For regulating the iconographic forms of his image the Puranas classified them under certain types on the basis of anatomical variations, body colours and postures and the attributes that an icon carried. However, this multi-form iconographic blend was also a Puranic cult for it helped devotee to perceive in one image a series of his forms that he lauded in the course of his worship by chanting his ‘nama-mantras’ – hymns lauding him by his various names. The idea was simple : the devotee had in sanctum one image, and in his ‘mantra’ – sacred syllable, many, appearing in a sequence. When he commemorated one name after the other, the forms of Ganesha that these names represented reeled one-by-one before his mind’s eyes, though the image in the sanctum was fixed. As for example, when he commemorated ‘AUM Ekadantay namah’, the mind’s eye saw his single tusked form, and when he reached ‘AUM Lambodaray namah’, there reeled before his mind’s eye his form with a pot like large belly. Perhaps in appreciation of this basic perception a deity-image was conceived to represent his more forms than one enabling the devotee to realise in one image their multiplicity.

The basic form of Lord Ganesha in this image is Haridra Ganapati, the gold-hued and yellow-clad Lord with a divine composure defining his face. The four-armed Haridra Ganapati holds in his hands elephant goad, noose, broken tusk and ‘modaka’. In minor variation Ganapati in this image holds a ‘modaka-patra’ – pot containing a larger quantity of ‘modakas’ or ‘laddus’, not just one piece. The term ‘modaka’ is composed of two terms ‘moda’, meaning bliss or absolute absorption of mind, and ‘ka’, means ‘giver’ that which gives it, that is, ‘modaka’ stands for ‘bliss’ and correspondingly, the basket of ‘modakas’ for absolute bliss, which is obviously ‘moksha’ or liberation. Hence, symbolically in Ganapati iconography ‘modaka’ symbolises liberation and ‘moksha’. Perhaps for greater emphasis on this image-kind, the artist has substituted a single ‘laddu’ with a pot full of them. Haridra Ganapati is usually conceived as seated on a royal throne. In this image he rides his ‘Musaka’ – mouse. Haridra Ganapati is worshipped for protecting crops which mice or rats harm most. In this image he reins his mouse, and thereby all them, to a right conduct and not to harm crops or grains.

For greater auspiciousness and wider influence the image incorporates some prominent aspects of other forms too. All images of Lord Ganesha have a large belly but cast like a round pot collected over the waist, as in this image, is essentially an aspect of his form as Lambodara – the large-bellied one. Though not one of the early thirty-two forms, his Lambodara form had a highly venerated place in early ‘Nama-mantras’ and was accordingly invoked. Ekadanta, sometimes invoked as ‘Bhagnadanta’ – one-tusked or broken tusked, symbolising single minded concentration for achieving an objective, is Lord Ganesha’s another most significant form. His mode of sitting with his legs sprawling irregularly on his mount’s back, identified in classical tradition as ‘utkuta akasana’, and his mount mouse being his seat, a form revealing utmost happiness, are aspects of his form as Srashti Ganapati.

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.

Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.

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.