Other significant attributes to note are the four arms of Lakshmi, typical in her iconographic depiction. The two arms in the back hold onto a lotus – which is also the pedestal on which she sits – and the two hands in the front are in the ‘abhaya mudra’ or the fear-dispelling posture, and the ‘varada mudra’ or the boon-granting posture. The lotus denotes knowledge, consciousness, liberation, and karma in dharmic traditions. The four hands are also emblematic of four aspects significant to Hinduism: dharma, kama, artha, and moksha. The bejewelled and garlanded figure is seated in the lotus posture, or ‘padmasana.’ The sculptural image is covered with an elaborate arch made up of paisley designs, and a ‘kirtimukha’ in the shape of a monster’s face with his fangs baring towards the viewer. As is with each of its depiction, the ‘kirtimukha’ is usually ornamental in nature. Gajalakshmi’s visual depiction has persisted over several centuries – especially along Buddhist sites, we have evidences coming from Bharhut and Kausambi; from the Somavamshi Dynasty; from Goa and the Konkan; and interestingly, from far-flung places like Cambodia as well, making the Gajalakshmi icon and enduring symbol worthy of note and acquisition.
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