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Sculptures > Hindu > Goddess > Lotus-seated Vina-vadini
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Lotus-seated Vina-vadini

Lotus-seated Vina-vadini

Lotus-seated Vina-vadini

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South Indian Temple Wood Carving

24 inch x 11.5 inch 4.5 inch
5.7 kg
Item Code:
XR04
Price:
$420.00
Discounted:
$315.00   Shipping Free - 4 to 6 days
You Save:
$105.00 (25%)
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: $84.00 $63.00
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Viewed 2486 times since 22nd May, 2013
This excellent statue, carved out of the finest kind of timber giving marble like finish and an ivory piece like fine details, represents Saraswati, the goddess of learning, music, art, literature and all creative faculties of mind. Though far widely venerated and worshipped in Jain and Buddhist theological traditions where her anthropomorphic forms begin appearing by the second-first centuries BC itself, Saraswati, a goddess of the Rig-Vedic origin, is one of the earliest divinities of the Hindu pantheon. In this wood-sculpture her image has been carved as seated on a large lotus conceived dually, with the height, breadth and all dimensions of a lotus, and with the splendour of a majestic throne. The goddess is playing on ‘vina’ – a stringed instrument, subsequently added to her form for symbolizing all creative aspects of creation that she represented.

With two of her four hands, the lower right and upper left, the goddess is playing on ‘vina’ while in the other two, she is carrying a rosary and a ‘pustaka’ – manuscript, symbolic of the Vedas that Brahma is acclaimed to have written. Rosary and ‘pustaka’ are the attributes of Brahma’s iconography that Saraswati, his consort, inherited from him. Of these two aspects of the image : the lotus-seat, and ‘vina’ in hands, her lotus seat defines her initial iconographic perception, while ‘vina’, a subsequent addition. As most of the early texts have it, besides ‘japamala’ – rosary, and ‘pustaka’ – book, she carried in other two hands two lotuses. It seems that after the lotus was associated inseparably with the iconography of Lakshmi, in Saraswati’s iconography it was alternated by ‘vina’. In the course of time there emerged the cult of deity-mounts, and like other deities, Saraswati also had a mount, sometimes a goose and at other times, a peacock. Subsequently, stationary or moving, Saraswati images were seen seated on, as also riding, the goose or the peacock alternating lotus seat. This image of the goddess has been conceived, however, as lotus seated besides the ‘japamala’ and ‘pustaka’ : a classical form of her image.

The figure of the goddess has been sculpted with perfect anatomical proportions and fine facial features, a sharp nose, large half-shut lotus-like eyes, rounded cheeks, receding chin, cute lips, a round face revealing benignity, feminine softness and bliss, and subdued belly, broad shoulders and a well proportioned figure. Besides the divine halo behind her face and beautifully crafted side wings and a towering crown the figure of the goddess has been adorned with rich jewels and a brilliant ‘antariya’. There enshrines a divine quiescence on the face and around it an aura of rare divinity. The figure of the goddess, completely detached with no structure around, has been installed on a routine lotus pedestal. The lotus-seated goddess has, corresponding to the beauty of the lotus she is seated on, a sitting posture known in the tradition as ‘lalitasana’ – the posture revealing great beauty of form.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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