36" Large Lord Krishna Playing Flute

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This magnificent Sri Krishna bronze statue is placed on a two-tiered platform, with the lower section decorated with a Gau (cow) motif and the upper pedestal designed in the shape of an upturned lotus. Sri Krishna stands with his flute in his characteristic Tribhanga (triple bent) posture that brings out the grace of his form perfectly. On his head is an imposing Kiritamukuta (a crown worn by Sri Vishnu and other Vaishnava deities) adorned with a Mayura Pankha (peacock feather) motif, on his forehead is Tilaka (auspicious mark) traditionally painted with Kastoori (musk) paste, in his ears are Makaraakrita-Kundala (earrings shaped like the mythical composite animal Makara which is a symbol of royalty and divine beauty), in his neck are necklaces, on his arms are Baajubanda (armbands, with peacock feather motifs), and he wears elegant bracelets and anklets.

Krishna’s legendary Pitambara (yellow colored cloth, usually in his dhoti lower body garment) has been beautifully delineated in this Sri Krishna bronze, with its tassels forming curls on his sides and an elaborate jeweled Kamarabanda (girdle) holding it in its place while beautifying the lithesome waist of Kanha. A long garland made from the petals of lotus frames the thrice-bent beauty of the bronze Sri Krishna icon, appearing to embody the charm of its wearer.

The splendor of this Panchaloha Krishna icon is magnified manifold by the presence of the Shalabhanjikas that flank Krishna, while gracefully holding on to the blooming creepers that form the aureole of Krishna. Shalabhanjikas in Indian art represent the idea of fecundity, beauty, and auspiciousness which is associated with youthful women, whose mere touch is believed to cause things in nature to flower. Linking the imagery of Shalabhanjikas with Sri Krishna in this Panchaloha is evidence of the creative might of the Sthapatis, whose knowledge of Indian culture helped them discover the possibility of the interconnectedness of Sri Krishna and women with the tree, both the motifs representing the godliness of youth and romance.

The figures of the Shalabhanjikas are sculpted with immense attention to detail which can be experienced in the exquisiteness of their bodies, ornaments, and facial features. Concluding the idea of Sri Krishna as the supreme god of love, the Sthapati of this bronze Krishna statue has added a pair of parrots- a bird which is the bird-mount of Kamadeva, on the top of the aureole.

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.