The beauty and tenderness of Her countenance are matched by Her lithe limbs and torso, carved skilfully out of coniferous wood that grows in abundance in Nepal. The sumptuous red of Her dhoti and meditation sash, and the resplendence of Her ample shringar from head to toe, are brought out by the riotous pastels that colour the dual-layer lotus pedestal. The lalitasana is typical of Bodhisattvas steeped in meditation - note how a fresh lotus has sprouted where the right feet lowers and rests itself. Her right hand is in dhyana mudra, while the left is in the characteristic gesture reminiscent of the Three Jewels. From amidst the circle made by Her thumb and forefinger emerges a gracious blue lotus with a centre of golden light. A similar lotus to the right of Green Tara adds balance to the composition.
More stunning than those freshly bloomed lotuses is Green Tara's handsomely sculpted face. Framed by large pink ears - they say large ears are a sign of wisdom - adorned with glimmering floral kundalas, a magnificent crown with gold undertones sits on Her brow. Together with the matching bejewelled necklace, it constitutes the most striking part of this one-of-a-kind Green Tara sculpture. The Buddhists believe that whatever one sets one's heart upon, that one becomes. By visualising and meditating on Green Tara, one inches closer to compassion and eases into wisdom.
It is a translucent dress that one may layer over a mere slip and head to an evening rendezvous with a traditional spin, perhaps a party or a dinner gathering with family. Down the centre is a patch of gorgeous ari-embroidery - paisleys and vines worked with gold-coloured thread into the base fabric. The needlework is atypical of Kashmir, a highly expressive element of Indian fashion. Matching ariwork is to be found on the neckline, giving it the illusion of plunging into the decolletage.
"In the unity of the family, find the strength of divine love."
The Shiva-Parivar With Lingam is a magnificent brass sculpture depicting Lord Shiva with his divine family. Goddess Parvati, their son Lord Ganesha, and Lord Kartikeya, along with the sacred lingam, symbolize the essence of familial love and unity. This sculpture captures the harmony and bond shared between the divine members of the family. The Shiva-Parivar inspires us to cherish and nurture our own family relationships, recognizing that in the embrace of love and support, we find the strength to face life's challenges and experience the abundance of divine grace.
The home of Madhubani painting is in Mithila in Bihar. It originated in the hands of rural women looking to adorn the walls of their dwellings. The authenticity of the one you see on this page lies in its earthy appeal and, more importantly, in the canvas on which the work is done. It is handmade paper that has been specially treated with cow-dung for a texture that serves to bring out the thick lines and the bright colours.
The mandala motif is quintessential to Indian art. It stands for the universe of the purusha (soul), wherein each of the concentric circles represents the layers of the chitta (psyche). The convention is that the subject lies at the very centre of these layers, so this Madhubani depicts the mandala of the rudimentary matsya-chitta. For those of us with a weakness for natural water-bodies and the innocent creatures dwelling therein, this would make for a great piece of art to own.
Which explains the effort it takes to discover, commission, and preserve a good work in the medium. The one you see on this page is a tall, slender lamp that curves out at multiple points along the stem and seemingly rests on the back of three elephants. It is at once traditional - from the wick, to the motifs that make up the stem - and unconventional (the solid silver finish, the medium in question).
The most unusual aspect of this lamp is the trio of elephants, whose heads are protruding out from the base. There onwards, all the way through the stem to the tray of wicks on the top, gorgeous lattice-work punctuates the intricately embossed surface. In keeping with the traditions of Indian lamp-making, a peacock with its plumage bared sits at the very top, crowning the work with its life and beauty.
It is a gorgeous brocaded bootidar number that she had chosen rather carelessly. It now only partially conceals her, leaving the back of the matching choli and the delicate skin on her waist exposed to the gaze of the viewer. The white flowers on her ample bun are still fresh, which means that outside the threshold of her room the rendezvous is still on and she is merely stealing a few moments to herself before she has to return to the party.
The dark, velvety interiors of her chamber are soothing to her. A painting hangs on the surreal wall to the right, and an embellished cupboard with folk art sculptures to the left adds balance to the composition. The bed she is on is an unmade one, the bedclothes painted unassuming pastel tones in order to bring forth the sumptuously clad subject. Amidst the chaos of the assembly outside, these few moments with her book constitute the introvert’s bliss.
The foundation colour is a youthful, almost fiery red, which is the signature bridal colour prevalent in these parts. The same has been densely superimposed with zari weave, done with lustrous gold thread. The motifs on the body of the saree comprises of lotuses, delicately blooming vines against the thick solid gold border, and a plethora of paisleys and temple-spire motifs on the endpiece. This is just the brocade to ensure that you stand out.
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