The images of Brahma are conceived as carrying in three of the four hands a ‘kamandala’ – pot with a spout, rosary and the book symbolic of the Vedas, and the fourth is held in ‘abhay’ – gesture of protection, the attributes that Vishvakarma images carry, as carries this marble statue, are ‘kamandala’, measure scale, book and noose – all abounding in greater symbolism, more so the scale – the tool of an architect, and the noose, the tool of dragging the inhabitants into the fold as also of dragging beyond the bonds of the material world although his own creation.

The book in Brahma’s iconography is symbolic of Vedas; here inscribed Vishvakarma on it the book could mean his work-manual. This marble statue of Vishvakarma, outstanding in its artistic merit, figure’s modeling, proportions, finish and absolutely balanced parts, has been installed on a seat consisting of artistically carved legs and a relatively simple top. The figure has been conceived as seated in ‘lalitasana’ – a sitting posture revealing great aesthetic beauty.

Under his right leg suspending down there is a circular foot-raise and towards the left leg there perches a tiny white bird, a goose, often the part of Brahma’s iconography symbolising absolute purity. The left leg lies horizontally on the seat’s top in semi ‘yogasana’ posture. The figure’s face has been conceived with a narrow sharp nose, large open eyes with arched apexes and well trimmed eye-brows and an angular beard consisting of a mix of white and black hair.

There is around his face a halo consisting of flames-like design. He is putting on a moderately sized headgear studded with rubies, emeralds and other precious stones. Whatever the position in later texts and traditions even today Vishvakarma is pan India the presiding deity of all mechanics and architects and special prayers and offerings are made to him at least once a year on Vishvakarma day. Not only the annual calendars of hundreds of engineering establishments carry on them an image of Vishvakarma most of the workshops in India have at least a framed photograph of Vishvakarma on their walls or a sculpture representing him, whatever its medium, enshrining their premises.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

Marble Mastery Unveiled: The Artisan's Symphony in Sculpting Timeless Beauty

Marble is a soft and delicate metamorphic rock derived from limestone. It is composed mainly of recrystallized carbonate minerals. The appealing appearance of marble gives rise to the making of beautiful sculptures and statues. Jaipur city of Rajasthan, India, is considered the capital of marble carving where various marble idols of Hindu Gods and Goddesses are made. These magnificent statues are carved by skilled sculptors out of the purest white marble. The slight softness of white marble makes it easier to be carved and chiseled into any desirable form or shape. Another impressive feature of marble is that the calcite has a low refractive index that allows light to penetrate the stone before getting scattered out. This results in bringing a translucent appearance and luster to the marble sculpture. This is the reason why most sculptors prefer to work with marble for sculpting life-size statues that require intricate details, evoking a certain realism to the work.

There is a detailed or step-by-step process of developing the desired structure of a sculpture from marble stone. These steps are:

1. Clay mould

Most sculptors prefer to sculpt a preliminary model out of clay or wax to translate its complex and intricate details into the final stone sculpture with the use of calipers or a pointing machine. The plasticity of the clay mould helps sculptors capture the success of the final sculpture before carving the stone. The clay is moulded into the desired shape or form and this acts as a rough

2. Roughing out

The second step of carving or sculpting is to remove large portions of unwanted marble stone. This task is done by using a special tool known as a point chisel. The pointed end of this tool is useful for splitting the large stone and removing big chunks that are not wanted. Usually, a mallet (a tool similar to a hammer) is used to transfer energy through the chisel to shatter the stone evenly and accurately.

3. Refining the figure

Once the sculptors have determined the general shape of the sculpture, a toothed chisel or claw chisel is used to refine the stone. These tools create parallel lines in the stone to add texture to the figure. During this stage, the rough block of stone has now changed into the general shape of the sculpture.

4. Adding the details

The sculptor is now ready to carry out detailed work to develop a more refined form of the sculpture. Tools such as rasps and rifflers are then used to enhance the shape into its final form. These tools finely create details such as frills or folds of clothing or locks of hair.

5. Polishing

This is the last step in marble sculpting in which the sculptor uses materials such as sandpaper to bring out a natural sheen to the sculpture. The sandpaper is rubbed against the surface to make it smoother and flawless. Sometimes, tin oxide is also used to make the sculpture appear glossy and more translucent.

Marble sculptures are highly durable and can last for many decades if maintained and taken care of properly. They are also extremely weather-resistant and therefore, can be kept outdoors or indoors. The exquisite beauty of marble statues elevates the aura of the space and emanates positivity all around.