Vietnam White Marble Lalbaugcha Raja on Grand Throne with Gold Leaf, 5 ft

Five feet of cool, milky-white stone seated squarely on a lion-flanked simhasan — the Lalbaug Ganpati read at the scale the form was made for. The marble is Vietnam White, quarried in Thanh Hoa province and an export staple in Indian sculpture yards since the 2000s. It runs a shade cooler and whiter than Makrana: a bright neutral field with hairline warm-grey veining held under three percent of the surface. That cool ground is exactly why it carries gold well — against it, the 22k leaf on the mukut and the jewelled collar reads as gold rather than a yellow smear. Carving runs through the independent master sculptors TMW commissions in Jaipur, in the order the stone demands: a rough block cut to the throne's silhouette, the primary masses of belly, shoulder and knee blocked out, then the slow work — ear folds, the trunk's curl, the lions' manes, the ornament beds that will later take leaf. Nothing on the face, hands or drapery is machine-finished; those surfaces are chiselled and hand-rubbed through progressive grits to a satin polish. The gold leaf is laid last, by hand, after the stone is sealed. Every marker of the Lalbaugcha Raja form is present and deliberate. The throne is the giveaway: a simhasan flanked by carved lions, the detail that separates the Lalbaug murti from a generic seated Ganpati. Above it, the tall tiered mukut. Four arms — the right palm raised in abhaya, a modak held low on the left — the single broken right tusk, the trunk curled to the deity's left, and the mushak at the plinth's front edge. The Lalbaug mandal has installed its Ganpati in this royal, throne-seated register since 1934; this piece follows that lineage rather than reinventing it. At 60 inches on a carved plinth, this is a community-scale murti, not a shelf piece. It wants a hall — a mandal's mandir, a trust's prayer room, an institutional lobby shrine, or a large private mandir with a double-height wall behind it. Allow roughly eight feet of clear wall so the crown has air above it, and ten feet of viewing distance for the throne and lions to resolve. Floor loading matters at this weight: a levelled masonry pedestal or a solid stone base plate is the usual answer. Set it facing the room's main approach so devotees meet the abhaya hand head-on. The same murti can be cut at 36 or 48 inches for a home mandir, or commissioned larger as a bespoke piece. The gold leaf is optional — some mandals keep the crown in plain white stone, others ask for a full hand-painted finish. Send us your hall dimensions on WhatsApp and we will come back with sizing and a lead time.