Lord Shiva Performing Ananda-Tandava

$2995
Item Code: XL63
Specifications:
South Indian Temple Wood Carving
Height: 65.5 inch
Width: 17.5 inch
Depth: 4 inch
Weight: 19.28 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 wooden plaque, one of the finest examples of South Indian wood-carving, the same level of finish as carved out of a fine-grained marble piece, adherence to mythical tradition, set of imagery as evolved through ages, accuracy of details, modeling, plasticity, iconographic perfection, all combined to reveal a deep cosmic mystique, represents Lord Shiva engaged in Ananda-Tandava, usually called ‘Tandava’, the dance of dissolution. The ever first dancer who led the limbs to disciplined moves, timed, paced, designed to reveal a mood or mode, and instrumenting an objective, mainly, delighting, annihilating or dissolving, Shiva was the first master to reveal dance in his figure and to teach it. The dance he delighted in performing and performed to delight is classified as ‘lasya’, his instrument of creation, and the dance he performed to destroy – to annihilate and dissolve, is classed as Tandava, though while the dance he performed to dissolve, Shiva’s ultimate cosmic role in the Great Trinity, is known as Ananda-Tandava, the dance he performed for annihilating an evil as Tripura – three cities of demons is not identified by such specific term. This form of his image reveals Ananda-Tandava and is widely known as Nataraja, the king of performers, dance being the foremost.

Nataraja icons have been subject to a few anatomical variations at least in regard to the number of arms, usually being four but sometimes, also six, as in this image, and eight, as seen in many images. Such variations sometimes surface also in the style of up-raised leg. In Ananda-Tandava icons the leg, usually right but sometimes also left, is raised to mid-height. However, in Lord Vishnu’s Tri-Vikrama form it is almost diagonally raised. This statue seems to assimilate this aspect of Tri-Vikrama anatomy into this form of Nataraja. Obviously, the artist’s skill faces greater challenge when it is to carve an ecstatically gesticulated figure as in dance having a larger number of arms. This figure of Nataraja carved with six arms, as against usual four, and imbued with great ecstasy and exaltation, and with absolute adherence to mythical as well as artistic traditions as evolved over long past, and that too in an uncompromising medium like wood, could have been a real artistic challenge that the artist of this image has wondrously accomplished. His skill reveals equally in carving delicate details of features such as the waves-like flames of fire emitting from his head, ensemble and ornaments.

This wood-carving represents Nataraja Shiva as engaged in Ananda-tandava. The energy that the body-moves generate has been represented as revealing waves-like in the form of flames of fire from his face. The figure of Nataraja has been installed within a Prabhavali – fire-arch, consisting of stylized lotus mouldings on the bottom, columned middle and the upper section consisting of nature : trees, plants, creepers, flowers, fruits and leaves, and quite importantly, the birds and animals, symbolising in its entirety the universe that Lord Shiva pervades. The six-armed figure of Lord Shiva with a tall ‘jata-juta’ partly covered with a crown adorned with beads, laces, crescent and snake, revealing dance in his form has been installed in the centre of the Prabhavali. Of the six hands the normal right and left are held in the posture of ‘abhaya’ and dissolution; the uppermost on the right side is carrying ‘damaru’ – double drum, and that on the left, the flames of fire : both the essential attributes of Nataraja iconography; and those in the middle, the right, a goad, and the left, a fruit. The figure’s left leg has been firmly placed on the back of Apasamarapurusha, while the right, lifted to almost hundred eighty degree angle. Lord Shiva’s figure has been conceived with a round face, sharp features, large shut eyes revealing absorption, and ‘tri-netra’ on the forehead. The figure has been gorgeously ornamented.

Usually considered demonic, Apasamarapurusha lies under his foot as providing the figure with a proper base. It has on its forehead a ‘tri-punda’ mark and has a quiet submissive posture in readiness to serve. Besides Apasamarapurusha, the artist has introduced on the plaque’s bottom a pair of female figures holding lotuses, the subordinate images in the statue. They symbolise creation, the post dissolution process and the essence of Ananda-Tandava which he performs to delight in dissolution – the forerunner of creation. Usually in Ananda-Tandava imagery Apasamarapurusha – the demon of inertia over which Nataraja performs his dance, carries the flower in one of its hands suggesting that after the dissolution has taken place inertia would rouse and the process of creation would begin. In this statue this role has been attributed to the two female forms. The image of Apasamarapurusha has been conceived holding suckle in one of its hands. Suckle, the instrument of harvesting and reaping, represents fertility and thus also the essence of creation. The image thus incorporates two sets of images emphasizing the pith of Ananda-Tandava which is creation.

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.

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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