This is Rama made using the Ganga Jamuna technique. This is the second Ganga Jamuna Rama on these pages. For more information, please see the other blog on Rama.

For comparison purposes below are the photos of the Ganga Jamuna Ramas, the front and the back view. It is quite evident that the subject of this blog is a finer casting and has better technical aesthetics. Let me list some of my observations and see whether I can define ‘better technical aesthetics’.

The better aesthetics arises from the movement (the raised right-hand index finger to support the arrow, right leg pulled back giving a sense of movement, raised left-hand little finger and graceful Tribanga), better detailing ( right palm showing the lines, floral patterns on the chain, quiver, patterns on the diadem), better techniques (a slimmer figure, toned body, thinner brass layering) and body posture (compact with Tribanga).

The dark chocolate color of the one on our right makes it stand out. But then it is not the only thing. The patina, the wear and the unknown thing the Vigraha has acquired over the years of worship gives it a presence. As the saying is ‘Pilgrims make the Thitha’ and worship makes the Vigraha.

One type of aesthetics is seen with the eyes and the other is seen with the soul.

The back view shows the quiver is done fully, though the back is normally not seen by the devotee. This is a typical attribute of bronzes from South India.

One of the odd features is the side tassel. Though the lower garment is only knee length, the side tassel is ankle length.

The stylistic features are a bit mixed up. It includes North Deccan and Tamil Nadu features. It is quite likely this Vigraha is from North Karnataka and it may be dated to the nineteenth century. It is about 14 cm in height.