Shilpi Artistry

Technique of Marble Sculpting

Shilpi artist at the quarry 

The details and great delicacy of rendering require that the stone used in sculpture remains hard, without losing its shape or chipping off unexpectedly. The stability and durability of the final form depends a great deal on the homogeneity of the stone. For this reason, the Shilpi artists [HYPER to tradition] work with the indigenous varieties available in the state, as they are extremely durable. The stones have to be selected carefully for their texture and for the lie of the stone (or the direction of growth). This lie also defines the quarrying technique employed. Where stone for sculpture is concerned, dynamiting of rocks is not recommended since cracks would be formed. The stone is cut by moving a series of wedges about 5 to 7.5 cm deep. These wedges are driven in carefully with heavy 4 kg hammers, resulting in the rocks breaking apart with clean edges. 

Mani working on a Gray Marble Trimurti 

Even the quarry workmen belong to the Shilpi artist-craftsmen community and hence the art is a continuous process, from material sizing to the finished pieces. The tools used by stone sculptors are made of mild steel in various sizes. They are the hammer and the chisel, the main tools of these sculptors for over 1500 years. The action of the sculptor is to peck out the stone, and not to cut it. To prevent it from cracking due to the vibration of the instrument, the image is always carved when the stone is laid flat on the ground, irrespective of its seated or standing posture.  

Symbolism in Stone 
The themes for most Serpi sculpture have always been religious in nature. Much of the elaboration has a strong basis in the mythology and Puranic tradition of India. An elaborate use of symbolism is employed to convey abstract, intangible, and often mystical meaning. The artists use dance and Yoga postures a great deal to heighten the effect of the ‘Great Penance’ composition. This lends both grace and movement to a frozen art form (as depicted in the bas-relief in Mamallapuram). Above all, the expression on the face of the image is held to be the most important part of the sculpture. In creating images for worship, the face is carefully carved to evoke a feeling of tranquility, reverence, and love in the heart of the devotee. After the completion of a sculpture, a ceremony known as nayanon-milan is conducted, wherein the image is invested with sight, life and breath, thus becoming a virtual living force. Subsequently, the image is ceremoniously placed in the garbha-griha or sanctum sanctorum. 

Creating A Living Wage for the Artists

Yoga Sculptures of India deals primarily with up-and-coming skilled artists who are typically underpaid for their work. These artists work from approximately 9:30 am -11:00 p.m. 6 days a week. Some are able to attend the University of Madras’ ‘Ministry of Textiles’ program which educates students in the fine art of stone sculpting. Workers make approximately 350 INR per day, which is about eight dollars, a barely sufficient wage given India’s booming economy. This money comes mostly from tourist sales, which drop off steeply in the hot summer months. During this time, employers often have to borrow money to pay their workers. *Our company buys enough marble sculpture for these workers to make triple to quadruple their normal income for as long as two months.*

GALLERY

© 2007 by Christopher Tompkins. Not to be used without express permission by the author.