Superfine Shiva Parvati Bust in Bronze

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

The bewitching ornamentation continues, with a Makara-shaped earring (a symbol of royalty and beauty, worn by Vishnu, Krishna, and goddess) in one ear and a simple metal earring in the other, suggesting Shiva’s sovereignty over material and spiritual realms, as “Bhukti-Mukti Dayakam” (he who provides property and material abundance and bestows salvation). A Rudraksha bead pendant and Sarpa-Haara (serpent as necklace) also form a part of Shiva’s divine Vesha (attire).

Shivakami (she who brings desire to the heart of Shiva) Parvati with her gently bent head and a discernible smile on her countenance contrasts with the stillness of Shiva, which highlights her role as Shakti- the active female principal who brings Shiva out of his immovable states. But the hands pause looking at her aura, for who could describe cosmic beauty incarnate? She is Tripurasundari, Lalita, and Rajarajeshwari, the origin of Saundarya (beauty) and Kama (desire).

The primordial Kamaeshvari who births Shiva from her body, who could narrate the luster of Uma, whose eyes are Surya and Chandra, her tresses shimmering like a group of iridescent black bees. The Jatamukuta or crown of hair of Uma Parvati is adorned with a Kirtimukha whose gaping mouth lets a tassel unfurl on her hair parting, marking the glory (Kriti) of Uma’s tresses that inspire the opening lines of the sacred “Mahishasura mardini Stotra” (Jai Jai Hey Mahishasura mardini, Ramya Kapardini Shailasute).

A Panchavali (five-strand necklace) adorns the neck of Parvati, with its strings ending in lotus buds that fall on the torso of the mother, finding nourishment in the proximity of Mool-Prakriti (the primordial female energy. A trace of Uma’s uttariya (upper body garment) flows like a river meandering between two hilltops.

Witnessing this majesty of Uma-Maheshwara is a riveting experience, which leaves one speechless, filling the heart with a devotion that can only be felt. Gazing at the divine duo, the heart sings- “Bhajeham Bhavani Pati Bhavagmyam”- I evoke the Beloved of Bhavani (the queen mother of Bhav or Universe), who is approachable by the way of Bhaava (affection).

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.