Kali
Kali also known as Kalika is a Hindu goddess. Kali is the chief of the Mahavidyas, a group of ten Tantric goddesses who each form a different aspect of the mother goddess Parvati. Kali's earliest appearance is that of a destroyer of evil forces. She is the most powerful form of Shakti, and the goddess of one of the four subcategories of the Kulamārga, a category of Tantric Saivism. She destroys the evil in order to protect the innocent.
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Over time, Kali has been worshipped by devotional movements and tantric sects variously as the Divine Mother, Mother of the Universe, Adi Shakti, or Adi Parashakti. Shakta Hindu and Tantric sects additionally worship her as the ultimate reality or Brahman. She is also seen as the divine protector and the one who bestows moksha, or liberation. Kali is often portrayed standing or dancing on her consort, the Hindu god Shiva, who lies calm and prostrate beneath her. Kali is worshipped by Hindus throughout India and Nepal.
Iconogrphy
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in colour but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication and in absolute rage. Her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown wearing a skirt made of human arms and a garland of human heads, and she is also shown wearing a tiger skin. She is also accompanied by serpents and a jackal while standing on the calm and prostrate Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path. These serpents and jackals are shown to drink the blood of Rakta-bija's head which is dropping while the goddess carries it in her hand, and preventing it to fall on the ground.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector.
When the Sri Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
shiva : Brief Introduction
Shiva also known as Mahadeva is one of the principal deities of Hinduism. He is the Supreme Being in Shaivism, one of the major traditions within Hinduism. Shiva has pre-Vedic tribal roots, and the figure of Shiva as we know him today is an amalgamation of various older non-Vedic and Vedic deities, including the Rigvedic storm god Rudra who may also have non-Vedic origins, into a single major deity.
Shiva is known as "The Destroyer" within the Trimurti, the Hindu trinity that includes Brahma and Vishnu. In the Shaivite tradition, Shiva is the Supreme Lord who creates, protects and transforms the universe. In the Shakta tradition, the Goddess, or Devi, is described as one of the supreme, yet Shiva is revered along with Vishnu and Brahma. A goddess is stated to be the energy and creative power (Shakti) of each, with Parvati (Sati) the equal complementary partner of Shiva. He is one of the five equivalent deities in Panchayatana puja of the Smarta tradition of Hinduism.
Shiva is the primal Atman (soul, self) of the universe. There are many both benevolent and fearsome depictions of Shiva. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya. In his fierce aspects, he is often depicted slaying demons. Shiva is also known as Adiyogi Shiva, regarded as the patron god of yoga, meditation and arts.
The iconographical attributes of Shiva are the serpent around his neck, the adorning crescent moon, the holy river Ganga flowing from his matted hair, the third eye on his forehead, the trishula or trident, as his weapon, and the damaru drum. He is usually worshipped in the aniconic form of lingam. Shiva is a pan-Hindu deity, revered widely by Hindus, in India, Nepal and Sri Lanka.
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Bronze Finishing
This Kali product features a stunning Bronze patina finish. Our store takes pride in offering this exclusive patina, which involves a meticulous process utilizing organic materials such as butter and vegetable color. The aim is to recreate the appearance of an aged bronze statue, evoking a sense of timeless elegance.
The art of giving the bronze color to red copper is truly exceptional and is practiced by skilled craftsmen. With each piece, you not only acquire a beautifully finished Kali product but also pay homage to the artisans who are dedicated to preserving this rare and fading art form. The result is a unique and captivating aesthetic that adds a touch of sophistication and nostalgia to any setting.
Why use bronze Color?Bronze color refers to the distinctive hue that is characteristic of bronze metal. It is a rich, warm tone that falls somewhere between brown and copper. Bronze has been used for centuries in the creation of statues, sculptures, and various decorative items due to its unique aesthetic appeal.
While the production of bronze statues can be complex and challenging, particularly in the Nepali statue-making industry, the bronze color can still be achieved through alternative methods such as the Bronze finishing process. In Nepal, sand casting is commonly used for creating bronze statues, but the resulting quality may not always meet desired standards. The Lost Wax system, on the other hand, yields better quality but can be prone to damage during the intricate carving process, leading to a decline in its practice.
Despite the challenges faced in creating bronze statues, the Bronze finishing process offers a way for individuals who appreciate the appearance of bronze to still experience its allure. By applying this finishing technique to other materials, such as Kali, individuals can enjoy the look and feel of a bronze statue while preserving the essence of this revered art form.
Example of Bronze finishing
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Process: Sand Casting
This Kali has been created using the sand casting system, also known as sand molding casting. This widely employed manufacturing process utilizes a sand mold to produce metal products and components in various sizes and shapes. Sand casting holds significant popularity in the industry, accounting for approximately 60% of all metal castings. The sand casting process involves six primary steps. First, a pattern or replica of the desired sculpture, in this case, Kali, is created using a material like wood or metal. The pattern is then placed in a flask, which is a box-like structure divided into two halves. The next step involves packing the flask tightly with specially formulated molding sand, creating a mold cavity that matches the shape of the pattern. The pattern is subsequently removed, leaving behind a negative impression of the sculpture within the sand mold.
The third step is known as gating and risering, where additional channels and reservoirs are added to the mold to facilitate the flow of molten metal and compensate for any shrinkage during solidification. Once the gating system is prepared, the mold is carefully closed and secured. The fourth step involves pouring the molten metal, such as bronze or iron, into the mold through the gating system. After the metal has cooled and solidified, the mold is broken open, revealing the solid metal sculpture. The final steps involve removing any excess material, surface finishing, and polishing to achieve the desired appearance.
Sand casting offers several advantages, including its versatility in producing complex shapes, cost-effectiveness for both small and large-scale productions, and the ability to use a wide range of metals. However, it does require skilled craftsmanship and careful attention to ensure the quality and accuracy of the final sculpture. By utilizing the sand casting system, the Kali embodies the craftsmanship and artistry of the process, resulting in a captivating and unique metal artwork.
The process cycle for sand casting consists of six main stages, which are explained below
Mold-making -The first step in the sand casting process is to create the mold for the casting. In an expendable mold process, this step must be performed for each casting. A sand mold is formed by packing sand into each half of the mold. The sand is packed around the pattern, which is a replica of the external shape of the casting. When the pattern is removed, the cavity that will form the casting remains. Any internal features of the casting that cannot be formed by the pattern are formed by separate cores which are made of sand prior to the formation of the mold. Further details on mold-making will be described in the next section. The mold-making time includes positioning the pattern, packing the sand, and removing the pattern. The mold-making time is affected by the size of the part, the number of cores, and the type of sand mold. If the mold type requires heating or baking time, the mold-making time is substantially increased. Also, lubrication is often applied to the surfaces of the mold cavity in order to facilitate removal of the casting. The use of a lubricant also improves the flow the metal and can improve the surface finish of the casting. The lubricant that is used is chosen based upon the sand and molten metal temperature.
Clamping - Once the mold has been made, it must be prepared for the molten metal to be poured. The surface of the mold cavity is first lubricated to facilitate the removal of the casting. Then, the cores are positioned and the mold halves are closed and securely clamped together. It is essential that the mold halves remain securely closed to prevent the loss of any material.
Pouring - The molten metal is maintained at a set temperature in a furnace. After the mold has been clamped, the molten metal can be ladled from its holding container in the furnace and poured into the mold. The pouring can be performed manually or by an automated machine. Enough molten metal must be poured to fill the entire cavity and all channels in the mold. The filling time is very short in order to prevent early solidification of any one part of the metal.
Cooling - The molten metal that is poured into the mold will begin to cool and solidify once it enters the cavity. When the entire cavity is filled and the molten metal solidifies, the final shape of the casting is formed. The mold can not be opened until the cooling time has elapsed. The desired cooling time can be estimated based upon the wall thickness of the casting and the temperature of the metal. Most of the possible defects that can occur are a result of the solidification process. If some of the molten metal cools too quickly, the part may exhibit shrinkage, cracks, or incomplete sections. Preventative measures can be taken in designing both the part and the mold and will be explored in later sections.
Removal - After the predetermined solidification time has passed, the sand mold can simply be broken, and the casting removed. This step, sometimes called shakeout, is typically performed by a vibrating machine that shakes the sand and casting out of the flask. Once removed, the casting will likely have some sand and oxide layers adhered to the surface. Shot blasting is sometimes used to remove any remaining sand, especially from internal surfaces, and reduce the surface roughness.
Trimming - During cooling, the material from the channels in the mold solidifies attached to the part. This excess material must be trimmed from the casting either manually via cutting or sawing, or using a trimming press. The time required to trim the excess material can be estimated from the size of the casting's envelope. A larger casting will require a longer trimming time. The scrap material that results from this trimming is either discarded or reused in the sand casting process. However, the scrap material may need to be reconditioned to the proper chemical composition before it can be combined with non-recycled metal and reused.
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