Lost wax still enthralls, and is not likely to be lost for another millenium and more. Kumud Mohan recaptures the 8000-year-old fascinating story of Indian bronzes.
A slim
sixteen-year-old with hair tied up in a stylish crescent-shaped braid
behind her head. One arm covered with bangles from shoulder to wrist,
placed elegantly on the thigh. The other thrown carelessly akimbo in
a sharp, angular bow. One leg pushed forward gracefully in a dancing
posture - portraying the epitome of perfection in the elements of
art. So precious that she must be constantly shielded from the evil
eye.
The model of the 4,600-year-old dancing girl from Mohenjodaro -
one of the finest examples of ancient bronzes in the world - is
permanently encased in bullet-proof glass at the National Museum,
New Delhi. Her exquisite craftsmanship indicates centuries of trial
and error that must have preceded to attain that level of
perfection, but the story of the technological progress has been lost
to the ravages of time.
Metallurgy on
the Indian subcontinent is traced back to 6,000 BC at Mehrgarh on
the Bolan Pass in Baluchistan. After that, there is no exact evidence
of how the technology developed. Perhaps there were cross-cultural,
cross-continental exchanges. Metal casting was known in all
continents except South America and Australia as early as 3,000 BC.
In the Indian subcontinent, the tradition of casting metal images
is believed to have started somewhere in the north-west, travelled
through the heartland of the country, and finally reached south India
some 2000 years ago. Well-formed metal images are believed to have
been crafted from 3,000 BC onwards, and have been discovered at the
Harappan civilisation sites of this period.
The images were
secular, simple and natural to start with. Like those of the dancing
girl, birds, animals, chariots or bullock carts in the Indus Valley
Civilisation. Later, these images acquired religious connotations,
inspiring Indian artists and craftsmen from different regions to
attain unparalleled heights in the of portrayal of the Perfect Form.
Man, after all,
was considered to be the nearest-to-perfect creation of God --
moulded in His very own image. God made man, but so did man make
God. The images of God created by man were more beautiful, more
graceful, more powerful, forever young, and radiating a divine
benediction: love, peace, prosperity, protection and serenity.
The
shilpkar or artisan - sculptor in this case - who developed
an innate relationship with his work as he translated through his
hands the inner image of God in his heart, learnt the lesson of
detachment alongside. He made the offering of his labour of love
and devotion to a temple without a single trace of his name on it,
knowing fully well that like other people he too would be debarred
from entering the sanctum later on. (An injunction of the "higher
caste" priests to maintain their mystique over ordinary
mortals).
The
bronze images were often similar to the stone sculptures in which
craftsmen had developed considerable skill from generation to
generation. Metallic images, however, were lighter and could be
worked upon all sides with greater ease, resulting greater finesse.
Also, they were sturdier. Many of these images, described as chala
murtis or movable icons (unlike the achala or static ones
placed inside the sanctum sanctorum), were transported on chariots
during festival processions. On these occasions they were beautifully
adorned with clothes and jewelry, giving an opportunity to the old,
infirm and the "lower caste" people to pay their homage to
the deity. (Tiny rings to facilitate the insertion of rods for
transportation can be spotted at the sides of the pedestals of some
of the bronzes).
The iconic
bronzes in India depict all the major ancient religions: ">Hinduism
(Shaivism and Vaishnavism), ">Buddhism and ">Jainism. They received a
special impetus during the Gupta-Vakataka period (4th-6th century
AD) when ancient texts on iconography texts were codified and royal
patronage for the arts reached its zenith. The Gupta idiom,
characterised by simplicity, softness, sophistication and
spirituality of expression, displayed a refinement of form delineated
by soft contours and elegance of posture. These graceful qualities
gradually degenerated with time, giving way to greater
ornamentation, except later in south India.
Regional
variations in iconographic presentation developed in different
areas, depending upon the availability of raw material, contemporary
inclinations, the skill, imagination and originality of the
craftsmen, as also the theoretical formulations of local priests and
the tastes of the patrons. The higher brass content in sculptures
from Kashmir and Himachal imparted the bronzes with a yellowish
tinge.
Cire
perdue, or the lost wax process used to cast metal images in
India, was described as Madhucchista Vidhana in Silpashastra, a
treatise on craftsmanship. The images cast were both ghana
(solid) or sushira (hollow).
The image was
first styled with bees-wax mixed in the right proportions with castor
oil, lamp soot, incense and camphor. Creating the image of a deity
raised the social status of the shilpkar or craftsman. So, putting
his soul into his effort, he sought to give lyrical expression to
his inner music in every stroke.
The wax image
was thoroughly coated with a solution consisting of fine clay from
ant-hills mixed with paddy husk so that it entered every crevice.
Next followed a thicker coat of clay with a conveniently camouflaged
holes to allow molten wax to flow out later on. Before that, the
mould had to dried naturally in the shade to avoid cracking.
The dried solid
mass of clay was placed in a kiln and once the wax had flowed out,
the hole was plugged. When the right temperature was reached,
sufficient metal was poured in to completely replace the wax. The
piece was shaken vigorously to prevent the formation of air bubbles.
After that it was left aside to cool. Finally, the burnt earthen
mould was broken to reveal an unfinished image -- ready to be
cleaned, polished and finished meticulously with fine tools.
Since the mould
had to be destroyed in every case, the process had to be repeated in
all details for every single piece.Thus bronze images made by the
lost was process were all unique.
Cire perdue, the
thousands-of-years old metallurgical process devised to cast Indian
bronzes, has not lost its relevance today. It has served as a model
for modern processes and is in fact an essential part of both cottage
and large scale industries -- including the automobile and aircraft
industry.
Bronze is a
generic term for non-iron metallic alloys that are sometimes enriched
with gold or silver.
Amongst Indian
bronzes, in the beginning mainly copper with tin was used for making
artifacts and iconic images. Later on, the usage of five metals
(copper, gold, silver, tin and zinc) came into vogue. The alloy,
panchloha, symbolised panchbhutian, the five basic elements - earth,
water, ether, air and fire - denoting the omnipresence of God and
Nature.
In
ancient western civilisatons, bronze - an alloy of copper with tin --
was of exceptional importance since it was used to make gun metal,
armour, machinery and the massive bells associated with European
history. Besides being harder than copper, bronze could be melted
more easily and therefore cast into desired shapes.
Bronze was
comparable in strength and durability with iron. Its historical
replacement by iron for making tools, weapons and machinery was more
because of the easy availability of iron, rather than any inherent
advantage of iron over bronze.
The pleasant
patina associated with ancient bronzes is actually a protective layer
formed by the action of salts, moisture and particulate matter
present in the atmosphere. Lacquering is not a desirable method
for preserving precious bronzes as it cracks after a while leading
to fungal infection and further erosion.
The best
solution for preserving bronzes is to keep them in a dry, cool and
clean atmosphere, and to avoid drastic changes in temperature and
light.
SHIVA
NATARAJ portrays the ultimate scientific philosophy in the body
language of Indian iconic imagery.
The universe is
believed to have been created by the vibrations of Shiva's kettle
drum. His ceaseless cosmic dance of destruction and creation depicts
the ceaseless motion within each element despite its apparent state
of rest. ( Remember the constant motion of electrons within atoms?)
The five-pronged flames emerging from Shiva's aureole (a circle,
which has no beginning or end) signifies the five basic elements as
also the five ceaseless functions of Shiva (creator, preserver,
destroyer, liberator and eliminator of ingorance).
Quoting an
ancient hymn, Mr. J.E. Dawson, Keeper (Archeology), National Museum,
New Delhi, elaborates:
"O Lord,
thy sacred drum has made and ordered the heavens and earth and other
worlds of innumerable souls. Thy lifted hand protects both the
conscious and unconscious order of thy creation. All these worlds are
transformed by Thy hand, bearing fire. Thy sacred foot, planted on
the ground, gives an abode to the tired soul struggling in the toils
karma (causality). It is thy lifted foot that grants eternal bliss to
those who approach Thee."
KALIYA MARDAN, a triumphant
Lord Krishna holds the tail of a subjugated Kaliya -¤ the king
of serpents - who was causing havoc in the river Yamuna flowing
through Braja Bhoomi, Krishna's childhood playground. Krishna dances
on Kaliya's hood held in anjali mudra (bowing reverently).
Mr. Sadashiv V.
Gorakshkar (formerly President of Commonwealth Association Museums
and Director, Prince of Wales Museum, Western India) conveys the
environmental message behind the religious presentation:
"Remember,
in that era of religious beliefs, scientific reasoning coated with
myths and rituals was easily accepted and followed. Krishna, for
instance, exhorted the people of Braja to worship the Govardhana
mountain with its life-giving vegetation, rather than Indra, the lord
of rain and thunder... Kaliya was polluting the Yamuna. By
vanquishing Kaliya, an effort was made to cleanse the river waters.
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