Makrana marble handicraft is the art of creating three-dimensional forms from marble. Sculpture is among the oldest of the arts. Even before painting cave walls, early humans fashioned shapes from stone. From these beginnings, artifacts have evolved to their current complexity.
Among the commonly available stones, only marble has a slight translucency i.e.subsurface scattering that is comparable to that of human skin. It is this translucency that gives a marble sculpture a visual depth beyond its surface and this evokes a certain realism when used for figurative works. Marble also has the advantage that, when first quarried, it is relatively soft and easy to work, refine, and polish. As the finished marble ages, makrana marble handicraft becomes harder and more durable. Preference to the cheaper and less translucent limestone is based largely on the fineness of marble’s grain, which enables the sculptor to render minute detail in a manner not always possible with limestone; it is also more weather-resistant.
makrana marble handicraft is the work begins with the selection of a stone for carving. The artist may carve in the direct way, by carving without a model. Or the sculptor may begin with a clearly defined model to be copied in stone. Frequently the sculptor would begin by forming a model in clay or wax, and then copying this in stone by measuring with calipers or a pointing machine. Some artists use the stone itself as inspiration; the Renaissance artist Michelangelo claimed that his job was to free the human form trapped inside the block.
When he or she is ready to carve, the carver usually begins by knocking off, or “pitching”, large portions of unwanted stone. For this task he may select a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage, which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks. The sculptor also selects a mallet, which is often a hammer with a broad, barrel-shaped head.
The carver places the point of the chisel or the edge of the pitching tool against a selected part of the stone, then swings the mallet at it with a controlled stroke. He must be careful to strike the end of the tool accurately; the smallest miscalculation can damage the stone, not to mention the sculptor’s hand. When the mallet connects to the tool, energy is transferred along the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. makrana marble handicrafts is the “roughing out” stage of the sculpting process.
Once the general shape of the statue has been determined, the sculptor uses other tools to refine the figure. A toothed chisel or claw chisel has multiple gouging surfaces which create parallel lines in the stone. These tools are generally used to add texture to the figure. An artist might mark out specific lines by using calipers to measure an area of stone to be addressed, and marking the removal area with pencil, charcoal or chalk. The stone carver generally uses a shallower stroke at this point in the process.
Eventually the sculptor has changed the stone from a rough block into the general shape of the finished statue. Tools called rasps and rifflers are then used to enhance the shape into its final form. A rasp is a flat, steel tool with a coarse surface. The sculptor uses broad, sweeping strokes to remove excess stone as small chips or dust. A riffler is a smaller variation of the rasp, which can be used to create details such as folds of clothing or locks of hair.
makrana marble handicraft is final stage of the carving process is polishing. Sandpaper can be used as a first step in the polishing process, or sand cloth. Emery, a stone that is harder and rougher than the sculpture media, is also used in the finishing process. This abrading, or wearing away, brings out the color of the stone, reveals patterns in the surface and adds a sheen. Tin and iron oxides are often used to give the stone a highly reflective exterior.