by the Sthapatis (sculptors) of this Panchaloha Veera Ganapati. A bejeweled Karandamukuta (inverted basket-shaped crown) with Makara (mythical creature, symbolic of divinity and royalty) sits on the massive head of Veera Ganapati. A blossomed Kamala (lotus) sign on the forehead marks the third eye of the elephant-faced Lord and is followed by the Tripunda (an auspicious mark) and a curving symbol of a sprig of the Kalpavriksha (wish-fulfilling tree).

Ganesha’s extended trunk that holds a Mangala-Kalasha (vase of plenty) is in the rare Valampuri (curving to his right) state, making this bronze Veera Ganapati a potent manifestation of the deity which is popularly known as Siddhi Vinayaka. The humongous body of Veera Ganapati is sumptuously adorned with rich ornaments among which the Udarabandha (belly belt) with its ornate Mayura (peacock) design and the elaborate Kamarabandha (waist belt) embellished with Kiritimukha (face of glory) are remarkable works by the Sthapati to emphasize on the royal status of the warrior Ganesha.

The attributes that Veera Ganapati in this ginormous Panchaloha bronze exhibit are allied with the battleground and are employed by Sri Ganesha in the combats of human and metaphysical realms. Using his trained eye, the Sthapati has delineated his sixteen (Shada) arms (bhuja) with such perfection, that though they sprout from the curiously wide shoulders of Ganesha, if one stands in front of the extraordinarily massive Panchaloha, one can recognize each one of them fitting the sense of perception flawlessly and appreciate the tediously sculpted celestial weapons they hold.

Starting from his right, Veera Ganapati holds a chakra (discus), khadaga (spear), Trishula (trident), Muddgara (hammer), Hala (sow), Parashu (ax), Ankusha (goad), Naga-Paasha (serpent used as a noose), Gada (mace), Dhwaja (flag), lance, Danda (a club with a trident on it), Dhaala (shield), and a Vetaala (vampire). In his primary hands, Veera Ganapati brandishes a Dhanusha (bow) which is made from sugarcane and Bana (arrow), both of them being the emblems of royalty.

The Vetala who with his miniature sword and shield is impeccably balanced on the scissor-like gesture of Veera Ganapati is mentioned in the Brahmavaivarta Purana as the persecutor of children and is included in the iconography of Veera Ganapati to highlight that the remover of obstacles has, quite literally, these otherworldly trouble-makers wrapped around his fingers.

“Viniyojitah gananaam aadhipatye cha rudrenaa”- Rudra (Shiva) made Vinayaka (Ganesha) the head of Ganas. The Yajnavalkya Dharmashastra (I, 270) informs us of the crowning of Ganapati or the Lord of Ganas, who are malign spirits with forms as terrible and dark as the moonless night. In the context of icons of Veera Ganapati, Ganas (usually two) can be seen accompanying him, with dreadful appearances, acting as the guardian and soldiers of their Lord.

The two dwarfish Ganas that flank this Panchaloha Veera Ganapati carry a Gada (mace) and have their hands raised in “Tarjani Mudra”- a threatening gesture, directed towards anyone who dares challenge the valiant Ganapati. Their minuscule figures serve as a cue to the staggering size of their Lord, standing at whose feet, overwhelmed by the Darshana (the ritualized act of seeing) of the entire cosmos at once, the mind gets bewildered as to who should one bow down to first? Should we prostrate in front of the Prathama-Poojya (first worshipped) Ganesha or should we surrender our senses to the mastery of Tamil Sthapatis, who brought the cosmic warrior to the realm of the mere mortals?

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.