The benevolent auspicious Lord Ganesh, who commands cosmic elements, wards off evil and sorrows and bestows bliss, has multiple aspects many of which have culminated in this votive image of him. With trident in his right upper hand he is the lord of three worlds. Vijaya Ganapati, the son of the crusading Adi-Shakti, has lion as his seat. The land he sets his feet at becomes free from evil, sorrows, fear and detriments, for the Sankatahara Ganapati purifies it with his holy touch. Even his symbolic presence wards off evil forces. He is the lord of abundance, for the bowl of 'modakas', which he is carrying, symbolizes fertility, abundance, prosperity, growth and harmony in all walks of life. He is the bestower of long life, good health, agility, strength and vigour, which the snake he carries on his person symbolizes. He is the lord of dance, music, creativity, art, learning, aestheticism and harmony in all walks of life. He hence carries in his right hand the lotus, the symbol of all things holy, benevolent and creative.
The painting is superb in its artistic grandeur. The body complexion of the holy Lord has a marble touch. It has been drawn with the delicacy of a child's body and is as tender and transparent. The cushion and the back of the seat have a velvet look. His 'dhoti', sash on waist and around his shoulder have the look of fine heavy silk. The Great god has been richly bejeweled with a heavily inlaid crown, helmet, halo, rings, armlets, bracelets, girdle and a number of necklaces. Besides such jewels he has on his breast a large thick Vaishnava garland consisting of red, green and white flowers. He has on his forehead the mark of trident as 'tilaka'. From this trident mark descends on his trunk a long row of the holy syllable 'Aum'. The trunk itself has an artistic curve not often seen in Ganesh iconography. He is seated on golden Simhasana supported on sides by figures of majestic lions. On both sides there are lavish large bolsters and on the top a large gold frilled 'chhatra'. Fruits, bananas, apples, guavas etc. and flowers, offered to the deity, are placed below him in a tray made of gold. Near the tray there sits his well saddled mouse carrying in its forearms a 'modaka' in the posture of making an offering to its lord.
In characteristic Mysore art-style, the artist has created most of his effects by using metal leaves anodized in golden pigments. Such leaves are embossed obverse and reverse with various designing patterns and motifs to create desired effects. These leaves are further adorned by small beads of various colours inlaid on them. Sometimes such effects are created only by laying thick raised colour dots and patches. The entire canvas, consisting of a thick board, is covered by an arched shrine which has a marble look. The entire shrine is covered with floral and vine patterns of soft tint lest it dominated over the main theme. The entire is splendid and unique by any parameter.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.