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Deepalakshmi in Mayura-Prabhavali

Deepalakshmi in Mayura-Prabhavali
Availability: Out of stock
Specifications:
Brass Sculpture
13.5 inch X 9 inch X 9.5 inch
4 kg
Item Code: XG34
Price: $265.00
Best Deal: $198.75
Shipping Free - 4 to 6 days
Viewed 7777 times since 28th Nov, 2016
This brilliantly conceived brass-statue, the light being the theme and the worlds of humans and animals emerging from, represents a rare form of Deepalakshmi, the courier of divine light and the destroyer of darkness. Appropriate to an image in which aestheticism and auspicious combine the Deepalakshmi statue has been framed within a fire-arch with two peacock forms comprising its arms, known in the tradition as Mayura-Prabhavali. The proper image of Deepalakshmi : a female form with celestial beauty in the tradition of divine imagery, and the harbinger of light, the basis of the very life on the cosmos, has been installed on a circular disc laid on an inverted lotus placed in the centre of a large lamp. The lamp itself has in the centre a circular platform to hold on it the lotus seat. Whatever, this lamp is the real stage of the drama and it is in its context that the entire statue is seen and interpreted.

The fire-arch, the most artistic frame for any image, rises from two diagonally opposite points on the principal lamp’s periphery. These two points have been identified with two hooks that on one hand provide grips for holding the statue, and on the other, afford a broadened base for structuring the fire-arch. Two mythicized lion-figures, stationed over these hooks, hold on their backs the lower ends of the fire-arch terminating on the top into two peacocks holding in their beaks the twigs-type cast dragon forms. On the top an auspicious Kirtimukha motif spans the gap between the two peacock figures. There release from the wide open mouth of the Kirtimukha two exceptionally beautiful gussets. This lamp, which houses Deepalakshmi statue, has been raised over a two-tiered base, each consisting of a circular plate, one installed over the other. Each plate has ten smaller lamps around its outer periphery. The base-plate has a wider rim, though the number and the size of the lamps attached to both is alike.

Though not one of her forms, except perhaps the auspicious aspect of her being, nor a part of an early mythical tradition, the figure of Deepalakshmi has been conceived with goddess Lakshmi-like divinity, the same divine lustre and supreme beauty. As suggests the figure’s sensuously modeled breasts full of milk, symbolic of her ability to feed, Deepalakshmi also manifests fertility and abundance as does the goddess Lakshmi, the consort of Lord Vishnu. Deepalakshmi synthesizes into its being with divine light the ‘auspicious’ and abundance. As the Deepalakshmi tradition is now in prevalence, it is a subordinate image, especially included with Deepavali rituals of which goddess Lakshmi is the presiding deity. A deity, a cultural icon or an aesthetic statue, Deepalakshmi harbours light, keeps it up, and accepts offerings in behalf of both, Lakshmi and light, and at least to such extent Deep-Lakshmi is a votive image.

As regards the figural quality of her image, it is outstanding in discovering details : sharp features, angular chin, rounded cheeks, cute lips, deep thoughtful eyes, blissful composure, an expressive face, elegantly combed hair with a prominently conceived coiffure, well defined neck, sensuously moulded unclad breasts except a ‘stana-pata’ – breast-band, covering them, subdued belly, broad shoulders and a proportionate tall figure adorned with elegant jewellery and gems. People look for richly adorned and beautifully conceived images of Deepalakshmi for while her richly adorned form assures greater prosperity a beautiful image assures greater auspices and blesses with progeny. Perhaps for such reasons, the artist of this statue has taken special care to beautify each part of the image as also her ornamentation and ensemble : her elegantly pleated and embellished ‘antariya’ – lower garment, and ‘stana-pata’. The auspicious character of the image has been enhanced by the peacock-pair, another auspicious icon, that comprise the ‘Prabha’ – aura, of the image.

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.

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