This wooden plaque, carved with exceptionally fine details and painted with as much elegance and beauty, represents Lord Ganesh in one of his classical forms as enumerated in early texts, the eighth century Mudgala Purana, the most authentic work on Ganesh, in particular, which besides giving Ganesh-related various myths also gives iconographic details of his image in his different manifestations. This statue represents him in his form as Vijay Ganapati, one of his thirty-two manifestations documented in various early texts. Vijay Ganapati is known to abound in exceptional beauty and divine aura and in accordance his iconographic image has been conceived as vigorous and as possessed of gold like lustrous body complexion. The theological tradition attributes to each of these thirty-two forms one of the human concerns Lord Ganesh takes care of, and thirty-two aspects of human mind that he commands. In his Vijay Ganapati manifestation Lord Ganesh has been conceived as four-armed carrying in them broken tusk, elephant goad, noose and a delicious golden mango, as seated on the back of his mouse and as red-complexioned with entire figure glistening with gold’s glow. This wood-sculpture has been rendered in exact adherence to this iconographic vision of Vijay Ganapati. The image has been conceived as four-armed carrying in his upper right and left hands the elephant goad and noose, in the lower right, his broken tusk, and in the lower left, a full ripe golden mango. Though a wood-sculpture, the image has been painted for giving gold-like glowing body-colour with reddish tint. With his both legs curved, one laid horizontally, and other, upwards raised, he is sprawling on the back of his mount. Thus, completely adhering to this Puranic prescription, the statue reveals, besides its great aesthetic beauty, rare classicism and thereby an antique touch. Vijay Ganapati is one of the most accomplished forms of Lord Ganesh. He is the Lord of victory who bestows success and every kind of bliss. Hence, and in consideration of such wider role, Vijay Ganapati assimilates also Ganesh’s other forms. He is usually also Ekadanta – one tusked, suggestive of single-mindedness and utmost sacrifice, sacrificing even of his body-part for his devotee’s weal, Vakratunda – with curved trunk, one with a firm hold, and sometimes, also Lambodara – pot-bellied, containing oceans of knowledge. Ekadanta ends duality, leads to one-pointed mind and singleness of object. With his long curved trunk he explores womb of the earth, unfathomable depth of oceans, and inaccessible regions of the sky. The pot that he sometimes carries in his trunk, as he carries in this wood-statue, contains the riches that he explored from oceans’ depths. In his pot-belly he has stores for all. These apart, Vijay Ganapati is essentially Vighnesha, remover of obstacles and the supreme god of auspices. In plasticity, modelling of form, minuteness of details and in creating desired effect, the artifact is outstanding. Prabhavali, rising along two parallel columns terminating into a semi-circular apex, with the image of Lord Ganesh comprising its axis, is the ambience that Vijay Ganapati pervades. The image has been carved with a few but elegantly conceived ornaments and costume. Two symmetrically carved female devotee dancers occupy the Prabhavali’s bottom compartment right under the deity image. The Prabhavali, besides creating divine aura, provides for a beautiful frame around the deity-figure. Lord Ganesh is seated on an enthused mouse, large enough to accommodate him. Absolute composure, a benign face, large ears, a child-like tender limbs and thoughtful eyes define deity's iconography. 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.
