Venkateshvara or Balaji and the Dasavatara Panel

$415
Item Code: ZP44
Specifications:
Antiquated Wood Sculpture
Height: 2.5 ft
Width: 1.3 ft
Depth: 0.3 ft
Weight: 15 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 exquisitely carved wood-piece imitates Lord Vishnu in his Venkateshvara manifestation, the deity form that enshrines the worldwide known Venkateshvara, or Tirupati Balaji Temple, one of India's holiest and the most highly visited shrines. Before a visitor has a glimpse of the deity, he is required to queue up for many hours, but as the faithful mind believes, that glimpse of a moment is sufficient to accomplish 'the desired' of ages. This manifestation of Lord Vishnu is also known as Venkatachalapati or Balaji. The Venkateshvara Temple stands on a high hill of Tirumala amidst the mountain range of Eastern Ghats. The Eastern Ghats take here a serpent like undulating curve and with their massive size look like the mythical serpent Shesh. The believing mind hence emphatically claims that this mountain range is only the manifestation of Shesh or Adishesh. It accordingly calls Tirumala as Sheshachala, the abode of the serpent Shesh or Adishesh. The seat of Lord Vishnu comprises of the coiling Shesh. The Sheshachala theory thus completes the Vaishnava analogy of Vishnu's abode at Tirumala hill. Just at the foot of the Tirumala hill lay the township of Tirupati, the deity is hence more popularly known as Tirupati Balaji and the shrine as Tirupati temple.

The South Indian Vaishnava devotees consider the image of Venkateshvara, or Balaji, as the holier than that of any one of Vishnu's incarnations. They believe that Venkateshvara, or Balaji, is Lord Vishnu's manifestation in his proto form and not an incarnation that realises him only in degrees. Tirumala is thus Vishnu's only abode on the earth or rather anywhere in the three worlds for, as the tradition has it, it was Tirumala where he permanently settled after he had abandoned Baikuntha, his heavenly abode. His presence here is thus full and absolute. This statue of Tirupati Balaji characteristically depicts this pre-eminence of the deity over Vishnu's incarnated forms. The artist has carved Balaji as his principal theme but at the same time and to suggest his deity's distinction from Vishnu's incarnated forms has carved in the panel below Vishnu's ten incarnations, which suggests his status as Balaji above them.

In this rendition, or rather in his manifestation as Balaji, Vishnu is in his own form and being, as the one, and the only one in absolute unanimity, who presides over the entire creation, the time and the space, which also scale his incarnated beings. Venkateshvara has been represented here as pervading the entire Prabhavali, or the fire- arch, which, by its three rimmed formation, stands in symbolic tradition for the entire cosmos, the earth, the world below and the world above. The artist has further emphasized this mythical realism by creating around the deity yet another prabhavali to consist of floral strings, three on its right and three on its left and the outer one ringing above its crown. To complete his deity's cosmic impact, the artist has carved over its right and left breasts Shridevi and Bhoodevi, one representing the ocean and all its riches and treasures and the other representing the earth and her fertility and boons of life. Apparently also Vishnu as Balaji occupies in the statue the prime position, the sanctum Isanctorum, while Vishnu's all ten incarnations, Matsya, Kurma, Varah, Narsimha, Vamana, Parashurama, Rama, Balarama, Krishna and Kalki have a subsidiary placing. This further defines Balaji's pre-eminence over other forms. Incidentally, in this Dasavatara panel Balarama has substituted Buddha as Vishnu's ninth incarnation. .He has been also elevated to the eighth position, that is, before Krishna, obviously because he was elder to him. The identity of various incarnations has been discovered in their characteristic faces and attributes, which they are carrying.

Besides its capacity to define this unique theological aspect of Vaishnava thought, as a work of art also the statue is a masterpiece of woodcraft. It has been erected on a high pedestal, which consists of a flat base, tapering middle and projected and well- moulded roof. The tapering middle, which is its taller part, has carved on it in relief, within a recessed frame, Vishnu's ten incarnations known as the Dasavatara. The roof has over it an elevated footing rising on circular arch motifs. It has, in its centre, an inverted lotus vedika, which has consecrated on it the image of the deity contained within a fire- arch representing three worlds. Its apex consists of the auspicious kirtimukha, representing the spiritual transformation of 'the material'. Deity's lower costume, which forms a semi-circular frill around the feet level, consists of floral garlands ringing around the deity figure in numerous courses.

The deity wears a towering crown consisting of various patterns with kalasha motifs surmounting it. This kalasha motif is a novel aspect in Vaishnava iconography. The kalasha, or pot, symbolizes the womb pregnant with life, prosperity and riches and is hence symbolical of both, the earth and the ocean. This adds a new dimension to Vaishnava iconography, as this is the very object of Vishnu's being, but rarely manifesting in his iconographic representations. The typical Vaishnava tilaka, a vertical red mark contained inside a white frame, which covers three-fourth of deity's forehead, nose and eyes, is the characteristic feature of the iconography of Venkateshvara. The deity has four arms, though only the two of them are visible. The left one of them is suggestive of holding the usual Vaishnava mace in it and the right one is in abhaya and displays the mark of padma, another essential attribute of Vishnu. The other two arms are not visible. The deity is holding its usual disc and conch, which is suggestive of two other arms in which they are carried. The nagabandha, or the armlets and girdles around the waist consisting of serpents, is yet another new element added here in the iconography of Balaji. It has been obviously imported from Shaivite iconography. The image has been lavishly bejeweled as deserves that of Lord Vishnu, who is the master of all jewels. Sharp features, a perfect posture and minute details are other outstanding features that define the wondrous craftsmanship of the statue.

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.

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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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