Venugopala: Enrapt Cow and Her Master

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Item Code: RT76
Specifications:
South Indian Temple Wood Carving
Height: 36 inch
Width: 14.5 inch
Depth: 4 inch
Weight: 10.74 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 brilliant piece of wood-art, each figure revealing the desired effect, and each form, its own magic, represents Venugopala : the master of cows playing enrapt on his flute, the essential form of Krishna. The artifact excels in fine execution, sensitive treatment of subject, perfect anatomical balance and great emotionality – all that imparts to it unique artistic merit and worth. The artist has wondrously manipulated a log of wood, an unmanageable medium, to yield the magic of forms : calligraphic contours, fluidity of lines, music's softness and a song's lyricism. It captures Krishna in ‘tri-bhanga’ – three-curved posture, not only the most popular iconic form of Krishna but a form to which the body naturally twists when on the peak of ecstasy. Except when otherwise occupied, as when engaged in killing a demon or guiding the course of Mahabharata – the Great War, as Arjuna’s charioteer, in every moment of ease Krishna has been visualized in ‘tri-bhanga’ posture.

Krishna’s deity form enshrining a sanctum is more often his image in ‘tri-bhanga’. Not merely that three of the four main ‘Pithas’ – seats, of Krishna’s Vaishnavism, namely, Vrindavana, Dwarika, Puri and Nathadwara, enshrine his icons in ‘tri-bhanga’, his seat at Vrindavana, the Banke Bihari temple, is even named after this three-curved form of him. The terms ‘Banke’ and ‘Bihari’ mean one who pervades the cosmos by his curves. By his three curves he pervades all three worlds or cosmic regions. The mystique of this three-curved form is, however, far deeper. What appears to be a three-curved form is actually five-curved, and it is this multiplicity of curves that affords to eye aesthetically far greater rhythm and far greater magic. Krishna’s figure, as represented in this statue, curves at five points : the face with crown tilts to right, the shoulder to left, the hip to right, the knee to left, and finally, the left foot to right. With his five curves he pervades all four directions and the space above. Aesthetically Krishna’s bliss is absolute. His form is divine but still it is subservient to his mind. Hence, when his mind moves to the notes of his flute, along it moves his legs, and the entire figure twists into multi-curves. His believers say that for mending the crooked ways of the world he himself entered into them and thus his form curved. And, hence, it is in his curved form that he restored cosmic order and righteousness and enshrined sanctums.

Thus ‘tri-bhanga’ in this manifestation of Krishna is consequential to his Venugopala form. The highest merit of this statue is its ability to reveal the divine bliss and unique bhava that the melody emitting from his flute effects and vibrates the entire figure with divine fervour and curves it into rhythm. The artist has succeeded in portraying on the figure’s face contentment, rapture, and divine grace, not anything strange to divine Krishna but it certainly is when one has to make them reflect on a piece of wood. Rituals and faith endow a sanctum image with its divinity; in case of an art piece, as is this wood-statue, it is the artist’s skill that breathes into it its entire divinity, spiritual power and aestheticism.

Broadly the statue comprises three sections : the base consisting of an elevated lotus pedestal; the figure of Lord Krishna playing on his flute and the cow behind his figure : the focal point of the statue, its middle part; and, a ‘prabhavali’, consisting of foliage : tree-stumps, stylized leaves, banana flowers and mangos, and parrots, its upper part. In South Indian iconography, Krishna is often conceived as four-armed, as here in this statue, obviously for emphasizing his Vaishnava links as an incarnation of Vishnu. His normal two hands are in a gesture of holding his flute, while in his upper hands he is holding the disc and conch, two of Vishnu’s essential attributes. He is wearing a towering Vaishnava crown and large ‘kundalas’ – ear-ornaments, ornaments all over his figure – bangles, bracelets, armlets, necklaces, anklets and others, well pleated ‘antariya’ – a blend of red and yellow, elaborate waist-band with multiple decorative beaded frills, and the ‘Vaijayanti’ as large as reached the ankles.

Krishna had incarnated for freeing the earth from the atrocities of Kansa, the demon king of Mathura. In Vaishnava iconography cow has been perceived as manifesting the earth. Hence in usual idiom, the saviour of the earth Krishna is more often venerated as Gopala – the protector and keeper of cow, and vice-verse, cow as looking to Krishna as her master, saviour, friend and even her child to feed on her milk. In the statue, though just single, the figure of the cow is in perfect proportion to that of Krishna. Enrapt she is drawn to the melody of his flute by which he redeems from worldly bonds.

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.
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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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