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Sculptures > Brass > Goddess > Durga > Goddess Kali Countenance Wall-hanging
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Goddess Kali Countenance Wall-hanging

Goddess Kali Countenance Wall-hanging

Goddess Kali Countenance Wall-hanging -

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Brass Statue

11 inch X 10.5 inch X 2 inch
2.6 kg
Item Code:
ZDP63
Color:
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Price:
$150.00    Shipping Free - 4 to 6 days
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Viewed 1325 times since 12th Apr, 2018

This lustrous wall hanging, a brass plaque cast with an ornament like
fine details as the brass like hard and uncompromising medium would
yield with great difficulty, revealing rare beauty and charging the
ambience with spiritual fervour, represents goddess Kali. The image of
the goddess has been conceived as a wall hanging. The brass-piece is
both, a ritual image as well as an art object. When the space to adorn
or to sanctify is the lintel or the face of an entrance, or its side
planks, or when it is a space insufficient to accommodate a full
image, a deity-plaque is the best option for adorning it.
Aesthetically cast it beautifies a space, and by representing the most
powerful divinity of Indian pantheon it spiritualizes the ambience
with its divine aura. Similarly cast papier-mâché plaques of the
goddess flood the markets in Bengal, as also other parts of the
country, during Durga-puja festival. In Bengal one cannot find even
the humblest of a hut without an image of Kali and to a larger part of
populace a plaque is her most preferred form. From a clay-cast – the
humblest, to a gold pendant – the richest, one can find such deity
icons in an affordable medium.

The representation is typical to the Bengal cult that perceives Kali
as Durga. It conceives the goddess with the same luminous
fair-complexioned image – cast in a metal or produced in colours, as
has Durga; however, for representing Kali in her own form as it
enshrines other traditions of Kali imagery the artist has shaded with
black tint the face of the goddess though he seems to have taken extra
care to ensure that its lustre is least affected. Though the use of
the black dye is just symbolic, a fine artistic manipulation this bit
of lampblack like shade rubbed on the luminous face of the image has
only further beautified it, perhaps by minimizing its extra lustre. A
symbolic icon : a partially revealed face, the forehead covered under
the crown, and the neck, behind a necklace, the brass-piece, besides
representing the great goddess in her two manifestations Durga and
Kali, also represents with utmost thrust two most venerated art
traditions of Bengal, one, the classical tradition of Pala bronzes,
and the other, the Kalighat tradition of Kali images.

While in its finesse, precise details, technical maturity and perfect
execution, rare finish, delicately worked image and its overall
quality it pursues the timeless idiom of Pala bronzes of early
medieval centuries, in the adornment of the goddess that with its far
greater proportion and emphasis dominates the image it pursues the
folk line of the 19th century Kalighat art idiom still live in all
forms of art in Bengal. Unlike other folk art styles the folk element
in Kalighat tradition is extremely decorative, observes geometric
accuracy and produces rare aesthetic effect. The face of the goddess :
the lower half, angular, and the upper, a semi-circle, prominent
cheeks, eyes and eyebrows, raised upwards slanting at hundred twenty
degree angle, and large awe-inspiring eye-balls, heavy lips and bold
nose-ring, is typical to Kalighat folk style. The multi-tiered form of
the crown with a temple-top that adorns the deity-image has almost
rigidified in Kalighat style of the image of the goddess. Though
incised with minute details and highly decorative in character the
style of flowers, consisting of four leaves, not petals a flower
usually consists of, the crown’s other sections, locks of hair and
ear-ornaments all consisting of leaves or ferns are typical of
Kalighat folk style.

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.
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