Goddess Padmavati

$1065
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Time required to recreate this artwork
12 to 16 weeks
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$213 (20%)
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$852
Item Code: RZ44
Specifications:
South Indian Temple Wood Carving
Height: 37.5 inch
Width: 15 inch
Depth: 3.8 inch
Weight: 12.24 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 skillfully sculpted and brilliantly painted wood-sculpture represents Padmavati, Lord Vishnu’s consort and the most widely worshipped divinity in South, seated on a large lotus under an arched ‘vedika’ conceived in the sculptural tradition as Prabhavali. In Indian tradition ‘vedika’ – sanctum, is considered as the microbial representation of a temple, and Prabhavali, that of ‘vedika’. In wider contexts the temple is revered as the microcosm of the universe, and the deity enshrining it, as the manifestation of the Supreme pervading the universe. The lotus, the goddess is seated on, represents all three cosmic regions and all five elements the universe is composed of. Thus, the lotus-seated goddess enshrining the Prabhavali manifests the supreme divine power that pervades the cosmos, all known and unknown spaces and the time beyond scale.

The statue is an excellent example of the centuries’ old South Indian idiom of blending the arts of sculpting and painting, which on one hand discovers its forms by carving them, and on the other, their elegance, beauty and effect, by colouring. Not merely the character of Prabhavali comprising conventionalised forms of vines, leaves, flowers, mangos or tree-stumps and stylized birds, or the broad iconic features of the figure of the goddess : style of nose, eyes and lips in particular, even the over-dominance of lotuses in the iconography of Lord Vishnu’s consort is characteristically South Indian. Lotus is an essential element also in the iconography of Lakshmi, the name of Vishnu’s consort in wider tradition, such prevalence of lotus motif, as gives her form the name of Padmavati, corresponding to Lotus Goddess, is essentially the perception of her image in the South. All forms of Lakshmi are auspicious and bring prosperity, success, growth, good health, abundance and fertility, but her form as Padmavati is considered dually auspicious, for the lotus, the symbol of creativity, multiplication and purity, more emphatically associated with this form, doubles its divinity.

As the tradition has it, Padmavati is Lakshmi’s form in her re-union with Vishnu when, after deserted by her, he emerged on the earth in her search and the two reunited. Once deputed by all sages to decide who among the Great Trinity was supreme sage Bhragu went to Shiva, Brahma and Vishnu for assessing their merit. Shiva, engaged with his consort in love making, did not take his notice; Brahma was rather rude; but he lost his temper when he found Vishnu sleeping carefree. The enraged sage hit him on his chest with his leg. Vishnu awoke but instead of punishing him prayed for his pardon. Feeling disgraced Lakshmi who was sleeping with him deserted Vishnu and left Vaikuntha. Unable to bear separation in her search Vishnu too descended on the earth. After ages of repentance and yearning one day Vishnu realised that like a lotus Lakshmi was sprouting within him and thus the two were re-united. The tradition consecrated this spiritual realisation of Vishnu as Lakshmi emerging from lotus which concretized as her lotus-seated form and was known as Padmavati. She was hence seen as both, Vishnu’s part, as also a divine entity by herself, being worshipped with him as also independent of him.

In this wood-statue, the lotus seat, the goddess is seated on, has been raised on a rectangular lotus podium with elegantly moulded corners. From its back rises a beautiful and elaborately carved Prabhavali consisting of conventionalised but immensely pleasing foliage with parts emerging like ripples of a rivulet. The four-armed figure of Padmavati, carrying in her upper two hands lotuses, in the lower right a mace, and the lower left being held in ‘abhaya’, is seated in ‘lalitasana’ revealing exceptional beauty of form. In modeling of form, plasticity, proportion and aestheticism the deity figure is outstanding. She has sharp features, emotionally charged face, sensually modeled breasts, subdued belly and narrow waist and a well-defined anatomy. Ornaments that she is wearing are few but elegantly rendered. As few but brilliant are the garments she is putting on. Her figure abounds in rare divinity but not born of theological considerations but of the divine lustre that her face breathes.

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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