Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Sign In  |  Sign up
Your Cart (0)
Best Deals
Share our website with your friends.
Email this page to a friend
The Warrior's Lover In The Throes Of Passion

The Warrior's Lover In The Throes Of Passion

In the dead of night, she rises sleepless and inches towards his sword. She brings it back to bed with her, unable to contain herself in his absence. He is away at battle, while his lover pines from her concern for his well-being and the separation at having to let him go. The painting you see on this page is a sensuous portrayal of the lover's essay to substitute one of his swords with the warrior's presence. She presses the cold metal of the weapon against her torso and shuts her gorgeous eyes, probably like she would have responded to similar proximity with him. The gold of the ornate hilt matches the ample gold that glitter against the marble skin of her naked back.

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.

Post a comment +
Post
The Splendour Of The Chariot-borne Soorya

The Splendour Of The Chariot-borne Soorya

Lord Soorya is revered as the prime source of life and nourishment by the peoples of the subcontinent. His many names include Vivasvat (Sanskrit word for 'brilliant'), Savitra ('nourisher'), and Lokachakshu ('eye of the realm'). Lore has it that He rides a chariot as brilliant as He is, drawn by no less than seven horses, across the skies each day in His bid to overpower the demons of darkness. He is one of the highest-order deities of Hinduism, and a lesser-known deity in Buddhism. This sculpture of the highly venerated Deva depicts Him with His usual two hands, seated in padmasana in His chariot. In each of His hands is a lotus, an image of the sun itself constituting the halo behind His towering crown. Seated before the ornately engraved compartment of the chariot, with the reins of all the seven horses in His hands, is Aruna, the charioteer of Soorya.

Born to Kashyapa (a Vedic rishee) and Aditi (who is the heavenly mother-figure), He is sung about in the Rigveda. Samja, the daughter of Vishvakarma, is His wife, and He is the father of Manu, Yama, and Yami. It is from fragments of His superb glamour that the signature weapons of the other devas (the trishool of Shiva, the discus of Vishnu, and the lance of Karttikeya) have been fashioned. Understandably, He is the chief of the lords of the respective planets in the solar system. Having been somewhat replaced by the Brahma-Vishnu-Shiva trinity in terms of importance, He is the chosen deity of worship during new-year festivities in Nepal and in the South. This sculpture of the chariot-borne Soorya is replete with the splendour expounded poetically in the oldest of the Vedas.

Post a comment +
Post
Gau Box Pendant Embossed With Tibetan Buddhist Mandala (Made In Nepal)

Gau Box Pendant Embossed With Tibetan Buddhist Mandala (Made In Nepal)

The gau box is a very expressive element of Tibetan Buddhist practice. What we call a box in our parlance is actually meant to be a portable shrine. The devotee installs one's chosen deity, preferably the ishtadevta or ishtadevi, inside the same and carries it around on one's person. It is designed with all the beauty and precision of artisanry that are due to a shrine, and conveys an essential aspect of Tibetan Buddhism. One's devotion is not confined by time or space, and has a mark on one's bearing even when one is elsewhere. Gau box-shrines have traditionally been worn on the traveller-devotee's belt or locket, to be placed at an altar when not on the road. The one-of-a-kind gau box pendant is designed to be strewn onto a chain and worn as a locket around the neck.

It is a fine example of Nepalese handiwork. While the paintings and sculptures produced in the region are coveted by spiritual art patrons across the world, its jewellery is no less. This pendant boasts of a sterling silver foundation, overlaid with dense gold filligree and gemstone embellishments. The delicate tracery as well as the pastel blue and red gems, each more exquisitely shaped than the other, are both characteristic of regional workmanship. The quadrilateral motif that dominates the foreground (and surrounds the central red, gold-rimmed gemstone) is the all-important Buddhist mandala.

Post a comment +
Post
Caviar-Black Pure Pashmina Shawl from Kashmir with Kalamkari Embroidery All-Over

Caviar-Black Pure Pashmina Shawl from Kashmir with Kalamkari Embroidery All-Over

The Persian word 'pashm', meaning soft and superfine, is the root of the word 'pashmina'. When one hears the word 'pashmina' it conveys an image of something superbly beauteous, a texture that is inimitable, a sense of something that is one of the most desirable things in the world. This handpicked shawl is one such pashmina. It is deceptively lightweight and warmer than a tropical summer dusk. If you have been looking to invest in a statement pashmina or two to complete your wardrobe, this youthful yet complex number is where your search ends.

The luxury and price of this one shawl could be understood once you consider that an average male of the endemic Hyrcus goat species, which roams eye-wateringly high Himalayan altitudes, yields annually just enough moult for a fraction of a scarf. Add to that the fact that it takes great degrees of skill, labour, and time to turn it into fabric, dye it, and embroider it to produce what you see on this page. The abundance of floral motifs, highly characteristic of kalamkari art, has been done against non-uniform pastel-coloured panels. Note how the same colours have been put into the stripes along the edges.

Post a comment +
Post
Mahavidya Shodashi (Tripura Sundari) as Visualized in Her Dhyana Mantra

Mahavidya Shodashi (Tripura Sundari) as Visualized in Her Dhyana Mantra

Shodashi (also known as Tripura-sundari, Lalita, and Rajarajeshvari) is a beautiful young girl of sixteen. She is shown seated on the navel of Shiva, who is reclining below her. They are on a pedestal supported by the gods Brahma, Vishnu, Rudra, and Indra. Her dhyana mantra describes her as follows: "She shines with the light of the rising sun. In her four hands she holds a noose, a goad, bow, and arrow".

There is an interesting legend behind the origin of Tripura-sundari. We are told that once upon a time Shiva referred to Kali by her name in front of some heavenly damsels who had come to visit, calling her "Kali, Kali" ("Blackie, Blackie"), which she took to be a slur against her dark complexion. She left Shiva and resolved to rid herself of her dark complexion, through asceticism. Later, the sage Narada visited Kailasha and, seeing Shiva alone, asked where his wife was. Shiva complained that she had abandoned him and vanished. With his yogic powers Narada discovered Kali living north of Mount Sumeru and went there to see if he could convince her to return to Shiva. He told her that Shiva was thinking of marrying another goddess and that she should return at once to prevent this. By now Kali had rid herself of her dark complexion but did not yet realize it. Arriving in the presence of Shiva, she saw a reflection of herself with a light complexion in Shiva's heart. Thinking, that this was another goddess, she became jealous and angry. Shiva advised her to look more carefully, with the eye of knowledge, telling her that what she saw in his heart was herself. The story ends with Shiva saying to the transformed Kali: "As you have assumed a very beautiful form, beautiful in the three worlds, your name will be Tripura- sundari. You shall always remain sixteen years old and be called by the name Shodashi.

Tripura-sundari is described in great detail as extremely attractive, beautiful, and erotically inclined. The Lalita-sahasranama details her charms from head to foot, and the majority of the Saundaryalahari is similarly occupied with her attractive appearance. She is often said to give desire and to suffuse the creation with desire. The Saundaryalahari also states that that a worn-out old man, ugly and sluggish in the arts of love, can be restored to physical attractiveness and vigor by her glance. The Prapancasara-tantra says that her worship has such an amorous effect that celestial females such as gandharvas, yakshas, and siddhas come to the sadhaka "with gazelle-like eyes, breathing heavily, their bodies quivering and moist with the pearly sweat of passion; and throwing away their ornaments and letting their clothes fall from about them, bow themselves before him and offer to do his will."

Post a comment +
Post
The Splendour Of Ganesha, The Vahana Perched On The Aureole

The Splendour Of Ganesha, The Vahana Perched On The Aureole

Among the plethora of brass Ganesha murties being made by modern-day artisans, this one stands out. The finish is a regular-smooth, the rich inlay widely used for the charm of the colours. What sets this handpicked figure of Ganesha apart is the statement-making aureole. The rims of six blooming lotus petals flank the central figure, perfectly symmetrically defined with inlay. On either side of Ganesha's padmasana (lotus-throne) is a band of inlay, from which emerges a tiny lotus leaning downwards and a handful of buds down the stem. The top of the aureole is perched on the inlaid rim that constitutes Ganesha's halo, above which is a rudimentary brass lattice leading up to an extension of the top of the deity's crown. Above the lattice is a pair of rats, Ganesha's little vahanas, on either side of a plate piled with laddooes, their backs saddled with inlay and their little necks belled.

This elaborate aureole serves to bring out the flawless iconography of chaturbhuja Ganesha (four-armed). The adorable, tattooed trunk and large inlaid flaps for the ears; all four hands occupied by His signature elements, such as the bowlful of His favourite sweetmeats and the broken tusk with which He scribed the Mahabharata; and portly form that devotees dote over, replete with shringar fit for a king. The inlay has been strategically placed across the brass in keeping with high aesthetic standards. There is another of His vahanas at the unassuming pedestal, kept simple with a few inlaid inverted lotus petals to direct the focus to the aureole.

Post a comment +
Post
Chunky Shiva-parivar Pendant (South Indian Temple Jewellery)

Chunky Shiva-parivar Pendant (South Indian Temple Jewellery)

A single glance at this skilfully smithed pendant is enough to confirm its South Indian temple jewellery origin. When a piece of ornamentation is called temple jewellery, as opposed to spiritual jewellery (astrological prescriptions) and bridal jewellery, it means that it was designed to adorn the idols housed inside temples. South India is the home of temples - the most ancient and awe-inspiring of Indian temples are to be found in its gullies and recesses - and also the home of temple jewellery. The pieces are divine regalia, and have an ethereal charm about them, irrespective of whether it's in the make or the finish or the quintessential motifs. This temple jewellery pendant is a fine example of the same.

It is chunky, relatively large, designed to complete the necklaces of the larger idols. Cast in sterling silver and finished with a delicate gold colour, it would surely jazz up the entire jewellery ensemble it is added to. Temple jewellery dominates the jewellery boxes of classical dancers and even everyday women who want to achieve a particular look. This pendant would make for a great addition to yours, what with the sampoorna (complete) Shiva-parivar smithed onto the frontal section. There is Parvati right next to Shiva on Their trusty Nandi, flanked by their gorgeous sons, Ganesha and Kartika, on Their respective vahanas; and another seated Ganesha figurine dangling from underneath the centre of the elongated pedestal that supports the deities. Zooming in on each figurine would enable you to truly appreciate the workmanship and labour that have gone into this statement pendant.

Post a comment +
Post
Dusk-Blue Zari-Embroidered Designer Salwar Kameez Suit with Embellished Pearls and Crsytals All-over

Dusk-Blue Zari-Embroidered Designer Salwar Kameez Suit with Embellished Pearls and Crsytals All-over

The salvar-kameez suit was brought to India by the women of the West Asian invaders. Comprising of a particular style of trousers, a long embroidered shirt, and a dupatta, this ensemble is the very picture of modern-day elegance. While the saree is still popular with older, married, and upper-caste women, especially the more inland one goes into the subcontinent, young carefree women have embraced the three-piece suit to forge a style that is uniquely Indian. The gorgeous silken suit you see on this page is one superbly feminine and contemporary number, as good a pick for a tranditional evening do as for the more casual side of one's trousseau.

The dreamy blue colour of the base is set off by a world of embellishments. Cream- and brown-coloured booties emulating fresh flower-laden tendrils grace the kameez. The same is punctuated with pristine faux pearls and crystals to enhance the regal appeal of the dress. The neckline is high and fuss-free, as if to complement the midway slit that starts slightly above the knee. Note how the sleeves transition into transparent silk fabric at the elbow, the transition having been marked with more pearls. The dupatta is matching but translucent, and hemmed with a fine strip of gold lace for a look that is as regal as Indian suits get.

Post a comment +
Post
The Tree Of Life Beckons You

The Tree Of Life Beckons You

Folk paintings from the Mithila region of Bihar are coveted all over the world for their simplistic beauty and devotional themes. These are traditionally made by women to decorate the mud walls and ceilings of their dwellings, and have evolved to be made on mobile canvas, fabric, and handmade paper. Anything from a stone to a matchstick, and even one's own fingers, could serve as a 'paintbrush', while the colours used are actually vegetable-derived pigments. The one you see on this page is a Madhubani painting on handmade paper. It has been curated to go into our latest folk art collection because of its unconventional theme.

This variety of paintings are made on spiritual themes. The subjects are usually from the diverse Hindu pantheon, replete with their respective long-established iconography and personal beauty. However, this one draws not from popular iconography but from a much lesser-known motif of the tree of life. This all-important tree in Indian Hindu and Buddhist tradition is said to have infused the Buddha with the ultimate truths of life and enlightenment as He sat underneath it steeped in meditation. Done in a simple tritone palette comprising of solid black, white, and orange that hints at a setting-sun background, the curves of the rising branches are eerily realistic. This one-of-a-kind painting is bound to fill your space with calm and serenity.

Post a comment +
Post
Haloed Saraswati With The Engraved Veena, Seated On The Edge

Haloed Saraswati With The Engraved Veena, Seated On The Edge

This lithe Saraswati has been sculpted to be placed at the edge of the devotee's desk. With one limb pendant, She is seated gracefully in lalitasana as She plays on Her veena, a quintessential element of Her iconography. Speaking of iconography, Her portrayal is atypical of the exquisite bronzes of the Swamimalai region down South: Her countenance is sharply featured, Her limbs precisely sculpted. The highlight of Her shringar is the towering, intricately sculpted and layered crown. Held in place by a band of inverted lotus petals, the same is embellished with kirtimukha and makara images, both of which are symbols of the cyclical destruction waged by time.The rest of Her shringar is as gorgeous as would befit a devi of such ethereal beauty - necklaces cascading down to between Her fertile breasts, long kundalas grazing Her shoulders, bejewelled bracelets along the entire length of Her arm and rings and matching anklets.

The anterior hands are characteristically devoted to the veena. One of the posterior hands holds a pothi, while the other one bears the noose that She uses to rope in the adharmee. The dhoti She wears is held in place by a richly embellished kamarband, the silken fabric clinging against Her skin such as to reveal Her divine contours. Perfectly symmetrical sprigs of vines emerge from the hem of Her crown and rest delicately on Her shoulders. The veena on Her lap, as lifelike as the hands that play it, is engraved with motifs and curves that are in accordance with the Indian aesthetic standard. Seemingly the music She plays is as sweet as Her composure is collected and introspective. Note the unusual, gracious shape of the bindi on Her temple.

Post a comment +
Post
«     Previous     1   2   3   4   5   6     Next     »
Subscribe to our newsletter and discounts
Share with friends
Related Items
Goloka -Nag Champa Agarbathi (Pack 12 Packets)
Goloka -Nag Champa Agarbathi (Pack 12 Packets)
Goloka
$35.00
Goloka -Nag Champa Agarbathi (Pack 12 Packets)
Studies in Rgveda and Modern Sanskrit Literature
Studies in Rgveda and Modern Sanskrit Literature
Hardcover
S. Ranganath
$25.00
Studies in Rgveda and Modern Sanskrit Literature
Selfless Action - Compilation and Critical Analysis of The Practical Philosophy of Karma Yoga (Set of 2 Volumes)
Selfless Action - Compilation and Critical Analysis of The Practical Philosophy of Karma Yoga (Set of 2 Volumes)
Hardcover
G. Sankarasubba Ayyar
$50.00
Selfless Action - Compilation and Critical Analysis of The Practical Philosophy of Karma Yoga (Set of 2 Volumes)
Candle Stand
Candle Stand
Brass Sculpture
14.2 inch Height x 3.8 inch Width x 4 inch Depth
$135.00
Candle Stand
Peacock Hanging Bells
Peacock Hanging Bells
Brass Statue
9 inch Height x 10.5 inch Width X 10.5 inch Depth
27 inch - Chain Length
$155.00
Peacock Hanging Bells
Nandi Muzzling The Feet Of Ardhanarishvara
Nandi Muzzling The Feet Of Ardhanarishvara
Water Color Painting on Patti Paper
Folk Art From The Temple Town Puri (Orissa)
Artist: Rabi Behera
19 inches X 39.5 inches
$395.00
Nandi Muzzling The Feet Of Ardhanarishvara
Shri Krishna Lila Pata with Kaliya Mardan In Centre
Shri Krishna Lila Pata with Kaliya Mardan In Centre
Water Color Painting on Patti
Folk Art From The Temple Town Puri (Orissa)
Artist: Rabi Behra
38 inches x 22.5 inches
$395.00
Shri Krishna Lila Pata with Kaliya Mardan In Centre
Bon its Encounter With Buddhism in Tibet
Bon its Encounter With Buddhism in Tibet
Hardcover
B. L. Bansal
$28.00
Bon its Encounter With Buddhism in Tibet
Divine Wisdom - A Book on Eternal Truth of Life and Living
Divine Wisdom - A Book on Eternal Truth of Life and Living
Paperback
Swami Gyanratna
$23.00
Divine Wisdom - A Book on Eternal Truth of Life and Living
Twenty Two Wicks Peacock Puja Lamp With Bells
Twenty Two Wicks Peacock Puja Lamp With Bells
Brass Statue
15.8 inch Height x 9 inch Width x 9.8 inch Depth
$245.00
Twenty Two Wicks Peacock Puja Lamp With Bells
Show More
Language:
Currency:
All rights reserved. Copyright 2019 © Exotic India