Kamalasana Vina-Vadini Saraswati

$550
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Item Code: ZAC62
Specifications:
SOUTH INDIAN TEMPLE WOOD CARVING
Height: 35.5 inch
Width: 14 inch
Depth: 3.5 inch
Weight: 10.20 kg
A stylistic blend of Oriya, Andhrite and South Indian iconographic traditions reflecting in the type of ‘prabhavali’, the figure’s features, anatomy and overall bearing of the face, and the style of her crown and other ornaments, this wood-carving represents Saraswati, the goddess of literature, art, music and every aspect of learning and creativity. The large breasted Vak of the Atharva-Veda apart, the deity who helped creation and is thus the creation’s primordial mother endowed with abundant milk to feed and sustain, the aspect adequately reflecting in this statue, the wood-carving represents also the two Puranic iconographic visions of the goddess : Kamalasana – lotus-seated, and Vina-vadini – playing on lyre or a stringed instrument, former being initial, and latter, subsequent. Like any divine presence the icons of Saraswati were also conceived as lotus-seated, a vision inspired perhaps more by aesthetic considerations.

In both forms : the lotus-seated and Vina-vadini, the Puranas have perceived Saraswati as the four-armed divinity, though while in her preliminary lotus-seated manifestation she has been conceived as carrying in her two upper hands lotuses, and in normal two, ‘japamala’ – rosary, and ‘pustaka’ – book, the attributes of Brahma, Saraswati’s spouse in Puranas, in her Vina-vadini manifestation, in two of her four hands she carries ‘japamala’ and ‘pustaka’ and with the other two she is represented as playing on vina – a stringed instrument. The Puranas lauded her widely as : 'Asina kamala karairjjapabatim padmadhyam pustakam bivrana', that is, she is lotus-seated and carries in one of her hands a ‘japamala’, in two, lotuses, and in the fourth, a ‘pustaka’. “Japamala’ and ‘pustaka’ have been the regular attributes of her icons, though her seat and attributes in other hands often alternated.

The Rig-Vedic Vak : the goddess of speech, does not have Saraswati’s any defined iconic vision; it is in Puranas that her iconographic forms begin emerging. Corresponding to Brahma’s imagery perceived as emerging from Lord Vishnu’s navel riding a lotus, his consort Saraswati is also conceived as lotus seated and as carrying lotuses. Later, perhaps under the influence of Samudra-manthana – ocean churning like myths, where Lakshmi is perceived as emerging from the ocean riding a lotus, the lotus became inherent element of Lakshmi’s iconography and in the same degree it grew irrelevant in Saraswati’s imagery. Apart, in Puranas the Rig-Vedic goddess of speech Vak assumes a wider role encompassing almost every aspect of beauty, creativity and learning to include arts, dance and music, which a musical instrument, not lotus, better portrayed. Hence, subsequently ‘vina’ almost completely alternated lotuses, and a peacock or goose, even her lotus seat.

The gold-like resplendent image of the goddess has been installed inside a ‘prabhavali’ – fire-arch, composed of conventionalised floral vine : branches, leaves, flowers and fruits, as also mythicized parrots styled partially like peacocks and a monkey enjoying the fruits growing on it. The ‘prabhavali’ rises over a lotus base comprising a pair of lotuses, one inverted, and other, upward. Unlike a ‘prabhavali’ in most of the wood-carvings rising along two parallel columns from a base and vines rising along them from both sides, the right side column in this ‘prabhavali’ has been modeled like a tree-trunk over which grow all branches, twigs, leaves, mangos and flowers, reach the apex and turn to the other side which is a plain column. The goddess is seated on a large lotus in ‘lalitasana’ – sitting posture revealing great aesthetic beauty, with her right leg lying down, and the left, laid on the seat in semi-yogic posture. In the upper right hand she is carrying a rosary, in the normal left, ‘pustaka’, and in normal right and upper left, her vina with her fingers moving along it. The figure of the goddess has been conceived with a face and eyes completely absorbed in the melody emitting from her instrument. She is in her usual ornaments to include a towering Vaishnava crown, and in an ‘antariya’, the only piece of ensemble she has been represented with.

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.

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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