Two Forms of Ganesha

$1840
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12 to 16 weeks
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$368 (20%)
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$1472
Item Code: EZ25
Specifications:
South Indian Temple Wood Carving
Height: 48 inch
Width: 15 inch
Depth: 4 inch
Weight: 14.10 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 statue, carved with fine details, precision and rare technical maturity revealing unique grace and divine aura, using as its medium ebony or shisham, or ebony-like looking copper-hued and hard wood, represents in vertical order two forms of Ganesha, on the bottom being a seated image, while on the top, a standing one in great poise revealing exceptional divinity. All images of Lord Ganesha, even those in dance, sporting or engaged in a childlike innocent mischief, are auspicious, inspire devotion and command reverence; however an image for sanctum is usually conceived with absolute composure, divine aura and infinite quiescence capable of containing the devotee’s mind from straying. Both images in the panel, standing and seated, have been conceived and carved pursuing the same model as set in the iconographic traditions for a sanctum image.

This adherence to tradition in conceiving and carving these twin images of the elephant god goes further. Keeping in mind that the images carved could also be used as sanctum images the artist chooses for them the standard forms of Ganapati iconography as set early texts and evolved in tradition across centuries. He has chosen for these images the iconographic model of Ganesha as Ekadanta, one of his earliest eight manifestations, some defining his anatomy, and other, his mind. Of these eight forms, Ekadanta – single-tusked, Dhumravarna – smoke-coloured, Vakratunda – one with curved trunk, Mahodara – one with big belly, Gajanana – elephant-faced, Lambodara – one with corpulent belly, and Vikata – deformed, relate to various forms of his anatomy, while the eighth, Vighnaraja – the king of obstacles or one who contained detriments, to his basic nature and attitude of mind. Most of his forms in his subsequent classical iconography, mainly the thirty-two that the Mudgala Purana finally enumerates, are largely the expansion of these eight basic forms.

The basic form of both Ganapati images, represented as enshrining two independent niches or sections of the Prabhavali, is Ekadanta, though they also incorporate elements of his other forms, Vijay Ganapati and Srashti Ganapati in particular, his two other classical forms evolved in the course of time. The basic imagery of both, Vijay Ganapati and Srashti Ganapati, seems to have evolved largely out of Ekadanta iconography. In almost all forms the elephant god is represented as single-tusked but in his Ekadanta form, as here in these twin-images, this aspect of his iconography is more thrusting. While the left tusk is quite large and pointed, the right – broken one, is almost blunted.

Ekadanta, Vijay Ganapati and Srashti Ganapati are four-armed forms of Lord Ganesha, though while Ekadanta carries in his hands a rosary, broken tusk, axe and laddu, Vijay Ganapati and Srashti Ganapati carry a goad, noose, mango and broken tusk. The twin-images present a blend of both. They borrow goad and noose from Vijay Ganapati and Srashti Ganapati, while the broken tusk and laddu, from his Ekadanta form. What links the twin-images decisively with Ekadanta iconography is the body colour of the twin-images. While Vijay Ganapati and Srashti Ganapati are red-hued, Ekadanta is blue-bodied. In mythical terminology black, as in case of Vishnu and Vaishnava incarnations, is alluded to as blue. Obviously, artist’s choice of black wood for these twin-images of Ganapati is not casual. He has used it for representing the body-colour of the two images in accordance to the Ekadanta iconography.

Both images have been installed in independent niches comprising two sections of the Prabhavali consisting of two parallel flat columns rising from a lotus pedestal and rounding on the top turn into a shallow arch. The one-third of the height towards the bottom has been separated by a beautifully moulded lintel slab dividing the Prabhavali into two sections, the lower one of which the seated image of Lord Ganesha enshrines. Its upper and larger part his standing image enshrines. Along the pillars and the arch on the top there rise vines with curling branches, stylized plantain leaves and large buds, all beautifully designed and created. The bottom image is seated on a pedestal while the standing image in the upper niche is poised on a full blooming elaborate lotus. On the right side of this standing image is parked the deity’s mount mouse while on his left is a devotee with a basket of laddus on his head. Relatively larger, his trunk is directed to the laddu that Lord Ganesha is carrying in his lower left hand.

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.


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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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