Three Forms of Ekadanta

This brilliant Ganapati panel, sculpted out of a piece of wood as lustrous as gold and sandal wood like soft, represents three forms of Ganesha: all varying aspects of Ekadanta. Each of these forms of Ekadanta enshrines an independent niche, a division of ‘Prabhavali’ conceived as an arch composed of highly stylized vines : curling branches and swaggering leaves, and atop each, a pair of parrots perch facing each other. The ‘Prabhavali’ rises on a conventionalised lotus pedestal along a pair of parallel columns composed of the same stylized vines. While rising to the apex at three points these vines take an inwards curve and in an arch-like form join their counterparts dividing the ‘Prabhavali’ into three sections, each looking like an arched niche. The formation on the top is a bit more sophisticated. Here the right side vine moves to the left rounding into a perfect half circle creating a magnificent semi-circular arch over the Ganapati image. Over this top arch a series of leaves adorn the entire arch-span as an artistic ‘torana’ – ornamental lintel, adorns a Khajuraho like medieval temple’s door. Two of these three arched divisions, those in the middle, have atop them a large lotus form which on one hand bridges the breadth and on the other creates an appropriate seat for the Ganapati images to enshrine.

As is obvious, the representation of three Ganapati images in one architectural unit : ‘Prabhavali’, is inspired by the broad doctrine of seeking multiplication of the divine influence – auspiciousness in the case of Ekadanta, that the related deity inspires; however, it also has symbolic dimensions. ‘Prabhavali’ is a micro-miniaturized representation of cosmos, and its three divisions, of three cosmic regions or worlds, which Ganapati, in his one form or other, pervades. The standing form of Ganapati on the bottom is suggestive of act, a born one’s basic obligation as also the path leading to accomplishment; the dancing image in the centre is suggestive of ‘Ananda’ – the ultimate bliss, a stage that the born one attains after he has accomplished his basic obligation; and, the ‘padmasana’ image with a ‘lalita’ posture on the top, is suggestive of absolute beauty and bliss : the state of transcendence which the born one attains after he has accomplished his basic obligation and has attained the state of absolute bliss which is also the state of complete detachment.

The statue, a fine example of exceptional craftsmanship carved in deep relief and with minute details revealing rare skill and mirror like clarity, as if chiselled out of an ivory piece, represents three forms of Ganapati all in identical costumes and ornaments, all having four arms, moderately swelled bellies, trunks with less lengths turned to left, identically shaped ears, all being single tusked and all carrying in upper two hands a battleaxe and a noose. The lower hands are, however, differently conceived. While the images on the top and the bottom carry in them broken tusk and ‘laddu’, that in the centre niche does not carry in them any attributes; they are conceived rather to reveal ecstasy and moves of dance. This form portrays the elephant god in his most essential being for it represents him as synthesising in him the might of arms, that is, his power to protect, and the blissfulness that the auspicious Lord manifests, and more importantly, while the instruments of destruction are held in extra hands, bliss is the demeanour of his normal hands, obviously, representing his inherent being.

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.

---

Delivered by to all international destinations within 3 to 5 days, fully insured.

---

Post a Query

For privacy concerns, please view our Privacy Policy