32" Large Superfine Ardhanarishvara (Shiva-Shakti) | Bronze Sculpture

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In this large bronze Ardhanarishvara, Sambandar’s beloved Lord appears accompanied by his divine potency- Uma, in a sculpture that speaks for the mastery of the Sthapati of Swamimalai. With great detailing, the two halves of Ardhanarishvara are characteristically differentiated from each other, while simultaneously creating a unity of elements that justifies the two appearing as a single entity in this Panchaloha sculpture. The icon of Ardhanarishvara is standing on a simple inverted lotus pedestal in a relaxed posture, in an ethereal three-armed form. An imposing and profusely decorated hair ornamentation is shared by Shiva and Parvati, with Shiva on the right side wearing his hair in a Jatamukuta (crown of tresses) adorned by a serpent, and Uma carrying the crescent moon in her locks, both the halves joined through a Kirtimukha (face of glory) crested hair ornament.

Uma Parvati, who is Shiva’s Vaamangi (situated to the Vaama or left, wife) wears a round earring, while her beloved Lord has a Makara kundala in his ear. The divine couple share necklaces, Yajnopavita (sacred thread), Udarabandha (belly belt), and girdle. Fine fabric feel is captured by the maker of this bronze Ardhanarishvara in the short dhoti of Shiva that appears sheer and the lower body garment of Uma that forms eye-catching waves while clinging to the lithesome leg of Devi. Shiva in his secondary hand holds a battle axe, while his primary hand has its palm facing downward. The wrist of Uma, embellished with elegant bangles is raised in a graceful gesture, depicting a stunning sophistication in the delineation of her fingers.

In terms of facial features, the two halves of this Panchaloha bronze Ardhanarishvara are indistinguishable, underling the supreme unity and balance between the male and female elements in the universe, which is a prerequisite for the creation, sustenance, and destruction. The sturdiness discernible in Shiva’s bare shoulder compared to Uma’s limber arms, the angular sculpting of Shiva’s torso as opposed to Uma-Parvati’s voluptuousness, and the distinction between the leg musculature on the reverse of this bronze statue are some of how the sculptor has marked the exquisite uniqueness of Shiva-Parvati.

The third eye marking the forehead, large almond eyes, a delicate nose, and fuller lips that reveal a heavenly inward smile that animates the icon incredibly, Ardhanarishvara in this Panchaloha composition seems especially pleased with the devotion of the Sthapati to his craft.

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.