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This brass-cast, a large size statue abounding in unique lustre and great magnificence, represents Saraswati, the goddess of learning, arts and music, in her Vina-Vadini manifestation.
Saraswati is the Puranic transform of the Rig-Vedic deity Vak, the goddess manifesting speech, the tool that defined and named all created things, and even the void, and thus discovered each one’s distinction and identity and was in a way the tool by which all things were known and hence created.
The Rig-Veda tended to personify Vak, but the anthropomorphism that later characterised her perception was by and large a Puranic cult.
The Puranas visualised her not merely in an anthropomorphic form but also as the spouse of Brahma, one of the male gods of the Great Trinity, and as accomplishing the role assigned to her.
Significantly, not merely Saraswati-related, entire divine iconography developed on Puranic lines. In her initial form in Puranas Saraswati was perceived as lotus-seated and as possessing four arms carrying in one of them a 'japamala' – rosary, in two other, lotuses, and in the fourth, a book. Her appearance was described as 'Asina kamala karairjjapabatim padmadhyam pustakam bivrana', that is, she sits on a lotus, carries in one hand a rosary, in two of them, lotuses, and a book in yet another.
Lotus, since days much before Saraswati’s iconography evolved, was an essential feature of Lakshmi’s iconography. Subsequently, it was seen as Lakshmi’s distinction. As a result, in the course of time lotus rigidified with Lakshmi’s iconography and was reduced to a subordinate status in Saraswati icons, usually, as here in this statue, to a pedestal’s formal component and sometimes her seat. In subsequent sculptures her figure was hardly ever seen holding a lotus in its hands.
After Saraswati emerged as the patron deity also of arts, dance and music, her iconographic manifestations began incorporating features like peacock that besides being a dancing bird also symbolised arts by the colours of its feathers, and 'vina' – a stringed instrument, which symbolised music, though among them while the peacock, often alternated by the swan motif, the symbol of purity and the ability to choose the ‘best’, and hence suggestive of pure learning, only sometimes comprised her seat, ‘vina’ was more often her attribute. With far greater thrust the ‘vina’ even defined one of her iconographic forms.
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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