It is the embroidery on these stoles that makes them unique. The technique in question is called ari in the vernacular, the name given to a superfine crewel. It is endemic to the artisans of the valley and is characterised by its dense, ornate finish. Zoom in on the repetitive, high-precision motifs that define the field of each stole. Variegated flowers in pastel tones, thickly curving vines in pink and gold, organic-coloured foliage, riotously coloured blooms, and monotone wilderness. With the exception of the Salsa Black number, each of these stoles features an eclectic colour palette that modern Indian fashionista could experiment with.
The ruling deities of paraloka (otherworldly realm of existence) are seated on a green velvet couch. He is chaturbhujadhari (possessed of four arms) with the damroo and the trishoola in the posterior hands, while She is dvibhujadhari (two-armed) and holds up a lotus in one hand. This is in keeping with their traditional iconographies. In stark contrast to His austere appearance, dressed as He is in a tigerskin loincoth and rudrakshas aplenty, Her red silks and jewels are symbolic of their otherworldly glory.
The graceful Nandi kneels on the other side of the altar (the two bhaktas are making eye contact with each other). The richly carved wooden pillars of the temple hold up a glamorous set of domes. The flower laden canopy grazes its zenith. Snow-coated peaks into the distance, and miles upon miles of verdure. It is almost as if the temple has sprung up on the spot as if by magic, just so that the Lord may consecrate the brothers’ efforts.
A compact, handheld sculpture. Devi Mariamman is seated in lalitasana in the mouth of a lotus. She is the chaturbhujadharini, the one possessed of (‘dharini’) four (‘chatur’) arms (‘bhuja’). In Her hands She holds a lotus (posterior right), a conch (posterior left), a long and slender weapon indicative of Her wrathful streak (anterior right), and a bowl (anterior left). From the navel downwards She is clad in a silken dhoti, while a world of shringar graces the youthful, maternal curves of Her upper body. Her attire is a signature element of the iconography of the South.
In addition to the same, other signature elements of Southern workmanship are the angular face set with sharp, handsome features; a tall, tapering crown; and the Kirtimukham aureole that stems straight from the pedestal. A ferocious snake raises its five conjoined hoods above Her crown, another expression of the wrathful streak of Devi Mariamman.
The colour is a delicate, peachy taupe. The base is solid-coloured, the same having been superimposed with crimson-coloured print. Circular panels depicting the upper half of the divine form of Lord Vishnu; a mere outline of His iconographical form, yet replete with ample detail such as the density of shringar and the rays of the luminescent halo. Crisp lines of alternating lengths cover the rest of the field of this prayer shawl. The multiple panels along the border comprise Vaishnavite symbols in succession as well as foliage patterns and the Shaivite trishool (trident).
It depicts Lord Krishna, a favourite subject of the Vaishnavite South. He is seated in lalitasana, the dangling limb having gone off the frame, as He plays on the flute. The pale sage green colour of His complexion is imbued with texture, the lines of each limb and curve defined by a pronounced obsidian shade. The bright marigold hue of His silken dhoti sets off the unusual colour. The gaze of those large, irresistibly beautiful eyes is directed to the left, perhaps taking in the form of a dancing milkmaid or a devotee at the receiving end of His succour.
The crown on Lord Krishna’s head is an ornate number. It rests on His head and shoulders, its deep metallic gold colour interspersed with white flowers and silver trims. At its zenith is a clutch of three peacock feathers, integral to the iconography. From the curvaceous lines and colour palette of the composition to the subject in question, the work of art that you see on this page draws heavily from the Kerala mural tradition.
Akshar Purushottam is a Brahma-Parabrahma philosophy that establishes worshiping god along with his Gunatit sadhu; this set of spiritual beliefs is based on the teachings of Swaminarayan. These brass sculptures are carved in precise details and formations such that it creates a shining channel through which the heart of the devotee is attracted and flows through it. As you gaze at these faces you can feel the presence of Lord and the feeling of recognition of divinity. These being sculpted in brass is an additional feature to their beauty and spirituality as brass is known for its grasping quality; it grasps the divine spirit and enhances spiritual vibrations towards these shining idols.
Bangalore is a one stop destination for the great fashionistas. Its silks are known for simplicity, purity, texture and grandeur. The one shown here is the Uppada Silk, symbolic of the unique floral patterns as motifs and use of zari work to weave distinct and beautiful designs. These saris are made with cotton warp using only non- mechanical techniques and defined only by the length and breadth count of threads.
Sari visible on this page has amazing zari woven leaves all over with an elegant golden border that completes the look, in addition to it, are the intricate hand woven patterns on pallu that give it a more vibrant aura.
Uppada silk is one of the most costly attires and it takes approximately two painstaking months before a superb piece of work is finished. These silks are among the first-hand choices for trousseau wardrobe and for those who have taste in royalties, elegance and richness.
Gujarati embroidery is the greatest heritage embroidery craft in India, because of its impeccable designs created out of a plenty of cross stitches and the use of vibrant and most popularly used color combination of red, green and orange. The bed cover shown here will form an alluring beauty, when spread straight and crisp on your bed. Red and white has always been the most demanding color duo; the vibrancy of red is perfectly balanced by the calmness and soothe of white.
As shown in the picture, this red bedspread is decorated with a large patch of white in the centre, such that it covers the top visible area, leaving behind little edges on all four sides. The white area is ornated with an alternate patterned wavy outline in red along with a similar kind in green at the edges of the diamond shape inside the white patch.
You may zoom in to have a look at the beautiful thread embroidery done in various floral patterns of different shapes and kinds in a delicate and finite manner along with mirror work to highlight the patterns. Similar kind can be observed on the two pillow covers. This bedspread focuses on the traditional Gujarati culture in the most mesmerizing ways of depiction.
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