Ram Darbar Murti Set - 4 x 2.5 Inches | Panchaloha Statue/ Sita Ram Laxman Hanuman/ Ram Darbar Idol

• This Panchaloha statue of the almighty Ram Darbar exquisitely shows Hanuman, Lakshman, Goddess Sita, and Lord Ramar. 
• The main character, Lord Ramar, is shown with his bow, which stands for strength and morality. 
• Goddess Sita reflects her divine elegance by embodying devotion and virtue while standing elegantly next to Ramar. 
• Lakshman, Ramar's devoted brother, is seen with a bow, signifying his steadfast commitment to upholding dharma. 
• Lord Hanuman, who represents dedication and loyalty to Lord Rama, kneels respectfully with his hands clasped in adoration.
• This statue, which was created utilizing the age-old panchaloha technique, embodies the spirit of spiritual significance and divine beauty. 
• The elaborate carvings on the clothing and decorations showcase the old craftspeople's artistic prowess. 
• The Ram Darbar is depicted with greater majesty because each figure is placed atop a finely sculpted pedestal. 
• This revered image of Ramar and his divine companions is perfect for meditation and worship, elevating the spiritual atmosphere of any area. 
• The harmonious arrangement of the deities reflects the timeless values of faith, love, and righteousness in Hindu tradition. 
• The Panchaloha statue of Ram Darbar is a timeless symbol of devotion, unity, and dharma. 
• It is an ideal addition to temples, pooja rooms, or as a meaningful gift for auspicious occasions.   

An important but relatively unknown incident in the Ramayana is the tale of Sita’s curse to the Fire God (Agni), which emphasizes Sita’s emotional suffering, her sense of justice, and her fortitude in the face of injustice.

Despite his intense love for Sita, Rama insisted that she prove her chastity by a fire trial of Agni Pariksha when she was freed from Ravana's captivity. Although she had remained faithful, he questioned her sincerity due to her stay at Ravana's palace. Despite the emotional toll this demand imposed on her, Sita consented to the trial to establish her innocence. With faith in her character, she prayed to Agni to bear witness to her purity before entering the flames.

She miraculously survived, and Agni himself attested to her innocence and declared her to be pure. The necessity of going through such a trial severely wounded Sita, even though the divine evidence of her purity was evident. Even after everything she had been through, the emotional toll of having her character questioned was unbearable. Sita cursed Agni, the person who had been used in her trial, in her pain.

"No woman should ever again have to go through a similar test where her honor and purity are questioned without reason," she cursed him. She declared that such trials would no longer be acceptable, ensuring that no woman would face the same humiliation and suffering that she had experienced.

The Cholas, a dynasty that governed Southern India from 850 to 1250 CE, invented the lost-wax method. Chola Bronze Statues are made using this method and are used in temples for worship. Intricate metal sculptures, especially in India, are made using the centuries-old lost-wax panchaloha technique. It uses panchaloha, an alloy of five metals—gold, silver, copper, brass, and zinc—in conjunction with the lost-wax casting method.

This is a summary of the lost-wax procedure used in making this statue:

1. The required sculpture is carefully created by hand using a realistic wax model. Getting the appropriate shape and fine details requires tedious shaping and carving.
2. The wax model is covered with layers of a hard substance, usually a clay-based blend. This leaves a hollow hole inside the wax sculpture, forming a mold around it.
3. When the mold is heated, the wax melts and escapes via a tiny hole. As a result, a hole remains in the original wax model's shape.
4. The mold's space is filled with molten panchaloha. As the metal cools and solidifies, it assumes the shape of the original wax model.
5. The completed metal sculpture is gently removed from the firm clay mold.
6. Following cleaning and polishing, the sculpture may be further adorned with gems or ornaments.