Dancing Ganesha

$2710
Item Code: RZ45
Specifications:
South Indian Temple Wood Carving
Height: 44 inch
Width: 22 inch
Depth: 7 inch
Weight: 23.85 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 excellent image, carved out of a single piece of wood, the fine well tempered teak or Bangai, and brilliantly painted, giving it rare lustre, represents Lord Ganesha as engaged in dance, vigorous, revealing great beauty, and brimming with tremendous energy and movement. An example of astonishing anatomy : a body composed of six arms, a pot-belly, large trunk and carrying various attributes, all encumbering it, balanced on the back of his mount mouse supported just over a single foot, the image is a real challenge for a detached statue as this. Unlike other divinities who danced to a form and for accomplishing an objective : Shiva, to destroy and delight, Vishnu, to annihilate the demon king Mahabali, Krishna, to subdue serpent Kaliya, and Kali, to collect blood of Raktabija demons wherever it fell in the battlefield, Ganesha danced beyond form, effortless and without an objective. Though dance defines one of his classical forms as ‘Nratya-Ganapati’, there bursts, in the demeanour of his legs, arms, or rather in his entire being – physical and spiritual, twists or moves of dance and delightful rhythm. Dance is the inherent idiom of the physiognomy of Lord Ganesha and he is one of its four 'Adigurus' – first exponents, the other three being Shiva, Kali and Vishnu in his incarnations as Vamana and Krishna.

This image of Lord Ganesha, though it seems to have emerged out of its medium as naturally as sprouts a leaf from a twig, presents a blend of iconographic elements of his two classical forms – Nratya-Ganapati and Urdhva Ganapati. Apart, it also incorporate some elements of the artist’s own innovation, especially the facial expressions and the mystic dimensions which the image is made to reveal by its octagonal thrust that its graphic transform effects. Symbolically interpreted, such octagonal dimensions : octagon being an auspicious diagram creating and circulating energy and thereby life, stand for both, the massive energy flow and its guided course. The whirlwind like moving body of Ganapati in this image does not affect the composure of the face and to it the artist has added far greater benignity. With a mark of ‘Aum’ carved on the trunk’s upper part the auspicious Lord Ganesha multiplies auspiciousness.

This image of Ganesha inherits its six-armed form from the iconography of Urdhva Ganapati though except the broken tusk the attributes that the image carries in its hands are different. Lord Ganesha in his Urdhva Ganapati manifestation is conceived as carrying sprig of paddy, lotus, sugar-cane bow, arrow and water lily. This figure of Ganapati carries, instead of these, an elephant goad, noose, mango, mace and serpent. Broken tusk is common in both forms. In his Nratya Ganapati form too he carries broken tusk. Nratya Ganapati carries, besides the broken tusk, elephant goad, noose and ‘laddu’. This image is carrying elephant goad and noose and instead of carrying a ‘laddu’ has a basket of ‘laddus’ lying close by. He carries in addition a mango, mace and serpent. His figure has been conceived gold-complexioned, which is his body colour in his both forms, Urdhva Ganapati as well as Nratya Ganapati.

A simple innocent-looking face with 'tripunda' mark on the forehead and semi-circular ears with bolder inside edges projecting like a question mark, characteristic features of Urdhva Ganapati form, define this image of dancing Ganesha. But, besides that his figure has been transformed into a dancer’s form, the exaltation and ecstasy that reveal on the face of this image certainly class him as Nratya Ganapati. This form of Lord Ganesha portrays him in 'lasya', the expressions of lovable tenderness, and that which reveals great aesthetic beauty. The statue is rare in rhythmic curves, unique balance of parts, unity of conflicting elements, exoticism of figure and its power to delight. The queerly looking pot-belly, rounded ankles and knotted knees, and forms of arms : zigzag creating strange geometry, are quite curious and interesting attributes of this figure of the elephant god. Not able to hold on his extra swelled belly both his girdle and loincloth have slipped leaving his belly fully exposed.

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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