Three-Faced Dancing Ganesha

$5825
Item Code: EP19
Specifications:
South Indian Temple Wood Carving
Height: 71.5 inch
Width: 33 inch
Depth: 7.5 inch
Weight: 73.20 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 splendid masterpiece, excellent in carving and brilliant in colouring, represents Trimukha Ganapati completely absorbed in a high-spirited vigorous dance, revealing great beauty and brimming with tremendous energy. As reflects in the entire surroundings, Prabhavali and all, not a form defining the body, dance is the real spirit that this portrayal of Lord Ganesha manifests. Supported just on the toe of his right foot laid on his mount’s back Lord Ganesha is whirling wind-like into the space. Swiftness of action bursts in the body’s every part, even in the demeanour of eyes that display both, absorption and contentment. His left leg is lifted almost parallel to his belly and decorative frills that lay on his thigh have trailed far below it. A six-armed form, not allowing much scope to gesticulate arms, however, all six arms, and all holding in them various attributes, reveal postures, even gentle, corresponding to the moves of legs and to the requirement of dance. The trunk in the centre is gently poised but those flanking it on sides seem to celebrate the moment, and exuberant, they robustly toss in the air. Not merely Lord Ganesha, even his mount mouse, in tune with its Master, with its uplifted muzzle, swelled back and haunches, tail, folded and inserted under the hind legs, and the legs bent as when trotting, is also absorbed in dance.

It is simply astonishing that an unmanageable anatomy, six arms, all carrying in them one attribute or other, and all revealing a posture of dance, three faces comprising elephant trunks and carrying large size crowns, not easy to hold, and a pot-belly out of proportion with rest of the figure, particularly the dwarfish legs holding it, has been balanced on the toe of a single foot and on the back of a tiny mouse. Even carving such cumbersome figure on a log of wood of moderate thickness with no extra connectors added is really challenging. Dance multiplies the pace and the movement and thus multiplies whatever such pace and movement accomplish. Obviously, Ganesha, the Lord of auspices, multiplies auspiciousness by his dance for he moves for bliss and benevolence and the dance multiplies them. Lord Ganesha is one the pioneers of dance on equal footings with Lord Shiva, Vishnu and Kali but while they danced on specific occasions as also for an specific objective Ganesha had dance as the part of his being, and it is for being his part that in dance the auspicious Ganesha found the subtlest instrument of effecting auspiciousness.

The classicism of Puranas has ‘Nratya-Ganapati’ as one of the authentic forms of Lord Ganesha but the popular tradition now for long appears to be keen to incorporate dance in most of his forms but not in exact adherence to the classical norms and this image is its example. Here dance is the basic and ultimate form of the image and the essential spirit of Lord Ganesha but the image is little keen to incorporate other features or pursue the classical norms of Nratya Ganapati manifestation. Instead of a four-armed form that Ganesha has as Nratya Ganapati this image of dancing Ganesha has six arms. Some variation surfaces also in regard to the attributes that the images of these two classes carry. Nratya Ganapati in his classical form carried broken tusk, elephant goad, noose and ‘laddu’ in his four hands. This image, though a vehement dance is still its form and spirit, has its own set of attributes. It inherits broken tusk, goad and noose from the classical iconography but a mango, dagger and a hammer or small rod with bold head like looking objects are its own.

Installed inside a brilliantly conceived resplendent Prabhavali, though composed of routine design-motifs : usual base comprising stylized lotus design, half pillars as components of a building structure, three-tiered semi-circular sides in middle with outer ring consisting of lotus motifs, and an elaborate Kirtti-mukha defining the top, this image of Lord Ganesha is unique in revealing the dance. The image seems to rise into the space of its own, and dance, as sprouting from within it. Whirlwind like moving and gold-like glistening form of Lord Ganesha balances itself just on the toe of its right foot that a blue toy-mouse holds on its back. A shadow of toil lurking on his face seems to break the composure that almost always defines it. There enshrines on his face rather a child-like innocence and a feeling of benignity. The usual mode of Ganesha’s dance is ‘lasya’ : an expression of lovable tenderness and one revealing great aesthetic beauty; however, the form of the dance that this figure of Lord Ganesha represents is more boisterous, more ecstatic, and full of energy and exuberance than the ‘lasya’ usually is. At least the gesture of his left leg has some reflection of the ‘Dance of Dissolution’ – his father Shiva’s Tandava. Obviously, dance being its theme, the image has more gesticulated rhythmic curves, and is an example of perfect anatomical balance, unity of conflicting elements and power to delight. His queerly modeled belly, rounded ankles, knotted knees and strange geometry of arms, all are quite curious.

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.

Click here to view a high resolution image of the sculpture (2.3 MB).

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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