Essentially, art is created for the viewer, not the artist. One might argue that for a work of art to be a true success, the viewer must attain the RASAs conveyed by the artist, therefore experiencing the same temporary psychological state of mind, an important testament and symbol of the recycling of existence, of being and therefore life itself.
For example, the stone of Shiva in the form of Mahesha (The Great Lord) showcases the diety seated and heavily adorned. Mahesha is shown with four faces on four sides, symbolizing the four cosmic points and the fact that Vishnu and Brahma are born of Shiva himself. The extended symbolism of that would be his destructive power being used to recreate and reform, at both corresponding ends of each side. Although there are four sides to this particular piece, the strong connection to the Hindu Trinity (Trimurti) cannot be denied. It's made up of the three manifestations of supreme reality, represented by Brahma who symbolizes creation, Vishnu who is the lord of preservation and Shiva, the lord of dissolution/destruction necessary for creation.
Another sculpture of note is that of the diety Ganesh (protector, lord of intellect and wisdom) and his consorts. In this sculpture, Ganesh is depicted playfully seated accompanied with his consorts, also heavily adorned with jewelry. Ganesh is traditionally shown with a potbelly, a reminder to 'digest' the good and bad experiences in ones life. He's also seated with a mouse wandering at his feet, a notion to 'ride' all desires in order to keep them under control. Neither of these sculptures were openly transparent with their call to action and symbolic nature, unlike western sculptures. As explained earlier, even though depicted as manifestations or forms for human relatability, these Hindu deities are especially effeminate and depicted to have somewhat human personalities and habits, hardly the typical western aesthetic.
