18" Bronze Nagapooshani Amman Idol with Shiva Lingam and Ravana from Swamimalai

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In this Nagapooshani Amman with Shiva Lingam and Ravana Swamimalai bronze, the episode of Ravana’s attempt to lift the mount Kailash is depicted with intricate detailing. One day as Ravana was traveling in his Pushpaka Vimana, he was about to pass the abode of Shiva and Parvati- Kailasha, when he came across Nandi (Shiva’s bull and attendant) who warned him to not pass over Kailasha, as Shiva and Parvati were immersed in each other’s divine company.

Paying no heed to the warning and filled with pride, Raavana not only entered the boundary of Kailasha but attempted to displace the entire mountain. The mighty king of demons was a powerful being, and soon the mountain began to tremble, leading goddess Uma to worry. Pacifying his beloved Uma-Parvati, Shiva lightly pressed the ground of Kailasha with his foot causing Ravana to get trapped under the gigantic mountain and putting an end to his false pride.

With this, Ravana realized his mistake and, filled with guilt, took one of his heads and arm and thus invented the ethereal Rudra-Veena (the stringed instrument or Veena of Rudra or Shiva). Dedicated to the greatness of Shiva and Parvati and the sacrifice of Ravana who sang praises of Shiva on the Veena fashioned out of his limbs, this Swamimalai bronze of Nagapooshani Amman is a symbol of the popularity of Hindu beliefs that transcend boundaries.

On a vertically sculpted bronze platform, based on the coils of a five-headed serpent, the main image consists of Nagapooshani Amman with the Shiva Lingam, an aniconic representation of Shiva. Draped in a beautiful sari and ornaments, Amman has one hand lovingly placed on the Shiva Lingam while with the other hand she makes the gesture of fearlessness or “Abhaya Mudra”. The sacred space occupied by the divine mother and father of all beings is marked by the hood of the serpent or Naga and a Kirtimukha (face of glory) aureole.

Underneath the bronze images of Nagapooshani Amman and Lingam sits the ten-faced and twenty-armed Ravana, with a bizarre-looking Rudra-Veena in his primary hands. In his secondary arms, Ravana carries various weapons used on the battlefield, highlighting his potencies as a great warrior. On the sides of the bronze, one can observe incised lines forming modest circular shapes, used to represent the rocks of Mount Kailasha.

A visually stunning and complex image, this bronze Nagapooshani Amman with Shiva Lingam and Ravana is a commanding retelling of the powers of Shiva and Shakti and a moving reminder of a devotee’s self-surrender that immortalized him as the greatest Shaiva (one who follows Shiva).

Sculpting Dreams in Metal: The Enigmatic Alchemy of Panchaloha Bronze Masterpieces

Bronze statues and sculptures are known for their exquisite beauty and the divinity that they emit all around the space. Bronze is considered an excellent metal alloy, composed primarily of copper and tin. Many properties make it suitable for sculpting even the most intricate and complex structures. There was a period in history, known as the “Bronze Age'', in which most sculptors preferred to work with Bronze as it was considered the hardest metal. Bronze is especially appreciated for its durability, ductility, and corrosion-resistance properties. India is especially known for its elegant workmanship of skills working with Bronze. The artisans of a town named Swamimalai in South India have been following a tradition of bronze murti making for ages. They use a special material known as Panchaloha bronze to make fascinating icons of Hindu Gods and Goddesses. All of us are allured by the beauty of bronze statues and sculptures but there goes a tough hand in casting those masterpieces with little or no imperfections. Since it is an extremely elaborate process, a sculptor needs to be highly skilled in making bronze antiques. The most common technique for casting bronze sculptures that has been followed since ancient times is the “Lost-wax” process which involves many steps:

1. Clay model making

The making of a bronze statue or sculpture starts with preparing a full-sized clay (usually Plasticine) model of the sculpture. This allows the artist to have an idea about the overall shape and form of the desired sculpture before working with bronze, a much more expensive and difficult-to-work-with material.

2. Mould making

Once the clay model is ready, a mould of the original sculpture is made. This is done by carefully covering the clay model with plaster strips. This step is carried out in such a way that no air bubbles are formed. It takes up to 24 hours for the plaster to dry. Once dried, the plaster is then gently removed from the clay model. The removal happens easily because the inner mould is usually made of materials such as polyurethane rubber or silicone.

3. Wax filling and removal

In this step, molten bronze or wax is poured or filled into the mould in such a way that it gets even into the finest details. The mould is then turned upside down and left to cool and harden. When the wax has hardened, it is removed from the mould.

4. Chasing

Chasing is the process in which the artist refines the surface of the bronze statue using various tools to achieve fine details. This smoothens the surface and gives the statue a finished look. If some parts of the statue were moulded separately, they are now heated and attached.

5. Applying a patina

Bronze sculptures are known for their unique look or sheen on the surface. This may take several years to achieve naturally. Applying patina to bronze sculptures is an important step to make them appear attractive. Working with clay, plaster mould, and molten wax can be messy and therefore sculptors wear old clothes and remain careful. The entire process of making a bronze statue takes several months to complete. Bronze sculptures last for many centuries because of the high durability of the material. Many centuries down the line, these sculptures continue to be appreciated for their majestic beauty.