Simha Ganesha

$2375
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Time required to recreate this artwork
12 to 16 weeks
Advance to be paid now
$475 (20%)
Balance to be paid once product is ready
$1900
Item Code: EH27
Specifications:
South Indian Temple Wood Carving
Height: 36 inch
Width: 17.5 inch
Depth: 7 inch
Weight: 17.50 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 ninety-three cm. tall lion-riding form of Lord Ganesh is known in Puranas, more particularly, in Maudagalya Purana, as Simha Ganapati form of the great Lord, though it also combines elements of his other forms, mainly, those of Vijaya Ganapati, Lambodara Ganapati, Ekadanta Ganapati and Kshipra Prasada Ganapati, which obviously makes the image more auspicious, sacred and effective. Lion is the vehicle of his mother Parvati – Shakti, the primordial cosmic energy that not only eliminated evil forces but also enlivened enertness and lifeless matter. Lion, her vehicle and companion in her battles against demons, stands for strength, formidability, and fearlessness. Auspiciousness and supreme wisdom, which Lord Ganesh represents, lead to victories and success in all walks of life when they are associated with strength, formidability and fearlessness, which are the attributes of the lion.

The white-complexioned Simha Ganapati rides the lion in 'lalitasana' posture – right leg suspending below, and left placed in semi-'yogasana'. He has been conceived with eight arms, holding in them, besides other attributes, also the wish fulfilling 'Kalpavriksha' sprig, 'vina', pot of jewels, lotus – usually a blue one, and a flower bouquet. The 'white' complexion, representing purity of form, has been substituted here in this masterpiece with the corresponding pure wood colour. He preferred six arms of Kshipra Prasad Ganapati form instead of eight of Simha Ganapati, as also a different set of attributes to be carried in them : an 'ankusha' – goad, 'pash' – noose, broken tusk, mace, 'shula' –pointed rod, and delicious mango – the attributes largely common to Kshipra Prasada and Vijaya Ganapati forms. By his 'ankusha', he goads slow ones to move fast, by his 'pash', he ties the straying ones to the right path, by his lower right hand, in which he carries broken tusk, he bestows 'abhaya', and by his lower left carrying mango he assures fertility, fruition and abundance, which 'modaka', carried in his trunk, further assures. These are obviously the aspects of the quick rewarding Kshipra Prasada Ganapati as also of Vijaya Ganapati.

The great god is primarily in his Lambodara manifestation. His prodigious large protruding belly contains in it all galaxies, all known and unknown universes. When Lambodara is adored with the 'mantra' – 'Aum Lambodaraya Namah', that is, adoration to Him who has a large belly, the kind hearted Ganesh imparts knowledge of known and unknown worlds and reveals mysteries of cosmos. With one tusk broken, the image also represents the god in his Ekadanta manifestation. Ekadanta Ganapati also has a large pot belly and when adored with the 'mantra' – 'Aum Ekadantaya Namah', that is, adoration to Him who has one tusk broken, he cut the bonds of ignorance.

The image is elaborately bejewelled and ornamented from toe to head. The only garment, which he is wearing, is an 'adhovastra', an elegantly plaited yellow-red silk 'dhoti' worn below his waist. A beautifully patterned girdle, consisting of 'falis' or beads, keeps the 'adhovastra' in position. Another girdle, substituting the usual 'nagabandha' of Ganapati iconography, is worn around the pot belly. A beautiful decorative sash, tucked with the girdle, unfurls on his both sides, creating a magic of its own. The god also wears a 'yajnopavit'. The figure is elaborately bejewelled with armslets, bracelets, anklets, shoulder-laces, beads around trunk and a broad necklace on his neck. His head-dress-cum-crown is of a moderate size, but every part of it is covered with elegantly rendered various designing patterns and motifs. The form of the lion is that of a mythical being.

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.
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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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