45" Large Devi Uma (Bhoga Shakti) | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai

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 Once Uma unites with Maheshwar, with every Leela (cosmic play) they perform, life blooms, and balance is restored. Uma thus is the most exquisite and sensuous form of Parvati, the Bhuvana- Mohini, who has mesmerized the whole Universe.

This large bronze from Swamimalai is the representation of the majesty of Uma, who sits on a two-tiered platform, the base of which is a cuboid, with an upturned lotus placed on its top. The detailing of a secondary element- the platform, can be observed to get an idea of the hard work of the artists of Swamimalai. The reversed lotus is accurately treated by showing the ends of the petals of the flower by moulding the bronze accordingly. Uma is seated in a variation of Lalitasana (posture of royal ease) with one leg dangling while the leg resting on the platform is slightly raised, owing to the support Devi has placed under it as well as the shifting of her body weight onto her left hand. Her grand form feels impressive with her long jatamukut- hair knotted in a long conical shape and held in place by hair ornaments. A tiara with Makara motif (the mythical composite animal with body parts of an elephant, a crocodile, and a lion) perfectly sits on her hair which forms a series of beautiful coils over her forehead. The entire hairdo is secured by a round and floral Sirachakra at the back. Her ears are elongated from the weight of the jewelled earrings that are missing in this bronze statue. Their absence and the Yajnopavita Devi is wearing suggests that she has taken the form similar to her husband Shiva, devoid of any heavy ornamentation. On her neck are three rows of simple neckpieces made of metal and beads. The stylized Makara motif of her tiara is repeated in her armbands, bringing symmetry to the adornment of Uma. Below the Makara armlet, Devi wears another jewelled string and bracelets on her wrists, all enhancing the beauty of her creeper-like slender hands. Her right hand is in the Katakamukha gesture, for holding a lotus flower, usually offered to the Devi by her devotees. The consort of Shiva has rounded breasts, whose full shape is pleasingly contrasted by her slim waist, deep navel, and wide hips. A waist belt is tied over Devi’s antariya (lower body garment) which is draped in the Kaccha style, with a part of the garment passing between her legs, from front to back. Long anklets and folds of Uma’s dhoti that fit tightly to her body, have emphasized the graceful placing of her legs in the Lalitasana. 

This Roopa (form) of Uma is also called Bhogashakti – the goddess of Pleasure. Made amply clear by her sensuous posture and the details of the sculpture, Uma is the embodiment of desire and passion. Idealized versions of the Indian standard of feminine beauty are clubbed together to create the visual depiction of the daughter of Himalaya who succeeded in making a householder out of the ascetic Shiva.

The sensuality in the body of Uma is contradicted by the inward-looking expression on her face. With her almond-shaped eyes, lotus lips, and the overall softness of her countenance Uma reminds us of the Sadashiva of Elephanta caves, the numerous Chola Shiva sculptures, and the more imaginative ones among us, of the Buddha. The Swamimalai craftsmen present the intricate philosophical imagery of Mahadevi, the great goddess through their artwork. Uma is passionate, but she is simultaneously dispassionate. Shiva’s Shakti pulls him into the functioning of the mortal world, but she also becomes the unseen yogic energy that sustains Shiva when he is in Dhyana (deep meditation). Those who can understand the vast and paradoxical nature of the Great Goddess are able to see that she and Shiva are not separate. Such is the oneness of Shiva-Shakti that the artist could not help but carve a visage for Uma that reminds the devotee of Shiva that resides in Shivani (a name for Parvati).

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.