Yakshi Dancing with a Mirror in Hand

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This excellent piece of wood-carving represents a maiden dancing enrapt with a mirror in hand under an arch – the traditional ‘prabhavali’, consisting of flower-fruits laden vines symbolic of the mythical forest, the resort of ethereal beings : young sportive males and females of celestial origin, the themes of many early literary classics and abundant sculptures. Constituting bracket figures or images used for adorning façades, statues like those of Vraksha-yakshi, Shala-bhanjika …, one leaning on a branch of tree, while other, holding it to break, have been the most popular components of early Indian architecture, such as the bracket-figures at the Sanchi stupa, a third century BC structure. 

Aesthetics of medieval era developed the doctrine that ultimate beauty not only tempted others but also enthralled oneself. In pursuance there emerged in medieval sculptures a number of forms of self-contained beauty – enjoying fully absorbed one’s own beauty and youth. Hence, there emerged forms like those of the maidens watching her beauty in a mirror, tying fully absorbed an anklet on her feet, or braiding her hair among others. Immensely popular these statues representing nymphs brimming with youthful vigour and with such beauty as enthralls even themselves – themes widely represented in early medieval sculptures at sites like Khajuraho and Konark, presented a new perception of beauty and youthfulness. A transform of the theme this wood statue is a rare synthesis of the medieval cult of mirror-holding nymph and the ancient cult of mythical Yakshi. It takes from the former the perception of mesmeric beauty and self-absorption, and from the latter, the idea of its romantic milieu that the fire-arch symbolizes.         

The statue, a masterpiece by some South Indian wood-carver, has been chiseled out of a single piece of Bangai wood, one of the finest kinds of timber from Karakorchi region in South.  Moth resistant neither too hard nor too soft Bangai is ideal for carving and has been in use for temple carving for generations of South Indian wood carvers known for ingenuity, minuteness of details, rare finish, unbelievable precision and great sculptural beauty. The statue represents the nymph with divine beauty dancing enrapt perhaps for her own delight or to add to the ambience beauty and rhythm and thereby the life and vigour. Her mystic beauty and unearthly charm which a kind of divine serenity and celestial poise, enshrining upon her face, further sublimate, is the essence of this piece. A blend of two art forms, dance and sculpture, one, its theme, and other, its diction, the statue is unique in its modeling, plasticity, anatomical proportions and above all, in its ability to breathe rhythm and the desired ‘bhava’ – sentiment or emotion. 

The figure of the celestial nymph has been chiseled dancing inside a beautifully conceived ‘prabhavali’ – fire-arch. The ‘prabhavali’ rises to its circular apex from a rectangular base, a moulding carved with conventionalized lotus design. Though supported on two vertical columns, one on either side, it has on the bottom on the left a tiny female figure engaged in dance while playing on her lyre, and on the right, a tiny deer lifting its face towards the nymph in appreciation of her beauty. The form of a stump on the right suggests that the vines or the tree that constitute ‘prabhavali’ grow on the right. Characteristic to the tradition, it consists of stylized curved leaves, fruits and flowers, and parrots, peacocks and monkeys scattered all over. The enshrining Yakshi is the model of the ultimate beauty. Her mirror holding right arm carrying in it a circular mirror, partially folded, inclines back to the shoulder; the left is a bit straightened, both corresponding to the moves of her dance. The figure inherits its iconography, especially the style of cladding and jewelry, from the sculptures in Helabidu temple.

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.

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.