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This benign blend of Ekadanta and Vakratunda manifestations of the auspicious Lord enshrines this three feet high lustrous bronze cast. This statue, carved in the finest and the most characteristic details, blends two of the most auspicious manifestations of the iconography of Lord Ganesh, namely, the Varada and the Sankatahara. The Varada Ganapati bestows upon the devotee all that is blissful in life as also after it and the Sankatahara Ganapati removes all obstacles from his path. The compassionate Ganesh is always a pleasant deity, as here in his Lalitasana posture, that is, a loving mode of being seated. Obviously, the Sankatahara Ganapati is not a destruction-loving god who eliminates or even penalizes the evil or the obstructing ones. He only arrests or holds them by his noose to let the good prevail and goads them to the right path. He, thus, blesses his devotees to accomplish their objects without being obstructed and at the same time leads the detriments to the right path. The Sankatahara Ganapati hence has a compassionate bearing and just four hands, in two of which he carries weapons but only a goad and a noose, that is, the instruments, the one of which holds an object in control and the other one leads it to the right path.
Deity's benign face where enshrines the celestial calm and composure, his lalitasana, his two lower hands, one raised in varada and the other carrying modaka, his lambodara or the large pot belly and his nagabandha, the ritual band consisting of a serpent, are features of Ganapati in his Varada manifestation. The varada assures awefree blessed life; the modaka fills life with prosperity and fragrance of success; the large pot belly contains all riches and oceans of knowledge; and, the nagabandha is the symbol of good health, long life and of the spiritual control of the material world. The Ganapati has been cast wearing on his head both, a rich crown and a sturdy helmet, one depicting his majesty and splendour by which he rules the cosmos and radiates it and the other his rock-like formidability, which detriments dare not face.
This marvelous piece, requiring exceptional skill in its casting, represents Lord Ganesh in Lalitasana, a mode of sitting which allures by itself. The image proper has been installed on a raised pedestal consisting of conventionalised lotus petals and beads. The right leg of the deity suspends to its mid-height. His vehicle mouse has stationed itself on the upper ridge of the pedestal. It is around here that the circular fold of the dhoti of Lord Ganesh and the ends of his sash beautifully lay. Cast in copper mixed alloy, the image naturally obtains the lustrous deep brown complexion against which the golden brilliance of garments and ornaments gets many more times multiplied. The raised ornaments have such appearance as if these are superimposed or are really worn and not carved with the figure. Figure's eyes give a feeling of deep thoughtfulness and the face has a benign bearing. The well shaped ears are further beautified by additional ornaments and so are the other parts of the auspicious god. Besides the nagabandha he is also wearing yajnopavita.
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.