Simha Ganesha

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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.

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.