Pancha-Mukha Ganesha

$3750
Item Code: XA05
Specifications:
South Indian Temple Wood Carving
Height: 43 inch
Width: 28 inch
Depth: 11.5 inch
Weight: 54.70 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
The most difficult form to represent, particularly in an uncompromising medium like wood neither conceding re-doing nor allowing repair, this strange anatomy with five faces and ten arms grafted on a single torso represents one of the rarest and exceptionally mystical forms of Lord Ganesha. By the number of faces this form of Lord Ganesha is usually known as Pancha-mukha – five-faced, Ganesha. This form essentially corresponds to his Heramba Ganapati manifestation, one of the earliest thirty-two classical forms of Ganapati iconography enumerated in early Puranas, the seventh century Mudgala Purana being the main. Besides his five faces and ten arms the body colour of the image also corresponds to his Heramba Ganapati manifestation, though it deviates from it in regard to the nature of his seat and attributes carried in various hands.

Under scriptural tradition Heramba Ganapati, the ultimate ‘Protector of the weak’, holds two of his hands in the gesture of ‘abhaya’ – fearlessness, and ‘varada’ – release and bliss, and rides a lion. Heramba Ganapati carries in his other hands a noose, rosary, axe, hammer, broken tusk, garland, laddu and fruit. In some texts Heramba Ganapati has been conceived as having eight arms, not ten, and carries a different set of attributes. This image has been carved in the wood’s nature colour symbolic of the colourless white, the body-complexion of Heramba Ganapati, and as having ten arms but instead of riding a lion he is seated on a lotus. The image does not hold any two of its hands in ‘abhaya’ and ‘varada’, the essence of the form of ‘Protector’. The image carries in two of its hands broken tusk and fruit but the other eight seem to have been conceived not so much to carry attributes as to vibrate the ambience by their rhythm and symphony that they create by their astonishing symmetry and waving contours.

Obviously, this five-faced and ten-armed form does not represent Heramba Ganapati in its exactness; however, it is very close to the iconographic form that scriptures identify as Heramba Ganapati manifestation of Lord Ganesha. In this image his aspect as the 'Protector of poor' reveals as strongly as in Heramba Ganapati form. With his four faces Pancha-mukha Ganesha guards all directions, and with the fifth, worlds below and above. The lion that Heramba Ganapati rides is the symbol of might and power; instead of riding on the lion this figure of Ganesha is seated on a lotus, the symbol of abundance, prosperity, fertility and riches, representing his benevolence. Lord Ganesha protects against every calamity by his mere presence, sometimes by eliminating it and sometimes by containing it. Thus, this form emphasizes not so much his power to protect, perhaps because it is his inherent nature, as it emphasizes his power to impart bliss and benevolence. Obviously, it becomes irrelevant whether the image holds any of the hands in ‘abhaya’ and ‘varada’, or not. The shift from lion to lotus might have been the requirement of form too. A lion’s figure with an average size could not conveniently hold on its back an unsupported isolated figure with a difficult and disproportioned iconography consisting of five elephant-heads and ten arms.

An elaborate lotus flower installed on a lotus pedestal enshrines the figure of Lord Ganesha. He is seated in Lalitasana with his right leg suspending down and the left, stretched horizontally along the seat in semi-yogasana posture. His symmetrically conceived ten arms, five on either side, seem to surge like ripples of a rivulet. Except a broken tusk and a fruit that his normal two hands hold and a laddu that each of his five trunks carries, the attributes that his other eight hands carry are hardly identifiable. The statue has been carved with fine details : ripples-like pleated antariya and every piece of ornaments. Though of moderate height, the crowns that cover his five heads are splendid. His pot belly, ornamental bands around the belly and waist, and the Vaijayanti like long lace with decorative frill are simply gorgeous. On the pedestal’s right there is a basket of laddus, and on the left, his mount, the tiny mouse.

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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