Marble Statue of Vishwakarma Ji

$1150
This marble statue carved with sensitive details and painted with soft touches of light colours, a most accomplished image, represents Vishvakarma Ji, one of the primary divinities that preceded Creation. As the terms ‘Vishva’ and ‘karma’, when combined, literally mean the doer of the universe, Vishvakarma is the creator of the cosmos, that is, all that is manifest as also all that is not manifest, even what is said, heard, thought or felt.
Item Code: ZAG93
Specifications:
White Marble Statue
Height: 17.5 inch
Width: 11.5 inch
Depth: 5.5 inch
Weight: 17.32 kg
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
Shipped to 153 countries
Shipped to 153 countries
More than 1M+ customers worldwide
More than 1M+ customers worldwide

In the Rig-Veda Vishvakarma has been perceived as the ultimate reality and his navel wherefrom all things emanate as Hiranyagarbha – the golden egg. As a matter of fact the Puranic Padmanabha imagery of Lord Vishnu : a lotus with Brahman mounting it rising from his navel, is largely influenced by this Rig-Vedic Hiranyagarbha form of Vishvakarma.

Thus, while on one hand the Rig-Veda visualizes Vishvakarma as Omnipotence and the abstract form of the creator God personified, on the other, it perceives him as the deity presiding over all craftsmen and architects, and sometimes as the Principal Architect of the Universe. Later, it was on this Rig-Vedic dual visualization of Vishvakarma that there emerged the Upanishadic concept of Brahman, as also that of Purusha who is Sadashiva, One who creates and creates out of Him, Himself the Creator as also the matter to create out of. Hence, while in later mythology Vishvakarma and Brahma merged into one divinity and emerged as one of the Trinity Gods in many traditions Vishvakarma was one of Brahma’s aspects that Brahma deployed to create as when in the Mahabharata Vishvakarma was put to build the Pandavas’ new capital Indraprastha ; obviously, he was treated as the divinity that worked by deployment, a status subordinate to a Trinity God.

In visual tradition the two divinities are seen as sharing some of the iconographic features and also some attributes but it identifies the two with absolute clarity. Both are four-armed images with bearded faces reflecting old age invariably conceived as seated in Padmasana, on a lotus seat or an ordinary one; however, while Brahma is a four-faced icon with Vaishnava ‘tilaka’ mark on the forehead, Vishvakarma’s images are conceived with a normal single face with ‘Shaivite ‘tripunda’ mark on the forehead. Contextual to his origin from Vishnu’s navel emerging therefrom riding a lotus, Brahma has usually a lotus seat while linked to creative process and thereby to mechanical and architecture sphere Vishvakarma usually has, as here in this statue, a manufactured seat. The images of Brahma are conceived as carrying in three of the four hands a ‘kamandala’ – pot with a spout, rosary and the book symbolic of the Vedas, and the fourth is held in ‘abhay’ – gesture of protection, the attributes that Vishvakarma images carry, as carries this marble statue, are ‘kamandala’, measure scale, book and noose – all abounding in greater symbolism, more so the scale – the tool of an architect, and the noose, the tool of dragging the inhabitants into the fold as also of dragging beyond the bonds of the material world although his own creation. The book in Brahma’s iconography is symbolic of Vedas; here inscribed Vishvakarma on it the book could mean his work-manual.

This marble statue of Vishvakarma, outstanding in its artistic merit, figure’s modeling, proportions, finish and absolutely balanced parts, has been installed on a seat consisting of artistically carved legs and a relatively simple top. The figure has been conceived as seated in ‘lalitasana’ – a sitting posture revealing great aesthetic beauty. Under his right leg suspending down there is a circular foot-raise and towards the left leg there perches a tiny white bird, a goose, often the part of Brahma’s iconography symbolising absolute purity. The left leg lies horizontally on the seat’s top in semi ‘yogasana’ posture. The figure’s face has been conceived with a narrow sharp nose, large open eyes with arched apexes and well trimmed eye-brows and an angular beard consisting of a mix of white and black hair. There is around his face a halo consisting of flames-like design. He is putting on a moderately sized headgear studded with rubies, emeralds and other precious stones. Whatever the position in later texts and traditions even today Vishvakarma is pan India the presiding deity of all mechanics and architects and special prayers and offerings are made to him at least once a year on Vishvakarma day. Not only the annual calendars of hundreds of engineering establishments carry on them an image of Vishvakarma most of the workshops in India have at least a framed photograph of Vishvakarma on their walls or a sculpture representing him, whatever its medium, enshrining their premises.

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.

How to clean and maintain marble statues?


Marble has been a preferred material for sculptors and artists for more than a thousand years. It is a rock that undergoes metamorphism which causes recrystallization of the original carbonate mineral grains. Marble comes in various colors, designs, and dimensions. Pure white marble is the most preferred type of marble for making sculptures and statues since time immemorial. White marble is especially used for sculpting stone monumental sculptures since ancient times. The natural shine and luster of the carbonate crystals of white marble give a lavish and beautiful appearance to the statue.

 

Marble stone statues are highly durable and can even withstand harsh weather conditions without getting corroded, therefore, they can be kept indoors or outdoors without getting damaged or weathered. Although these statues can last for many decades, their regular care and cleaning are essential to increase their longevity and beautiful appearance.


  • The simplest and basic way of cleaning a marble stone statue is to clear away dirt accumulated on the surface. Outdoor statues are especially prone to biological growth and dirt build-up that may take away their natural beauty. You may rinse the statue with warm water and mild soap to clean the dirt as much as possible. You can use a sponge or cotton cloth to scrape off dirt accumulated in crevices and cracks.

 

  • You must never allow water to stand on the surface of the statue for a long time. Standing water gets absorbed by the marble’s porous surface which results in its discoloration. Therefore, it is always recommended to dry-clean the statue with a towel or damp cloth.

 

  • Applying beeswax, a non-toxic product, on the surface of the marble statue offers protection against staining, dirt, and pollutants. It also polishes the surface and gives a natural shine to the statue.

 

Marble statues need periodical cleaning to maintain their flawless look. However, harsh and deep cleaning can result in making the statue look dull. If your marble statue is withering away, it is recommended to take the help of a professional cleaner. Marble is a delicate material and therefore needs proper care.

Marble Mastery Unveiled: The Artisan's Symphony in Sculpting Timeless Beauty

Marble is a soft and delicate metamorphic rock derived from limestone. It is composed mainly of recrystallized carbonate minerals. The appealing appearance of marble gives rise to the making of beautiful sculptures and statues. Jaipur city of Rajasthan, India, is considered the capital of marble carving where various marble idols of Hindu Gods and Goddesses are made. These magnificent statues are carved by skilled sculptors out of the purest white marble. The slight softness of white marble makes it easier to be carved and chiseled into any desirable form or shape. Another impressive feature of marble is that the calcite has a low refractive index that allows light to penetrate the stone before getting scattered out. This results in bringing a translucent appearance and luster to the marble sculpture. This is the reason why most sculptors prefer to work with marble for sculpting life-size statues that require intricate details, evoking a certain realism to the work.

There is a detailed or step-by-step process of developing the desired structure of a sculpture from marble stone. These steps are:

1. Clay mould

Most sculptors prefer to sculpt a preliminary model out of clay or wax to translate its complex and intricate details into the final stone sculpture with the use of calipers or a pointing machine. The plasticity of the clay mould helps sculptors capture the success of the final sculpture before carving the stone. The clay is moulded into the desired shape or form and this acts as a rough
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2. Roughing out

The second step of carving or sculpting is to remove large portions of unwanted marble stone. This task is done by using a special tool known as a point chisel. The pointed end of this tool is useful for splitting the large stone and removing big chunks that are not wanted. Usually, a mallet (a tool similar to a hammer) is used to transfer energy through the chisel to shatter the stone evenly and accurately.
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3. Refining the figure

Once the sculptors have determined the general shape of the sculpture, a toothed chisel or claw chisel is used to refine the stone. These tools create parallel lines in the stone to add texture to the figure. During this stage, the rough block of stone has now changed into the general shape of the sculpture.
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4. Adding the details

The sculptor is now ready to carry out detailed work to develop a more refined form of the sculpture. Tools such as rasps and rifflers are then used to enhance the shape into its final form. These tools finely create details such as frills or folds of clothing or locks of hair.
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5. Polishing

This is the last step in marble sculpting in which the sculptor uses materials such as sandpaper to bring out a natural sheen to the sculpture. The sandpaper is rubbed against the surface to make it smoother and flawless. Sometimes, tin oxide is also used to make the sculpture appear glossy and more translucent.
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Marble sculptures are highly durable and can last for many decades if maintained and taken care of properly. They are also extremely weather-resistant and therefore, can be kept outdoors or indoors. The exquisite beauty of marble statues elevates the aura of the space and emanates positivity all around.
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