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Wood-Sculpture of Lord Ganesha

Wood-Sculpture of Lord Ganesha
Availability: Can be backordered
Specifications:
South Indian Temple Wood Carving
35.5 inch X 14.5 inch X 3.5
9 kg
Item Code: XL67
Price: $840.00
Shipping Free - 4 to 6 days
This item can be back ordered
Time required to recreate this artwork: 20 to 24 weeks
Advance to be paid now (% of product value): 20%
Balance to be paid once product is ready: 80%
The amount to be tendered as advance to back order this artwork: $168.00
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Viewed 3978 times since 31st Dec, 2012
A singular piece of art in wood, obviously Bangai from Karakorchi region in Tamilnadu, one of the finest species of wood world over best suited for carving by the level of its compaction : neither too hard, nor too soft, its colour, entire texture, affordable cost and the thickness of log out of which an image with appropriate dimensions can be carved, the statue represents a majestic form of Lord Ganesha in his tender age. The artist has used the wood’s natural colour glowing fire like ablaze with bright flames but varying to reveal less bright or dark areas. Colour of the wood, its rich texture and the naturally obtained light and shade effects create the real magic the artifact is endowed with. Unlike the usual wood-statues that use the wood’s entire thickness carving the image across its entire breadth, this image has been carved in relief, though quite deep, affording it strong back support as affords a sculpture chiseled on a rock’s face.

The four-armed form of Lord Ganesha, carved with child-like tender body-parts, short height, especially the legs’, and the innocent bearing on the face, reveals rare magnificence and divine aura. He is carrying in three of his hands the elephant goad, noose and a bowl full of ‘laddus’, the fourth being held in ‘abhaya’, the gesture of protection. Warfare or conflict not his choice the goad and noose : tools of assuring ‘abhaya’, he uses just to ward off evil and protect weak and poor which are his prime obligations. ‘Laddu’ is symbolic of his bounties he bestows. As suggests its ‘abhaya-mudra’ and the standing posture, the represented image is votive and formal in character, though it is apparently not for sanctum or ritual worship as wood images unless periodically replaced and have some tradition behind them as the Jagannatha images-set at the Puri shrine, could hardly sustain day-today rituals. Carved in the tradition of temple wood carving for a donor the artifact has been conceived purely on aesthetic lines. An art-piece with rare auspicious nature it is capable of adorning any space, a sitting chamber or even a shrine domestic or public.

This four-armed image of Ganapati, though a new form with divinity radiating from every part, is a blend of many elements of his form as evolved in the long sustained Ganapati iconographic tradition to include his thirty-two classical forms enshrining various Puranas. A four-armed form with gold-like lustrous body revealed in the wood’s natural colour, innocence on face and the style of figure, are elements of Bal Ganapati iconography. Different from Bal Ganapati carrying in all four hands and in trunk some eatable, this image carries just a basket of ‘laddus’ in one of his hands, and a ‘laddu’, in his trunk. A standing posture as Ganapati has in this statue is characteristic to two of the classical forms : Vira Ganapati – all conquering, and Nratya Ganapati – dancing Ganesha. Vira Ganapati is a multi-armed fearful form that Lord Ganesha assumes for dispelling detrimental forces. A benign innocent image as this wood statue represents has hardly any element of Vira Ganapati iconography; however, with a mild twist in legs and a little lifted heals it incorporates an aspect of Nratya Ganapati. The single tusked image, the statue represents the great lord as Ekadanta symbolising great sacrifice and singleness of mind. Though a subsequent form, the statue represents him also in a form of ‘Abhaya Ganapati.

The centrally carved on the wood-plaque the image of the elephant god has been installed on a large lotus and with a lotus ‘prabhavali’ around. It consists of a base comprising two lotus mouldings carved with upward and inverted lotus motifs that a four petalled flower in the centre locks rising along two parallel lotus columns to a semi-circular apex topped by an elaborate Shrimukha. The Shrimukha’s large and beautifully conceived whiskers are amazingly beautiful. The elephant god’s figure with slightly twisted legs is standing on the fully blooming lotus consecrated in the centre of the base of ‘prabhavali’. He is wearing a moderately tall crown and has behind his head a halo symbolic of his divine aura. His ensemble includes just a loincloth overwrought with decorative frills and laces. Besides a pair of belly-bands, one quite close to his chest, and a decorative large lace typical of Ganapati icons, the image has been carved with a few but elegantly conceived ornaments worn on his neck, arms, wrists, ankles, feet and waist. His beautifully designed ears perfectly align with the halo ringing around his head. Absolute composure, benignity and a child-like innocence on the face and thoughtful eyes define the iconography of Lord Ganesha. In plasticity, modeling of form, minuteness of details and in creating the desired effect, the artifact is outstanding.

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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