This exceptionally ornate brass statue, sublimity enshrining the face
of the represented figure, and rhythm, wreathed into her form – into
every curve and gesture of her parts, an icon usually classed as
Deepalakshmi in Indian iconographic tradition, represents a young
woman holding in her hands a large lamp. In ancient and medieval
India, and even till recent times, transporting light in the form of
lit lamps was a regular activity performed invariably by women, a maid
or a household, at a palace or a hut. Held close to the bosom and
often protected from winds by a part of one’s ensemble the light
centring and reflecting on the face of the courier always multiplied
its glow : the sensuous beauty of the young spouse and the divine aura
on the mother’s face. A local version of Rama-katha alludes to
Anasuya, the wife of the known sage Atri, emerging from her hut with a
lit lamp in hands when around the evening Rama, Sita and Lakshmana
reach Atri’s hermitage. The tradition contends that the light that
Sita saw reflecting in the divine eyes of mother Anasuya was Sita’s
light for ever and whenever she recalled it, darkness illuminated with
light.
Obviously, in Indian context light always had divine dimensions, and
even when its courier was a maid possessed of sensuous beauty, she was
seen as having an amount of divinity as had an enlightening goddess
and commanded respect. Sculptures of a lamp-carrying maiden begin
appearing quite early, however, her classification as a goddess,
especially as a form of Lakshmi who was associated with Diwali, the
festival of light, since long before, is datable to around the first
half of the seventeenth century. These statues of lamps’ carrying
young women were initially used as articles of gift made to relatives,
superiors and friends, a tradition which emerged first in South,
perhaps at Vijayanagar. Later, it was widely followed all over the
land. Deepalakshmi has been ever since a cultural icon that harbours
light, keeps it up, and promotes all that light promotes.
Far ahead of the Western concept of ‘torch-bearer’ – the guide or the
mentor – an intellectual being, in Indian tradition the courier of
lamp was seen as a divine presence that lighted the path by its mere
presence. It was for such reasons that statues of a woman carrying
lamp in her hands were often seen posted on the entrances to temples,
palaces, mansions or houses. These Deepalakshmi statues, a name they
subsequently acquired, presented a strange blend of spiritualism and
secularism. They manifested divinity but not linked to a sectarian
line they were completely secular, and hence, adorned any door, or any
sitting chamber, even an Islamic or Christian ruler’s, by their sheer
aesthetic beauty and inspired by their power to spread light. Now for
over three hundred years a Deepalakshmi statue is one of the most
auspicious object in any house, and as significant an image for Diwali
worship as Goddess Lakshmi herself.
This brilliantly conceived brass-cast is outstanding in the figural
quality of the image, in its modeling, plasticity, grace, divine aura
and iconographic details : round face with sharp nose, rounded cheeks
with cute lips socketed within and deep thoughtful eyes arching over,
a large bead-like moulded chin and a blissful composure on the face.
As absolute is the figure’s anatomy consisting of a well defined neck,
sensuously moulded breasts, subdued belly, broad shoulders, voluminous
hips twisted to right that adds to the part greater volume, and a
proportionate height. Wearing a towering Vaishnava crown,
‘makara-kundalas’ – ear-ornaments designed like crocodiles, broad
necklaces, elaborate waist-band and armlets conceived with two peacock
motifs, strange and delightful, as a pair of the dancing bird is
perching over shoulder-joints. An auspicious icon peacocks enhance the
image’s auspicious influence. Elegantly pleated and embellished
‘antariya’ – lower garment, is another exceptionally artistic element
of the figure.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on 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.
