The ample pleats alone would make this a statement addition to your wardrobe or even trousseau. Ample brocade-work graces its gorgeous length, filled in with a definitive variety of motifs - gold tendrils with paisleys against the dark blue of the foundation, an infusion of petals in gorgeous bridal pinks and oranges, and panels of lilies and lotuses in matching colours all the way down to the hem. The choli has similar gold motifs in matching dark blue. The signature pink dupatta complements the base colour of the lehenga. It is so long it reaches the hem of the skirt, while the translucent silk it is made from is dyed a colour no woman or bride could go wrong with.
The Devi is waited upon by two handmaidens who rival each other in terms of personal beauty and devotion to Her. Dressed in elegant silken skirts and seductive translucent dupattas, one of these ladies offers a namaskaram to Bhagavati while the other waves over Her head a chauri, which is an arati implement fit for royals. Their shringar does justice to the resplendent, enthroned entity painted betwixt them. Note how this composition has similarities with Mughal imperial portraiture, which serve to convey the power implicit in Her iconography and attributes.
The beauty of Ramayan's brightest character has been captured in this sculpture with great skill. The handsome face of the Lord is framed by a semi-circular halo, the glamour of which has been conveyed with multiple tiers of engraving. Broad shoulders and muscular arms give way to a well-defined torso followed by limbs of divine strength. Pearly shringar and a dhoti of silk, the pleats of which are spread on the pedestal right beneath where He is seated, grace His form. The three-tiered pedestal is the most unusual aspect of this composition. The topmost tier is engraved with lotus petals; the middle tier has inverted lotus petals superimposed with His signature weapon, the goad; and the third tier has a flower in full bloom at the centre.
While this pendant may be too quirky in terms of style to be worn on an everyday basis, it is just the thing to don at devotional gatherings and conventions. We understand that devotional jewellery would hold a special place in our buyers' jewellery box, so we curate the most expressive ones to go into our collection. Not only are our pieces unique - they will start conversations everywhere - they also meet a very high aesthetic standard and are handpicked from the finest of local artisans. Wearing some of our devotional jewellery is like carrying an essence of your chosen lord around on your person.
Rural Gujarat is known for the quirky textiles it produces and its love for vibrant colours. Local artisans make it a habit to infuse the pastels one sees in the countryside into their fabrics, of which this bedspread is proof. The motif of the richly adorned elephant with its trunk raised has been arranged in repetitive panels across the field, which are interspersed with kantha embroidery. The elephants have been appliqued onto the base fabric, which gives away the degree of creative skill and labour that has gone into this bedspread. The dominant colour variations include black and red, from which you are welcome to choose depending on the tone you want to set your bedroom to.
The elephant had seen it in the form of a substantial little bush when he was a baby; the monkey remembered it from his childhood as a mere shrub; the rabbit had seen the same tree as a leafless sapling; while the partridge had carried its very seed in its body and planted it there. Hence, the partridge came to be honoured most among the brothers. The way the four creatures are arranged in this thangka symbolise the harmony, stability, and mutual respect that now defines them. In the gorgeous shade of the luxuriant banyan tree the brothers stand one on top of the other according to age, while ducks and lotuses abound in the pond in the foreground and numerous verdant hills dot the landscape in the background.
It goes without saying that the Dakshinamurti roopa of the Lord is the most magnificent and awe-inspiring. The degree of skill and labour that have gone into this particular Daskhinamurti Shiva, as well as the finish variations chosen for it to be made available in, rightly convey the grandeur of His guruship. From the natural textures of the mountain to the musculature of the Lord, each aspect of this sculpture pours forth an aesthetics that is to be found only in the art of India. The shishyas with their gleaming crowns as well as the figure of ignorance that Shiva crushes with His feet are all carved with jsut the right proportion of detail. What distinguishes this from other Dakshinamurti compositions is the gorgeous headdress that frames His compassionate countenance and complements His shringar.
The face is carved from a piece of shimmering silver, topped with a hint of gold that functions as a crown. A necklace of miniscule silver stones has been smithed below the same. The rest of His form is in outline, done with select quantities of gold that indicate the sashes and shringar of His form. A stick of gold, which is what seems to be the flute, is to His right, together with a beautifully blooming silver-coloured lotus. The statement-making aspect of this pendant is the gorgeous peacock-feather smithed at an angle to Krishna's crown - a shapely carving of silver, embedded with glassy-coloured stones, dominates the handiwork.
Conventionally, tussar silks have been worn by upper-caste women during the ritual preparation, cooking, and eating of meals within the home. The practicality and ritual correctness of this variety of Indian sarees comes from the fact that the tussar fabric is fairly water-resistant and repels stains. The modern-day woman dons the most exquisite tussars such as this one on more glamorous pursuits outside the home. The woven border is neither too thin nor too thick. It is set off by rows of a dotted pattern, and a line of dancing silhouettes filled in with black. An interesting gradient of black and ivory characterises the endpiece, punctuated with a panel of text in the Sanskrit language. Team this saree with a set of understated gold ornaments to make the most of its singular appeal.
The dynamicism of the painting comes out in the bangles on her wrists, the bejewelled streams of gold on her tresses, and the purple silk draped around her curvaceous hip that matches the makeup on those eyes. One could almost listen to the rustling of the silk and the tinkling of her shringar as she motions against the piercing edge of the sword. She is an exceptionally beautiful woman with full, expressive features, and a head of luxuriant hair as black as a tropical night. Note the background infusions of rich red colour, which serve to convey the passion that has seized the lady in the foreground.
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