In 'tripurantaka' or even in 'tandava' Shiva is usually four handed but for depicting the multiplication of His movement attaining the cosmic magnitude He has been endowed here with eight hands instead. In both, 'tripurantaka' and 'tandava', Shiva is known to have lifted left leg. It was Vishnu who as Vamana, while dancing to span the entire cosmos in two steps, had raised his right leg. 'Tripurantaka' and 'tandava' both rocked earth and tossed mountains. In Vishnu's 'vishnukrant' the earth was contrarily static. It was only His figure that reeled. The artist here had priority for these Vaishnava traits. He preferred a couple of lotuses to base his figure on. Lotus is otherwise too an essential part of Vaishnava cult. The statue thus also represents a synthesis of India's varied religious traditions.
The annihilation of Tripura, a confederation of demons, is considered as one of a very few exploits of Lord Shiva. As the scriptural tradition has it, Maya, a demon, built with Brahma's grace and boon three grand cities which could rival Indraloka. After the cities had been completed Tarakasura, their master, let them into the charge of his three sons, Taraksha, Kamalaksha and Vidyunmali. They were conjointly called Tripura. Maya, before handing over to them the charge of the three cities had instructed them not to stray from the path of righteousness or create acrimony with gods. But the conceited and arrogant Tripura forgot it and began indulging into things which were contrary to the righteousness. Ultimately Lord Shiva resorted to 'tandava', killed Tripura with His arrows, rocked all three cities with the beats of His dance moves and burnt them with the fire emitting from His third eye. This form of 'tandava', which accomplished 'tripurasamhara' or the annihilation of Tripura, is known as 'tripurantaka', the dance that brought Tripura to an end.
In iconographic representations of 'tripurantaka' Lord Shiva is sometimes seen crushing under His feet a dwarf demon often identified as Apasmara. This is the essential element of His 'tandava'. In some early sculptures he is seen crushing under His feet three demons, obviously, Taraksha, Kamalaksha and Vidyunmali, the three sons of Tarakasura.
This description by Prof. P.C. Jain. Prof. Jain specializes in the aesthetics of literature and is the author of 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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