Lord Krishna with Serpent Kaliya

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The legend is set in the region of Mathura, the most significant center of early Krishna worship. It seems that this legend points to the suppression of the serpent cult that was very deeply rooted in Mathura and was in evidence till as late as the Kushana and Gupta periods, by the followers of Krishna (ref. Banerjea: 1956). Representations of the Kaliya-damana myth are known from the Gupta era (Banerjee: 1978). The powerful narrative scenes depict the dramatic confrontation between Krishna and the serpent demon. The iconographic model of this sculpture was conceptualized relatively late in South India, and enjoyed a certain popularity in Tamil Nadu from the 10th century AD. Much more common, however, are images that depict the child Krishna in the same dance pose, without, however, depicting the cobra. In these images the young thief Krishna is seen dancing with pleasure after successfully plundering the larder of his mother. ( ref: Pal)

It can be stated that the dance of Kaliya-damana does not, in any way, express a dramatic, moving battle, nor actual joy. It is, rather, a representation of a hieratic pose, on the head of the cobra, which, in images, can easily freeze into an abstract, static emblem. As already indicated, the dance pose itself is iconographically defined. However, the artistic execution of these guidelines are extremely varied - not just in purely formal aspects, but also with regard to the fine details of the basic expression.

In this example, the artist has been brilliantly successful in capturing the balancing act of the dance. With his stretched out left arm, Krishna seems to be not just lifting up the tail of the serpent; he is fact at the same time holding it tight. With his right hand in the bestowing protection gesture (abhaya mudra) Krishna conveys his blessings to the subdued Kaliya who has surrendered himself to the Lord. The great charm of this sculpture, filled with inner tension in which the play of forces comes to a standstill before resuming the flow and rhythm of movement has been exactly conceptualized and captured.

Krishna's head is adorned with a hoop-shaped crown. That he has been depicted here as a child is evident from the close fitting shorts and from the smaller proportions of the body.

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.