Stone
works are the gifts to all mankind by combination of skills and long
time consuming process of artisans using simple tools and methods
that have been used for centuries. Living in artistic stone
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The
history of Nepalese stone sculpture goes back at least two thousand
years. The survival of the oldest sculpture in the country indicates
that stone sculpting was among the first art forms to have developed
in the country. Unlike the lasting quality of stonework, samples of
wood and terra cotta that have been found in Nepal date back only to
the seventeenth century. The oldest stone image is that of the
Yaksha Bodhisattva, which dates back to the first century AD.
The stone
sculptures found here during the early centuries seem to be
reminiscent of a similar craft to those found in Mathura. Old stone
works found in both countries share a similarity instances,
expressions, coiffures, ornaments, and decorations. Sculptures in
the Varada mudra art from, a gesture of charity that is easily
distinguished by the awkward right hand, cupped palm, and long
disproportional fingers, are most common in the early stone art of
Nepal, mainly from the second and third centuries.
Different
earpieces, armlets, bracelets, anklets, styles of halos, folds of
garments, manners of sash, and many others are the distinguishing
features that classify the variety of art forms found in stone
sculptures. For example, the sculptures of female deities like the
mother goddess from Haugal Bahal and Vaisnavi from Kirtipur (third
century) have a central form that rises from their heads; this may
be an ornament that was worn during that century. Their hair is also
parted in the middle with tresses falling from both sides of the
forehead. This trend in hairstyle can only be seen in sculptures
from the early centuries and seems to have become lost by the
Licchavi, Thakuri, or Malla periods. Brahman sculptures formed
during and after the fourth century can be seen holding a round
object, which represents a fruit, in their right hands, known as
Hamsaya mudra. This trait in stone sculpting continued throughout
the Licchavi, Thakuri, Malla and Shah Dynasties.
If one
visits the historical sites of Kathmandu valley, one can see and
appreciate the many sculptures of deities, animals, serpents,
people, bells, water fountains, vessels, dwarfs, and Garudas
(mythical half-bird half-human creatures) that were made during the
Malla era.
Stonework
produces a mix of representations from Hindu, Buddhist, and
animistic and tantric beliefs. Different stones are used to yield
different levels of detail and each requires different techniques to
be applied. High quality sandstone is soft and used for work that
requires great detail. Granite is the preferred stone because it
does not erode as fast as sandstone when exposed to the environment.
Marble is only worked with when an order is done as there is little
aesthetic interest in marble and a small market for that particular
stone.
Stonework Process
Stone
sculpture is seen everywhere in the Kathmandu Valley, along trekking
trails, and by the riversides. Granite, sandstone, and even marble
is used. Carvers in the Valley bring in stone from Dakshinkali or
Gadavari quarries. Artisans use primitive tools. The set square and
the primitive compass are considered "modern." Some of the carvers
are beginning to use the drill.
It is up
to the artist to envision what he or she wants to create. References
can be made to history or the imagination can rule. A rough sketch
is made on stone. It is entirely the "feel" of the artisan that
determines the quality of the product. Lines are drawn by the
chisel. Experience teaches the artist how to work. The only way they
learn is through apprenticeship. Experience ranging over generations
helps many. The art of stonework is passed on from grandfather to
father to son. The clans are tightly knitted
Carvers
are used to working with traditional themes and images. Deities,
serpents, yogis, oxen, lions, and the Buddha are some of the images
that they work on for their clients. These three young men represent
the diverse ethnic groups that are working at stone carving. Tamangs,
Newars, and even the Brahmins and Chettris are working as carvers in
Patan. While few new images were being made for decades, ancient
images were stolen and sold in the international market. Today,
Nepal has young blood that can replace what was lost and in equal
finery.
Stone is a
heavy cargo and only a small amount can be shipped to foreign
countries at a time.
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