Large Size Lord Krishna Brass Statue Playing Flute
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This three feet tall
gold-like glittering Krishna brass statue, a highly accomplished example of the art of metal
casting, represents Krishna in flute-playing Tribhanga three-curved form. As if
overwhelmed by the melody pouring from his flute a phenomenon that ears fail to
experience but whose sweet fragrance the eyes savor, the entire image appears
to burst into a divine rapture.
The smile, which his cute lips cradle, reveals the
inner bliss, which is, perhaps, the most outstanding feature of the iconography
of the image. The divine ecstasy, which emits from the flute of Krishna, has
drawn the flute player inside out leaving him transformed into a rhythmic
trance, which reveals not only in his 'tribhanga' but also in the gesture of
his arms a form that combines the essence of music, dance and divine grace. The
image uses bold details, but given an exceptionally sensitive treatment, which
imparts to it its life vigor, even in such bold details, it discovers its great
excellence.
Lord Krishna Brass Statue Playing Flute |
The images of Krishna are usually treated with
perceptible emotionality, but instead, this image has around it an aura of
transcendence. It is unique in its adherence to classical norms, particularly
such as in 'Chitra-sutra' the 'Vishnudharmottara Purana' prescribes. As the
'Chitra-sutra' lays it, the image should so well define the deity that, while
meditating on it, the devotee is able to re-create it within him, and then
severing ties with the material, meditated only on his intrinsic image.
'Swarupa', aesthetic beauty, is the foremost condition of such a fully evolved
image, as the mind naturally inhales beauty and leaves the ugly out. The
'Chitra-sutra' avers that the image would radiate its ambiance within and
without, with the same 'bhava', emotional bearing, which the image itself has.
Hence, an ugly image would emit ugliness, and a 'swarupa', only the beauty,
auspiciousness, and good. This image not only defines Krishna's iconic and
anatomical form but also reveals such 'bhava', which sublimates the mind and
transcends it to spiritual heights. The smile that its lips emit would breed a
feeling of happiness within and auspiciousness without.
The image is thus outstanding not only in
plasticity, modeling, and anatomical balance but also in its artistic merit and
worth. It has been installed on an elaborate high 'pitha', pedestal, which adds
further magnificence to it. Krishna's
mode is 'lasya' the dance that defines love, beauty, creation, and aesthetic
delight. As the incarnation of Vishnu, he is the lord of all three worlds,
which are only his magnifications, and the controller of the entire cosmic
course, which manifests as creation, sustenance, and dissolution. The image
reveals this aspect by analogy using a number of symbols. His headdress
comprises three components a 'Prabha' type circle on the back, a crown towards
the forehead, and a towering apex which three peacock-feathers surmount. The
'Prabha', which the crown representing the Supreme pervades, again consists of
three rings, representing three worlds. Three feathers comprise the apex. The
crown alone defines oneness; that is, the plurality of cosmic existence is only
the magnification of the One who pervades all. This symbolism of the number
'three' has been repeated in three curves of the figure, the form of the
girdle, and similar other things.
A sharp nose, emotionally charged eyes, a well-defined chin and neck, and lips with a smile characterize the figure's iconography. The neck naturally aligns between the face and the torso. Average height, recessed waist, long and pointed fingers, and beautifully dressed hair falling on both shoulders define the anatomy of the figure. His costume comprises a well-plaited 'dhoti' elegantly covering the lower part of the figure, a long sash unfurling on the right side and attached to the girdle on the left, and another sash 'pataka', around his waist. The 'dhoti' is so worn that one end frills in front and the other one on the back where like a huge flower it comes down to the ground. Ornaments are few but beautifully designed using broad patterns and large size gems.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes in 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.
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Created on Mar 24th 2022 07:49. Viewed 239 times.