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Silver-Gray Long Jacket from Kashmir with Floral Ari Embroidery by Hand

Silver-Gray Long Jacket from Kashmir with Floral Ari Embroidery by Hand

If you are a lover of ethnic fashion, then you need to have a sample or two of Kashmir’s gorgeous textile produce. For those of us for whom shawls and sarees would be too heavy to be worn frequently, a statement jacket such as the one you see on this page would be a great pick. It is a long, button-down number, the colour of silver that meets the eye deep under the waters of a Kashmiri lake. From the high, close-fitting collar to the hemline that grazes the knees, this jacket has a silhouette that is straight-cut and relaxed.

The most statement-making aspect of this jacket are the panels of embroidery along the edges. Superimposed on the fine silken fabric is a complex network of crewelwork. Known as ari in the local language, it is a technique of embroidery that is endemic to the snow-clad valley. Zoom in on the same to appreciate the superb precision of the work and the complexity of the finish. Done in cool pastel tones such as greens, greys, and blues, this embroidered jacket is sure to turn heads no matter the occasion.

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The Blue-Robed Bhaishajyaguru

The Blue-Robed Bhaishajyaguru

A little-known form of the Buddha, the Bhaishajyaguru is the medicine-man of Tibetan folklore. A healing monk, His iconography is identical to that of the traditional, more popular dhyani Buddha, with the exception of some elements. From a wide-topped lotus pedestal to accommodate the signature Padmasana, to the contemplative countenance of the Shakyamuni, visualisation of the Bhaishajyaguru is in itself a healing process.

The elements of exception lie in the Buddha’s hands. In His right hand is a sprig of myrobalan, and a unique medicinal potion in the pot on the palm of His left hand. The myrobalan is crucial to Tibetan medical folklore - it occurs in seven different types in nature, and is the only herb capable of healing somatic disease stemming from conflict at the psychic level (dukha). The healing potion in the pot comprises three nectars - one that cures disease, one that cures death, and one that reverses senescence.

Bhaishajyaguru is traditionally clad in a blue robe, specifically the colour of lapis lazuli as described in the sootras. In this fine brass sculpture, the robe is made of inlaid bits of richly coloured resin. The same is superimposed on the finely finished, gold-coloured skin of the Lord. From the long earblobes and the contemplative countenance, to the healing elements in His hands, this work of art promises to have a healing and calming effect within your space.

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Om Mani Padme Hum

Om Mani Padme Hum

Avalokiteśvara is a bodhisattva embodying compassion go all Buddhas. A bodhisattva is a person who is well on his way to becoming a Buddha or the enlightened one. Avalokiteśvara is depicted either male or female and may appear in various forms. One such form of the Avalokiteśvara is the four-armed Shadakshari form who is most notably associated with the Om mani padme hum. This six-syllable mantra is known to be condensed teaching of Buddhism.

This Om Manu Padme Hun bracelet is a good piece that showcases the Buddhist mantra. The first syllable, the Om, is the most widely used and holiest sound in all of Indian traditions and religions. In Buddhism, it also means being in touch with the totality of existence or consciousness. It is followed by the words mani (which means jewel), then padme (or the lotus flower), and finally, hum (indivisibility or enlightenment). The bracelet gracefully crafted the mantra with sterling silver for the characters and the band itself. This is a good piece to wear for people on the lookout for a friendly reminder to live honorably and seek enlightenment just as how bracelets are also broadly used in Buddhism as a symbol of faith and as a means to perform prayers, mantras, or rituals.

This Om Mani Padme Hum silver bangle can easily integrate into one’s daily life. The mani or the jewel symbolizes the ability of people who live by the mantra to remove poverty and difficulties through a person's altruistic mind. Padme means lotus, a flower widely regarded as a symbol of purity for being able to survive with its purity even when living in murky water—a purity in emptiness is to be desired. The hum is another loaded interjection, an ending to a mantra that could lead the way to spiritual liberation.

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Devi White Tara, The Princess-Bodhisattva

Devi White Tara, The Princess-Bodhisattva

“Here, no man, no woman,/No I, no individual, no categories./“Man” or “Woman” are only denominations/created by confusions of perverse minds/in this world.” This is what the princess of an ancient land, named the land of numerous colours, had to say to the monks and scholars of her day. She was a Bodhisattva and had been prevailed upon to pray to the Buddha for a male rebirth. She vowed to be nothing but woman - maternal - no matter the birth in question; thus emerged the Devi Tara (White Tara).

In Her form as White Tara, the Tibetan Buddhist Devi has risen from the heart of Lord Avalokiteshvara. It is with Him that She resides in Mount Potala. In this gorgeously coloured thangka, She is seated on a fiery red lotus, Her robes of gold and scarlet almost blending in with Her large sun-like aureole. In Her mandala are the five dhyani Buddhas and, of course, Lord Avalokiteshvara and Lord Maitreya.

The Devi Herself has the supple body of a pristine lotus. Her feet are gathered in the perfect padmasana, and Her long maternal torso is revealed to the gaze of the devotee but for the sashes that float about Her. In Her left hand She delicately holds a long golden vine with a blue lotus blooming at the tip. Note how the solid gold kundalas on Her earlobes lie against the jet black of Her fine tresses, making for a beauteous contrast of colour and texture.

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Sulphur-Yellow Drashti Choodidaar Salwar-Kameez Suit with Floral Zari-Embroidery and Green Chiffon Dupatta

Sulphur-Yellow Drashti Choodidaar Salwar-Kameez Suit with Floral Zari-Embroidery and Green Chiffon Dupatta

Of gorgeously coloured silks and chiffons, this three-piece Indian suit would make for a distinctively feminine addition to your wardrobe. Irrespective of whether you wear suits on a regular basis or are looking to add that one or two signature pieces to your ethnic collection, this is one buy you will not regret. From the sleek, straight-cut silhouette to the long dupatta that completes the ensemble, this dress is every bit a classic.

The dominant colour is a mustard-mixed gold. The close-fitted choodidar trousers are a solid colour, and so is the kameez but for the hint of embroidery down the bust. Zoom in on the miniscule but precise handiwork that graces the raised neckline and the line of symmetry down the bust. The green of the hemlines and the dupatta makes for a natural, vibrant colour contrast. Note the lush embroidery along the edges of the translucent chiffon dupatta.

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The Beauty Of Lord Nataraja

The Beauty Of Lord Nataraja

The Nataraja iconography is the epitome of Indian aesthetics. The thing about the idea of beauty in the east is that it must have a purpose; devoid of function, it ceases to have any relevance to the Indian psyche. To beauty there should be elements of wisdom and emotion, as encapsulated by the triple ideals of satyam-shivam-sundaram. Lord Nataraja, with His inimitable mid-tandava stance, is the very picture of the culmination of these age-old ideals of the east.

The tandava of Lord Shiva causes the downfall of Apasmara. The epileptic creature, personification of avidya (roughly translates to ignorance), lies powerless beneath the feet of the dancing Mahadeva, symbolic of the predominance of satyam (the eternal truth or wisdom). Also, the presence of Lord Shiva - with the creative Damru and the destructive flame in His posterior hands, in the centre of an aureole of a ring of flames - inspires the devotee with love and shraddha for the Lord (Shivam).

Finally, the aesthetics (sundaram) of this one-of-a-kind iconography is unparalleled in art anywhere in the world. From the mudra of His limbs and the curvaceous snakes wound around His body, the lateral prominences balance the long, lissome physique of the Lord. The flaying locks and a crown of multiple-hooded snakes frame the handsomely carved countenance. Note how the traditional multi-tiered pedestal adds balance to the Nataraja composition.

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Garuda with Wings stretched out Pendant

Garuda with Wings stretched out Pendant

The Garuda with Wings Stretched Out Pendant is made with a sophisticated design decked with natural stone and sterling silver metal. The deep silver stones are in stylish and most graceful arrangements. The Garuda Pendant is 2.1 inches in height, 2.3 inches wide, with a weight of 11.5gms. It is a unique collection with a wing-like design showing off the modern aspect of the age-old depiction! Celebrate stylishly with this artistically modeled pendant, which features a serene and youthful exuberance of the celestial. This pendant is colorful, vibrant, as well as truly divine. What other better way exists for a display of belief in originality than through getting this exquisitely designed piece?

Furthermore, this pendant was crafted with the highest precision to guarantee you of its perfection as regards design and finishing. You can make it a perfect gift for any occasion or a quick "perk-me-up' item. I'm sure it has caught your fancy to have kept you lingering here! Exotic India Art gets you this stunning exquisite piece to your doorsteps to make it a hassle-free moment for you. Are you searching for the best quality pieces of this pendant at affordable prices? Get it now because we can't of getting it if you delay now. Each of these pendants is limited in supply, and there's no guarantee we'll get something similar once it's sold out!

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The Sisters

The Sisters

Two sisters, each of them married into families of good breeding from the neighbouring villages, have gathered at their childhood home. They are on a break from duties at their respective sasural (marital home), probably having come on the occasion of the kuladevi poojana at the mayka (maiden home). They have arrived early on in order to help their mother with the requisite preparations, while their husbands are to attend on the eve of the ritual.

Dressed in the tradition of North Indian women, the sisters look every bit the daughters-in-law of respectable zamindar families. The elder one is in a green and ivory silk lehenga, while the younger, more recently married one is dressed in scarlet silks. The brocade and booties on each go well with the fine gold jewellery they are wearing, studded with matching jewels. From the headband to the rings on their delicate toes, the sisters’ shringar is flawless.

The sisters are each other’s equal in beauty and youth. Large brown eyes, full lips, and flawless skin that they have inherited from their mother. Together they are spending some quiet, personal moments on the velvet-upholstered swing that they have played on so often in their girlhood. Note the combination of light and shadows on the thick chain the swing is dangling from, a hallmark of the painter’s skill with the brush.

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Caviar-Black Kanjivaram Sari from Bangalore with Zari-Woven Motifs on Anchal

Caviar-Black Kanjivaram Sari from Bangalore with Zari-Woven Motifs on Anchal

Having originated in the quaint Tamil temple-town named Kanchipuram, Kanjivaram sarees today refer to sarees made using a particular weave applied on homegrown mulberry silk. Indeed they are the most sumptuous of Southern silks - an essential in the vibrant South Indian trousseau - of which the saree you see on this page is proof enough. It is a solid black number, an elegant pick for those post-wedding evening gatherings.

Zoom in on the field to appreciate the finesse of the translucent fabric. Sparsely woven gold booties add to the elegance of the saree. The most striking aspect of this Kanjivaram is, of course, the border and endpiece. Luxuriant gold zariwork, superimposed on a border of deep red, makes for a truly bridal statement. The endpiece features motifs that are more complex - arrangements of paisleys and lotus-buds in diamond-shaped quadrilaterals, as well as the zigzags matching the work on the border

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The Invincible Mahakala (Made In Nepal)

The Invincible Mahakala (Made In Nepal)

Mahakala is the name given to the numerous wrathful manifestations of Lord Avalokiteshvara. When the gentle, compassionate Bodhisattva spent years on the mountain of Potala in mortal deliverance and looked down only to find that ihalokiya suffering had not diminished, He was shattered. When He gathered Himself again by the grace of Buddha Amitabha, He transitioned into wrath and ferocity, in stark contrast with His former personality. The Mahakala thus emerged as the doctrine protector of all the lokas (realms of existence) of the Buddhist world.

His skin is the colour of deep, temperate dusk with undertones of black, a shade symbolic of His all-encompassing quality. The vibrant tigerskin loincloth, together with the gold and red of His jewels, sets off that signature complexion. Multi-headed and multi-armed, each of the arms of Lord Mahakala has spewed its own head. No matter the number of heads that belong to this Buddhist deity, they all bear a composure of spine-chilling ruthlessness. The kind that has no mercy for adharma - a determined angle of the neck, large protruding eyes, and invincible blood-lipped jaws.

Note the lifelike sparks behind the Lord’s halo, the dynamic stance of the richly detailed digits, and the realistic glacial patch that is the pedestal. The sheer attention to detail and the precision with which the work has been executed, make this Mahakala murti a fine aesthetic investment.

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