god of auspicious beginnings and the remover of obstacles presents us with an
interesting image to appreciate in this ‘panchaloha’ bronze sculpture. Standing
on top of a raised lotus pedestal, Ganesha is in the ‘tribhanga’ posture – with
his body twisting at his legs, his waist, and his neck – and holds in his hand
his broken tusk and parchment to write on.
traditional Indian touch for the upcoming party but also want to experiment a
little bit? With the calm Taupe shades of this gorgeous georgette designer
salwar kameez, get attractive ethnic designs on a modern color palette. A
favored women’s wear in India- the Anarkali suit is heavily embroidered and
layered, providing you with a grand appearance. Grey georgette textile is
worked on using rose taupe threads and tiny sequins creating a stunning effect.
The quintessentially Indian mother-and-child image. The fair Mother Yashoda lovingly gathers the baala-Gopala (‘baala’ is Sanskrt for little boy) in Her supple arms. The seated figure is clad in a saree, which is executed in solid gold gessowork. Studded with stones in green, pink, red, and blue colours, it conveys the affluence of a mother who is possessed of a son such as Gopala.
Mother Yashoda is seated on a velvet-upholstered throne. Given the gold embellishment that defines its structure, it gives the impression of a heavenly throne of solid gold. Next to the seated mother-and-child figure is a pillar and the section of an archway, like in the interiors of a palace of yore.
The adornments on the body of Yashoda and Gopala have been made with pure, studded gold. The same applies to the miniscule flute in Gopala’s hands. The faces are drawn together, brimming as they are with lifelike expression; the mother’s as innocent as the child’s. Such a Tanjore painting would be a valuable addition to any Krishna-loving home.
The name Rshabha, pronounced and widely spelt as Rishabha, translates to bull. While it could be an epithet for Shiva, Rishabha Devar is considered by many to be the first tirthankara of Jainism, Lord Mahavira, or an avatara of Lord Shiva Himself. Understandably, the iconography of Rishabha Devar is quite dated.
It goes without saying that "Mantravidya" constitutes an integral part of our multi-dimensional cultural heritage. We are already aware of the tradition of the uninterrupted oral transmission of Vedic mantras beginning 5000 B.C. or 2000 B. C. or even earlier, down to the present times, as recorded by Yaska (900 B. C.), there was a school of thought (Kautsa's name is specifically mentioned by Yaska) which regarded the mantras just as a collection of utterances of divine sounds with their irreversible sequence, devoid of any sematic relevance (mantra anathakah). Even the Saundaryalahari ascribed to Sankara (? 800 A D.) concludes with dedication of utterances of prayers consisting of words generated by Mother goddess Herself to Herself (tvadiyabhir vagbhis tava janani vacam stutir iyam ).
sheen and fine fabric feel of this White Swan Muga silk saree make us believe
that the local royalty chose to reserve this textile for their fashion needs.
From the lush green state of Assam, Muga silk sarees are all about beauty in
pattern created by using the royal black and grey combination has enhanced the
value of this silk handloom saree. With a modern touch to the traditional leaf
motif on the border, this saree is definitely a great addition to your style.
A simple, seated Buddha sculpture. The left hand is in the contemplative stance, while the right is in the bhoomisparsha mudra. The limbs are gathered in the perfect padmasana, while the spinal column - back and shoulders and neck - is regally erect. The two most striking aspects of this sculpture is the handsome face of the Buddha and the gorgeous robe in which He is clad.
The face is small and characterised by distinctive features. Framed by earlobes lengthened with age and wisdom, the brow spreads across like the wings of an albatross. Half-shut eyes engraved with the finest symmetry. A sharp nose, followed by a lifelike mouth. A smooth complexion the colour of molten gold.
The robe of the Buddha is densely engraved with visual narratives of His ihalokiya life. He wanders in the wilderness and begs for alms; He attains enlightenment, then dispenses His transcendental knowledge to the worthy. The story of the life of Buddha is retold in His very raiment, an unputdownable visual aesthetic which would be a valuable addition to the home of the finest devotee.
The patron deity of Tirupati, India, Lord Venkateshvara is a manifestation of Vishnu. His name is derived from the nearby Mount Venkata (‘ishvara’ roughly translates to god). The crystal-sculpted murti that you see on this page is a replica of the idol at the Tirumala Venkateshvara Temple in Tirupati, Andhra Pradesh, India.
Considered one of the holiest sites in India, the temple dates back to centuries ago. As a reproduction of such an ancient iconography, this Venkateshvara murti would be a valuable addition to your home or office. It is fashioned from superior-quality crystal, which lends the murti its translucent white colour.
It depicts the exact Vekateshvara iconography as in the Tirumala Venkateshvara Temple in Tirupati. The Lord stands heavily garlanded on an angularly cut plinth. Poojana implements and offerings on either side of the pedestal (note the delicately engraved lotus petals on the same). Temple pillars and an archway frames the gentle standing figure.
On a throne of cut-glass lotus petals kneels Lord Hanuman. The right knee grazes the surface of the throne, the left foot set against the same. Against the knee jutting out laterally rests His goad, the weapon that is indispensable to the cebine iconography of Lord Hanuman. Like the jewels on the body of the warrior deity, His weapon is engraved and studded with pearls and rubies. A red and blue dhoti conceals His sturdy hips and a green teal angavastram cascades down His broad shoulders. A gold crown sets off the deep black of His ample mane.
Lord Hanuman is a bhakta (devotee) of the highest order. The Ramayana narrates how indispensable He was to Lord Rama in His rescue of Devi Seeta. The brightest shining jewel in the necklace of Ramayana characters, He acted consistently from a place of unconditional love and divine wisdom in execution of the same. As such, a popular element of Hanuman iconography is to depict Him with an image of Rama-Seeta thoroughly annealed into His breast.
A vibrant colour palette characterises this pattachitra, a folk art form from Orissa that comprises pictures (‘chitra’) executed on handmade fabric-based canvases called ‘patta’. The mustard gold complexion of the body of Hanuman, the floors of sapphire beneath His throne, and the emerald-coloured vines that frame the composition. A gaze as powerful as it is intelligent adds life to the eyes of Hanuman.
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