This flexible Saraswati has been etched to be set at the edge of the lover’s work area. With one appendage pendant, She is situated nimbly in lalitasana as She plays on Her veena, a quintessential component of Her iconography. Talking about iconography, Her depiction is atypical of the dazzling bronzes of the Swamimalai district down South: Her face is forcefully included, Her appendages unequivocally etched. The feature of Her shringar is the transcending, unpredictably etched and layered crown. Held set up by a band of upset lotus petals, the equivalent is adorned with kirtimukha and makara pictures, the two of which are images of the repetitive demolition pursued by time.The rest of Her shringar is as exquisite as would befit a devi of such ethereal magnificence – pieces of jewelry falling down to between Her fruitful bosoms, long kundalas touching Her shoulders, bejeweled wrist trinkets along the whole length of Her arm and rings and coordinating anklets.
The foremost hands are distinctively committed to the veena. One of the back hands holds a pothi, while the other one bears the noose that She uses to rope in the adharmee. The dhoti She wears is held set up by a luxuriously decorated kamarband, the smooth texture sticking against Her skin, for example, to uncover Her awesome forms. Splendidly symmetrical sprigs of vines rise up out of the stitch of Her crown and lay carefully on Her shoulders. The veena on Her lap, as similar as the hands that play it, is engraved with themes and bends that are as per the Indian stylish standard. Apparently the music She plays is as sweet as Her self-control is gathered and contemplative. Note the unordinary, generous state of the bindi on Her sanctuary.