In That Heaven of Delight... (Sculpture Inspired by Khajuraho)

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This indispensability of sex in life manifested best in medieval Indian sculpture and architecture. For some four hundred years the sculptor discovered his essential man and woman and architect the exterior of his temple in youthful vigorous couples engaged in activities which manifested 'kama', the sex. It was a complex kind of visualisation, expressed best in the temples of Khajuraho and Konarka, wherein the architect 'sculpted' the temple, enshrined the 'divine' but discovered in 'love' - the manifestation of 'kama', his prime thought and aesthetics.

This wooden panel, chiseled with fine strokes and minute details, though not a true copy in size or dimensions but truer one in spirit and theme, imitates the timeless art of Khajuraho - theme, style and thought, in its essence. It combines a number of significant sculptures, which characteristically define Khajuraho's vision of 'kama'. It depicts various modes of enjoying sex. The central part of the panel consisting of the couple engaged in coition and a female and a male figure flanking on the right and left represents in all exactness the central panel of the eastern facade of the Kandaria Mahadeo, the best known of all Khajuraho temples. This panel adheres to one of the 'asanas' identified in Vatsyayana's Kamasutra. In this mode of union the female lands with massive force from above and the male hooks her by her vulva and holds her on his organ. It makes penetration deeper and the delight transcendental. The maiden on his right is in an attempt to draw his arm. She will be contented even if he titillates her vulva by his fingers. The excited male on left resorts to masturbation.

There are on the left side of this central couple three figures - a male in the middle and two females on sides. The male would have preferred union with the woman on his left but instead the maid on his right takes possession of his phallus. The helpless man contents himself and the expectant partner by mere titillating her vulva, though in the process he enjoys two instead of one partner and has his pleasure doubled. As for the woman on his right even the touch of his organ sends her into a trance. Towards right to centre one male is coupled with three females. With one of them he is engaged in sexual congress whereas the other two, perceiving no chance for themselves, attem pt at satisfying themselves differently. The woman on couple's left is seen inciting her companion on her left for homosex and the maid on extreme right is satisfying herself with her own hand.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

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Of Related Interest:

Khajuraho (Grey Stone Sculpture)

Khajuraho (Batik Painting On Cotton)

In That Heaven Where Faces are Flowers and Eyes Fragrance (Miniature Painting on Paper)

Erotic Sculpture of India A Socio Cultural Study (Hardcover Book)

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.