Tryakshara Ganesha

$2985
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12 to 16 weeks
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$597 (20%)
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$2388
Item Code: EX99
Specifications:
South Indian Temple Wood Carving
Weight: 31.80 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide
This brilliantly coloured and precisely carved wood statue represents Lord Ganapati in a four-armed manifestation identified in the Ganesh-related classical tradition as Tryakshara Ganapati : the Lord of three alphabets – AUM. The sacred syllable AUM is sometimes inscribed on the trunk of the Tryakshara Ganapati and sometimes it manifests in contours of his body and subordinate imagery. However, only the inclusion of the sacred syllable AUM, as inscribed or as manifest, in the iconography of the elephant god is not conclusive. The four-armed Tryakshara Ganapati is perceived as a form of Ganesh having a figure glowing with gold-like lustre and with rare benignity reflecting on his face. Tryakshara Ganapati carries as his attributes elephant goad, noose, broken tusk and a golden ripe mango and has a straightened sturdy untwisted trunk carrying in it a ‘ghat’ – pot, coconut or an identical auspicious and mystic attribute. He is invariably represented as seated on a lotus and one of the legs suspending down to the earth. Tryakshara Ganapati has large floppy ears reaching down his shoulders with ear-lobes lying on them and is conceived with a gold-like lustrous complexion radiating even in darkness.

Though in his every manifest form Ganapati is the Lord of auspices, Tryakshara Ganapati, perhaps with the sacred syllable AUM : the Supreme Being’s graphic and phonetic manifestation, added to it, is more auspicious than any of his other forms and stands for greater good. With his auspiciousness Tryakshara Ganapati pervades the entire cosmos. Tryakshara Ganapati is a simpler form than many but its symbolic thrust is far wider. In this form one of the legs of Lord Ganesh is set on the earth while the other, stretches from left to right; and, his torso has an upward rise. Thus with his form extending into all four directions the auspicious Lord casts his spell from the earth to the sky and all over the earth from horizon to horizon. Tradition acclaims that the presence of Ganesh in his Tryakshara Ganapati manifestation bestows with endless blessings showering from all sides.

In this image all aspects of Tryakshara Ganapati have been further widened. Lord Ganesh is seated on a lotus which rises on a large stem from below symbolic of ocean. Thus, auspices that Lord Ganesh bestows reach farther below the earth. His figure is four-armed carrying in them the same attributes as texts prescribe : elephant goad, noose, broken tusk and mango glistening like gold, the trunk is sturdy and straight except its tip turning to right, not usual left, for giving it AUM like curve and to hold an auspicious attribute looking like a coconut or a mango, and the ears, with earlobes lying folded on his shoulders, are as large as texts prescribed. Besides the form of trunk, the sacred syllable AUM manifests in his body’s other parts as also in the curves of foliage comprising Prabhavali.

Elevated over a beautifully conceived and carved lotus the figure of Tryakshara Ganapati reveals rare beauty of form. The figure of Lord Ganesh, from head to feet, has been elaborately ornamented. He is wearing an elegant crown inlaid with multi-coloured precious stones. Of all ornaments that he is wearing the double laced belly band and large size band with colourfully inlaid ‘phalis’ lying down to his thighs are rare and excellent. The sole costume that he is putting on is his ‘antariya’ with pleats defined by beaded laces. The awe-inspiring but auspicious Kirtti-mukha, besides multiplying auspiciousness, yields from its mouth-opening some beautifully colourful flowers not usually seen in sculptures of this sort. Interestingly, close to the feet of Lord Ganesh on the pedestal’s top a mouse, too tiny to discern, has been carved flanking the deity image on either side. Strange to his iconography, just below these mice, the figures of two massive ‘ganas’ with robust moustaches and sturdy body-structures attend on him. Their figures have been carved in the bottom compartment of the Prabhavali.

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.

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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