Lotus-Seated Ganesha Enshrining Prabhavali

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This wood statue, carved out of a piece of fine timber revealing minute details of figure and entire ambience that Prabhavali defines, and painted as elegantly and beautifully using lighter tints of various colours, mainly golden yellow, green, red and blue, represents the elephant god Lord Ganesha seated on a large lotus. The statue combines at least three of the thirty-two forms of his image as identified in early classical iconographic traditions enshrining different Ganesha related texts to include in particular the eighth century Mudgala Purana, the most authentic work on Ganesha. Besides illustrating various Ganesha-related myths and iconographic details of each form, the Mudgala Purana also explores the dimensional breadth of each of these forms, its meaning and the role it plays in human life, especially the aspect of life that it influences.

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Item Code: XK86
South Indian Temple Wood Carving
Height: 36 inch
Width: 14.7 inch
Depth: 3.5 inch
Weight: 10.13 kg
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Free delivery
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Shipped to 153 countries
Shipped to 153 countries
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More than 1M+ customers worldwide

Triply auspicious and powerful this statue synthesizes three significant aspects of his image, namely, Ekadanta, Vijay Ganapati and Sankatahara Ganapati, Ekadanta, relating to his one-tusked form, Vijay Ganapati, to his all-conquering power, and Sankatahara Ganapati, to his ability to redeem from a crisis.

Apart a number of myths narrating how his one tusk broke, such as one relating to punishing the arrogant moon for its mischief by removing it and missile-like hurling it on it, removing it for taking from the great sage Vyasa uninterrupted dictation of the great epic Mahabharata, or losing it while holding on it the blow of the battle-axe that variously his father Lord Shiva, or the great Brahmin warrior Parasurama inflicted on him, Ekadanta, his one-tusked form highly venerated in devotional tradition, is primarily a manifestation by appearance. A four-armed figure Ekadanta is pot bellied and carries in normal right hand his broken tusk. Whatever the focus on appearance, Ekadanta form has as strong symbolic thrust. Ekadanta stands for optimum sacrifice, singleness of mind and unparalleled resourcefulness. The pot-belly is believed to contain oceans of knowledge and with his large penetrating trunk he is believed to explore womb of the earth, unfathomable depth of oceans, and inaccessible regions of the sky and bring from there hidden treasures for his devotees.

The image of Lord Ganesha that the statue represents abounds in exceptional beauty, great divine aura, gold-like lustre and great energy and vigour, the attributes of all-conquering Vijay Ganapati. The most accomplished Vijay Ganapati is the Lord of victory who bestows success and every kind of bliss. In consideration of his wider role the Vijay Ganapati images often assimilate other forms of Lord Ganesha, mainly, Vakratunda, one with curved trunk, and Lambodara, pot-bellied. Vakratunda is known for a firm hold, and Lambodara, for stores of riches and knowledge, the aspects that Vijay Ganapati most needs. In effect Vijay Ganapati is Vighnesha and is required to redeem his devotees from every crisis and this aspect he inherits from the elephant god’s Sankatahara Ganapati form. The lotus seat is the essence of Sankatahara Ganapati iconography. Seated and thus covering the lotus in full he is seen as pervading the entire cosmos and guarding it against everything untoward. Obviously, the statue assimilates three forms, though it is on his Vijay Ganapati form that the iconography and anatomy of the image centre.

As in this image, all three forms that this image combines, Ekadanta, Vijay Ganapati and Sankatahara Ganapati, are four-armed forms carrying in two of them elephant goad and noose, in the third, some eatable, a golden mango, laddu or a bowl of pudding, and in the fourth, Ekadanta and Vijay Ganapati carry the broken tusk. Besides goad, noose and broken tusk this image carries in the fourth a golden mango, and in his trunk, a laddu. Corresponding to the body-colour of Vijay Ganapati the statue has been painted in gold mixed with red imparting to it extra lustre. Texts and traditions define his seating posture, with right leg laid suspending earth-wards, and the left, horizontally in semi-yogic posture, as ‘lalitasana’, a posture revealing great aesthetic beauty and majesty. The image enshrines a Prabhavali consisting of a stylized upwards rising flowering creeper supported on two parallel columns terminating into a rounded apex. Besides leaves, flower and fruit forms it also assimilates birds – parrots, and monkeys, all conjointly symbolizing the cosmos that Lord Ganapati pervades by his presence.

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.

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.

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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