Legends say that she sprung from the forehead of her father,
Brahma, as did the Greek virgin goddess Athena who was born from
her father, Zeus's head. As soon as Brahma looked at this
beautiful woman, he desired her, even though she was his
daughter. Saraswati disliked the amorous attentions of this old
god and kept dodging him, but whichever way she moved, Brahma
grew a head in that direction to see her the better. As a result
he grew four faces on four sides of his neck, and even a head on
top of these four, so that she could not escape by moving
upwards. But Saraswati still eluded him.
Brahma was angry. He, being the Creator, was also all powerful.
We do not know how, but legend has it that he did manage to marry
the elusive girl, and produced through her mind the four great
Vedas. Lore also has it that Brahma discovered that his girl-wife
was too aloof and absent-minded for his liking. He had arranged
for a major fire-sacrifice, at which his wife's appearance by his
side was a must. He repeatedly warned Saraswati not to take too
long over her toilet and miss the auspicious hour. She must, he
had decreed, take her traditional seat to his left, well in time.
But Saraswati behaved with her characteristic whimsical disregard
for parental diktats. Her prolonged toilet saw to it that the
holy hour passed without the couple's making the supreme joint
offering to the fire God as man and wife. When Saraswati finally
arrived, Brahma was livid. He threw her out, and replaced her
with the daughter of a sage, called Gayatri.
Saraswati, thus, though married, never enjoyed domestic bliss
like Durga or Lakshmi. According to most myths she had no
children, possessed a fiery temper, was easily provoked and was
somewhat quarrelsome. She, of all the goddesses, is described as
possessing a very independent will and was not very obliging to
the male gods.
As the disinherited daughter and estranged wife, Saraswati lived
perpetually in self-imposed exile. She focuses her calm,
dispassionate gaze upon the past as pure experience. The capacity
to recall without anger or resentment, is Saraswati's greatest
gift to her children: the writers, musicians and creators of
various art forms. All of them have fought with tradition, but
their fight has been cerebral, not emotional. For without cutting
away the umbilical cord, no innovative new beginning may ever be
made, whether one is creating or procreating. This is the message
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.
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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