Eight-Armed Nataraja Shiva Engaged in Ananda-Tandava

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Item Code: XK85
Specifications:
South Indian Temple Wood Carving
Height: 36 inch
Width: 18.3 inch
Depth: 5.5 inch
Weight: 12.13 kg
Handmade
Handmade
Free delivery
Free delivery
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Fully insured
Shipped to 153 countries
Shipped to 153 countries
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More than 1M+ customers worldwide
A delightful blend of carving and colouring, characteristic feature of South Indian wood carving, excellent in finish and brilliantly coloured this wood-masterpiece represents an eight-armed form of Lord Shiva performing the dance of dissolution, known in the Shaivite iconographic tradition as ‘Ananda-tandava’ or simply ‘Tandava’, and Shiva’s form performing it as Nataraja, the king of dancers. Shaivite metaphysical tradition contends that when lacs of years after dissolution had taken place there emerged the great void all full of unsorted deafening noises, tumultuous winds and enormous movement, Shiva arrested all sounds into his ‘damaru’ and released them ordained; all winds into his hair, knotted them and put them to order; and, and every movement into his limbs and disciplined it to reveal beauty to delight and wrath to destroy, the former becoming known as ‘lasya’, and the latter, ‘tandava’ – two basic forms of dance and Lord Shiva becoming their first master.

The Ananda-Tandava iconography focuses on all three aspects that rendered creation possible : it incorporates ‘damaru’, the initial tool of ordaining sound, his surging hair styled as containing waves, and the form of dance seeking to regulate movement and measure pace. As illustrates its iconographic-anatomical vision the statue represents Lord Shiva as engaged in Ananda-Tandava, the dance that reveals great cosmic energy symbolised in the statue by the flames of fire rising from the palm of his upper-most left hand, and in his waves-like unfurling hair. Though the number of arms in his Ananda-Tandava iconography sometimes varies as four, six or eight, in the upper most right he is represented as carrying a ‘damaru’ – double-drum, and the upper most left, as holding on it flames of fire. Alike, the normal right hand is held in the posture granting ‘abhaya’ – freedom from fear, while the normal left, as signaling dissolution. The symbolism of Ananda-Tandava is obvious. While dissolution is its essence, the process of re-creation is as essential to follow : the fire of life to emerge right from the ashes of destruction. Hence while the left hand symbolises destruction – the end, the right assures that the creation shall simultaneously emerge – a beginning.

In Ananda-Tandava imagery this interplay of dissolution and re-creation is as powerfully revealed also in subordinate imagery : Apasamarapurusha – demon of inertia or forgetfulness, on the body of which Shiva performs Ananda-Tandava, another essential feature of Ananda-Tandava iconography, and the images of two female attendants. Apasamarapurusha represents pre and post dissolution phases, one symbolising the shape of things rendering dissolution inevitable, and other, the state after dissolution has taken place when nothing but forgetfulness or inertness prevails. Apasamarapurusha carries in one of its hands a bud or flower which is yet to bloom suggesting that it is still the long time when the creation shall begin its course. The witness to and the tool of the great act, Apasamarapurusha is well contended to lay in complete passivity under the feet of Nataraja. Shiva’s attendants, not a regular feature of the Nataraja imagery, are spirits representing two essential cosmic elements : the time and the space, and the flowers in their hands, the life or creation they accommodate and uphold.

As is the convention, the normal right and left hands have been cast to denote on one hand the moves of dance in perfect harmony to the rest of the body-movements, and on the other, dissolution and assurance. Alike, in the uppermost right and left hands the image carries a ‘damaru’ – double drum, and flames of fire symbolic of explosion of the ultimate cosmic energy that Tandava generates. Sometimes ‘prabhavali’ – fire-arch, is also conceived with flames of fire, greater emphasis being on energy dynamics. However, the artist of this statue has preferred a lotus arch, creation, not dissolution, being its crux. Consisting of lotuses, the microcosmic manifestation of cosmos, and topped by Shri-mukha motif, the symbol of auspices, ‘prabhavali’ seems to suggest that creation has begun taking effect simultaneous to Ananda-Tandava itself conforming the view that composition and decomposition are simultaneous phenomena. In two of his right hands Nataraja is carrying a noose and a rod, the instruments that commands disruptive forces, again an aspect assisting creation. As the Nataraja images are sometimes conceived, in one of his left hands Lord Shiva is carrying a seed or seed-containing fruit, and in another, a bell, one symbolising fertility and growth, and other, the sound that dispels inertia and vibrates the void with life. Overall anatomy of the figure creates a unique sense of rhythm and dramatizes the ambience by pervading it in its entirety, something which his four-armed figures do not effect so powerfully.

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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