7" The Ten-faced Shiva-linga Modeled as a Temple Shikhara In Brass | Handmade | Made In India

Best Seller
FREE Delivery
$175

An exotic brass-cast, the artist of this tiny statue has ingeniously created out of a single image a number of forms, mainly the ten-faced Shiva-linga – Shiva perceived as phallus, a temple-‘shikhara’ – tower, as also an accomplished temple with various components. Shiva-linga, one of the two forms, the other being Lord Ganesh, his son, that the artists have most experimented with, has been conceived in this brass image as aggregate of all forms, born or unborn, for they all consist in linga, as also in the temple – the miniaturized vision of cosmos, and also in the temple’s ascendance which its ‘shikhara’ symbolises. The ‘shikhara’ in its ascendance leads the eye to void beyond form where all forms merge and disappear, as also wherefrom all forms emerge. In Shaivite thought, it is in Shiva as linga that all forms dissolve and disappear and it is in him that all forms become manifest. Thus, the diversity of forms which manifests in this brass statue is only the other form of unity which it has as linga.

Add on Lacquer Finish
Quantity
Delivery Usually ships in 10 days
Item Code: RR22
Specifications:
Brass Sculpture
Height: 7.5 inch
Width: 4.2 inch
Depth: 4.2 inch
Weight: 2 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide

Broadly, the brass-cast has been modeled as Shiva-linga. In upwards rise it tapers a little more sharply than the form of phallus allows, perhaps in order to accommodate other forms and for enhancing their symbolic thrust. In Shaivite iconography aniconic Shiva-linga is his most prevalent image. Anthropomorphically conceived forms of linga having one, three and five faces are also prevalent in the Shaivite worship tradition; however, a linga with ten faces, as here in this brass-piece, is a rarity in both, the ritual as well as the scriptural traditions. Though created on a common base ringing around the statue’s mid-height, each face seems to have its independent neck and even breast-part; and this magic the artist has manipulated by most cleverly using neck and breast ornaments. He has conceived each neck’s set of ornaments independent of the other with the result that each segment serves as stopper allowing the viewing eye to travel ahead only after it has surveyed also this segment’s other related parts, the neck and breast in particular. Uniformly designed jewellery would have looked merely like a decorative frieze around the statue’s neck.

The face-type and iconographic features are almost identical but each face has a different style of coiffure and crown. At the top all ten coiffures merge into a two-tiered common apex comprising an inverted lotus below, and an upwards, above. With his ten faces Shiva presides over all ten directions, as also over the ten known and unknown cosmic regions. In Shaivite tradition, Shiva-linga has been equated with ‘Jyoti’ – the potential flame, and as such, usually with five faces – his manifestation as Sadashiva. Shiva’s five faces represent ‘pancha-bhutas’ – five cosmic elements, the constituents of the cosmos. The other tradition perceives Shiva’s five faces as his manifestations as Tatpurusha, Vamadeva, Aghora, Sadyojata and Ishan. Though these manifestations also represent the same cosmic elements, namely, wind, water, fire, creative function and space, they are essentially Shiva’s forms, that is, under one school of thought Shiva’s five faces represented five cosmic elements, while under the other, his five manifestations. It seems that, instead of interpreting Shiva’s five faces in two different ways, the artist has conceived his image with ten faces, five to represent cosmic elements, while the other, his five manifestations.

The statue as much characteristically represents a temple’s form, its ‘shikhara’ alone, as also the entire temple form, both being conceived identically with five parts in temple’s architectural tradition, at least as practised under Nagar temple style. A temple stands on a plinth. It has then a ‘jangha’ – a middle part in ascending order, and then the niches which enshrine deity forms. Beyond this point the temple has the ‘shikhara’, and finally, its apex – ‘amalaka’ and ‘kalasha’. The shikhara’s neck – ‘griva’ is its base. It has then ‘devapatti’, the frieze with deity forms, main or subsidiary. The ‘shikhara’ gains its height in the form of ‘rathas’ – compartments, which might be in any number from one to nine. ‘Rathas’ from all four sides merge into an ‘amalaka’ which a ‘kalasha’ tops.

The statue incorporates both sets of forms. In some of the most artistically conceived and created temples in India, north or south, the temple’s plinth – bhara-patti, weight-affording frieze, has been conceived, as in this statue, as elephants ringing around the whole structure in a row. A series of ten elephants define in this statue both, the temple’s plinth and the shikhara’s neck. Nine of the elephants move in the ring while the tenth stands front-facing, defining the temple’s main entrance. Other components, those of the temple or the shikhara, ‘jangha’, ‘devapatti’, ‘rathas’, ‘amalaka’ and ‘kalasha’ manifest equally well in the statue.

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.


Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.


How to keep a Brass statue well-maintained?


Brass statues are known and appreciated for their exquisite beauty and luster. The brilliant bright gold appearance of Brass makes it appropriate for casting aesthetic statues and sculptures. Brass is a metal alloy composed mainly of copper and zinc. This chemical composition makes brass a highly durable and corrosion-resistant material. Due to these properties, Brass statues and sculptures can be kept both indoors as well as outdoors. They also last for many decades without losing all their natural shine.

 

Brass statues can withstand even harsh weather conditions very well due to their corrosion-resistance properties. However, maintaining the luster and natural beauty of brass statues is essential if you want to prolong their life and appearance.

 

  • The best and simplest way to maintain a brass statue is to clean it at least twice a week using a soft cloth or cotton rag. This will prevent dust from accumulating on the surface. Dusting is especially important for outdoor statues since it is prone to dust accumulation much more than indoors.

 

 

  • To give a natural shine and luster to the statue, you may apply coconut or olive oil using cotton on every portion. You can use a toothbrush to get to the small crevices but do not be too harsh. This will make the brass statue appear fresh and new with a polished look.


  • In case you have a colored brass statue, you may apply mustard oil using a soft brush or clean cloth on the brass portion while for the colored portion of the statue, you may use coconut oil with a cotton cloth. 

 

Brass idols of Hindu Gods and Goddesses are especially known for their intricate and detailed work of art. Nepalese sculptures are famous for small brass idols portraying Buddhist deities. These sculptures are beautified with gold gilding and inlay of precious or semi-precious stones. Religious brass statues can be kept at home altars. You can keep a decorative brass statue in your garden or roof to embellish the area and fill it with divinity. 

Frequently Asked Questions
  • Q. Is the statue hollow or solid ?
    A. Brass statues are made through a process of clay casting, hence are hollow. Whereas, panchaloha bronze statues are made through a process of lost wax casting, hence they are solid.
  • Q. Can I see the original photo of the product ?
    A. For original pictures of the statue, kindly email us at help@exoticindia.com.
  • Q. Can I return the statue ?
    A. All returns must be postmarked within seven (7) days of the delivery date. All returned items must be in new and unused condition, with all original tags and labels attached. To know more please view our return policy.
  • Q. Can you customise the statue for me ?
    A. For any customisation, kindly email us at help@exoticindia.com.
Add a review
Have A Question

For privacy concerns, please view our Privacy Policy