32'' Kalyana Sundaram | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai

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On a shared pedestal here stand Shiva, on whose left is a four-armed Vishnu, acting as the officiating priest for the marriage. Shiva is also four-armed, adorned by the crescent moon on his jatamukut (crown of matted hair), Naga (snake) that coils around the crown, Rudraksha rosary accompanied by other fineries, and a short dhoti with the waistband embellished by the Kirtimukha (face of glory). Chandrashekhara (who has the moon or Chandra on his head) Shiva has taken the most exquisite male form, second to none in the entire creation in the charm that his presence exudes, a point which is highlighted by the maker of the bronze by giving him the central position and a higher stature than the other subjects of the image. His right hand is softly placed on the hand of his coy bride-to-be, Parvati, who is blooming with youth- her rounded breasts, thin waist, and graceful limbs instilling feelings of passion in the heart of the great ascetic. On her side is Lakshmi, Vishnu’s consort acting as the confidant of Parvati, she too dressed in heavenly attire. There seem to be an expression of amusement and happiness on her face, which is adorned by a playful smile. The sensitivity shown by the artist of this bronze composite towards this great occasion is displayed in the affinity shown shared between Parvati and Lakshmi. While Devi Parvati is entering a new phase of her life standing in such close proximity to the fruit of her austerities, Shiva, she seems to be overpowered by the shyness of a new bride. Empathizing with the state of her heart, goddess Lakshmi nudges her towards her beloved husband.

The detailing in the work of the maker of this bronze is best visible on the reverse of the image, in the distinct lines of the dhoti (lower body garment) of all the deities, hair that falls over their shoulder, and the musculature in Shiva’s legs. The holes in the platform indicate that it is a processional image, seated in which the gods take the center stage during the annual celebration of the marriage of Uma-Maheshwara.

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.