Is This the Finest Narasimha Statue Ever?

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He told Brahma that neither god nor demons, neither animals nor humans, neither natural nor supernatural creatures should be responsible for his death. He would be indestructible inside and outside his residence, during the day as well as in the night, in front of a weapon, or during hand-to-hand combat. Receiving such an intricately designed boon, Hiranyakashyapu was filled with reassurance and soon, with maddening pride. So much so, that when his devoutly Vaishnava son Prahalad voiced his belief, that Vishnu resided in each and every particle of the universe, even in the pillars of his palace, an enraged father and king Hiranyakashyapu hit the pillar with his Gada (mace). What came roaring out of the pillar was beyond what Hiranyakashyapu or any being, divine or human could ever fathom. 

This magnificent Swamimalai bronze has captured what the palace attendants, Prahlad and Hiranyakashyapu witnessed when Narasimha, the fierce form of Vishnu emerged out of the broken pillar. Srimad Bhagavad and various Puranas describe the magnificence of the appearance of Narasimha. He can be seen in his Ugra Roopa (fierce form), embodying the Raudra (raging) rasa or juice, inducing the bhava or emotion of fear in the heart of the evildoers. He wears the distinct Kiritamukuta (conical crown) followed by a bejewelled Lalatapattika (forehead band). A Vaishnava tilak adorns his forehead, highlighted by his frowning eyebrows that provide a frame to his bulging eyes, an indication of the viciousness of Narasimha. Between his finely coiled majestic mane and his crown are his ears, straight like those of a lion ready for the hunt. The fierceness of Narasimha is best conveyed by his open mouth, showing two rows of sharp teeth, causing the evil-hearted beings to tremble with horror. The wildness of the visage of Sri-Narasimha is contradicted outstandingly by the grandeur of his ornamentation- a reminder that even in this form, he is Bhuvanesh (lord of the Cosmos). He wears jewelled skandamala (bands on his shoulders), necklaces, armlets, a gem-studded Udarbandh (band on the belly), and anklets. On the right side of his chest is the Srivatasa, the symbol of Vishnu’s consort Sri-Lakshmi, marking the presence of his Shakti, the female and active energy. Three ornaments that require special attention are- Narasimha’s yajnopavita, his keyura (armbands), and his hand chains. Unlike a regular yajnopavita, Narasimha’s sacred thread is not made from cotton, but by securing the Adi-shehsha around his body. The artist, following the descriptions of the ancient texts, has adorned the great god with a repetition of the Makara (a mythical sea creature, with the body of crocodile, dolphin and sometimes an elephant) in his armbands as well as the centrepiece of his crown. The Makara is an awesome and fearsome creature, whose use as the jewellery for Sri Narasimha brings out the latter’s control over all creations, simple and complex, since as a dweller of the great waters, Makara is associated with the Creation.   The beautiful hand chains in this bronze murti highlight the admirably realistic hands of Narasimha made even more striking by his razor-sharp nails. Such is the splendour of the nails of Narasimha, that Madhavacharya, the Medieval Vaishnava saint wrote a stuti (hymn), the Nakha-Stuti, as a tribute to them. Zoom in on the statue to savour the detailed carvings by the master artists of Swamimalai.

 A helpless and small figure of Hiranyakashyapu appears to be flinging his legs in despair as he is stretched out on the lap of Narasimha, whose Vajra-like nails (a highly powerful ritual weapon) rip apart his insides. Hiranyakashyapu is dressed in a kingly manner, with a Shaivaite tilak on his forehead, emphasizing his religious affiliations. His entrails are held by Narasimha in two of his hands, which he is said to wear as garlands. In two other hands, he holds the Chakra (discus) and Shankha (conch), the most important Lakshanas (attributes) of Vishnu. Below Hiranyakashyapa, supporting Narasimha’s raised right leg, is Garuda, Vishnu’s mount, and the king of birds. Garuda is depicted with large eyes, a sharp nose, two teeth peeping from under his moustache, and wings on his back.  He wears a short dhoti and ornaments, including armbands of snakes. An even shorter image on the left is Prahalad, the son of Hiranyakashyapu. Standing with folded hands and closed eyes, he is a picture of unwavering devotion. A round sculpture, the bronze composite is placed on a two-tiered square platform decorated with fine incised lines representing the lotus motif. Encapsulating a popular narrative in itself, with a multiplicity of participants, this Swamimalai bronze murti of Narasimha is a highly emotive portrayal of the fourth incarnation of Lord Vishnu. Though appearing violent in his apparent goal, Narasimha is evoked by his deities in times of weakness, and he responds to their call for help, like an omnipresent guardian. He destroys sin (by killing Hiranyakashyapu), removes hurdles from the life of his devotee (Prahalad), and bestows knowledge (on the observer, us). His inner state, unaltered by the outer world, is always that of the Divine serenity. The outcome of Sri-Narasimha’s presence changes with the change in our position- whether we are the sinner, his devotee or, the observer, eager to learn a lesson from his incomparable avatar. 

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.