This four-armed resplendent image of Vishnu, possessed of great majesty and divine aura, defines the continuity of India's centuries old tradition of bronze-cast. It has same lustre, iconographic perfection, zeal for details, emphasis on embellishment, elegance and finish, emotional bearing, and commitment to scriptural tradition, as had great Chola and Chalukyan bronzes of the South, and Pala bronzes of the East. This twenty-eight inch tall and fourteen inch wide bronze-like anodised brass statue of the Lord of the cosmos is, however, closer to later Chola bronzes of the eighth-ninth centuries.
Chola bronzes are known for powerfully gesticulating a figure to reveal an emotional bearing or a motive, as does this majestic figure of Lord Vishnu. He has been represented as leaning upon his mace and as making a forward move. In these gestures, there reflect his determined mind and a commander's formidability. The image not only has an antique look but also adheres to ancient standards of bronze cast and has acquired the same antique character.
In Indian theology and thought, Vishnu, who with Brahma and Shiva constitutes the Great Trinity the three aspected manifestation of the Formless God, represents sustenance or preservation, and is responsible for maintaining cosmic order. Anthropomorphically, he has been visualised as the supreme monarch with all three cosmic regions under his command. Accordingly, he has been conceived with a robust build and as wearing a towering and bejewelled crown, precious jewels, rich costume and a garland of celestial Parijata flowers, giving him the distinction of world commander.
He has been represented variously with four, six and eight arms, carrying in them various attributes a conch, lotus, mace, goad, disc, rod, abhaya, varada, and a number of other weapons. The Vedas perceived Vishnu as all pervading, that is, being in all things and all beings, as also beyond them. He has been visualised as the real face of the cosmos. This form of Lord Vishnu, in command of all cosmic regions and all elements, which the three-tiered Prabhavali that his figure pervades, symbolizes, is one of his two primordial forms, the other being Sheshshayi, a form representing him reclining on the coils of the great serpent Shesh.
As is the essence of this form, he is in a standing position with a forward thrust and is carrying in his four hands his best known attributes disc, conch, mace and lotus. Sheshshayi and this form of Vishnu, representing him in command of all three worlds, have been the most preferred themes of Indian sculptors and metal casters of the period from fourth-fifth to fourteenth-fifteenth centuries. Most of the ancient and medieval Vaishnava temples, in North or South, have this form of Vishnu as their sanctum image.
The image has been enshrined in between two most beautifully rendered columns. These columns, consisting of five sections, correspond to 'pancha-shakha' doorjambs, such as had ancient and medieval temples for their sanctum-doors. Two chauri-bearers flank the deity image on both sides. The columns rising from behind them go up to the deity's shoulder-height and terminate there into two mythical animals which are half lion and half dragon with two human figures riding them.
These figures might be representing rivers Ganga and Yamuna, two essential motifs of sanctum architecture of early Hindu temples. On upper side, emerges a Prabhavali-type three-tiered circular formation, suggestive of three cosmic regions that Vishnu pervades, as also comprises the ceiling of the sanctum. The base, consisting of narrow front, wider middle and widest back, is typical of sanctum doors in ancient temples. The background, which the artist has created for consecrating the divine image, is that of a miniaturised sanctum sanctorum.
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.
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.
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.
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