Far different from above, completely puritan these images of Radha and
Krishna, conceived on votive lines, are essentially transcendental.
Revealing a different kind of divine aura they are obviously meant for
a shrine : domestic or public. Radha, conceived in Vaishnava tradition
for representing the amorous aspect of primordial female energy, has
been portrayed in this marble image standing in Lakshmi-like formal
posture, revealing grace but not amour, sustaining by her benevolence
the entire creation. Hence, like Lakshmi she is holding her right hand
in ‘abhaya’, a posture of protection and thereby to sustain, and is
carrying in the left, a lotus, Lakshmi’s essential attribute. Her
towering crown with a large ruby in the centre, style of ensemble,
especially the sash laid as in the iconography of Lakshmi and great
queens, first over the arms and then flanking on either side trailing
down to the ground, its saffron dye with borders defined in gold and a
rich waist-band in lustrous purple, all are close to Lakshmi’s form.
The posture of the eyes as supervising the earth essentially links the
represented image with Radha portraying her concern for the earth and
its inhabitants. The tradition perceives Radha as the sojourning self
striving to unite with the Supreme Self that is Krishna. Thus, not
merely concerned, Radha represents the earth and every self sojourning
on it. Contrarily, Krishna’s eyes are upwards raised underlining
Krishna’s distinction as the unearthly entity : Supreme Self. The
artist by so blending with his form of Radha the aspect of Lakshmi
seems to have aimed at multiplying the image’s divine aura for in her
form as Radha she is essentially the ultimate model of love, and in
her Lakshmi-like aspect she is the benevolent sustainer. Krishna is in
his usual 'tri-bhang’, a three curved body posture, which is
interpreted as his form pervading all three cosmic regions, the earth,
the sky and the netherworld. In his hands he is carrying his most
loved flute by the melody of which he drags the minds away from
worldly temptations and lead to the path of redemption but the rapture
that reflects on the faces of his images emitting the divine melody
from their flutes is missing in this statue. Here his form is rather
These images, exceptional in their meaning, contextual breadth and
divine aura, are outstanding also in their finesse, plasticity,
modeling, precision, figural balance, artistic merit and worth. An
example of rare skill, not only the deity-figures have been laid and
balanced on relatively small pedestals but as skillfully are annexed
to them the end-parts, usually mere corners, of the sashes of the two
figures flanking on sides. Not like reliefs with back-support, all
parts, even the thinly conceived sashes, crown-rings – ‘prabha’,
Krishna’s peacock-feather and Radha’s crest, are chiseled by
themselves without a base to hold and support, something like a
metal-cast. The peacock feather comprising the crest of Krishna’s
crown has been not only beautifully chiseled but as beautifully
painted. With large eyes, round faces, fine features, tall necks and
broad foreheads the figures have a highly balanced iconography;
however what imparts to the statues rare quality and accomplishment is
their painting part which attributes to stone the transparence, lustre
and a touch of delicacy that are the properties of the finest silks
and the gold-like rich metals.
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.
How to clean and maintain marble statues?
Marble has been a preferred material for sculptors and artists for more than a thousand years. It is a rock that undergoes metamorphism which causes recrystallization of the original carbonate mineral grains. Marble comes in various colors, designs, and dimensions. Pure white marble is the most preferred type of marble for making sculptures and statues since time immemorial. White marble is especially used for sculpting stone monumental sculptures since ancient times. The natural shine and luster of the carbonate crystals of white marble give a lavish and beautiful appearance to the statue.
Marble stone statues are highly durable and can even withstand harsh weather conditions without getting corroded, therefore, they can be kept indoors or outdoors without getting damaged or weathered. Although these statues can last for many decades, their regular care and cleaning are essential to increase their longevity and beautiful appearance.
Marble statues need periodical cleaning to maintain their flawless look. However, harsh and deep cleaning can result in making the statue look dull. If your marble statue is withering away, it is recommended to take the help of a professional cleaner. Marble is a delicate material and therefore needs proper care.
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