It is a series of tiny silver discs with rangoli-esque engravings on them. These are interconnected with even tinier silver loops that lock into each other with the help of proportionately sized silver bands. From each of the silver diskettes emerge three drops - a rich majenta-coloured ruby flanked by glassy cubic zirconia. The gems used to finish the anklets are miniscule and encased in silver. They will be sure to announce the wearer's presence as she motions in and out of rooms around the house. Alternatively, these would great in a pair of stiletoe-clad feet.
This explains why the pashmina fabric is so desirable. This poncho is a pale grey and brown number, superimposed with minimalistic embroidery down the bust. It sits gently on the shoulders, making for a drape that is deliciously feminine. Pashmina is arguably the warmest fabric that there is, which is despite its superlative lightness. This poncho is sure to be a signature addition to your wardrobe - you could wear it to parties or gatherings with a traditional spin, depending on how you choose to accessorise it.
The deepalaskhmi figure is supposed to be placed at the entrance to one's home or office. These gorgeous ladies bear a welcoming stance. The thalis in their hands are designed to hold a number of ghee lamps to be lit shortly before the arrival of visitors. They are dressed in traditional Indian silks and wear a world of shringar. Their hips are jutting out, their faces bearing an infectious calm. A parrot is perched on the gracious shoulder of each of the deepalakshmis, which is considered a symbol of romance in Indian culture. Note the traditional Indian hats that rest at an angle on the lovely heads of the ladies, and the multi-lateral lotus pedestals they are propped up on.
It is indisputable that Lord Hanuman is the brightest shining jewel in the necklace of Ramayana characters. He has been painted against the stretched cotton fabric canvas characteristic of Indian folk paintings. The technique employed is called batik, the procedure for which involves repeated waxing and dyeing to aid the composition. From the pronounced jawline to the superlative musculature of His form, from the indispensable goad to the large tail flourishing behind Him, this is a painting of the Lord in His full glory. He is minimally clothed as befits a yogi, with His haloed crown and shringar in place. The statement red-and-yellow colour palette exudes a sense of power and stability that complements the aura of the deity in question.
A series of pristine pearl drops grace the lower edge of the pendant, held in place by turquoise gems and silver loops emerging from miniscule black onyxes. The central figure is on a pedestal of lotus petals and leaves, and flanked by two dhoti-clad sakhas (playmates) with a garnet atop the head of each. This pendant is a fine piece of temple jewellery, a kind of ornamentation that has evolved in South India to adorn icons in the region's magnificent temples.
While the sarees to be worn on the eve of the phere and other all-important rituals are usually chosen by Indian brides to be on the heavier side in terms of fabric and embroidery, this one is more fit to be worn during post-wedding occasions in the day such as the ritual greeting of relatives and breaking in in the kitchen. It is made of pure silk of the crepe variety, a superbly comfortable fabric to be draped in tropical summer climes. The translucence of the fabric would add to the seductiveness of the drape.
Her hands are whiter than the plumage of her messenger. Her stance is subdued, which merely serves to emphasise how irresistible she is. Ample black curls gathered in a thick bun behind the head, such superbly defined features as if sculpted from marble. The rest of her is firm and shapely, formed in the best proportions of her sex. She is wearing a pastel green choli with a high-waisted peach-and-purple lehenga that sweeps the floors as she walks. A transparent gold-coloured dupatta reveals rather than conceals her torso and head. She is decked up in a plethora of rubies and emeralds, none of which compares to her personal beauty.
It is not easy to devote oneself to the worship of a Devi as wrathful as Kali. It takes years of austerities and a highly streamlined temper to turn to Her. She is a force to be reckoned with - Her temples are few and far between, and so are the priests who have the expertise to worship Her. Once the devotee has made one's submission to Her, it is nigh impossible to wean off Her or turn to any other deity from the Hindu pantheon. Ma Kali subsumes you from the soul outwards, and this bracelet would be a token of your devotion to Her in reciprocation of Her ferocity.
Indeed, this one is a distinctly bridal number. While blue may not be the bride's chosen colour on the day of the phere, it is a lovely colour to wear on the ritual gatherings that follow. It is during those occasions that a statement clutch like this would come in handy. Not only would it accommodate a lady's personal effects, but also make for a great fashion statement to make while meeting one's new relatives. The string of beads that forms something of a handle for the bag adds to the charm of this handheld accessory.
Note how graceful Her stance is, portrayed with a skill that is practically endemic to Southern India. She is seated in lalitasana on a gigantic lotus, beneath which is another inverted lotus. The two-tiered pedestal that the lotuses are on are engraved with lotus petals (the bottom-most tier) and a wave-like silhouette that refer to the story of Her birth. She was born as Vishnu's wife, complete with mangal-sutra and toe-rings and kamalasana, from the oceans that the devas and asuras were churning with all their respective strength and vigour (samudramanthan). What make this a highly characteristic Indian bronze are the towering crown, the superbly defined features and limbs, and the inimitable composure of countenance.
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