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By:

Vinod Chavan

30 September 2025 at 3:04:23 pm

Retired lecturer creates intricate sculptures by hand

Latur: At the age of 71, retired chemistry lecturer Dr. Shobha Parshuram Arya continues to transform her passion for art into intricate sculptures and paintings, creating masterpieces without the help of machinery or specialised equipment. A former lecturer at the Government Women’s Polytechnic, Latur, Dr. Arya has devoted her post-retirement years to sculpture and painting. Working only with her hands, she carves stones into artistic creations that depict emotions, devotion and human...

Retired lecturer creates intricate sculptures by hand

Latur: At the age of 71, retired chemistry lecturer Dr. Shobha Parshuram Arya continues to transform her passion for art into intricate sculptures and paintings, creating masterpieces without the help of machinery or specialised equipment. A former lecturer at the Government Women’s Polytechnic, Latur, Dr. Arya has devoted her post-retirement years to sculpture and painting. Working only with her hands, she carves stones into artistic creations that depict emotions, devotion and human expressions. Her sculptures mainly feature themes such as Radha-Krishna and emotional, rather than portraits of renowned personalities or historical figures. The stones used for her sculptures are brought from Rajasthan, including Vietnam marble and other varieties of marble. The process demands immense physical effort, patience and precision. A two-foot sculpture takes nearly three months to complete, while larger works may require one-and-a-half to two years of continuous dedication, she informed. Despite the uniqueness of her artwork, Dr. Arya faces difficulties in finding a market for her sculptures. She says there is limited demand for such expensive artworks in the region. Organising exhibitions is also a challenge as the sculptures are heavy and require manpower for transportation and display. Living alone further restricts her ability to showcase her creations on a larger platform. Dr. Arya’s journey as an artist began during her school days. While studying at Godavaridevi Lahoti Kanya Vidyalaya, she created a Saraswati rangoli for an exhibition in Rajasthan and won first prize. Later, as a Class XI student at Shahu College, she made a rangoli depicting the famous Padmapani painting. However, she said that at that stage she did not know how to systematically nurture her artistic talent. Her interest in sculpture developed after observing her father’s paintings. Inspired by his creativity, she began making idols using POP (plaster of Paris). In 1990, she created an idol of Michelangelo, which further strengthened her passion for sculpture. Tribute to Father Dr. Arya uses her father’s name, Parshuram, as part of her identity as a tribute to the man who shaped her artistic vision. “My father was a renowned photographer and painter. Whatever I have achieved today is because of the artistic environment he created. I have only carried forward his legacy,” she said. She recalled her childhood days at Latur’s well-known Shobha Photo Studio, which was once among the city’s prominent photography studios. Several noted artists, including Vasantrao Baraskar, Gangadhar Baraskar and Ware Guruji, used to visit the studio, and she closely observed their paintings and creative work. “As a child, I repeatedly requested my father to teach me painting. He would simply say, ‘Keep watching. You will learn on your own.’ I did not understand those words then, but today I realise that observation is the first school of every artist,” she said. Dr. Arya said artistic inspiration develops gradually through life experiences and finds expression at the right moment. Recalling the creation of her acclaimed Radha-Krishna sculpture, she said the work took nearly 21 months to complete. “I wanted to portray not just two divine figures, but the spiritual intensity and emotional bond between Radha and Krishna. Their relationship represents pure devotion and eternal love,” she said. The sculpture depicts Radha moving towards Krishna as he plays the flute, with intricate details such as her lifted heel, flowing attire and wind-swept hair capturing movement and emotion. “I do not feel that I alone created this sculpture. Giving life-like emotions to stone is an extremely difficult task. I believe some divine force guided my hands throughout the process,” she said. Dr. Arya believes that art should ultimately contribute to society. She expressed her desire to use the earnings from the sale of her sculptures and paintings to support underprivileged students.

Sacred Attire

Updated: Jan 30, 2025

The Siddhivinayak Temple Trust’s recent decision to implement a dress code prohibiting short skirts, torn jeans and other revealing attire is a necessary move to uphold the sanctity of religious spaces. Temples are spiritual spaces where devotees seek solace, offer prayers, and connect with the divine. Temples are not mere tourist attractions but sacred sanctuaries. The least that visitors can do is dress accordingly.


The Jagannath temple in Puri, Odisha, and the Banke Bihari temple in Vrindavan have already implemented similar rules, reflecting a growing recognition that religious spaces require a modicum of decorum. In the case of Siddhivinayak, the temple attracts thousands of devotees daily, many of whom have expressed discomfort over attire that they feel clashes with the temple’s spiritual ambience.


Few would question the need for decorum in a courtroom, a government office, or even an upscale restaurant. Yet, when religious institutions enforce dress codes to preserve their sanctity, a chorus of indignation often rises in the name of personal freedom, with such ‘critics’ arguing that such rules reflect moral policing or an imposition of traditionalist values.

But this argument confuses religious sanctity with public space liberalism. No one is being compelled to enter the temple, and those who do should respect the customs that govern it. Even in non-Hindu religious spaces, dress codes are the norm. One does not enter a gurdwara without covering their head, nor a mosque or church dressed in attire deemed unsuitable for prayer. The sanctity of a religious institution should not be sacrificed at the altar of modern whims.


To dismiss this as an encroachment on personal liberties is to misunderstand the nature of such spaces. Religious sites operate under different expectations than public thoroughfares or commercial hubs. They are designed for reflection, devotion, and ritual. While Indian society has rightly evolved towards greater personal freedom in many spheres, faith-based institutions must be allowed to maintain traditions that are integral to their identity. The temple trust has made it clear that its goal is not to impose regressive restrictions but to ensure that all visitors feel comfortable and that the sanctity of the temple is upheld.


Moreover, the argument that religious sites must remain entirely open-ended in their dress codes simply does not hold water. Many of the people who object to these restrictions would scarcely question the need for appropriate attire at a formal event or while meeting a dignitary. The principle is the same -respect for the setting dictates the mode of dress. Those who seek to frame this as a battle between liberalism and conservatism fail to grasp that such measures are about propriety, not repression.


In an era where the lines between cultural expression and decorum are increasingly blurred, it is worth remembering that not every rule is an infringement on liberty. If people can abide by dress codes in secular spaces, they should extend the same courtesy to places of worship.

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