Karttikeya with Consorts

$2220
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Time required to recreate this artwork
12 to 16 weeks
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$444 (20%)
Balance to be paid once product is ready
$1776
Item Code: EF76
Specifications:
South Indian Temple Wood CarvingArtist: R. Chellappan
Height: 4 ft
Width: 2 ft
Depth: 0.4 ft
Weight: 20.70 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 ingeniously crafted wood-piece, discovering in the form of a peacock, not only the seats for as many as three persons, a male divinity and two females but also a splendid backdrop or halo, represents Karttikeya, Shiva’s elder son and Commander-in-chief of gods’ army, along his consorts Valli and Devayani. Figure’s identity as Karttikeya may be a bit difficult to concede for in north Indian or rather in long scriptural tradition Karttikeya is conceived as six-faced and as Kumara, his other name, as also his class as a person meaning one who had the vow of celibacy, and hence, was unmarried. The represented figure is in complete contrast for it is not only single-faced but also has two feminine figures, one seated on his left thigh, and the other, close to him on the wing of the bird that he is mounting, obviously his consorts.

It is, however, in his mount peacock : an essential element of his iconography, and in his Shaivite lineage that the presence of a snake crawling under the bird, a Tripunda mark on his forehead and the flame’s motif on his crown that the figure’s identity as Karttikeya reveals. It is actually the South Indian idiom of the iconography of Karttikeya. In South Karttikeya as Murugan, sometimes spelt also as Murukan, has normal one face, two to four arms and also two wives often represented in visual arts like Riddhi and Siddhi, the consorts of his brother Ganesh, as seated on his thighs or close to him. Like Riddhi and Siddhi, Valli and Devayani are revered as representing riches, prosperity, abundance and worldly accomplishment. Karttikeya had a massive worship cult and a number of shrines devoted to him since as early as the Kushana period, that is, early centuries of the Common Era, but in North he is now rarely worshipped. On the contrary, in South as Subrahmanya or Murugan, and in Maharashtra, as Khandova, Karttikeya is the most worshipped divinity. Even a section of South Indian Brahmins known as Subramanian is also named after him.

The wood-sculpture portrays Karttikeya as Murugan riding his mount peacock. When six days old Karttikeya was nominated as the Commander-in-chief of the army of gods to kill demon Taraka who had a boon that, if ever, only a child not older than seven days alone could kill him. After his coronation gods and others offered him gifts and their attributes. As others, the great bird Garuda offered to Karttikeya its son Chitrabarhana, the fast running peacock, for his mount, and ever since peacock is his mount and an essential feature of his iconography. The four-armed figure of Karttikeya carries in its upper hands two mythical weapons while his normal lower hands are held in ‘abhaya’ and ‘varada’. In addition, each of his two consorts is carrying a goad, perhaps for him. His consort Devasena, literally meaning the army of gods, is sometimes symbolically seen as gods’ army and as such the symbol of might and courier of his armament. This form of Karttikeya corresponds to his form as Murugan, the benevolent protector of all alike, gods, human beings and all beings. His image, seated in ‘Lalitasana’ on his mount peacock with one of his consorts seated on his left thigh and other on the bird’s wing, has been installed inside a Prabhavali which rises from a lotus base and terminates on the top with a large Kirtti-mukha motif crowning it. At the foot of Prabhavali on its right there perch a cock and under the peacock there crawls a serpent. The peacock’s full blown tail, looking like an array of flames, covers the entire background affording an appropriate backdrop to all figures. On the top of the Prabhavali there are two winged celestial beings paying homage to Karttikeya. Beautifully conceived and carved, the statue is a brilliant work of art.

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.


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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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