Most of Saraswati’s contemporary images are goose-riding, or at least with an icon of goose around. This, however, was not the Puranic perception of her image. Puranas perceived Saraswati as lotus-seated, the same as Lakshmi, and as possessing four arms carrying in them a 'japamala' – rosary, ‘pustaka’ – book, and in other two, lotuses. 'Asina kamala karairjjapabatim padmadhyam pustakam bivrana', that is, she sits on a lotus, carries in one hand a rosary, in two of them, lotuses, and in the fourth, a book, was the Puranic vision of Saraswati. Subsequently, lotus, an attribute more akin to Lakshmi’s iconography so much so that she was often called ‘Lotus-goddess, completely shifted to Lakshmi’s domain and in Saraswati’s iconography a ‘vina’ alternated it. This statue of the goddess adheres to this classical perception of Saraswati’s image except that the ‘vina’ alternates lotuses. Not merely that she is seated on a lotus or the lotus-seat has been installed on a lotus pedestal, even the Prabhavali that she pervades by her presence consists of lotus motifs. As portrays this wood-carving, the goddess, fully absorbed, is playing on her 'vina'. She is possessed of timeless youth and luminous beauty as define terms like 'parama jyotirupa' or 'jyotiswarupa'. Though it shall sanctify by its divinity any sanctum, the statue seems to have been conceived primarily for aesthetic delight. Her slightly elongated face with a chin striving to discover its form, half shut eyes, arched eyebrows, sensuous lips, temptingly modeled breasts which the Atharva Veda perceived as the river of life-giving milk with endless flow, long arms with broad shoulders, subdued belly, besides her ornaments, towering crown and large 'karnaphools' – ear-rings consisting of floral motifs, and the ‘antariya’, all attribute to her figure rare beauty. In anatomical proportions, facial features and over-all modeling the statue is simply unique. The beauty of her form is further multiplied by the rhythm that her sitting posture, known as ‘lalitasana’, creates. She has around her face a divine aura and a sense of unique quiescence.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.
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.
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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