|This item can be back ordered|
|Time required to recreate this artwork:||20 to 24 weeks|
|Advance to be paid now (% of product value):||20%|
|Balance to be paid once product is ready:||80%|
|The amount to be tendered as advance to back order this artwork:||$294.00|
As is obvious, the representation of three Ganapati images in one architectural unit : ‘Prabhavali’, is inspired by the broad doctrine of seeking multiplication of the divine influence – auspiciousness in the case of Ekadanta, that the related deity inspires; however, it also has symbolic dimensions. ‘Prabhavali’ is a micro-miniaturized representation of cosmos, and its three divisions, of three cosmic regions or worlds, which Ganapati, in his one form or other, pervades. The standing form of Ganapati on the bottom is suggestive of act, a born one’s basic obligation as also the path leading to accomplishment; the dancing image in the centre is suggestive of ‘Ananda’ – the ultimate bliss, a stage that the born one attains after he has accomplished his basic obligation; and, the ‘padmasana’ image with a ‘lalita’ posture on the top, is suggestive of absolute beauty and bliss : the state of transcendence which the born one attains after he has accomplished his basic obligation and has attained the state of absolute bliss which is also the state of complete detachment.
The statue, a fine example of exceptional craftsmanship carved in deep relief and with minute details revealing rare skill and mirror like clarity, as if chiselled out of an ivory piece, represents three forms of Ganapati all in identical costumes and ornaments, all having four arms, moderately swelled bellies, trunks with less lengths turned to left, identically shaped ears, all being single tusked and all carrying in upper two hands a battleaxe and a noose. The lower hands are, however, differently conceived. While the images on the top and the bottom carry in them broken tusk and ‘laddu’, that in the centre niche does not carry in them any attributes; they are conceived rather to reveal ecstasy and moves of dance. This form portrays the elephant god in his most essential being for it represents him as synthesising in him the might of arms, that is, his power to protect, and the blissfulness that the auspicious Lord manifests, and more importantly, while the instruments of destruction are held in extra hands, bliss is the demeanour of his normal hands, obviously, representing his inherent being.
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.