Mysuru has long been renowned worldwide for its vibrant Dasara celebrations. However, now, for sometime to come, Mysuru will also be known as the birthplace of acclaimed sculptor who carved ‘Balak Ram,’ all thanks to the talented artist Arun Yogiraj, a third-generation sculptor from Mysuru.

Arun’s remarkable achievements have made Mysureans proud and has also solidified our city’s reputation as an abode of art and culture.

Arun’s three notable sculptures — the statues of Adi Shankaracharya in Kedarnath, Netaji Subhas Chandra Bose at India Gate in New Delhi, and now, Balak Ram in Ayodhya — stand as a testament to his exceptional skill and dedication.

Star of Mysore Managing Editor Vikram Muthanna spoke to Arun Yogiraj about his sculpting journey. Excerpts…

Star of Mysore (SOM): You have three prestigious sculptures in India. How did you get a breakthrough into North India as not many decision-makers there would know about artisans from the South?

Arun Yogiraj: Our biggest drawback is that we are far away from Delhi and getting access to decision-makers is not easy. I was able to get access to Delhi through the statue of Adi Shankaracharya, commissioned by Jindal Steel Works (JSW) through a CSR fund.

The company had taken up the restoration works of Adi Shankaracharya’s Samadhi, which was damaged in floods. JSW contacted various States asking for names of stone artists.

In Karnataka, they approached Dr. Mohanrao B. Panchal, Head, Department of Visual Arts, Kannada University, Hampi, who referred the names of five artists and I was one among them.

The company asked the artists to submit a 2-foot tall model of Shankaracharya. The models were presented to Prime Minister Modi and he liked my model. Later, I received a call informing me that my model was selected and was asked to sculpt the bigger statue.

SOM: It is said, you almost didn’t get to sculpt Subhas Chandra Bose’s statue. What happened?

Arun Yogiraj: I was in discussion to sculpt Netaji Subhas Chandra Bose’s statue. In the meantime, a meeting with the Prime Minister was pending as the PM wanted to meet me personally after the installation of Adi Shankaracharya’s statue in Kedarnath.

The meeting kept getting postponed. So I requested our Mysuru-Kodagu MP Pratap Simha to help me.

Since I had agreed to sculpt the statue of Subhas Chandra Bose, I had sculpted a miniature stone idol of Netaji. By this time, Pratap Simha got an appointment with the PM. He then not only helped me carry the small statue of Netaji in the plane despite weight restrictions but also made me stay at his MP residence in Delhi.

During our meeting, PM Modi enquired about the progress of Netaji’s statue. I informed him that I had not received any work order and that some people were approaching me for subcontract work for Netaji’s statue! 

The PM was surprised and immediately instructed Union Minister Pralhad V. Joshi to set the matter right.

After this, Union Minister for Culture G. Kishan Reddy was summoned. Even he was shocked to learn that I had not received any work order. Both Pralhad Joshi and Pratap Simha followed up and finally, I received the work order on June 13, 2022.

If I had not spoken to our MP and had he not got the Prime Minister’s appointment immediately, I would have missed my chance to sculpt Netaji’s statue. It would have probably been sculpted by someone else and credit would have gone to some other person who didn’t even sculpt it as it would have been subcontracted.

How Arun Yogiraj got selected to sculpt Balak Ram

SOM: How did you get selected to sculpt Balak Ram’s idol?

Arun Yogiraj: It all started with the search for the artist in January 2023. Three sculptors from Karnataka and another from Rajasthan, who are known to me, were informed about the work. But I was not informed.

I was disappointed that even though I had completed two national projects (Netaji and Adi Shankaracharya), I was not informed. But I consoled myself saying that I had already completed two major national projects, so it’s okay.

But then in April 2023, a meeting was held at Delhi’s Indira Gandhi National Centre for the Arts (IGNCA) to finalise the artists who will sculpt Balak Ram. In that meeting, IGNCA Member-Secretary Dr. Sachchidanand Joshi, who had personally seen my work in Delhi, was surprised not to see my name in the list of artists shortlisted to sculpt Balak Ram. Dr. Joshi then asked the Shri Ram Janmabhoomi Teerth Kshetra Trust to invite me to immediately present my work.

I was called overnight to Delhi. A few weeks later, 11 artists were shortlisted and three of them were finalised, I was one among them.

SOM: What style of sculpting did you decide on? 

Arun Yogiraj: I had to connect both North and South India and the black stone idol connects well with the Southern part. While sculpting the idol, I ensured that the jewellery was carved in Hoysala style. The attire was sculpted in  North Indian style and again the ‘kankana’ was sculpted in South style.

Lord Hanuman and Garuda have been sculpted in Tamil Nadu style. The Dashavathara has been sculpted with reference to North Indian temples. The Balak Ram idol is an amalgamation of the best Indian styles since the idol belongs to the entire nation.

SOM: What was your routine in Ayodhya when you were sculpting? 

Arun Yogiraj: The first day of work began by offering ‘puja’ to the stone as per rituals. The sculpting works began with offering ‘shila puja’ and tying ‘kankana’ to our hand which restricts us from taking up other works until the completion of work in progress. I made sure the ‘kankana’ was also tied to the hammer that I used for sculpting the idol.

For us, it was only ‘Satwik’ food that was allowed to be consumed. We were provided with sprouts every day, as we needed a lot of protein to go with our physical work. We were also taught yoga but when my first idol of Balak Ram was rejected, I stopped yoga as I was working in double shifts to carve another one.

SOM: You said that your first idol was rejected. Can you explain?

Arun Yogiraj: The first sculpture was 70 percent complete when a certain test conducted turned negative. Periodic tests are conducted to see the integrity of the rock. Owing to the rejection of the first idol, I lost three months.

Later, I started to sculpt another idol in September with another stone, also brought from Mysuru. Initially, I felt a bit nervous as I had lost time but on the other hand, I got clarity of what I needed to create.

Sculptor’s Studio in Mysuru

SOM: Tell us about your team which worked with you in Ayodhya.

Arun Yogiraj: I had my team members Nagaraju, Cheluvaraju, Siddaraju, Kumaresh and Jagadish, some of whom have worked with us for almost 30 years.

My team worked in batches, when one batch left after working on the pedestal, a new team would arrive to assist me in the design works.

SOM: The eyes of Balak Ram in some photos seemed to glow, is there some effect that you have given them?

Arun Yogiraj: There is no special effect given to the eyes. We apply ghee, honey and sugar to the eyes and cover them as part of the rituals. Some ghee and honey might have remained on the eyes on the day of consecration so maybe when they photographed it, light refraction may have given it a glow (laughs). On a serious note, we do not apply any chemicals, glass etc. It’s just an etched-stone effect.

SOM: Why did you use silver hammer & gold chisel to sculpt the eyes?

Arun Yogiraj: It is mentioned in Shilpashastra to use a silver hammer and golden chisel and a particular time (muhurta) is fixed for ‘Nethramilana’ (carving of eyes). In the case of Balak Ram, the muhurta was fixed by the head priest Ganesha Acharya.

Before sculpting the eyes, I took a dip in the Sarayu River, which was about 4-5 degrees Celsius, and visited the Hanuman Garhi (Hanuman Temple) before sculpting the eyes. We first inscribe the ‘beejakshara mantra’ on the uncarved blank eyes before we begin sculpting the eyes.

SOM: What is the actual height of the Balak Ram idol and what was the height and weight of the stone?

Arun Yogiraj: The height of the idol is 77 inches, 42 inches in width and it is 2-ft in thickness. The rock that was used was about 9½ ft in height and weighed 13,000 kgs. Now the idol weighs about 2,000 kgs.

SOM: Was there a regular inspection while you were working on the idol?

Arun Yogiraj: There were regular inspections being done for all three idols sculpted by different artists. The Committee Members were sensible as they used to visit all three sculptors without giving room for any suspicion of favouritism.

SOM: Apart from inspection by the Committee, we heard there was regular inspection by a monkey.

Arun Yogiraj: There were a lot of monkeys in Ayodhya near the studio where we were sculpting. But every day, a monkey would visit the studio between 5 pm and 6 pm and bang the door. I am not sure whether it was the same monkey though. I even have the video of the monkey roaming around in the studio. I don’t want to give it a connotation that it was a ‘divine visit.’ But all the same, it was an interesting coincidence.

SOM: Is there a copyright on Balak Ram? Can you produce miniatures to sell?

Arun Yogiraj: Actually, I told the Trust Members to copyright Balak Ram. Then MP Pratap Simha had the idea that if Ayodhya Trust can have the copyright and make miniatures of Balak Ram, it should tie up with the Karnataka Government to send black stone from Mysuru from which it can make these miniatures rendering them more authentic and worthy of the copyright.

Pratap Simha felt if this is done, then the Ayodhya Trust will get funds, sculptors will get continuous work, Karnataka will have a new revenue stream and Mysuru will also become famous as the Balak Ram miniature models made using the stone from Mysuru will be in millions of households across the nation and world.

Bringing Stones to Life

SOM: Now that you have achieved a great feat, there must be a lot of demand for your work. How are you managing it?

Arun Yogiraj: I have indeed been getting a lot of orders from across the world, especially from the USA and South Africa, both for idols and other works.

But I know my capacity and I cannot fulfil so many orders. So, I tell customers that it takes quite some time for me to complete a statue. If they are comfortable with that, then I take up the work else I provide them the contact of other artists. Also, it is good to have the work of different artists.

SOM: Are you running an institution to guide budding sculptors?

Arun Yogiraj: Yes, I am running a school called Bramharshi Kashyapa Shilpakala Shala, which now has 7 full-time students and during summer camps, children join us to learn line drawing, pottery and other arts.

I am planning to construct two additional rooms in my studio for the benefit of the students. Currently, I am not charging any fees because I want to give back to the profession which has given me so much.

SOM: Who should our readers contact if they are interested in learning sculpting?

Arun Yogiraj: Interested can contact my brother Yeshwanth on Mob: 99451-51505.

Making Mysuru proud…

For the foreseeable future, Arun Yogiraj will continue to enjoy widespread popularity as the man who sculpted the idol of Balak Ram. Despite his acclaim, Arun Yogiraj remains remarkably humble and transparent in his artistic approach, the qualities that undoubtedly contribute to his mastery.

Michelangelo, the great Italian sculptor, once said, “Every block of stone has a statue inside it, and it is the task of the sculptor to discover it.” Arun Yogiraj not only discovers it, he seems to almost bring it to life. He certainly brought a sense of divinity to the Balak Ram statue and in doing so, brought a lot of attention to Mysuru, reminding the world that our city still has it — artists and culture.

[Pic. by M.N. Lakshminarayana Yadav]

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By Prof. C. Naganna

The year 2016 was the centenary year of the University of Mysore. The University was established in 1916. As the twenty-fourth Vice-Chancellor (VC) of the University Prof. K.S. Rangappa galvanised everyone connected with the University and the centenary celebrations took place in a grand and befitting manner, spreading over one whole year (2015-16).

The newly-built School of Planning and Architecture (SPA) contributed its share in augmenting the grandeur of the centenary by unveiling a statue in its campus and the statue was called “Creation of Creations.” The sculptor was none other than Arun Yogiraj, who is winning accolades from all sides as the creator of Ram Lalla of Ayodhya.

Prof. Krishne Gowda, the Founder-Director of SPA, had been contemplating on a statue that should be a source of both creativity and inspiration for the students on a daily basis. Therefore he had been carrying in his pocket the picture of a statue sculpted by Gustav Vigeland (1869-1943), a Norwegian genius who was born in Norway.

Gustav Vigeland occupies a special position among Norwegian sculptures, both in the power of creative imagination and his productivity. He was also the designer of the Nobel Peace Prize Medal. Gustav Vigeland was born to a family of craftsmen. The Vigeland Installation in Frogner Park of City of Oslo in Norway has made this sculpture immortal.

Prof. Krishne Gowda thought of Gustav Vigeland’s creation when the SPA building started to come up on the campus. Arun Yogiraj, who had done some noteworthy work which included Sri Jayachamaraja Wadiyar statue at Hardinge Circle, swam into Prof. Gowda’s ken. Arun at once accepted the assignment although he knew the enormous challenge the task posed.

Arun obtained a ciatite block of stone weighing around 26 tonnes and went on reducing it to 11 tonnes to obtain the final image. The first challenge, as he admitted, was to enter into the skin of an alien culture as he had not sculpted any nude statues until then. Moreover, the statue was of a larger-than-life-size.

Catching the expression of three persons, the father, the mother and the child, and also to grasp the perfect angle of their leaning against each other even as the child is stationing at the centre was another challenge (see statue picture). Since Arun was not used to sculpting nude images, he went through a lot of anatomy books and references. He even took the assistance of a male model. He fell back on his experience of so many years and started the work according to his scale. He worked at the rate of 12 hours per day and took 3-4 months, being assisted by 4-5 artisans as well.

The cyst or ciatite material he has used as the medium is water-proof, acid-proof, rust-proof and it is also fire-proof. Iron melts at 1200°C; but this stone remains unaffected at that temperature, says Arun. He further says that the statue could survive for nearly a thousand years. In a lighter vein, even if the statue survives for 300 to 400 years, none of us will be there to argue with him.

The original work by Gustav Vigeland was part of a 20-year project and long years of patient work, chisel and file has all the rigour and immaculateness of the ideal vision with nothing left to add or subtract.

Base is also an integral part of the work. As the block expresses weight and stability, bodily substance has enhanced the sculptural significance. The reciprocal relationship between inner and outer, mass and void, remains even. Concave and convex surfaces, curved contours and cut out forms, set off sharply against the surrounding space. Formal concentration, characteristic of kernel sculpture, is quite palpable.

The figures are static and still and there is no diminution of solid volume. Symmetry of simple proportions is quite discernible. The man and woman are carefully balanced against each other, while the massive forms occupy static volume in space. Their relationship to one another in space has been carefully calculated. Equilibrium is at work. Stone acquires a breathing that is quite warm and vital. There is no commotion of any kind — but only calmness.

The couple has forged a baby from the smithy of their soul, which is the quintessence of all creation. The solid block not only constitutes formal postulate; it is also intended as an expression of the primeval. The motionless human figures are both naturalistic and abstract. The compact hard volume is a “means of rejuvenation,” the way back to human origins. The union of the man and the woman in the rectangular block is a union without any tension.

The heaviness of the stone and the tenderness of the subject, symbolise the ‘primitive’ form and the graceful composition. This ‘Magna Couple’ is an embodiment of fullness of life and the mystery of generation. The well-rounded warm shapes of the bodies are maternal and paternal fertility itself. They are not specific couple but the archaic idea of conjugality engaged in the act of procreation. The weight and thickness of the material, which is firm and immovable, attests quite clearly to the permanence of the spiritual act. The interlocking human bodies are designed to convey human vitality. As with great works of art no one interpretation exhausts the variety of  possible meanings.

The School of Planning and Architecture (SPA) is an architectural complex rather than a single building. Therefore, the statue under consideration belongs to the realm of public art, as a monument. There is nothing wrong in incorporating sculpture into an architectural setting. It is commonly done in western countries. The architect and the sculpture begin to ripe for one another.

Full credit must go to Prof. Krishne Gowda, the then Director of SPA for roping in sculptor Arun Yogiraj for this task, who completed the same within the deadline. The sculpture was inaugurated on Dec. 2, 2016.

I am sure those who visit the Mysore University campus and the School of Planning and Architecture would make it a point to have a look at this monumental sculpture, which is aptly called the “Creation of Creations.”

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Mysore/Mysuru:  Sculptor Arun Yogiraj of the city, who sculpted the idol of Lord Ram that was consecrated at Ayodhya’s Ram Mandir on Jan. 22, Ramdas, the owner of the land at Harohalli in Mysuru taluk where the black schist stone used for sculpting the idol was found and mining contractor Srinivas, who excavated the  stone from Ramdas’s land and transported it to Ayodhya, were felicitated by the BJP at a ceremony  held at Arun Yogiraj’s residence “Kashayapa  Shilpakala Niketana“ near Basaveshwara Circle in the heart of the city on Friday.

Speaking on the occasion, MP Pratap Simmha said that the BJP will pay Mining Contractor  Srinivas Rs. 80,000, the penalty imposed by the State Mines and Geology Department for unauthorized excavation of the stone.

MLA T.S. Srivatsa, City BJP President and former MLA L. Nagendra and a host of other BJP leaders were present.

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Mysore/Mysuru: Mysuru-based sculptor Arun Yogiraj, who gained widespread attention following the installation and ‘Pran Pratishtha’ ceremony of Ram Lalla’s (Balak Ram) idol in Ayodhya on Jan. 22 led by Prime Minister Narendra Modi, revealed that he was merely following the divine guidance of Lord Ram while creating the idol. 

After a meeting with Suttur Seer Sri Shivarathri Deshikendra Swamiji at Suttur Mutt here yesterday, Arun Yogiraj told reporters that the blessings of his ancestors, family members and Ram Lalla have consistently guided him throughout his artistic journey. 

He expressed a sense of surrealism, stating, “Sometimes, I feel like I am in a dream world. I am a humble sculptor following the traditional art and the recognition I am getting is beyond comprehension. I did not expect this kind of love and honour to be bestowed upon me.”

Arun Yogiraj, accompanied by his wife Vijetha and mother Saraswathi, spent over 40 minutes discussing the intricacies of the Balak Ram idol with Swamiji. During the meeting, the renowned sculptor, holding a tab, provided a detailed explanation of the idol’s structure, Dashavatara carvings, Prabhavali, eyes and other finer details. Swamiji attentively listened, absorbing the significance of each design and the idol’s overall craftsmanship.

The sculptor said that he has a long-standing association with the JSS institutions as he studied at JSS Balajagath School from 1988 to 1991 and from 2000 to 2005, he did his PUC and BBM at JSS institution to pursue his MBA degree later.  

Adhered to Shilpa Shastra

Regarding the specifics of the idol, Arun Yogiraj underscored the honour for Mysuru as the Krishna Shile (stone) for the Balak Ram idol originated from Harohalli-Gujjegowdanapura in Mysuru taluk. He humbly acknowledged that Lord Ram himself directed the carving of his idol through him, stating, “I am honoured and I was following the divine directives. Lord Ram gave me the order and I just followed it.”

Reflecting on the last seven months, Arun Yogiraj described the period as particularly challenging as he grappled with how to complete the idol while ensuring it adhered to the Shilpa Shastra, representing a five-year-old form of Lord Ram and capturing the innocence of a child.

 Yogiraj shared the challenges of infusing emotion into the stone, especially focusing on the eyes of Ram Lalla. He sought feedback from friends to ensure the expression was accurate. “It is not easy to bring bhaava (emotion) in stone and you have to spend a lot of time with it.” 

He detailed his approach of spending extensive time with the stone, doing thorough research, studying children’s features and attributed the success to the guidance of Ram Lalla. In crafting the idol, Arun Yogiraj adhered meticulously to the proportions of facial features such as eyes, nose, chin, lips, cheeks, etc., in accordance with the Shilpa Shastra, the sacred scripture of the sculpting world.

Like a penance: Suttur Seer

Sri Shivarathri Deshikendra Swamiji commended Arun Yogiraj and credited Mysuru with global recognition, attributing it to Arun Yogiraj’s unwavering dedication, focus and concentration. Likening Arun Yogiraj’s artistic process to a form of penance, the Seer noted, “It is like a penance that requires tremendous sacrifice, dedication, and honest efforts. His dedication is there for the world to see, especially the mesmerising eyes of the idol and the child-like face.”

Arun Yogiraj also paid tribute to his late father, B.S. Yogiraj Shilpi, who, unfortunately, passed away in an accident a few years ago. Acknowledging his father’s legacy, he mentioned that his father was a recipient of the Amarashilpi Jakanachari award and the Karnataka Rajyotsava award. “I will visit my father’s samadhi and pay my respects,” he said. 

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Mysore/Mysuru: The entire process of crafting Balak Ram’s idol spanned seven to eight months, allowing for Arun Yogiraj’s artistic freedom to flourish. The consecration on Jan. 22 marked a distinctive transformation, revealing the divine essence of the idol post-installation.

A special focus was placed on the development of Balak Ram’s eyes, with the use of golden chisels and silver hammers employed delicately in the intricate process as mentioned in the Shilpa Shashtra. Until the eyes were meticulously formed, the idol lacked a certain essence, but upon their completion, a profound sense of true divinity emerged. Arun Yogiraj ensured that the gaze of Ram Lalla conveyed a feeling of observing everyone.

In reflecting on his artistic journey, Arun Yogiraj expressed gratitude for the blessings of his forefathers and the supportive Vishwakarma community of sculptors. He revealed, “Our family has been in this field for at least 250 years, and the selection of the Ram Lalla statue sculpted by me for installation at Ayodhya temple was due to the blessings of our forefathers.”

Arun Yogiraj shared, “Along with me, Ganesh Bhatt and Satyanarayan Pandey too embarked on carving the Ram Lalla idol. There was no competition among us, and we would have been happy if any one of our idols were selected. We were not vying for any prize.”

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Bengaluru: Mysuru’s Arun Yogiraj, the master-sculptor behind the Ayodhya Ram Lalla idol, received a warm welcome upon his return to Kempegowda International Airport (KIA) at Devanahalli in Bengaluru yesterday.

Escorted by CISF personnel from Terminal-2, Arun, who had been away for the past six months, touched down in Bengaluru after his significant role in the consecration of the Ram Temple in Ayodhya. He landed at T2 of KIA at 9.30 pm. A large media contingent had gathered outside apart from his fans and BJP workers.

Emotions ran high as Arun, visibly moved, embraced his daughter upon exiting the Terminal.  His wife Vijetha was also present. There was chaos after the Police pushed back media persons and the public who had gathered to greet him. The crowd cheered Arun and chanted ‘Jai Sri Ram’ slogans. Arun was adorned with shawls and Mysore Petas, symbolising the community’s deep appreciation for his craftsmanship.

Addressing the media, Arun Yogiraj expressed his joy at the overwhelming reception and conveyed his satisfaction with the work accomplished in Ayodhya. Reflecting on the significance of the Ram Mandir construction, he emphasised the respect accorded to artists in India and described the indescribable feeling of witnessing a humble stone transform into an idol worshipped by millions.

Arun extended his wish for people across the country to visit the Temple and experience the presence of Ram Lalla. Arun is expected to arrive in Mysuru later today. He will participate in various events in Bengaluru before heading to Mysuru.

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Rs. 3.17 crore offerings made on Day 1, over 2.5 lakh devotees visit on Day 2

Ayodhya: Three days after the Ram Mandir was inaugurated in Ayodhya and the Ram Lalla idol carved by Mysuru sculptor Arun Yogiraj called ‘Balak Ram’ was placed in the sacred ‘garbhagriha’ (sanctum sanctorum), two other idols await for their final placement within the Temple complex.

The second idol, carved from Krishna Shile, a unique black stone by sculptor Ganesh Bhatt, has also captured the attention of devotees and art enthusiasts. The stone is of a deep black hue.

The 51-inch statue, resonating with the innocence of the five-year-old Ram Lalla, has also been sourced from the fertile lands of H.D. Kote near Mysuru. As seen in photos, this idol is entirely black with saffron ‘teeka’ (dots) on a few points on the body.

Ganesh Bhat’s creation will be enshrined within the Temple precinct, as the Trust overseeing the Ram Mandir’s affairs is looking into the matter. The third one, sculpted by Satyanarayan Pandey, is also waiting for a place in the Ram Mandir, as it did not make it to the ‘garbhagriha’.

The white marble idol, intricately clad in marble jewellery and clothing, holds a golden bow and arrow. Behind the main figure stands an arch-like structure adorned with smaller sculptures representing various incarnations of Lord Vishnu.

It is expected that the white marble idol will likely be installed on the first floor of the Temple. Arun Yogiraj’s Ram Lalla idol was chosen from among three commissioned murtis, and its eyes have captivated the hearts of worshippers and onlookers.

According to reports, the Ram Mandir will enshrine four distinct idols of Ram Lalla: The original Ram Lalla idol, the newly-installed Arun Yogiraj’s idol in the sanctum sanctorum and the two additional creations by Ganesh Bhatt and Satyanarayan Pandey.

Devotees throng Ram Mandir

Meanwhile, more than 2.5 lakh devotees paid obeisance at the Ram Temple in Ayodhya yesterday while donations totalling Rs. 3.17 crore were recorded on the first day after the consecration ceremony, officials said.

District Magistrate Nitish Kumar said more than 2.5 lakh devotees visited the Temple till 10 pm yesterday and more than 5 lakh people had visited the Temple on the first day. Devotees made donations totalling Rs. 3.17 crore in a day on 10 counters opened after the consecration ceremony and through the online mode, Anil Mishra, Trustee of Ram Janmabhoomi Teerth Kshetra Trust, said.

In the wake of the overwhelming response of devotees, the Temple administration has extended the timings for darshan.

Devotees can now offer prayers between 6 am and 10 pm as against the earlier timings of 7 am to 11.30 am and 2 pm to 7 pm, it said.

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New Delhi/Ayodhya: Mysuru-based sculptor Arun Yogiraj, who created the Ram Lalla idol for the Ram Temple in Ayodhya, today said that he considers himself as the “luckiest person” on earth.

“I feel I am the luckiest person on the earth now. The blessing of my ancestors, family members and Lord Ram Lalla has always been with me. Sometimes I feel like I am in a dream world,” Arun Yogiraj told reporters this morning.

‘Pran Pratishtha’ or consecration ceremony at the Ram temple was led by Prime Minister Narendra Modi today.

The new idol of Ram Lalla was placed inside the temple last week. The idol shows the Ram Lalla as a five-year-old standing on a lotus. The 51-inch idol, carved out of black stone by Arun Yogiraj, was revealed in its final form today just before the ‘Pran Pratishtha’. 

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The ethereal, beautiful idol of child Sri Rama, Ram Lalla (in Kannada Baala Rama), sculpted by Arun Yogiraj of Mysuru, which was consecrated this morning at Ayodhya.

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From ten Vishnu Avatars to the Swastika, Ram Lalla idol depicts all significant symbols of Sanatana Dharma

Ayodhya: The Lord Ram idol, which has been placed at the Ayodhya Temple was revealed yesterday, days ahead of the consecration ceremony — ‘Pran Pratishtha’ on Monday (Jan. 22).

The idol depicts Lord Ram as a five-year-old child in a standing posture holding a golden bow and arrow. The 51-inch Ram Lalla idol, sculpted by Mysuru-based artist Arun Yogiraj, is made of black stone.

In a build up to the consecration ceremony, the temple authorities unveiled the complete idol over two days. On Thursday, photos of the idol being placed inside the sanctum sanctorum were released, but it was covered with a cloth.

Another picture emerged yesterday morning, where only the idol’s eyes were covered. The complete look was finally unveiled in the afternoon which showed the deity’s face as well as the golden bow and arrow.

Arun Yogiraj’s master craftsmanship extends beyond the central figure of Lord Ram, featuring Lord Hanuman at one foot and Lord Garuda at the other. The idol further encompasses representations of all 10 avatars of Lord Vishnu, a Swastika, Om, Chakra, Gada, Shankha and Surya Narayan. Notably, this depiction stands as arguably the most detailed idol ever fashioned in honour of Lord Ram.

Upon closer inspection of the now-public images, all 10 avatars of Lord Vishnu are intricately portrayed on both sides of the idol. These avatars, including Krishna, Parashuram, Kalki and Narasimha, are skilfully incorporated into the overall design.

Lord Hanuman, revered as the greatest devotee of Lord Ram, occupies a significant place near the right foot of the Ram Lalla idol. Simultaneously, Lord Garuda, Lord Vishnu’s mount (vahana), is positioned near the left foot of the Ram idol.

Towards the pinnacle of the statue, detailed depictions of various holy symbols of Sanatana Dharma and Hinduism can be observed surrounding the head of the Lord Ram Lalla idol. These include the Swastika, the Om sign, the Chakra, a Gada, a Shankha and the idol’s face adorned with the Surya Narayan aabhamandal. These symbols hold deep significance in association with Lord Vishnu and Lord Ram.

The right hand of the idol is poised in a gesture of blessing while holding an arrow, with the left hand holding a bow (dhanush). Crafted from Krishna Shile, a  durable black schist stone with a lifespan of several hundred years.

The idol will remain unaffected by customary items such as water, chandan and roli, typically applied during Hindu rituals. The final presentation will showcase the idol adorned in vibrant royal attire and a regal crown (mukut).

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