Kamalasana Saraswati

$1830
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Time required to recreate this artwork
12 to 16 weeks
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$366 (20%)
Balance to be paid once product is ready
$1464
Item Code: EH15
Specifications:
South Indian Temple Wood Carving
Height: 36 inch
Width: 17 inch
Depth: 5.7 inch
Weight: 17 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
This three feet tall and one and a half feet wide wood-statue, a magnificent work of art, portrays Saraswati, the earliest of all Brahmanical female deities, in her initial lotus-seated form. Her forms, riding a vehicle, are late concepts, both in arts and mythical literature. Early texts perceive her as 'Asina kamala karairjjapabatim padmadhyam pustakam bivrana'; that is, Saraswati is seated on lotus and carries in her four hands a 'japamala', two lotuses, and a manuscript. In this wood-piece, lotus-seat is retained, but the lotuses carried in hands are replaced by 'vina', a lyre, which makes the representation not only quite realistic but also more adherent to her later concept, which perceives her as representing learning, arts, music and literature.

Lotus was an essential feature of Brahma's iconography, and so were the book and 'japamala' – rosary. Obviously, Saraswati inherited these attributes from Brahma in view of her association with him, either as his daughter or spouse. But later, after she gained an independent status, lotuses, carried in her hands, were deleted, and the lotus-seat was sometimes replaced by a vehicle – swan, peacock, lion or ram; that is, instead of a mere divine presence, she was now an operative power. In texts, 'japamala' and text continued as parts of her form but in artistic innovations these too were sometimes excluded; she was even conceived, though very rarely, with normal two arms instead of her usual four. 'Vina', in her iconography, was not always a mere decorative element; she is often represented, as here in this statue, as playing on it – adding further thrust to her operative aspect.

The Vedas, Brahmans and Puranas perceive the goddess as 'parama jyotiswarupa', that is, as the one who has a form created out of the supreme Light – God. Some texts hence acclaim her as born of God's mouth. Hence, she is conceived with golden complexion, vigorous youth and rarest lustre. The Atharva Veda and several other texts visualise her as possessed of large breasts full of milk, for they perceived her as the river of the life-giving milk with endless flow. The artist of this magnificent statue has amazingly adhered to these textual parameters. The entire figure glows with gold's lustre. Her elegantly modeled large breasts have been adorned with flower-motifs; obviously to suggest their life producing and sustaining character. To her beauty adds her sitting posture, which is known in iconographic tradition as 'lalitasana' – a posture that reveals beauty of form. This 'lalitasana' posture, with her right leg suspending below her seat and the rest of her figure condensed vertically, not only keeps the viewing eye arrested to that part of her figure – face, breasts, belly, and of course the ornaments adorning them, which reveals her supreme beauty but also define her anatomical breadth.

Fully absorbed, the goddess is playing on her 'vina'. Though closed, there floats in her eyes a celestial 'bhava'. She has around her face a divine aura and a sense of unique quiescence. In anatomical proportions, facial features, and over-all composition, the statue is simply unique. The image has been consecrated on a double lotus placed on a 'pitha' consisting of two rows of conventionalised lotus motifs. She is in 'adhovastra'– apparel below waist, consisting of a green silk 'sari' and a sash suspending down to the lotus-'vedika'. She is wearing a richly bejeweled frilled girdle and large 'karnaphools', the ear-rings consisting of floral motifs. A Vaishnava 'tilaka' on her forehead and a towering crown on her head reveal south Indian effect. Various conventionalised ornaments often used in votive iconography adorn the figure of the goddess.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.


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Sculpting Serenity: Unveiling the Art of Crafting Wood Statues

Wood has been a preferred material for sculptures and statues since ancient times. It is easy to work with than most metals and stones and therefore requires less effort to shape it into any desired shape or form. The texture of the wood gives an element of realism to the sculpture. The selection of an appropriate wood type is necessary for carving. Woods that are too resinous or coniferous are not considered good for carving as their fiber is very soft and thus lacks strength. On the other hand, wood such as Mahogany, Oakwood, Walnut wood, Weet cherry wood, etc., are preferred by sculptors because their fiber is harder. A wood sculptor uses various tools such as a pointed chisel in one hand and a mallet in another to bring the wood to the desired measurement and to make intricate details on it. A carving knife is used to cut and smooth the wood. Other tools such as the gouge, V-tool, and coping saw also serve as important tools in wood carving. Although the wood carving technique is not as complex and tough as stone carving or metal sculpting, nonetheless, a wood carver requires a high level of skills and expertise to create a stunning sculpture.

1. Selecting the right wood

The process of wood carving begins with selecting a chunk of wood that is required according to the type and shape of the statue to be created by the sculptor. Both hardwoods and softwoods are used for making artistic pieces, however, hardwoods are preferred more than softer woods because of their durability and longevity. But if heavy detailing is to be done on the statue, wood with fine grain would be needed as it would be difficult to work with hardwood.
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2. Shaping the wood

Once the wood type is selected, the wood carver begins the general shaping process using gouges of various sizes. A gouge is a tool having a curved cutting edge which is useful in removing large unwanted portions of wood easily without splitting the wood. The sculptor always carves the wood across the grain of the wood and not against it.
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3. Adding detailing

When a refined shape of the statue is obtained, it is time for making details on the statue using different tools. This is achieved by using tools such as a veiner to make and a V-tool to create decorative and sharp cuts.
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4. Surface finishing

Once finer details have been added, the sculptor is ready to smoothen the surface and give it a perfect finish. Tools such as rasps and rifflers are used to get a smooth surface. The finer polishing is obtained by rubbing the surface with sandpaper. If a textured surface is required, this step is skipped. Finally, to protect the statue from excessive dirt accumulation, the sculptor applies natural oils such as walnut or linseed oil all over it. This also brings a natural sheen to the statue.
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How to care for Wood Statues?


Wood is extensively used in sculpting especially in countries like China, Germany, and Japan. One feature that makes the wood extremely suitable for making statues and sculptures is that it is light and can take very fine detail. It is easier for artists to work with wood than with other materials such as metal or stone. Both hardwoods, as well as softwood, are used for making sculptures. Wood is mainly used for indoor sculptures because it is not as durable as stone. Changes in weather cause wooden sculptures to split or be attacked by insects or fungus. The principal woods for making sculptures and statues are cedar, pine, walnut, oak, and mahogany. The most common technique that sculptors use to make sculptures out of wood is carving with a chisel and a mallet. Since wooden statues are prone to damage, fire, and rot, they require proper care and maintenance.

 

  • Wood tends to expand and contract even after it has been processed, thus it is always recommended to keep the wooden sculptures in rooms with little humidity. Excess moisture can harm your masterpiece.

 

  • Periodical dusting of the finished piece is necessary to maintain its beauty as dust accumulation on the surface takes away the shine of the sculpture. You can use a clean and soft cloth or a hairbrush for this purpose.

 

  • You must avoid applying any chemical-based solutions that may damage the wood from the inside. Instead, you can apply lemon oil or coconut oil using a cotton rag to the sculpture to bring out its natural shine. Lemon oil also helps to clean any stains on the sculpture.

 

  • Applying a layer of beeswax protects the wood from sun damage and hides even the smallest imperfections on the wood.

 

It is extremely important to preserve and protect wooden sculptures with proper care. A little carelessness and negligence can lead to their decay, resulting in losing all their beauty and strength. Therefore, a regular clean-up of the sculptures is a must to prolong their age and to maintain their shine and luster. 

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