In the murti that you see on this page He stands upon a high pedestal of two lotuses joined pistil-to-pistil. Characterised by layered petal engravings, as tender and as beauteous as His feet (paadapadma). His signature stance has earned Him the name of the Tribhanga Murari, because He is the flute-bearer (‘murari’) whose body juts out (‘bhanga’) at three (‘tri’) different junctures. Clad in a richly embroidered dhoti and ample gold adornments, He looks every bit the prince of paraloka that He is.
A few things distinguish this tall, life-sized murti from your run-of-the-mill Krishna sculptures. The deep gold monotone of the composition makes a statement of His otherworldly glamour. The profusion of vines around Him - note the way the garlands down His torso blend into the same - all the way from the pedestal to the crown are indicative of the woods of Vrindavan wherein lies His heart. Finally, the lifelike finish of the hands and feet of the Lord is a hallmark of legacy workmanship.