The Auspicious Mahakala Mask

$1100
Item Code: RW80
Specifications:
Wood Sculpture
Height: 34 inch
Width: 23.2 inch
Depth: 12.5 inch
Weight: 8.80 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 wood piece, with an awe-inspiring look, hollow from within and with dimensions of human face beyond, is the auspicious mask representing Mahakala, a divine form as conceived in the Buddhist line, and a form of Shiva as Bhairava, as conceived in the Shaivite, and in both sectarian lines, Buddhist or Shaivite, Mahakala is held in highest reverence. Whether a manifestation of Avalokiteshvara or a subordinate deity, Mahakala, a form in which an awe-inspiring face dominated the entire image – and hence sometimes manifesting as the mere face as here in this mask, had a very high place in Tantrika Buddhism. The rest of the figure of Mahakala, mostly a dwarfish form, was not considered significant. During many rituals and while celebrating one or the other of the festivals, Tibetan Buddhists would put on their faces these Mahakala masks believing that they have great mystic power to ward off everything untoward in their lives, as also that they are the couriers of good and benevolence.

In Mahayana Buddhism Mahakala rose to the apex and in Alchi type many monasteries Mahakala emerged as the presiding deity and as an essential image for Thangka art with almost every piece registering the presence of Mahakala. The deadly looking Mahakala, or Bhairava in the Shaivite line, is not the god of death or one who presides over destruction, as he is sometimes contended to be. In usual imagery, the Mahakala is conceived as neutralizing two human figures under his feet; almost identically in the Shaivite line Bhairava, or Shiva during Tandava, the dance of annihilation, has been conceived as neutralizing one human figure. In Mahakala imagery the two figures represent negative forces, and hence, Mahakala represents the death of negatives, and in Bhairava imagery, the figure of Apasmara represents inertia or ignorance, and hence, the end of ignorance. The artifact is a piece from Nepal, a Hindu/Shaiva country, though not without pockets of Buddhism, and hence it is more likely that it represents the Shaivite form of Mahakala, though it is difficult to say if it traveled from Tibet to Nepal and from Buddhism to Shaiva tradition or otherwise.

The horrible looking face of Mahakala – the Timeless One, that this mask represents, is the guardian of all directions and endowed with great energy is the universal protector. The Buddhists believe that he protects also the Buddhist Doctrine and sanctuary that it enshrines. The face in the mask has been conceived with a rectangular form with five tiny heads, as horrible looking as the Mahakala face, crowning it. It has a wide open mouth with large teeth and a partially visible tongue inside looking like a pyramid’s top. The round eye-balls, as made of black cat-eye stones fitted into as dark sockets with the third one on the forehead, and another piece of cat eye stone, comprising the tip of the nose, are awe-striking. Much more horrible, or rather loathsome, are the serpents-like coiling zigzag lines around the mouth suggesting moustaches and the beard’s hair growing under the lower lip, and on the forehead comprising strange eye-brows. A deep black cobra with bright red hood knotted round the neck like a piece of ornament shakes with fear. Ears shaped like the sole of a shoe and long ear-lobes with large holes and crude heavy rings with serpentine offshoots are alike repulsive.

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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