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Ganesha, very special, rare form.
This form of Ganesha is a very special tantric Form, especially made for tantric
worship.
It is wonderfully ornamented with very fine detailed art work.
This is a Unique piece, we have one piece on stock.
If you like to order more then one piece, or if it is not on stock,
it takes about 8 to 12 weeks to back order a new one.
Seize: 40cm
Material: Polished Brass, Copperfinishing
Weight: 5.1kg
 
 
The Art of making an Deity or Iconographie in India - Nepal - Tibet:
One important reason for Asia’s mystic appearance is its mastery in temple
architecture, and everything involved along with that. This knowledge is given in
different parts of the Vedas (ancient holy books) and called as Vastu- or Silpa
sastras handed down by the Silpis (Sculptors and Artisans).
One branch of this science is casting the Form of God made with material products
(earth, metal mixtures, precious stones and stone) for the worship in temples and
private home. Gold was brought from the Himalayas and gold mines in the area to
be turned into Vigrahas (Images) and jewellery by this Silpis, and they were also
exported to other areas (some asian handwork ship like Buddha’s, jewellery etc.
where even found in Viking burial grounds) by the 3th century AD. The method of
metal casting practised in the ancient Indian subcontinent is called the lost wax
casting method.
Unique in approach, the style involved creating a wax image of final product
intended, casting the image in clay and then heating the image so that the wax
melts away and leaves a hollow that allows sculptures to pour in molten metal to
acquire the wanted shape. Images are created using simple procedures that yield
complex and quality results. In south India very complex method of Pancaloham
(five metal copper, tin, gold, sliver, brass) in different mixture quantity are
described in the Agama and Vastu Sastras and gives the Vigraha (Image) a special
look and appearance. Where in North India simple brass mixture are used, and in
Nepal and Tibet the Vigrahas getting gold polished with affixed precious stones on
each model.
The lost wax metal casting process is described here shortly: A wax image in exact
size and details of the desired product is created. The wax images, now with a
thick clay covering, are dried. Once hard, they are placed in an oven. The
handmade ovens, either inside the earth (used mainly in south India metal casting)
or as normal one (used in Nepal and Tibet) though it looks primitive, can achieve
temperatures that can melt even gold if required. The wax image within the clay
melts away. However, in place of the image remains a hollow space where molten
metal can be poured in within the clay structure.
The image is now ready for the next phase of the metal casting process. It needs
to cool down. Many of the artisans involved in the process are young. Their work is
supervised by a master craftsman. The same oven is again prepared, this time to
melt the five metals, or only copper and brass metal the popular metals in use in
the North India / Nepal today. The molten different metals are poured into the
hollow terra cotta structure along with Vedic mantras to bring out the figure of the
God they wish to model. Than the metal is allowed to cool and harden. After this
the terra cotta layering is tapped away and the rough image is seen. Now they will
bring the appearance in perfection with all described details in the Sastras. Visible
cracks and faults are corrected with the expert hand of the stapathy (master
craftsman).
Vegetable dyes and agents are used to bring out the colour in some cases. While
some small statues are created whole, larger images require the joining of many
pieces. The different chisel enhances the details, the statue has to be smooth and
perfect before its face and other details can be carved. The statue made in Tibet
and Nepal goes to the painters who add expressions with colour or silver
and gold layers. Done well, this process doubles the value of the statue in
the world wide market.
Otherwise the Vigrahas (Images) are now being brought to the priests who do the
final invocation and calling of the Lord to appear in this wonderful Form to be
present to bless the worshipper. Only then the full manifest splendour of the
Supreme Deity is recognized and worshiped with respect, awe and reference par
excellence.
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