Ganesha here is presented as Narthan Vinayakara (in Tamil) or Nritya Ganpati- one of the 32 forms of the elephant god in Hinduism, where he is seen dancing vibrantly (narthan and nritya both suggest dancing). His posture and elegance remind one of the Tandava of Shiva and Laasya of Parvati. However, while Shiva dances to destroy and Parvati to create, Ganesha’s dance has not been endowed with such meanings. It seems as if our favourite Lord Ganesha dances to celebrate- to preserve and relish the life that occurs in between creation and destruction. This dance of Ganesha as the supreme reality has been a prime theme among the Ganpatayas- a sect based around Ganesha as their tutelary god, along the lines of the Ganesha Purana and Mugdala Purana.

Coming to the outward features, the fabulous Karandamukuta (crown shaped like a pot) on Ganesha’s majestic head looks strikingly similar to a mountain. The well-known Indian poet Somadeva in his Kathasaritsagar has alluded to this similarity, comparing Ganesha’s head to the great mountain Meru (the centre of the Universe). Kirtimukha or the face of glory adorns the centre of the crown (also seen on the ornate waist belt of the lord). Tripunda (a distinctly Shaivite mark) can be seen on Ganesha’s forehead below the chains of the crown and a floral motif. His eyes are animated- looking at the idol from any direction will give you the feeling that you are under the omnipresent gaze of Ganesha. A bell is tied to his stylistically designed trunk. Imagine the sound it produces when the lord flings his trunk in the joy of dance! 

His ears, looking similar to a winnowing basket used in rural India even today, have birthed the belief that like the basket, Ganesha has the ability to separate the Gyan (useful) from the Agyan (useless).  In his four hands, Ganesha has the goad, his broken tusk, a citron fruit, and a noose. The protruding belly that has added to the monumentality of the idol is a piece of art in itself. Embellished with elaborate udarbandh (belly belt), strings of which are interspersed with the coils of the great snake Vasuki (king of snakes), the tummy of Ganesha is believable as the abode of all the creation (as mentioned in the Mudgala Purana, a text dedicated to Ganesha as the ultimate reality).

 The plump legs of Ganesha are placed in the most dynamic posture- the stateliness of the size softened and instantaneously amplified by the sense of movement that is added by the positioning of the legs. Dancing sublimely Ganesha is in the Kshipta position- left leg taking the weight of the body and right leg raised in the Kunchita step. Underneath his left leg is a newly blossoming lotus flower- a symbol of creation. Near his right leg, is his mount and devoted follower, Mushak (rat). The mammoth figure of Ganesha is situated atop an equally huge pedestal- four-tiered, decorated with the lotus petal motif, and having an upturned lotus flower as the third and fourth levels. Four dwarfs sit on each side, with weapons in their hands.

They are identified as Ganas or attendants of Ganesha- the Ish or lord of Ganas. Though small in size when compared to their master, the Ganas are large enough to have received ample attention for their ornamentation, form, and posture. The last part of the platform has two holes running through it. This is a feature of Utsava Murtis (processional images) in South Indian temples, in which rods are passed through the holes and the idols are carried around the temple arena for devotees to greet their lord. Can you imagine, this gigantic Ganesha murti being carried on the shoulders of his dedicated followers, dancing as the crowd of his devotees follow suit? 

Kudos to the makers of this grand visual chronicle. Keeping in mind the size of this Ganesha idol, it is almost certain that the artist would have been unable to see one side of it while working on the other. The final detailing and symmetry have been made possible only by the hard work and dedication of the Swamimalai artists, for whom the craft is no less than a sacred ritual. The choice of bronze for casting this breathtaking idol is appropriate. Only something as timeless as bronze can ideally capture the ageless Indian philosophy. Appreciating the skills of the artists and priding our luck on being a part of His macrocosm, gazing at the Mahakaya Mahaganpati, savouring the atmosphere created by his commanding presence, we cannot help but feel an affinity to the rat that looks up at his lord in astonishment and veneration.

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.