Heramba Ganapati is perhaps the most rarely represented form of the elephant god in any plastic medium, largely because of its complicated form for any artistic or iconographic skill will find it difficult to plant five elephant heads, and to some extent ten arms, on a single human torso. For a medium like wood it is yet more difficult. Not merely the carving part, even finding a log of wood of this massive size, out of which a statue of this size and such dimensions might be carved, is a difficult task. Most images of Heramba Ganapati install his five heads direct on the figure’s torso itself for giving them broader base and support. In such images neck simply merges into them. In the present statue the upper part comprising five heads has been carved independent of the torso and is supported on a well defined neck with sufficient gap distinguishing the upper part and the torso.
Strangely, with all difficulties of the form overcome, and despite the choice of a far more tedious model, the statue does not lack in anything and is one of the most accomplished works of art. The artist has worked miracle not only in incorporating sensuous warmth, refined plasticity, unique luminosity and a kind of spiritual serenity in creating his deity image but has also maintained formative proportions, unity of form, symmetry of repeated members and all without letting its aesthetics suffer. The figure of the deity, with a shorter height as compared to its width, and small legs submerged under a protruding pot belly, is as much quaint and curious. Conceived with pot belly and with a single tusk this Heramba Ganapati form blends with it some of the essential features of Ekadanta and Lambodara Ganapati forms, and hence the divine and spiritual dimensions of such forms.
The delicately carved image of the Great Lord has been installed on a beautiful pedestal consisting of a double lotus placed over a high base rising through stylised lotuses and moulding with vine-imprints. He is seated in ‘lalitasana’, a posture of ease. Trunks on right and left raised above in the air reveal his jubilant mood. The attributes he is carrying in his ten hands are not well defined. In three of them he is holding his broken tusk or an object resembling it, in other three, a dagger like object, in one a mango and in yet another, a noose. In all five trunks he is holding ball-like looking auspicious pots symbolising rain, Ganga, earth, ocean and affluence. Except that his tiny mouse has been represented as enjoying a ‘laddu’, some of the more usual attributes of Heramba Ganapati form, such as rosary, mace, or even a 'laddu’ are missing.
The only garment, which he is wearing, is an 'adhovastra', an elegantly plaited green silk 'dhoti' worn below his waist. A beautifully patterned girdle, consisting of 'falis' or beads, substituting the usual 'nagabandha' of Ganapati iconography, is worn around the pot belly. The god also wears a 'yajnopavit'. The figure is normally bejewelled with armslets, bracelets, anklets, shoulder-laces and a broad necklace on his neck. His head-dress-cum-crown is of a moderate size, but every part of it is covered with elegantly rendered various designing patterns and motifs.
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.
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.
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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