Ganesh and Balaji Rosewood Statue for Rituals

An ideal stature for carrying out your rituals. Hand carved Rosewood statue that can add beauty to your Home and for your Poojas. The Idol and the stage can be moved separately for convenience.

Thirupathi Balaji statue made of Rose Wood with fine Handmade Carvings. The statue is placed over a stage (peedam) which is 20 inches tall ( 1 ft 2" approx). 

The Dimensions are 66" x 48" x 20" (in inches approx) (height x Width x depth). 

Exclusive Rosewood made Ganesh with fine handmade carvings. A much gigantic structure measuring 96" x 48" x 24" (approx in inches height x width x depth). The peedam(base) alone is 20" tall which provides the ideal projection for the statue.

Rosewood made Ganesh with handmade carvings and Inlay work. 

Ganesh is placed over a peedam(base) of 15" tall which makes it suitable for Pooja. Dimensions of this structure are 50" x 30" x 15" (approx in inches height x width x depth).

Custom sized Statures are also made against orders.

For more details, visit our Online Store or follow us on Facebook.

Crewel Embroidery

Crewel work is a type of surface embroidery over fabric that involves several embroidery stitches and primarily made up of wool. The technique is predominantly found over thousand years.

The technique involves free style, unlike several classical thread works. For the past three centuries, fabric like linen or cotton is used for making this work. But recently, crewel work is being made on silk, velvet or even jute.

A typical needle with wide body and a sharp pointed eye is made use of in this style. The scheme employed in making a crewel artwork is explained below.

At first, the design that needed to be threaded is “screen printed” over the fabric. But classically, they were making use of chalks or other marking objects to solve this purpose. With the outline as the base, the embroidery is carried over it.

Either traditional or modern contemporary patterns can be used as a design. The traditional designs are highly stylized floral and animal designs with flowing vines and leaves. And the modern patterns on the other hand, may display wildlife, or individual portraits.

Crewel embroidery is special when compared to other forms of embroidery as threading over wool may require a raised dimensional work. Also, specifically, the same stitching styles cannot be adopted here.

Some improvised stitching patterns such as Outlining stitches, Satin stitches, Couched stitches, Seed stitches and French knots are followed while carrying out a crewel work.

Crewel embroidery is used to create elaborate and expensive bed hangings, curtains, clothing and wall hangings. Recently other attractive items such as Lamp Shades, Handbags, have been added to the ever growing list of crewel home furnishings. 

This link displays a list of Crewel works, handbags and so on.

Singing Bowls

Singing bowls are similar to bells, but doesn't hang and rather sits with its bottom resting. The outer surface of the singing bowl vibrates to produce sound characterized by a fundamental frequency and two audible harmonic overtones.

Bronze bells from Asia have been discovered as early as the 8th–10th century BC and singing bowls are thought to go back in the Himalayas to the 10th-12th century AD.

In general, Singing bowls are played by striking the rim of the bowl with a padded mallet. They can also be played by rubbing a wood, plastic, or leather wrapped mallet around its rim to emphasize the harmonic overtones and a continuous 'singing' sound.

Singing bowls produce a unique sound and also physical vibration that can be felt. They stimulate better blood circulation and are an aid to the central nervous system.

As a result, they are used to treat cancer patients and also for post traumatic stress disorder. They are predominantly used in Buddhist monasteries for meditation.

Singing bowls are used worldwide for meditation, music, relaxation, and personal well-being. They are used by a wide range of professionals, including health professionals, school teachers, musicians and spiritual teachers.

Both antique and new bowls are widely used as an aid to meditation. They are also used in yoga, music therapy, sound healing and religious services.

The art of making singing bowls in the traditional way is often called a lost art, but traditional craftsmen still make singing bowls in the traditional manner. They are one of the longest made traditional objects still being.

Singing bowls were historically made throughout Asia, especially Nepal, China, India and Japan.

South Indian Bronze – Chola Bronze:

South Indian Bronze is one of the best bronzes in the world. And indeed Chola period is considered as the “Golden period of South India Bronze”. Bronze casting which is familiar to India, mostly originated during this period dated around 10^th-14^th century^.

Hundreds of Chola bronzes have been excavated in several parts of India which stands evident to this fact. The making procedure behind such Chola Bronze artifacts is summarized below.

Chola period bronzes were basically created using the lost wax technique. Beeswax and a type of camphor are mixed with a little oil and kneaded to form a mixture. The figure is sculpted from this mixture fashioning all the minute details. This is the wax model original.

The entire figure is then coated with clay made from termite hills until the mold reaches the necessary thickness. Then the whole thing is dried and fired in an oven with cow-dung cakes. The wax model melts and flows out, while some of it vaporizes.

The metal alloy of bronze is melted and poured into the empty clay-mold. A particular bronze alloy known as the Pancha Loha (Composition of Five different metals viz. Gold, Silver, Brass, Lead and Copper) is used here.

When the metal has filled all crevices, settled, hardened and cooled, the mold is broken off. The bronze figure thus obtained is then cleaned and finer details are hand carved by the artist.

Blemishes if any, are removed, smoothened, and polished well. Hence each bronze icon is unique and the mold cannot be used to replicate.

The Chola bronze structures are very expressive, graceful, elegant, beautiful, and above all lively. It has more relevant clarity when compared with other forms of metal sculptures.

Lost Wax Casting method in making Bronze Sculptures

Lost-wax casting is the process by which a Bronze sculpture is cast in olden times. Intricate works can be achieved easily by this method. This is an ancient process dating back up to thousands of years to ancient Egypt, Greece and Rome.

It is still the best method for capturing exquisite detail in metal objects, which could not otherwise be produced given the complexity of their design. The lost wax method is still employed today in the areas of sculpture, fine jewelry, and in some handicraft work. 

It is a demanding and expensive process, but still provides great detail and individuality to the product.

The process involved in making a lost wax sculpture can be carried out by direct or indirect method. The Direct method involves making a Wax model and developing a Bronze sculpture from the same.

But the Indirect method is quite different, as it involves making a model that may not be of wax only. The steps involved are listed below in detail.

•     Making a model out of Wax or oil-based clay as these materials retain their softness. The mould is made in such a way that the inner layer is prepared from latex or silicone and the outer mould is prepared from plaster.
•    After making the mould, the wax is poured into it and left to dry for few weeks or so.
•   Once the mould is dried, the wax is removed to split up the original mold from the hollow wax copy. This copy could be reused for making multiple copies of the same sculpture.
•    Each hollow wax copy is then chased. The wax is dressed to hide any imperfections. The wax now looks like the finished piece.
•    The wax copy is sprued to provide paths for molten casting material to flow and air to escape.
•    A sprued wax copy is dipped into silica and then the ceramic shell mold material is made.
•    The ceramic shell-coated piece is heated and the wax melts and runs out. Now all that remains of the original artwork is the negative space, formerly occupied by the wax, inside the hardened ceramic shell.
•    The ceramic shell is allowed to cool. Cracks or leaks are patched with thick refractory paste.
•    The shell is reheated to harden the piece and remove all traces of moisture. Metal is melted and then poured carefully into the shell.
•    The rough casting is finally removed.
•    The filing and polishing is finally done to recover the product from any kind of shruds. The Bronze sculpture is thus made by Lost wax method.

Check out this video, that portrays the full Lost Wax Casting scheme here.

How to select Brass lamps while buying?

Brass Lamps are available in various heights and various forms. But essentially, the lamps with deity idols adds to the ethnic beauty as it sports both traditionally and also provides a rich look. Several deities are involved in this composure but very few like Ganesh, Lakshmi and few birds like Amsa ( Swan look alike) make it to the top. 

In contrast to the design, the height and the carvings over the lamp also plays a major role.  

On the other hand, not all lamps are made of solid Brass piece and may be hollow in the core making the lamp weak. Some lamps are just molded and may not have Hand made carvings which results in a dull look to the lamp. Also the facial image of the deity present over the top may not be clearly furnished. 

But all these aspects are to be considered while buying a Lamp. Just because, a lamp is basically used for illumination, it does not serve that purpose alone, it also adds to the beauty of your Home interiors. In that case, selecting a proper lamp that suits all the above mentioned constraints is mandatory. 

The album below displays some of the widely purchased Brass lamps in the market:
http://www.facebook.com/media/set/?set=a.470726316317655.110770.358499324207022&type=1&l=ef688d4530

Still interested to know more about Brass lamps, you can visit our physical store that may suit all your expectations. For more details, click here.  

Electro Plated Nickel Silver

Electro Plated Nickel Silver, E.P.N.S. is highly polished brass plated with Nickel and then with Silver of varying thickness and then polished again to give a very rich look of silver. The thickness of silver may vary from less than one micron (commercial) to several microns. Electroplating plants are used for this purpose.

Several finishes such as the shiny silver, dull (matt) silver and antique silver are done over the electroplated items. The various items are then decorated with very fine etching and engraving bringing out beautiful and intricate designs. 

Several items such as candle stands, tea sets, plants, boxes, lamps, coasters, jugs, ashtrays, wall hangings, paper knives, wine coolers, ice buckets, beer mugs, goblets etc are made using this material.

The products are categorized into several grades by the manufacturer. A1 is the highest grade that has been manufactured so far. The higher the grade, the longer the cutlery will last. 35 Microns of EPNS will last approximately 40 years, but this depends on usage, storage and care.

Despite its name, EPNS contains no silver composition, but is an alloy of nickel, zinc & copper. A layer of pure silver is deposited on the base metal to give a silver finish by electroplating.

What is Paper Mache ?

                      

                                                   

Paper Mache, is a composite material consisting of paperpieces or pulp, sometimes reinforced with textiles, bound with an adhesive, such as glue,starch, or wallpaper paste. In French, it means Chewed paper.

Two main methods are used to prepare papier-mâché. One makes use of paper strips glued together with adhesive. The other method, as the name suggests, uses paper pulp obtained by soaking or boiling paper to which adhesive is then added.

The traditional method of making papier-mâché adhesive is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream. Other adhesives can be used if thinned to a similar texture, such as polyvinyl acetate-based glues. Adding oil of cloves or other additives such as salt to the mixture reduces the chances of the product developing mold.

For the paper strips method, the paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto the surface and allowed to dry slowly. The strips may be placed on an armature, or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed.

Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water-repelling paint. Before painting any product of papier-mâché, the glue must be fully dried; otherwise mold will rot from the inside out.

For the pulp method, the paper is left in water at least overnight to soak, or boiled in abundant water until the paper dissolves in a pulp. The excess water is drained, an adhesive is added and the papier-mâché applied to a form or, especially for smaller or simpler objects, sculpted to shape.

Cleaning Procedure for Silver Items

Beautiful silver items needs cleaning time-to-time. But the methods involved for cleaning may vary depending upon the value and design of the product. 

• Silver artifacts with carved patterns should be hand polished with a high quality silver cream or polish. Hand rubbing develops patina on silver which adds to its beauty. 
• Ornamental silver pieces that have been lacquered may be washed in lukewarm water that removes the lacquer. 
• For smaller products, the best silver polish is white tooth paste. Dab some on your finger, and rub into the tarnish. 
• For bigger products, use baking soda and a clean, damp sponge. Make a paste of baking soda and water. Scoop the paste onto the sponge, and rub the paste onto the silver. Rinse with hot water and dry it with a soft, clean cloth. 
• For badly tarnished silver, leave the baking soda paste on the silver for an hour or so, before cleaning with sponge and hot water.

In case of silver flatware, they should be washed in warm sudsy water, rinsed well and then dried immediately. Do not let silverware with hollow handle remain in water for long as a combination of heat, water, and detergent may loosen soldering. Electrolytic methods of cleaning with aluminum-salt-soda are not recommended for cleaning silver. 

Do not spill dry detergent on flatware, it may cause dark spots.

Burmese Lacquerware

Lacquer is the sap tapped from the varnish tree Thitsee that grows wild in the forests of Myanmar. It is straw-colored but turns black on exposure to air. When brushed in or coated on, it forms a hard glossy smooth surface resistant to heat.

Lacquer vessels, boxes and trays have a coiled or woven Bamboo strip base often mixed with horsehair, and the thitsee may be mixed with ashes or sawdust to form a putty-like substance called thayo which can be sculpted.

The object is coated with thitsee and thayo layers to make a smooth surface, polished and engraved with intricate designs, commonly using red, green and yellow colors on a red or black background. 

Shwezawa is a distinctive form in its use of gold leaf to fill in the designs on a black background.

Palace scenes, scenes from the Jataka tales, and the signs of the Burmese Zodiac are popular designs and some vessels may be encrusted with glass mosaic or semi-precious stones in gold relief. 

The objects are all handmade and the designs and engraving done free-hand. It may take three to four months to finish a small vessel but perhaps over a year for a larger piece.

The finished product is a result of teamwork and not crafted by a single person.

Click here to find more such products.

How to Maintain Brass Products

Brass is an alloy of zinc, copper and, sometimes other metals. However, brass can accumulate dirt and grease deposits, and may also tarnish.  The few hints given below may come in handy over maintaining such Brass products.

It is essential to determine whether polishing and cleansing is really needed as some tarnishes produces a desirable patina that enhances the looks of the product.

Cleaning procedure for mild dirt and oily presence over Brass involves applying soap water or considerable amount of toothpaste with water or vinegar over the surface to remove them.

Another method is, mix baking soda and white vinegar together to create a paste. Then, rub the paste onto the brass surface that you wish to clean. Rinse, and buff with a dry cloth to make it bright.

In some cases that involves usage of Chemicals, apply varnish removing chemical with a paint brush over the tarnished area. (Exercise care while using chemicals)

On the contrary, Brass polish may also be applied over the damaged region by means of a cloth and then wipe it with a dry cloth to give a shiny appearance.

Once all the cleaning works are over, reapply lacquer over the Brass surface as a protective coat.

For Brass plated objects, do not use any sort of abrasive cleaning techniques, as that could easily wear through its thin layer.