The Shyama-varna Vagdevi popularly known as Saraswati

$1040
Item Code: ZC84
Specifications:
South Indian Temple Wood Carving
Height: 3 ft
Width: 1 ft
Depth: 0.5 ft
Weight: 5.20 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 unique piece of wood carving represents the South Indian or rather Andhrite vision of Vagdevi, the goddess of learning. Invoked in Rigveda as Vak, Vagdevi is one of the two prime Aryan female deities. The other one Ushas, the harbinger of the day-light, is no more now a part of Hindu pantheon. Born of Brahman, initially meaning 'Mantra', Vak was Mantra's inherent power through which all created things manifested themselves. She had thus her origin from Brahman and it was also by her that the entire creation born of Brahman manifested itself. In Puranik era hence, when the Rigvedic 'Brahman', the 'mantra', was personified as Brahma, one of the gods of the Great Trinity, Vak, deified in consequence as Vagdevi or Saraswati, was conceived as both Brahma's daughter and his consort.

'Parama jyotirupa' or 'jyotiswarupa' Saraswati has been conceived in Hindu scriptures as possessed of timeless youth and lusture of crores of moons, fragrance, tenderness and glow of sandal, lilies and lotuses and snow's soothing softness. She has been conceived hence in most of the Puranas as possessed of pure milky white complexion. However contrarily, a number of Puranas consider her as possessed of 'shyama-varna' or black complexioned, and the entire South or more particularly the Andhrite devotees of Saraswati, adhere to this other Puranic vision of the Vagdevi. They prefer her images in deep black, wood, stone or even bronze. As 'Prakriti', the female creative energy, Saraswati to them has black complexion, which arrived at by a blend of Sattva's white, Rajas' red and Tamas' black, is essentially the colour of cosmos. It is the same with her iconography. They have a preference for her youthful figure pulsating with vigour and beauty. Instead of her scriptural four arms she has a maiden's normal two hands and features prescribed for a nayika under Indian classical aesthetic tradition.

This magnificent image of the goddess carved from ebony wood has in its finish the touch of ivory, crystal's glow and marble's transparency. Artist's adherence to the parameters prescribed by Mandana in his Shilpashashtra and by other texts seems to be most perfect. As prescribed the figure of the goddess is possessed of a height twentyfour times of the length of her face. Her elongated eyes, prominent eye-lashes, sharp nose, small cute lips, receding chin, heavy neck, temptingly protruding breasts surmounted with finial-like nipples, long arms, well defined fingers, bottle-neck like narrow waist, deep navel and heavy hips all are reminiscent of the golden era of India's sculptural art. It is not merely the action of her fingers on her vina that the music seems to emit but also a unique kind of emotionality that the image of the goddess seems to vibrate with life.

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..

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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