Dhenu-Venu Gopal Krishna

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$520
Item Code: XL62
Specifications:
South Indian Temple Wood Carving
Height: 23 inch
Width: 11.5 inch
Depth: 4.5 inch
Weight: 5.40 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
An outstanding work of art, this great masterpiece, essentially in the tradition of South Indian temple wood-carving, represents enrapt Krishna playing on his flute while a cow out of its love for him is drawn close to him and in complete dedication inclines to lick his feet. The artifact seeks its distinction in the purity of wood’s natural colour and texture : every cell and vein retained in its original form, in every likeliness a piece of Bangai wood, growing around a particular region in Tamilnadu. Bangai wood is a timber of rare variety with moderate compaction, neither too hard nor too soft, and hence ideal for carving. The statue represents Krishna as Gopal, the patron of cows that as a cowherd was Krishna’s basic identity and one of his other most popular names. However his image with a cow behind him, as in this statue, is known in Vaishnava iconographical tradition as Dhenu-Gopal, laying further emphasis on his role as keeper of cows as Dhenu is yet another term for cow. Apart, when Krishna has been represented as playing on his flute – ‘venu’, his image is known as Venu-Gopal. This wood-sculpture represents him as both, Dhenu and Venu Gopal.

Unlike his normal two-armed image-form that enshrines all four seats of Krishna’s Vaishnavism : Vrindavana, Nathadwara, Puri and Dwarika, and temples almost everywhere in India and beyond, this statue represents him as four-armed. Alike, he has been represented as wearing a towering Vaishnava crown, Lord Vishnu-like ‘kundalas’ – ear-ornaments, and large ‘Vaijayanti’ – garland of Parijat flowers, with a Vaishnava ‘tilaka’ mark on the forehead, and carrying in two of his hands the attributes that the images of Vishnu carry, a conventionalized lotus and conch, and, above all, a conspicuous absence of peacock feather crest, an essential feature of Krishna’s images. Except that the represented image has been cast in ‘tri-bhang’ – three-curved posture, playing on his flute and a cow accompanying him : all typical features of Krishna’s form, and completely foreign to the images of Vishnu, this statue represents Krishna like Lord Vishnu. The style of ‘antariya’ – lower wear, elaborate girdle comprising laces of beads that holds it, halo around the face and rich and lavish ornaments, all are more characteristic features of the images of Vishnu.

Obviously, the representation in this statue is influenced by South Indian cult of Vaishnavism that lays greater emphasis on the worship of Lord Vishnu in his primordial form, not any of his incarnations. Texts perceive Krishna as Vishnu’s eighth incarnation but except their blue body-colour in visual manifestations they are represented with widely different physiognomy, postures : Krishna’s being quite intimate and personalized, while Vishnu’s, majestic and regal, and a widely different set of attributes and myths, and thus their imagery. A typical example of wood-carving in South Indian tradition, this statue represents Krishna but blending into his form many of the features of Vaishnava images. An image of Krishna playing on his flute is of one fully absorbed into the melody that his flute produces. However, in this image, despite that the ‘bhava’ – emotion, absorption, an essential aspect of flute-playing Krishna, enshrines his face, the element of majesty and regality as powerfully blends with it.

The image of Lord Krishna, a four-armed manifestation carrying in upper ones a conventionalised lotus and conch, and with other two, playing on flute, along with the figure of cow has been installed on a three-tiered ‘pitha’ – pedestal, the upwards tapering base-moulding consisting of ‘phalis’ – decorative loops, that in the centre, consisting of conventionalised lotus motifs and beads in intervening spaces, and upper most, relatively plain but carved with waves-pattern symbolic of river Yamuna, an entity so deeply associated with Krishna. With its tail contained within its hind legs as has a cow when caressing and feeding its calf and its mouth turned to Krishna’s feet, the cow, symbolic of the worldly self devoted to the Supreme Self, stands for complete submission. The highly adorned image combines with Krishna’s humanistic aspects Vishnu’s majesty. His figure is poised in ‘tri-bhang’ and is modeled with mild curves corresponding to the movement of his legs. Fine execution discovering forms, iconographic features and linear details, sensitive treatment of the subject, perfect anatomical balance, well-assimilated parts and emotional bearing on the face impart to the artifact unique artistic merit and great distinction.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

Sculpting Serenity: Unveiling the Art of Crafting Wood Statues

Wood has been a preferred material for sculptures and statues since ancient times. It is easy to work with than most metals and stones and therefore requires less effort to shape it into any desired shape or form. The texture of the wood gives an element of realism to the sculpture. The selection of an appropriate wood type is necessary for carving. Woods that are too resinous or coniferous are not considered good for carving as their fiber is very soft and thus lacks strength. On the other hand, wood such as Mahogany, Oakwood, Walnut wood, Weet cherry wood, etc., are preferred by sculptors because their fiber is harder. A wood sculptor uses various tools such as a pointed chisel in one hand and a mallet in another to bring the wood to the desired measurement and to make intricate details on it. A carving knife is used to cut and smooth the wood. Other tools such as the gouge, V-tool, and coping saw also serve as important tools in wood carving. Although the wood carving technique is not as complex and tough as stone carving or metal sculpting, nonetheless, a wood carver requires a high level of skills and expertise to create a stunning sculpture.

1. Selecting the right wood

The process of wood carving begins with selecting a chunk of wood that is required according to the type and shape of the statue to be created by the sculptor. Both hardwoods and softwoods are used for making artistic pieces, however, hardwoods are preferred more than softer woods because of their durability and longevity. But if heavy detailing is to be done on the statue, wood with fine grain would be needed as it would be difficult to work with hardwood.
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2. Shaping the wood

Once the wood type is selected, the wood carver begins the general shaping process using gouges of various sizes. A gouge is a tool having a curved cutting edge which is useful in removing large unwanted portions of wood easily without splitting the wood. The sculptor always carves the wood across the grain of the wood and not against it.
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3. Adding detailing

When a refined shape of the statue is obtained, it is time for making details on the statue using different tools. This is achieved by using tools such as a veiner to make and a V-tool to create decorative and sharp cuts.
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4. Surface finishing

Once finer details have been added, the sculptor is ready to smoothen the surface and give it a perfect finish. Tools such as rasps and rifflers are used to get a smooth surface. The finer polishing is obtained by rubbing the surface with sandpaper. If a textured surface is required, this step is skipped. Finally, to protect the statue from excessive dirt accumulation, the sculptor applies natural oils such as walnut or linseed oil all over it. This also brings a natural sheen to the statue.
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How to care for Wood Statues?


Wood is extensively used in sculpting especially in countries like China, Germany, and Japan. One feature that makes the wood extremely suitable for making statues and sculptures is that it is light and can take very fine detail. It is easier for artists to work with wood than with other materials such as metal or stone. Both hardwoods, as well as softwood, are used for making sculptures. Wood is mainly used for indoor sculptures because it is not as durable as stone. Changes in weather cause wooden sculptures to split or be attacked by insects or fungus. The principal woods for making sculptures and statues are cedar, pine, walnut, oak, and mahogany. The most common technique that sculptors use to make sculptures out of wood is carving with a chisel and a mallet. Since wooden statues are prone to damage, fire, and rot, they require proper care and maintenance.

 

  • Wood tends to expand and contract even after it has been processed, thus it is always recommended to keep the wooden sculptures in rooms with little humidity. Excess moisture can harm your masterpiece.

 

  • Periodical dusting of the finished piece is necessary to maintain its beauty as dust accumulation on the surface takes away the shine of the sculpture. You can use a clean and soft cloth or a hairbrush for this purpose.

 

  • You must avoid applying any chemical-based solutions that may damage the wood from the inside. Instead, you can apply lemon oil or coconut oil using a cotton rag to the sculpture to bring out its natural shine. Lemon oil also helps to clean any stains on the sculpture.

 

  • Applying a layer of beeswax protects the wood from sun damage and hides even the smallest imperfections on the wood.

 

It is extremely important to preserve and protect wooden sculptures with proper care. A little carelessness and negligence can lead to their decay, resulting in losing all their beauty and strength. Therefore, a regular clean-up of the sculptures is a must to prolong their age and to maintain their shine and luster. 

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