As is obvious, the representation of three Ganapati images in one architectural unit : ‘Prabhavali’, is inspired by the broad doctrine of seeking multiplication of the divine influence – auspiciousness in the case of Ekadanta, that the related deity inspires; however, it also has symbolic dimensions. ‘Prabhavali’ is a micro-miniaturized representation of cosmos, and its three divisions, of three cosmic regions or worlds, which Ganapati, in his one form or other, pervades. The standing form of Ganapati on the bottom is suggestive of act, a born one’s basic obligation as also the path leading to accomplishment; the dancing image in the centre is suggestive of ‘Ananda’ – the ultimate bliss, a stage that the born one attains after he has accomplished his basic obligation; and, the ‘padmasana’ image with a ‘lalita’ posture on the top, is suggestive of absolute beauty and bliss : the state of transcendence which the born one attains after he has accomplished his basic obligation and has attained the state of absolute bliss which is also the state of complete detachment.
The statue, a fine example of exceptional craftsmanship carved in deep relief and with minute details revealing rare skill and mirror like clarity, as if chiselled out of an ivory piece, represents three forms of Ganapati all in identical costumes and ornaments, all having four arms, moderately swelled bellies, trunks with less lengths turned to left, identically shaped ears, all being single tusked and all carrying in upper two hands a battleaxe and a noose. The lower hands are, however, differently conceived. While the images on the top and the bottom carry in them broken tusk and ‘laddu’, that in the centre niche does not carry in them any attributes; they are conceived rather to reveal ecstasy and moves of dance. This form portrays the elephant god in his most essential being for it represents him as synthesising in him the might of arms, that is, his power to protect, and the blissfulness that the auspicious Lord manifests, and more importantly, while the instruments of destruction are held in extra hands, bliss is the demeanour of his normal hands, obviously, representing his inherent being.
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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