The statue is a brilliant synthesis of two traditions, the scriptural of the mainland in regard to the form of the deity, and the iconographic, as these evolved in Himalayan hill region, Tibet and Nepal in particular. Scripturally the statue represents the Maha Ganapati form of Lord Ganesha who has been perceived as three-eyed and multi-armed holding primarily the pot of gems representing the most invaluable of possessions, and the disc or ‘vajra’ – thunderbolt, the symbol of unfailing might. As prescribed, the figure of the elephant god has been conceived with three eyes and twelve arms of which the normal two hold in them the ‘vajra’ and a bowl symbolic of the bowl filled with gems. Broken tusk, bow and arrow, mace, paddy sprig … are other attributes that Lord Ganesha is perceived as carrying in his Maha Ganapati form. Maha Ganapati is seen as holding on his thigh one of his Shaktis. On one hand Shaktis of Lord Ganesha are symbolic of his inherent energies, and on the other, perceived as his consorts, of his enjoyment. The statue seems to have alternated Shakti with dance, as in the case of Ganesha dance is only the other form of energy which wind-like whirls his figure, and thus the cosmos, which manifests in his form, and is also the source of his delight.
The idiom of iconography : facial features, dimension of trunk turned to right, not to left – the usual form in Maha Ganapati iconography, form of eyes, protruding forehead, overall anatomy, plasticity and figure’s modeling, style of costume : especially the long pleated and coiled sash with ends unfurling on sides like clouds in the sky, ornaments : the three-crested crown symbolic of ‘tri-ratnas’ Buddhist motif in particular, attributes, and the character of subordinate parts : ‘prabhavali’ – fire-arch, and pedestal etc., are, however, somewhat foreign to this scriptural tradition. In them reflects the character of Tibetan-Nepalese Buddhist and Hindu icons. The stylised lotus motifs with the pearl-like elevated middle defining the circular edge of the pedestal are typical of Tibetan images. The plant-form conceived like a Himalayan fern grown around a conch-motif ringing along the fire-arch, and the form of the fire-arch conceived like a ‘chaitya’-window, are characteristically Buddhist and belong to the iconographic traditions of the Tibetan and trans-Himalayan region. The attributes that the figure holds are usual but most of them differently styled.
The statue represents Lord Ganesha dancing fully absorbed, a state of being that reflects mirror-like on his face. He has his left leg fixed on the back of his mount mouse, and right, lifted and flung into the space, and correspondingly swing his hands, the normal two with greater fervour. Besides the ‘vajra’ and the bowl of gems held in normal two hands, he is carrying in the five right ones battle-axe, trident with thunderbolt handle, sword with multi-bladed apex, mace or club, and arrow; and in those on the left, broken tusk styled like a missile, spear-cum-mace, lamp-like modeled bowl : a new element not seen the iconography of Ganesha, ‘danda’ – band crowned with human heads on its top, and bow. By any parameters the statue is a piece of great art transcending scale of time and barriers of geography.
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.
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