Sage Patanjali, a Great Grammarian and Exponent of the System of Yoga

$1530
Item Code: RY83
Specifications:
South Indian Temple Wood Carving
Height: 36.5 inch
Width: 22 inch
Depth: 6.5 inch
Weight: 23.90 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 magnificent wood-statue, carved with minute details and rare skill, represents sage Patanjali, a thinker/grammarian/exponent of a new system of Yoga, broadly one who stood on par with those with divine birth so much so that he was believed to have incarnated the Great Serpent Shesh. Textual tradition venerates him with many names and epithets, such as Gonardiya, Gonikaputra, Naganatha, Ahipati, Phanibhrata, Phanipati, Padakara, Shesh, Vasuki and many more. Except Gonardiya, suggestive of one born at Gonarda, his birth-place, and Gonikaputra, born of Gonika, his mother, his all other names link him with the Great Serpent Shesh. Bhavishya Purana contends that Vishnu had himself endowed him with a part of his Maya and thus with godhood.

Some scholars have identified Gonarda province, Patanjali was born at, as Gonda district of Uttar Pradesh. However, some other scholars to include Kalhana, the eleventh century great scholar and the writer of Rajatarangini, quotes Gonarda as the name of a ruling dynasty of which three kings ruled Kashmir and contend that Gonardiya was suggestive of the country that they ruled. Thus, contentions in regards to Patanjali’s birth-place keep swinging from Uttar Pradesh to Kashmir. As regards his status, he was one of the four most venerated scholar-saints during the period from five hundred B.C. to two hundred B.C., the other three being Panini, Vyadi and Katyayana. Panini preceded other three by about two to three hundred years. Patanjali lived sometime in between 300 to 200 B.C.

Patanjali was initially Vaishnava but after he was defeated by Katyayana of Varanasi in intellectual discourse he resorted to Devi’s cult too and was soon its master and with his dual knowledge he established his supremacy over Katyayana. His innovative system of Yoga apart, Patanjali’s most significant contribution is his commentary on Panini’s Ashtadhyayi, a book on grammar containing eight parts, each divided further into four sections making their number thirty-two. Patanjali deleted what was irrelevant and added what was missing and thus he completely revised Ashtadhyayi, even its format, dividing its total contents in eighty-four parts, each to be covered in one lecture. It was he who deified Panini as ‘bhagawana’ – god, though subsequently Patanjali was himself deified and not only his icons were made but also installed in shrines and were worshipped believing that his worship multiplied the power of intellect and reasoning.

In the wood-statue, an accomplished artifact with ‘padma-pitha’ – lotus base, and ‘prabhavali’ – fire-arch, consisting of three elaborate rings and topped by an impressive ‘kirtti-mukha’, Patanjali’s figure is seen emerging from the coiled body of a huge serpent, obviously the Great Serpent Shesh whom he incarnates. This style of portraying the ‘incarnated’ and the ‘incarnating’ is novel and direct. As in the iconography of Vishnu, the Great Serpent’s hood composed of seven mouths unfurls over Patanjali’s figure, a canopy-like attributing it regal status. A Vishnu’s humble devotee he has his normal two hands folded in devotion. However, he has not been carved with mere two normal arms but with Vishnu-like four, carrying in the upper two, disc and conch – the attributes of Vishnu. He has on his forehead, a Vaishnava tilaka – auspicious mark, on his ears, Vaishnava ‘kundalas’ – ear-ornaments, and on his head a towering Vaishnava crown, all suggesting that he shares his being with Lord Vishnu and is thus his part. This visually illustrates the Puranic proposition that Vishnu had endowed Patanjali with his Maya.

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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