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Introduction

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 ).

The subtle 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 minimalism.

The floral 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.

The divine mother goddess is Ananta-Rupini, one who has boundless forms. However, according to the celestial events she empowers, Hinduism provides her with a name and a discernible form, so that the devotee can begin to comprehend Ma-Shakti’s divine aura. Among her innumerable forms is- Uma, the enchantress of the great yogi- Shiva. Shiva represents the passive, male energy and Uma is his counterpart, the active, and female. When Shiva enters into deep meditation and the interplay of female-male energies is stopped, the world order faces the danger of an imbalance. This is when the great-goddess, Mahadevi takes the form of Uma or Bhogashakti, bringing Shiva out of his meditation, towards the process of Creation.

The Sixty-Four Yoginis are the lesser-known forms of the Goddess Shakti in art and religion. Variously portrayed as malevolent goddesses, deities of tantric rituals, and yoginis of flesh and blood, they are seen as the sixty-four forms of the goddess and the sixty-four embraces of Shiva and Shakti. Abandoned temples, stretching from Banda in Uttar Pradesh to Bolangir in Odisha, once witnessed the evolution of the mysterious cult of these goddesses. Shrouded in secrecy, knowledge about them is, to date, closely guarded by the tantric Acaryas.

Sixty-Four Yoginis: Cult, Icons, and Goddesses deciphers the complex forms of the Yoginis by engaging with the subject historically, aesthetically, theologically, and anthropologically; identifies the Yoginis of the temple, of the Puranas, of the tantric texts, of folklore and finally of the Yogini Kaula; and examines the different layers of the complex phenomena based on rigorous fieldwork in the hitherto untraversed terrains where the Yoginis have their abode. The book offers valuable insights for researchers in the fields of religion, myth, culture, history and gender studies. The text of this handsomely produced volume is supplemented with a rich collection of photographs.

With his legendary flute in hand, the Supreme Lord Krishna stands cast in bronze, his graceful pose with his legs crossed acting as a hallmark to the elaborate carvings of the Hoysala architecture. 

In the form of Venugopal, Lord Krishna becomes the protector of cows and the owner of the flute Venu. His face is at utter peace and serenity as he plays his flute, harmonious notes pleasing to the ears. He is decked with ornaments that shine beatifically. When he resided in Braj, he often dallied with the gopis and his favourite Radha, playing melodious tunes for them. Such was his rasleela. It all began when one star studded night, gopis awoke in their houses hearing the sound of Krishna’s flute. It was so charming that they cleverly sneaked away from their homes. When they reached the forest, they found a big clearing where Krishna joyfully played away, blowing life through the hollow body of the flute just as he blew life into the gopis with his music. They began dancing at the tunes, surrounding him as he stood in the middle. Radha accompanied him in the middle, dancing closest to him. Krishna stretched time to last for a kalpa (4.23 billion years approximately) and enjoyed their company.

A delicately embellished Ganesha Tanjore painting. Housed within a temple of ruby-studded gold, the Lord is seated against a pale crimson background. From the pleats of His amber-coloured dhoti to the crown on His head and the adornment on the rest of His form, these details have been executed in gold-layered gessowork.

Solid gold embellishment defines the archway above the seated figure, the templetop, and the pillars on either side. From the throne of the Lord to the necklace around His vahana’s neck and the platters of fruit and sweetmeats in the foreground, the artisan’s handiwork is truly admirable in its precision.

A series of lotuses barely about to bloom graces the archway. The colour is decidedly pale, like the complexion of Ganesha’s body and the nightskies in the background. This is characteristic of the art of Thanjavur because the idea is to gather focus on the pure gold sections. The same have been studded with red and green stones that emulate the glamour of rubies and emeralds.

Golden and black border on a striking maroon shade, this Tanchoi silk saree from Banaras is one of those clothing pieces whose story is as interesting as its designs.

The beautiful and soft Tanchoi silk which has become one of the most popular fabrics in traditional Indian women’s wear, according to a legend, travelled from China to India in the 19^th century, thanks to three Gujrati weaver brothers. After learning the art of this brocade, the brothers came back and named the craft after themselves, Tan (Gujrati Tran, meaning three), and their Chinese master Choi. Once the production of Tanchoi silk started, this smooth fabric never looked back.

This maroon-black Tanchoi saree appears symmetrically gorgeous due to its Herringbone weave. The border and the endpiece are magnificently adorned with the traditional Indian booti work- done by using fine gold threads by the expert weavers of Banaras.