Very Large Size Murlidhar Krishna with Krishna Lilas on the Base

$2745
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Item Code: EP04
Specifications:
South Indian Temple Wood Carving
Height: 72 inch
Width: 23.5 inch
Depth: 6 inch
Weight: 47.50 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 magnificent piece of art, figures, exotic forms of foliage : vines twisting with dramatic curves, and arabesques with pleasing contours, all full of magic, astonishing and bewitching, carved with thread-like fineness, creates in wood a composition – a symphony or song, rarely seen carved even on an ivory piece or drawn on canvas. As in a carnival, figures : Krishna’s, Gopis’ or cows’, and forms of vines, arabesques and various design-patterns, seem to swing in and occupy the stage performing a drama such as a wood-piece is not known to have ever enacted. Hardly a panel in relief, and a sculpture in the least, far ahead of representing a figure, divine or human, or a theme, the artifact represents a series of them. Here are Krishna’s own figures re-appearing, and each in a different role; vines, alternating arabesques, or acquiring unconventional roles as transforming into seats providing for lavish bolsters and royal sitters; ornaments : strings of beads, relieving costumes, and costumes, transforming into ornaments.

The entire panel, conceived in the form of a Prabhavali, has been compartmentalized into two parts of which the upper one has further three broad sections. Like its usual form, Prabhavali has not been conceived as the frame or the background which the divine figure sculpted with it pervades or enshrines. In this panel the figure of Krishna has not been superimposed over the Prabhavali; Krishna’s figure rather merges into it in absolute unity with the result that Krishna and Prabhavali emerge as alike components of one unified whole. Thus, instead of portraying a figure against the Prabhavali using it as its background, the usual relation of the image with Prabhavali, this wood-panel has composed the two, the image and the Prabhavali, as each other’s integral parts and components of a totality : unified whole, Prabhavali being its as essential a part as Krishna. This shift in the usual divine iconography involves perhaps a wider meaning. In Krishna’s Vaishnavism, Krishna’s involvement with the world he incarnates in is absolute. He lives in it, shares its frailties and everything and elevates it along him. The composition suggests that Krishna’s Vaishnavism is not the divine superimposition but rather the divinity’s assimilation into it.

The whole structure, Prabhavali or whatever, rises from a rectangular base comprising conventionalised lotus motifs. Its bottom compartment, small but independently conceived with well-defined parts : an independent seat, roof, sitting space, and even attendants and cows, the source to sustain on, houses child Krishna squatting on a beautifully designed rectangular bed holding a pot of butter in his left hand, and a ball of butter, in the right. Muscular anatomy and a pot like belly and alike rounded face and coiffure with a peacock feather tucked into it, the child Krishna, full of innocence, is immensely lovable. He is putting on a beautifully pleated antariya, which in its beauty surpasses the jewels. The child Krishna’s entire figure has been elegantly bejeweled. Flanking his bed on either side there lay two cows turning their emotionally charged faces towards him. There are on either side of him two female attendants, obviously cowherd maidens of Brij, the traditional Shala-bhanjika like holding the ring-components of the structure behind the Krishna’s figure.

The upper compartment has not been formally divided but has apparent three sections, the lower one, housing the image of Krishna playing on his flute, comprising the central part of the structure and the centre of the principal activity, the middle, a rectangle, above the figure of Krishna and below the Kirtti-mukha motif, which two royal figures, Krishna’s or Vishnu’s manifestations, occupy, and the upper-most, the arched apex which an elaborately conceived Kirtti-mukha motif defines. Besides its regular form, the Kirtti-mukha has as its whiskers two dragons-like looking large fish, adding further auspiciousness to it. The two figures in the middle part, poised in full ease like royal personages, reclining against lavish bolsters with one leg placed on the other in absolute ease, are Krishna’s repeat icons. Apart that they have the same hair-style as has child Krishna in the bottom compartment and a Vaishnava ‘tilaka’ on the foreheads, the figures of any one, other than his own or Vishnu’s, would not be carved in the space over his head.

The figure of Krishna, conceived as four-armed like Vishnu’s images, obviously for revealing his identity as Lord Vishnu’s incarnation, occupies the structure’s central section. Fully absorbed he is playing on his flute carried in his forehands. In his other two hands he is carrying a stylized lotus and a conch, not the disc which such images usually carry, perhaps not being in harmony to the mood of the image. He is standing in the posture known as three-curved, though virtually in this form the figure curves, instead of, on five points displaying unique beauty of form and revealing great rhythm. He is wearing a two-tiered tall Vaishnava crown and his figure is most elaborately bejeweled so much so that the beaded laces that he is wearing along his girdle have completely concealed his antariya. A cow, drawn by the melody of his flute has drawn to him and fully absorbed is looking at his face.

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.

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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