Bust of Lord Shiva with Ardha-Narishvara Attributes: A Wood-Carving

$1175
Item Code: RE07
Specifications:
South Indian Temple Wood Carving
Height: 26 inch
Width: 19 inch
Depth: 10 inch
Weight: 13.80 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
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More than 1M+ customers worldwide
This excellent bust image, carved using world’s one of the finest kinds of timbers known as Bangai, teak like finely textured but softer and hence better suited to quality-carving, found exclusively in Karakarchi region of Tamilnadu, represents Lord Shiva with some of the Ardha-narishvara elements and a feminized look. In Vaishnava myths Krishna has been often represented disguised as Radha or as transformed into Radha’s ‘roopa’ – form. However, such occasions when Shiva transformed as Parvati, Radha and Krishna like another pair of divine lovers engaged in the sport of love, are not seen represented in Shaivite arts : sculptures, metal-casts or painting, though in folk traditions, especially in stage-performances, such form of Shiva is still celebrated and seems to have been the part of some popular Shaivite myth, now forgotten. During a winter night on the ‘chaupala’ – public square, of a remote helmet a village-lad in Shiva’s role might still be seen disguised as Parvati, and a coy Parvati looking at him amused and in dismay. Maybe, the artist has borrowed this image from any such popular tradition.

Corresponding to Krishna’s cult of transforming as Radha, the artist of this Shiva bust, experimenting with his image, might have blended into his form the feminineness of Parvati and innovated a new class of Shiva’s imagery, a form that combined a little of ‘nari’ – woman, though not her ‘ardha’ – half form, as do his classified and authorized ‘Ardha-narishvara’ – half-male-half-female images. Not that he has infused a kind of feminine and coyly touch merely on the face of the Shiva’s image for beauty and for enhancing aesthetic appeal but has also assimilated with it some of the elements of established Ardha-narishvara iconography, as if initiating a new vocabulary of the form. The eye on the left : the Parvati’s side in Ardha-narishvara images, is more elongated, straight-looking and reveals amorous attachment; that on the right : the Shiva’s side, is thickly conceived and is in meditative posture. The differently conceived left ear, frontally inclined, wears a ‘karna-phool’ – ear-ornament designed as a flower; the backwards-inclining right ear wears a ‘makara-kundala’ – ear-ornament styled like a crocodile, a traditionally male ornament. The figure does not reveal such blend in the rest of its anatomy or iconography.

Carved with utmost care, great perfection, sensitive hands and with reverence for its tradition this image in characteristic South Indian idiom of wood-carving, an art matured in that part of the land over centuries, represents Lord Shiva, discovering not the details of the body or wear but the emotional quality and the divine aura with which it abounds. Not in any particular aspect, it is in its totality that imparts to this wood-piece its timeless quality and rare aesthetic merit. A bust-statue, the image is not expected to include all aspects of Shiva’s image, at least the anatomy and attributes; however, the accomplishment of the image is amazing. In strict South Indian tradition this bust of Lord Shiva has been conceived with a towering crown, Vaishnava in character; however, the artist did not miss styling it on the line of ‘jata-juta’ – matted hair braided in lumps, the most characteristic feature of Shiva’s iconography. It has cresting its apex a feminine head, obviously the symbolic form of river goddess Ganga that Shiva bears on his head. There is left-inclining in the upper zone of the crown the crescent, another component of Shiva’s iconography. He has on the forehead the ‘tri-punda’ – an auspicious mark with three horizontal lines, and ‘tri-netra’ – third eye, the other significant features of his icons. The figure’s aesthetic modeling is superb. With a sharp pointed nose, cute small lips, a round face with slanting conical chin, well defined neck with beautiful folds and broad shoulders the wood-piece reveals rare image-quality.

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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