Three Forms of Ekadanta

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Item Code:	RJ61
Specifications:	South Indian Temple Wood Carving
Height:	14.4 inch
Width:	70.5 inch
Depth:	4.3 inch
Weight:	18.70 kg

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This brilliant Ganapati panel, sculpted out of a piece of wood as lustrous as gold and sandal wood like soft, represents three forms of Ganesha: all varying aspects of Ekadanta. Each of these forms of Ekadanta enshrines an independent niche, a division of ‘Prabhavali’ conceived as an arch composed of highly stylized vines : curling branches and swaggering leaves, and atop each, a pair of parrots perch facing each other. The ‘Prabhavali’ rises on a conventionalised lotus pedestal along a pair of parallel columns composed of the same stylized vines. While rising to the apex at three points these vines take an inwards curve and in an arch-like form join their counterparts dividing the ‘Prabhavali’ into three sections, each looking like an arched niche. The formation on the top is a bit more sophisticated. Here the right side vine moves to the left rounding into a perfect half circle creating a magnificent semi-circular arch over the Ganapati image. Over this top arch a series of leaves adorn the entire arch-span as an artistic ‘torana’ – ornamental lintel, adorns a Khajuraho like medieval temple’s door. Two of these three arched divisions, those in the middle, have atop them a large lotus form which on one hand bridges the breadth and on the other creates an appropriate seat for the Ganapati images to enshrine.

As is obvious, the representation of three Ganapati images in one architectural unit : ‘Prabhavali’, is inspired by the broad doctrine of seeking multiplication of the divine influence – auspiciousness in the case of Ekadanta, that the related deity inspires; however, it also has symbolic dimensions. ‘Prabhavali’ is a micro-miniaturized representation of cosmos, and its three divisions, of three cosmic regions or worlds, which Ganapati, in his one form or other, pervades. The standing form of Ganapati on the bottom is suggestive of act, a born one’s basic obligation as also the path leading to accomplishment; the dancing image in the centre is suggestive of ‘Ananda’ – the ultimate bliss, a stage that the born one attains after he has accomplished his basic obligation; and, the ‘padmasana’ image with a ‘lalita’ posture on the top, is suggestive of absolute beauty and bliss : the state of transcendence which the born one attains after he has accomplished his basic obligation and has attained the state of absolute bliss which is also the state of complete detachment.

The statue, a fine example of exceptional craftsmanship carved in deep relief and with minute details revealing rare skill and mirror like clarity, as if chiselled out of an ivory piece, represents three forms of Ganapati all in identical costumes and ornaments, all having four arms, moderately swelled bellies, trunks with less lengths turned to left, identically shaped ears, all being single tusked and all carrying in upper two hands a battleaxe and a noose. The lower hands are, however, differently conceived. While the images on the top and the bottom carry in them broken tusk and ‘laddu’, that in the centre niche does not carry in them any attributes; they are conceived rather to reveal ecstasy and moves of dance. This form portrays the elephant god in his most essential being for it represents him as synthesising in him the might of arms, that is, his power to protect, and the blissfulness that the auspicious Lord manifests, and more importantly, while the instruments of destruction are held in extra hands, bliss is the demeanour of his normal hands, obviously, representing his inherent being.

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.

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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