The Curvaceous Ardhanarishvara

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Shiva's Ardhanarishvara manifestation is neither a riddle nor a 'pashu-kunjara' (see below) type quaint artistic experiment. It rather conceptualises a deep principle of cosmology, which considers existence as essentially composed of two sets of diverse elements. In Indian thought it is only Shiva who as Sadashiva or Adipurusha blends this diversity into his form and as Ardhanarishvara manifests it. A born one is a male or a female, the Adipurusha Shiva, the Sadashiva, the ever present Unborn, is the 'total', all that is masculine and all that is feminine, and it is this perception of existence which the Ardhanarishvara vision of Shiva manifests. West also perceived this inseparability of male and female elements, but could not see it blend into a single form. An inseparable unity, which they see manifest in the forms of Cupid and Psyche, is the unity of the two in two forms. In Ardhanarishvara this unity is in one form.

This metal-cast, a bronze, reminds of great Chola bronzes of South India. Sculptural perfection marks this tiny masterpiece. Sharpness of features and minuteness of details, especially in casting hairdressing, ornaments and garments, is simply unparalleled. The right half of the figure is packed with factors of male physiognomy and most of Shaivite attributes and the left half with those of a woman and the attributes of Shiva's spouse Parvati. The right side has two arms - the two of Shiva's four, and the left just one, obviously one of Parvati's two arms. Upto thigh level figure's right leg is without cloth but the left representing part of Parvati's figure is elegantly covered with decently plated saree. The job of the artist-caster must have been quite challenging. On one hand he was required to discover out of the most conflicting and diverse elements - the masculine and feminine, the unity of his figure's form and on the other with as much distinction, precision, and minuteness he had to create his contrasts, and in both he has so well excelled.

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.

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Of Related Interest:

Ardhanarishvara the Divine Androgyne (Miniature Painting On Paper)

Ardhanarishvara (3.3 Feet High Statue)

Ardhanarishvara (Silk Painting)

Pashu-Kunjar (Stone Color on Old Urdu Paper with Real Gold Work)

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.