The most standardized form of the Shiva-ling, this icon consists of a ‘ling’ form enshrining its ‘pitha’, a form of ‘yoni’ installed over a lotus with upwards rising petals comprising the top of a circular two-tiered pedestal giving the image proper : the ‘ling’ and the ‘yoni’, an appropriate height perspective. As an upwards sprouting lotus comprises the top of the pedestal, an inverted lotus comprises its base. Lotus is widely considered as an element of Vaishnava iconography; however, in ‘ling’ icons a lotus form is often used for defining the base of the ‘pitha’.
In this icon not merely the pedestal, its base and the top, a large realistic form of a lotus defines the apex of the ‘ling’ proper, obviously a part of offering made during a ritual worship. In Indian iconographic tradition lotus, besides representing three cosmic zones : ocean, earth and sky, is symbolic of Creation. In Shaivite thought the union of Shiva who is ‘Purusha’ – the enlivening Self, and Parvati, who is ‘Prakriti’ – the manifest and unmanifest matter, effects creation which the lotus on the foremost point of ‘ling’ symbolises.
Shaktas, adherent of ‘Shakta’-cult or Shaktism, give to Shakti priority over Shiva. They contend that the desire to create is the attribute of Shakti and such desire in her is incessant. It is she who kindles in Shiva the desire to unite and create and is thus Shiva’s enlivening force. In a Shiva-ling icon this priority of Shakti in creative process is well reflected in the relative dimensions of ‘ling’ and ‘yoni’, the ‘yoni’ being larger than the ‘ling’.
Like other standard models of Shiva-ling a ‘tri-punda’ mark defines this icon. ‘Tri-punda’ is denotative of forehead, and further, of an unmanifest face transforming the ‘ling’ into ‘mukha-ling’. The most sacred, this form of Shiva-ling alone is timeless, formless, imperishable Shiva; it is this ‘ling’ which is ‘jyoti’, the column of light without a beginning and beyond an end. All twelve Shaiva ‘pithas’ – the highest seats of worship in the Order, are ‘jyoti-pithas’ and enshrine ‘ling’ icons.
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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