This horizontal panel presents Gajalakshmi — Lakshmi seated in composed symmetry, flanked by elephants in ritual gesture.

The composition follows temple lintel proportion. The goddess anchors the central axis. Elephants rise on either side, trunks lifted in offering. The carved canopy above and structured base below contain the narrative within architectural discipline.

This variation carries a rosewood-toned finish, deepening the relief and allowing the carving shadows to settle more distinctly into recessed planes. The tonal depth emphasizes curvature, ornamentation, and border rhythm.

At 92 cm in length, the panel holds measured presence. It does not occupy space aggressively; it establishes continuity.

This is not a surface emblem of prosperity.
It is a threshold invocation rendered in wood.

Human Time, Preserved.
Made Slowly. Kept Forever.

Product Overview

• Material: Solid Poola Wood

• Finish: Rosewood tone (hand-finished surface)

• Origin: Madhavamala, Andhra Pradesh, India

• Dimensions: Length 92 cm x Width 31 cm

• Thickness: 5 cm

• Weight: Approx. 5 kg

• Form: Horizontal temple-style frieze

• Iconography: Gajalakshmi with elephants

• Technique: Hand carved medium relief

• Installation: Wall-mounted, mandir lintel, shrine backdrop

• Price: 35,000

Origin – Madhavamala, Andhra Pradesh

Madhavamala’s carving tradition draws from temple architecture where narrative friezes define sacred thresholds.

Poola wood, native to the region, is chosen for its fine grain and carving responsiveness. The rosewood-toned finish does not conceal the grain; it deepens contrast while preserving texture.

Gajalakshmi imagery traditionally marks entryways, invoking order and auspicious continuity.

Craft and Process

The carving begins with a seasoned slab of Poola wood selected for grain continuity.

1. The canopy boundary is shaped to define upper containment.

2. Lakshmi’s seated posture is proportioned along the central axis.

3. Elephants are carved symmetrically to maintain structural balance.

4. Border lines are refined to unify the composition.

5. A hand-applied rosewood tone is layered gradually, allowing the carving depth to remain visible.

All figures emerge from a single continuous body of wood.
The finish is applied after carving; no elements are added.

The process prioritizes proportion, rhythm, and surface clarity.