Srashti Ganesha

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Except a minor variation that begins appearing in later Puranas themselves, this image of Lord Ganesh has been conceived and carved pursuing in every exactness the standard format of Srashti Ganapati imagery. Srashti Ganapati is a four-armed form of Lord Ganesh carrying in them elephant goad, noose and ‘bhagna-danta’ – broken tusk. In initial iconography he carried in his fourth hand a ripe mango which in subsequent versions was alternated by ‘modaka’, perhaps by being identical, or ‘modaka’ being assuredly sweet, and hence, a constant source of release and redemption for in Ganapati iconography sweet symbolised release or ‘moksha’, and both, mango and ‘modaka’ being its source alternated without affecting the image’s symbolic dimensions. Some texts perceive him as carrying a ‘japamala’ – rosary, another ladder of release and ‘moksha’. This image of Srashti Ganapati has further magnified this aspect by replacing a single piece of ‘modaka’ by a basket of them.

In all kinds of images the mouse is Lord Ganesh’s regular mount whether he rides it or keeps stationed. Not a mere symbol of tiny size, Srashti Ganapati rides a mouse of larger size that takes its load happily in friendliness and the auspicious elephant god sits on its back in absolute ease. Appropriately sized the mouse in this image is in great jubilation in holding on its back it Master, and with his both legs squatting, a sitting posture identified in iconographic tradition as ‘utkuta akasana’, Srashti Ganapati is seated on its back in full comfort and complete ease. The artist of this piece has ingeniously retained the wood’s natural colour : the deep brown, for it is close to red which, as prescribed in early Puranas, is the body-colour of Srashti Ganapati.

The artist has not added any subordinate imagery : Prabhavali etc., for enhancing his role as Srashti Ganapati; however, in his image itself some aspects have been meaningfully magnified. With large pot-like belly he treasures ocean’s riches and entire knowledge into his being, and as Ekadanta the image is endowed with single minded concentration and with the power to sacrifice ‘self’ : both being significantly useful dimensions of Srashti Ganapati who creates and sustains. A sense of unique symmetry, suggestive of cosmic balance, the very basis of creation, defines his right and left sides : ears, shoulders, position of legs, forms of elephant goad and noose among others. In his ‘dhoti’ – lower wear, fully covering the legs Lord Ganesh looks like a Brahmin or ‘pandita’ as he is sometimes called. In the superb craftsmanship of the wood-piece over-adornment has not been allowed as it could encumber it or make monotonous and subordinate its aesthetic aspect.

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.

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.