After his father Virochana died, Mahabali took his place. He soon became the head of all demon kings. Later, he attacked Indraloka and ousted gods from here. Aggrieved Aditi, gods' mother, prayed her husband sage Kashyapa to let her sons regain their land. On his advice, Aditi observed a twelve-day fast, which compelled Vishnu to appear and grant her prayer. She prayed him to be born as her son and restore gods' land by defeating demons. In due course, Aditi conceived and gave birth to a dwarf son who came to be known as Vamana. Despite that Mahabali was a demon he was a great donor and just ruler. Vishnu as Vamana knew it.
When Mahabali was performing a yajna on the bank of Narmada, Vamana, disguised as a hermit boy, reached him and prayed him to grant him a small piece of land measuring just three strides. Three strides of a dwarf meant nothing. Mahabali hence insisted him to take more but Vamana declined. The prayer was granted. Mahabali's teacher Sukracharya smelt foul play in Vamana's demand and warned Mahabali against it but he did not take note of it. To affirm his determination he poured water upon dwarf's palm. As his last effort, Sukracharya, in the shape of a mote, entered the pot and obstructed its outlet. Vamana picked a grass-leaf and pierced it into the pipe of the pot. It struck one of the eyes of Sukracharya and blinded it. Then Vamana lifted his right leg and with it began expanding his form to cosmic magnification. In one stride Vamana covered the earth; in the second, heaven; and for the third, he asked Mahabali where to put it and finding no place put it on Mahabali's head and pushed him into the netherworld, his true abode. Mahabali's subjects were greatly aggrieved and prayed Vishnu to bring him back. He partly granted the prayer. Mahabali would ascend the earth once a year for a good harvest and people would celebrate the occasion in full festivity. It is said, Onama in Kerala and Diwali in rest of the country mark the ascendance of Mahabali.
Trivikrama, also called Vishnukrant, has been the theme of sculptural art since Gupta period. The eighth century Trivikrama statue, a characteristic work of Pallava art school, from Singanallur in Coimbatore district of Tamilnadu, is one the earliest examples of the Trivikrama theme in art. This wooden statue has characteristic south Indian iconography adhering to Chola school of medieval art. The force with which the carver has discovered his image is the same as the south Indian artist discovers in his Nataraj images. As Vishnu conquers three worlds not in battle or by arms but in peace, the artist has preferred to place his image amidst beautiful green foliage with parrots and squirrels perching on it. In his upper and lower right hands Vishnu is carrying disc and mace. The upper left hand is in a gesture corresponding to that of his left leg spanning the heaven. In his lower left hand he is holding sash end. Vishnu is adorned with his usual ornaments and attributes. A small icon of Mahabali with folded hands has been carved towards the left corner of the pitha.
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.
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.
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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