Vina-Vadini Saraswati Riding a Mythical Bird

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12 to 16 weeks
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$270 (20%)
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$1080
Item Code: ZAA98
Specifications:
South Indian Temple Wood Carving
Height: 35 inch
Width: 17 inch
Depth: 6.5 inch
Weight: 17 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 out of fine Bangai wood in the wood’s natural raisin colour with interplaying light and dark zones attributing to it rhythmic variations, represents goddess Saraswati, the presiding deity of learning, music, art and all creative faculties of mind. Saraswati and Lakshmi are two most celebrated goddesses of Indian pantheon worshipped also in the Buddhist and Jain sects, in Buddhism in five forms, and in Jainism, as many as sixteen. The earliest text on Indian soil as also the earliest to allude to her the Rig-Veda lauds Saraswati as Vak, and Lakshmi as Shri. The great scripture has devoted to them a number of independent Suktas lauding them variously. However, the great text is completely silent in regard to the form – ‘swarupa’, of the either. In context to denoting her ability to feed and nourish the Atharva-Veda is the earliest text to talk of her large-breasted form full of abundant milk – the food to sustain. The Atharva-Veda too does not talk of her of form any further.                            

This four-armed form of the goddess with various attributes carried in them is her vision in the later Puranic literature. Besides Vak, her name in the Vedic literature, the Puranas lauded her with various epithets like Vagdevi, Bharati, Sharada, Vagishvari, Veenapani among others. They vividly described her form, primarily her timeless vigorous youth and luminous beauty as 'parama jyotiswarupa' – one born of the Supreme Light, or ‘kotisomasyaprabha – lustre of millions of moons, a face that a mild smile defined : ‘mandasmitataramukhi’, her anatomy with large breasts filled with abundant milk, her seat, attributes and adornment. Though this perception of her ‘swarupa’ – appearance, has been ever the same as in early scriptures her seat and attributes kept on changing. In initial Puranas she was perceived as ‘kamalasana’ – lotus-seated, and carrying lotuses in two of her four hands; later, after lotus was shifted to Lakshmi’s iconography, or rather was monopolized by her, lotus, at least as seat and attribute carried in hands, ceased to be the part of her images. Now she rode variously a goose, peacock etc. She continued to carry in two of her hands rosary and book, the attributes that she shared with Brahma, her consort, in other two, there emerged ‘vina’ – stringed instrument, perhaps for denoting her wider role as the patron deity also of music and poetry. 

In sculpting this form of the goddess Saraswati the artist has wondrously manipulated both, the earlier and the later Puranic traditions. Except that her image has been conceived with moderately sized breasts, not large as the Atharva-Veda prescribed, the image has the same four arms, a highly balanced figure, elegant adornment and is seated in ‘lalitasana’ – a sitting posture revealing beauty and ease. Despite the wood its medium, not giving room for any kind of lustre, her face seems to laminate with divine lustre and youthful vigour. In two of her hands she carries the same attributes as prescribed the early and late traditions but in other two she carries a ‘vina’ replacing the lotuses of the earlier tradition. As suggests the gesture of the fingers of both hands, she is playing on it, that is, not a symbolic attribute carried for defining her iconography but a real instrument in her use. The shift from the ‘lotus’ to ‘vina’, one, just an attribute, the other being operative, defined a shift from mere presence to her operative role. The benignity defining her face and a gentle glow with which it radiates are features common to both traditions.

The most brilliant synthesis is seen in regard to her seat. She has been carved as seated on a lotus moulding laid over a bird that from the face looks like the mythical goose, and from the tail side, a peacock. The artist has thus obeyed the dictates of all three classes of Puranas, those prescribing for lotus seat, those, prescribing goose, and those, prescribing peacock. The highly styled form of the bird almost mythicizes the bird giving it the look of a mythical bird. An excellent image, it observes both the basic parameters of a votive image as well as aestheticism, suiting the altar as well the drawing hall. Her figure has been conceived with a rounded face terminating in a pointed chin, meditative half shut lotus eyes, arched and prominently conceived eye-brows, sensuous lips, short neck, temptingly designed ‘stana-pata’ – breast-band, enhancing their magic, long arms, fine long fingers, subdued belly, a broadened waist, besides her ornaments and ‘antariya’ – the garment worn below the waist. In anatomical proportions, facial features and over-all modeling the statue is simply unique. The image appears to emit a melody, but not produced by her fingers playing on 'vina'; rather, it is born of the intense emotionality and life-vigour with which the image of the goddess seems to vibrate.

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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