66'' Large Devi Lakshmi | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai (Shipped by Sea)

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The awe-inspiring presence of Maa Lakshmi in this Panchaloha bronze statue is the artist’s mastery that molded and sculpted bronze by inheriting from the beautiful verses of “Sri Suktam”. The goddess from her origination in this Rig Vedic hymn is described as “the embodiment of the bliss that is derived from Soma”. Looking at this bronze icon of Devi- her limbs delicate as the branches that carry fragrant flowers, her facial features the zenith of the ideals of feminine beauty, her intricate ornamentation, which is only an outward symbol of the exquisiteness that exists within her and flows through her in all the scenic charm of the universe- the experience of her “Darshana” does fill the heart with a sensation of elation that emerges from the consumption of the divine “Soma” nectar.

The goddess, also referred to as “Narayani” is the active feminine potency of Narayana, who looks after the entire universe from his heavenly home “Vaikuntha”, similar to the king on the earth who looks after his subjects as his own children. As “Vishnupriya” the beloved of Vishnu, goddess Lakshmi becomes the illusion (Maya) that is behind Srishti (creation) and bestows the boon of Dharma, Artha, Kama, and Moksha- the four goals that make human existence meaningful as a part of the creation.

Besides Vishnu, the four-armed divine Lakshmi as materialized in this bronze icon is associated with the earth goddess or Bhudevi. Both the Hindu mother goddesses are connected to the quality of fecundity, in fact, in the “Sri Suktam”, one of the attributes of Sri (Lakshmi) is the “moistness” that enables fertility of the fields. Her conception as an eternally youthful maiden, with the physical characteristics that signify reproductive prowess in women, is an artistic trope used tastefully in this bronze- a descriptor of Maa Lakshmi as the point from which life germinates.

The half-blossomed lotuses whose delicate stems appear to be copying the elegance of the fingers of the goddess that wrap the flowers are also motifs that indicate the beginnings and inauguration of life. This association of goddess Lakshmi with fertility finds its most awesome description in the “Mahalakshmi Stotram” wherein the mother-goddess is called the “womb of Mahashakti”- the supreme feminine who rules the creation, and is behind its birth, sustenance, and destruction.

The incredibly realistic-looking “Kamala” or lotus, on which the goddess sits has been linked to her since her first appearance in the Hindu religious tradition. In her emergence from the Kshirsagara- the primordial ocean, she was seated on an exquisite lotus; which thanks to the refreshing craftsmanship of this bronze sculpture appears to have happened only a few moments ago.

Lotus- beyond being a universal symbol for purity and beauty, also represents the “Kundalini” (inner potency) that resides in every human being. Sitting on an open lotus, fresh and flawless as seen in this bronze icon, Maa Lakshmi is the divine energy that is at the center of the lotus of our mind. This is the form in which she is revered in the powerful “Lakshmi Tantra”, where she surpasses every celestial being and is realized as supreme consciousness- “Parama-Brahmana” and also in the Devi Mahatmya, where it is Mahalakshmi, the primordial form of Lakshmi from whom emerges Mahasaraswati and Mahakali.

Devi Lakshmi is the embodiment of “Rajas Guna”- qualities of activity, passion, desire, and industriousness. She is an ethereal symbolization that desire- if pious and righteous, is a magnificent thing. The episode of her emergence as a result of the churning of the ocean, by Deva (gods) and Asura (anti-gods), is a simple yet rarely understood lesson- Lakshmi (one who takes you to the goal or “Lakshya”, while also being the ultimate goal herself) can only be pleased, and subsequently attained, through conscientiousness and action. Whether the goal is material or metaphysical- Lakshmi, the eternally magnificent one who undoubtedly graces this beguiling Panchaloha bronze, only comes to those who are willing to do their Karma (virtuous action).

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.