The wood-carver here has laid greater emphasis on Shiva’s tribal and hunter forms. A bird caught and carried in his left hand, the style of double leather belt tied around his waist and a large dagger or medium-size sword fixed into it, and the style of coiffure – hair braided with turban and tied into a large ball-like knot with a loop releasing from it, are features rigidified now for long as essential elements of a hunter’s identity. However, in all other things – a muscular, or rather crude anatomy, large moustaches, balls-like large eyes with eye-balls bursting out of their sockets, style of crown conceived with spikes and floral base, ornaments of large beads and various natural seeds, the figure reveals tribal identity. While lotus-buds with stems, or an ornament so styled, seem to adorn the apex of his ears, bunches of banana-like fruits, or identical ear-ornaments, are used for adorning his ear-lobes. Crude and uncultivated anklets, ornaments on neck and breast as well as on arms and other parts, made of natural beads, buds and fruits further emphasise the figure’s tribal links.
The figure of the hunter Shiva has been installed on a five tiered high pedestal. The base comprises a row of stylised inverted lotuses. Above it there is a recessed moulding with floral-creeper design defining its face. Above it there appears a projected moulding with slanting lotus face. Again there appears a depressed zone comprising a plain unadorned moulding part, and finally, it is topped by a moulding conceived with a tapering lower half comprising lotuses. The figure of Shiva has been supported on a column fixed in the centre of the pedestal. His entire figure, from legs to head, from gesticulating hands to an emotionally charged face, vibrates with rhythm and appears to be in a posture of dance.
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
Click here to view a high resolution image of the sculpture (2.6 MB).
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.
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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