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Vina-Vadini Saraswati

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Item Code:	EH19
Specifications:	South Indian Temple Wood Carving
Height:	55 inch
Width:	14.5 inch
Depth:	4.5 inch
Weight:	15.20 kg

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This beautiful statue, 56 inch tall and 14 inch wide, carved out of a single piece of well-seasoned teakwood, represents Saraswati combining in her form two sets of her usual iconography identified in texts as 'Vina-vadini' and 'Kamalasana'. The statue otherwise also presents an excellent blend of various elements which evolved during the course of time in the imagery of Saraswati, and, it is partly due to such blend that the artefact becomes so unique. The goddess is represented as playing on her Vina and simultaneously in a mode of dance too. Dance and music are inseparable, but in Saraswati's form they rarely combine. She is seated and is also above a seat. She has one of her feet set on the lotus and looks as if dancing; but with the other, she appears as if seated on her vehicle swan. Scripturally, Saraswati is both, Kamalasana lotus-seated, and Hansa-vahini swan riding, but the two forms rarely combine in one image, but they do here in this statue. Though the medium of the statue is wood, it has iconographic precision of a bronze, more so of a Chola bronze, plasticity of marble and softness of ivory. An otherwise contemporary work of art, the statue exemplifies the stylistic maturity and the level of aestheticism of India's sculptural art of ages.

This great masterpiece of wood-art has captured the four-armed goddess of learning, arts, music, literature and drama, in a rhythmic move, a posture of dance as if made to personify in her being 'nratya', the prime form of music and drama, which comprises her very being. In two of her four hands, she carries her usual 'vina', but not as a formal iconographic feature. She is seen playing on it much like a living being. The melodious notes that emit from its strings not only make birds sing, flowers bloom and the entire ambience glow but also send her into a state of trance, and now in ecstasy her feet resort to dance, body curves, bosom swells and eyes descend deep within. There emerges on her enrapt face absolute bliss, contentment and quiescence. In her other two hands she is holding the 'japamala' and the book. Book is symbolic of Vedas, which Brahma, her spouse, acclaimedly wrote and is an essential feature of his iconography. So is 'japamala'. These attributes, Saraswati shares from Brahma's iconography.

The statue comprises a 'pitha' consisting of a conventionalised lotus of moderate height, the deity image with a lotus base, and a fire-arch 'Prabha'. From the 'pitha' rises a lotus, large enough to support the deity image. A tough stem carries the flower on it. Flanking on either side are two devotee-figures engaged in ecstatic dance. Each one has in one of her hands a lotus and the other is held in a gesture of dance. 'Puranas' have conceived Saraswati with different body colours but the artist preferred instead, wood's purity. Rather than as a deity, he conceived his image of the goddess as a woman with timeless vigorous youth and unmatched beauty, something that bursts from the glow of her face and rising breasts. Some of the 'Puranas' invoke Saraswati as the deity with 'paripurna' and 'unnata stana' breasts, large, high and full of milk, that is, as the sustainer of life. This Puranic perception might have influenced the artist in modelling deity's breasts. Though elaborately bejewelled, the upper part of her body, above her waist, has no costume. She is wearing a large towering crown and has behind her head a celestial halo. The fire-arch consists of conventionalised creeper with beautiful leaves and a parrot-couple perching. It defines the ambience around the goddess and imparts to the statue exceptional beauty.

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.

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.

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.

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.

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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