Nrittya Ganesha

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All his four hands, despite that in three of them he is carrying his attributes, 'ankusha', 'pasha' and a bowl filled with 'modakas', are devoted to dance.Dance in Indian thought and tradition has been devised as an instrument of creation and destruction and for giving expression to various 'bhavas' through various 'mudrayen', or dancing postures, positions, gestures and facial demeanours. In Indian mythology Shiva, Vishnu as Krishna, Devi as Kali and Ganesha are the master dancers who may dance to both create and destroy and to express one 'bhava' or the other. In this dance form the great Master is expressing by each of his four hands one 'bhava'. The upper left arm floating in air expresses the joy, usually born of victory. The lower left arm upholds the pot of 'modakas' and thereby symbolises sustenance. The upper right arm stands for a 'bhava' mixed of 'abhaya' and 'varada' and the lower right for easeful calm.

The sublime figure of the god has his large sash unfurling to ground and therein the artist has discovered the means for supporting his figure. The two ends of his sash also constitute the semi-fire-arch for enshrining the deity. On his right a huge container filled with 'modakas' and on his left his vehicle mouse support the fire-arch. With one tusk broken the god is in his 'Ekatanta' form. He has been adorned with usual ornaments and 'yajnapavita' and has been installed on a pedestal laid over a lotus flower drawn in its conventional form. As if for a dancer's performance, the platform has been considerably raised. In the wrinkles on the trunk of the deity the artist has inscribed a modest 'Om' and on his forehead a 'tripunda' mark. In the natural texture of wood the artist has discovered an as appropriate natural skin and body-hair colour and texture for the elephant god.

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.

Of Related Interest:

Book: Ganesa The Enchanter of The Three Worlds

Comic Book: The Sons of Shiva

Jewelry: Ganesha Sitting on OM

Dolls: Fifteen inch high sitting Ganesha Doll

Textiles: Shri Ganeshai Namah Prayer Shawl

Click Here to read the Article: Ganesha - the Elephant Headed God, Art and Mythology

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.