Kirtimukha, the Universal Symbol of Auspices

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"Kirtimukha' symbols, or the 'Face of glory', or whatever name it gets in different countries, is composed, by and large, using a dreaded animal form combined with some attributes of human world. In India the "Kirtimukha' is a composite lion form. In China and many other countries it is composed of dragon form, a python type viper with a ferocious demon head. With Greeks and other invaders this Dragon form of "kirtimukha' also came to India and temples like those of Chandelas at Khajuraho used it enormously. At Khajuraho alone there are eighteen kinds of dragon-forms composed of as many animals but all converted to ferocious behaviour.

In India the origin of 'Kirtimukha' recedes to pre-Vedic days. It has thus an indigenous origin, evolution and development. In early contexts this mystic mask has been named vanaspati, a personification of divine presence. It was conceived to display the illusion and hide the 'real'. It also seems to have some relation with devil worship for winning its favour or evading its wrath. In Tibet its form is almost like Tibetan Bon-po, the devil worship which prevailed there until the introduction of Buddhism. Though the name, which this symbol gets, is 'Kirtimukha' or the 'Face of glory' but contrarily and generally it has grotesque aspects, ferocious and terrifying.

In Buddhism the fierce deities, as personifies 'Kirtimukha', have been regarded as the guardians of Buddha. In China, Nepal and many other countries the mythological being 'dragon' is revered as holy protector and guardian. The 'dragon' in Khajuraho temples devours the 'lustful' and 'perverted' and thereby represents 'good'. In Hindu tradition the 'Kirtimukha' represents the transcendental essence of the divine. It has been widely advocated that the phenomenal world is illusory, beneath which is the invisible Primary Force. Everything is illusion. Thus, this mask. This apparent illusion represents the Primary Force. It has hence an intrinsic meaning and significance.

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.

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.

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.

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.