Standing Image of Padmavati (Goddess Lakshmi)

$1040
Item Code: RM15
Specifications:
South Indian Temple Wood Carving
Height: 36 inch
Width: 14 inch
Depth: 3.5 inch
Weight: 9.54 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
Abundance of lotuses, fully blooming or buds : a lotus under her feet, bunches of three each in both upper hands, and lotus-creepers with lotuses on them ascending along the Prabhavali, all announce that the goddess they are around is Padmavati, Lord Vishnu’s consort, and that they are around her in reverence to her close affinity with them for it was out of the lotus – ‘Padma’, that Padmavati had her emergence. Lakshmi, Vishnu’s consort, Padmavati is whose manifestation, also has close affinity with lotus but under a tradition different from that related to Padmavati. Lakshmi had emerged from ocean as seated on a lotus when gods and demons churned it for ambrosia. Thus, in Lakshmi’s iconography lotus was a formal subordinate element. It was different in Padmavati’s case. Padmavati had emerged in to the heart of Lord Vishnu as a lotus, and thus, it was in the form of lotus that she was realised and hence Padmavati and lotus are inseparable: two faces of the same coin.

Padma Purana and other texts narrate how once enraged by the conduct of Vishnu Lakshmi had deserted him and it was only after ages of repentance and wandering that the two were re-united, though that too, spiritually. As it goes, once all holy men were deeply divided on the issue as to who among the Great Trinity was supreme. They deputed sage Bhragu to finally decide the matter. Before reaching a conclusion Sage Bhragu wanted to know the views of Trinity too, and hence he decided to go to them all : Shiva, Brahma and Vishnu, though only to his disappointment. He first went to Shiva, but engaged with Parvati in making love he did not even notice him; Brahma’s behaviour was full of arrogance; and, he found Vishnu deep in sleep. Unable to contain himself the sage hit Vishnu on his chest.

The blow awoke Vishnu but it did not infuriate him; he rather apologized for being asleep. Lakshmi was lying on Vishnu’s left. She felt disgraced not so much by the rudeness of the sage but by Vishnu’s humility. She hence deserted him and left his abode. Separation bit Vishnu; he too, hence, left Vaikuntha and came to the earth in Lakshmi’s search. Repenting for his wrong and pining for Lakshmi he passed many ages. One day he realised as if a lotus was sprouting within his heart. Soon it transformed into the Lakshmi’s form and thus the two, Lakshmi and Vishnu, were re-united. This transformation of lotus into Lakshmi and her realisation within Vishnu’s heart is seen as the emergence of Padmavati.

Padmavati’s images, seated or standing, usually enshrining a sanctum independent of Vishnu, are considered as the most sacred, though of them those standing are more popular in the South Indian worship cult. In the aesthetic tradition Prabhavali is seen as symbolic representation of sanctum, which in wider context is symbolic of the cosmos, and the goddess enshrining it, as pervading the cosmos by her presence. In view of her deep association with lotus, Padmavati’s figure is conceived as red complexioned glowing like gold and with rare beauty and timeless youth. Padmavati, a manifestation of Lakshmi or rather her re-emergence in the form of Padmavati, is the most widely worshipped divinity in the country’s southern part.

This statue of the goddess, consecrated on a moderately elevated rectangular lotus base, is a blend of wood-carving and painting, the typical South Indian cult of discovering the anatomy of a figure by sculpting, and its beauty, lustre and other effects, by painting. The goddess has been represented as standing over a large full blooming lotus with a Prabhavali around. The symbolic thrust of the icon is obvious. The goddess with lotus under her feet, that is, all constituents of cosmos under her command, enshrining the Prabhavali, the manifest form of the cosmos, is perceived as pervading it along all known and unknown spaces, and as manifesting the supreme divine power. The character of Prabhavali : forms of vines, leaves, tree-stump and stylized birds, and broad iconic features of the goddess : style of nose, eyes, lips, round face and rounded cheeks, are typical characteristics of South Indian art. In modeling of form, plasticity, proportion and aestheticism the deity figure is outstanding.

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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