The aesthetic beauty of goddess Saraswati is framed here in an exquisite ethnic gold pattern on a background of maroon shade. She sits on a royal throne in her usual lalitasana posture and holds her instrument veena in her hands portraying herself as the patron of arts and sciences. She is the most beautiful deity in her sparkling lotus eyes, red lips and a fair plumage of purity and divinity.
Saraswati here is painted in antiquated yet lavish colors; garbed in royal self woven silk saree and a contrasting kamarband with rich and antique jewels covering her prosperous body. The Chaturbhuja holds a rosary and the book of wisdom in her other two hands as she is the Vedamata (Mother of the Vedas) and the one who holds the balance of knowledge, learning, wisdom, music and aesthetics.
The multicoloured beaded crown adorned with a sun shaped aureole compliments her beauteous throne and her essence of delicacy and lordship. The tri color (green-red-blue) self patterned curtains with the golden fringes give an adorable look to the painting.
Presence of this creation on any empty wall will elaborate the ethnicity and beauty of the place.
This explains the wrathful elements of this Lord Trikala composition. Flowing red tresses framing a face set with bloodshot eyes and bloodied jaws. The indomitable stance of a powerfully muscular body. The glacial complexion of the Lord of vidya, protector of dharma, set off by the flaming gold of the tigerskin loincloth and serpentine adornments on His limbs and torso. By treading over the avidya-roopi apasmara (epileptic) beneath His feet, Lord Trikala makes a statement. Such is the dynamism of the composition that He seems to walk on along the path of all-important destruction.
Deepalakshmi generates a true essence of spirituality and positivity while moulded in this superfine yellow-gold brass in sharp yet smooth shapes and patterns. The triple layered pedestal has the bottom-most layer slightly curved and chiseled in stylized multiple lotus petals with a square block above it and topped with an inverted lotus flower on which Deepalakshmi stands. The sculptor has paid great attention while carving out the figurine of this cosmic beauty having her hands folded in perfect angles and holding the designer star shaped diya.
A Banarasi handloom is one of the age old form of embroidery, originated from Banaras and still finds its suited position in the contemporary fashion trend. The soft and smooth texture of this bright Indian wear allows it to have a easy and settled flow to the pleats when draped, hence ascending the personality of the women wearing it. A good quality banarasi silk is identified by the use of fine gold and silver threads for weaving glossy brocades or zari and opulent embroidery. This Banarasi silk is an apt wear for decorating the bridal trousseau wardrobe because of its elegant and rich look and bright pink color. The royal zari embroidered border and the check-like patterns on pallu accentuate the royal beauty of this masterpiece.
Entire sari is flooded with sophisticated kadva floral motifs in green, orange and red along with stylized gold zari embroidered leaves. Indian wear is one of the ethnic styles of textile that embraces the innate beauty and personality of a woman. This bridal banarasi silk is a comfortable wear for both summers and winters, as its bright color, light weight and rich texture allows it to be an elegant wear of the season. Also if you are looking for something Indian to wear in party or family gatherings, then this soft banarasi silk is a perfect piece to adorn yourself in a gracious essence.
This colorful Madhubani art is an artistic depiction of the great episode of Ramayana, where Lord Rama tied knot with the beautiful Sita. Mandap is set in the royal kingdom, all engrossed with colorful flowers and curtains. Kamlesh has beautifully described the scene keeping in view all iconic aspects of Madhubani art. This type came into existence from a town named Mithila in Bihar and is characterized by line drawings and other geometric patterns displaying wedding scenes from the universally known epic, Ramayana.
The bride and groom (Sita and Ram) are adorned in deep yellow garbs of divinity and Sita’s royal red chunri is loaded with lavish floral patterns. Their standing posture and side faces highlights them in motion of taking the ritualistic seven feras of togetherness around the sacred agni (fire). The wedding ceremony is attended by people of the town and other prince and princesses; all the males acquire seats on the left and females towards the right. Everyone is garbed in beautiful colors of yellow, orange, pink, red, blue etc giving a vibrating touch to the environment and spreading ample amount of happiness, love and blessings in their hearts for the newlyweds.
The fairy decorations of flowers, leaves, lights and fancy curtains beautify the ambience with its colorful and resplendent vibes. As a part of the iconic Madhubani art, entire painting is filled with minute designs of flowers, spirals and kalash (water pots). The artist has brushed his colorful palette in creating the most magnificent scene and figures while efficiently displaying their emotions of love, joy and romance. Having this bright colored painting on any plain wall will accentuate the beauty of the room creating a mesmerizing charm in the viewer’s eyes.
She stands on the receptacle of an inverted lotus, as is the norm with peace-loving deities of the Hindu and Buddhist pantheons. Her body language is dynamic, Her gaze turned lovingly to the realm (existential) beneath Her. Her sashes and the ample train of Her silken dhoti float about Her lithe, yogini’s form. On the palms of both hands is the cakshurindriya, as is characteristic of Devi Tara’s many roopas. In Her left hand is a blooming, larger-than-life lotus. The solid gold of the devi’s roopa, from her skin to Her lush clothing and vine-like crown and ornaments, is punctuated by the dreamy black of Her shoulder-length curls.
This murti is a fine example of Nepalese handiwork. Gold-gilded copper being an elite medium, Buddhist lord- and devi-sculptures like this one are signature collectibles for the spiritually inclined.
The one you see on this page depicts a fair and stately Lord Ganesha. He is seated in lalitasana on a double lotus pedestal, His vahana the mouse gently grazing the resting knee. In His posteriormost hands He cradles a mustard snake whose long, slender body forms an arch above His head. Another of its kind holds His protruding tummy in place, in keeping with His traditional iconography. Note the raised trunks that emerge on either side from the base of His gold crown.
The altar painted around the central figure has been finished with perfect symmetry and attention to detail. The pillars are decorated with lotus-petal motifs, the arch above them with vines of varying form and colour. Note how the black background of the composition sets off the fine complexion of the son of Shiva in the foreground.
One of the earliest Boddhisattvas of Mahayana Buddhism, Vajrapani is the indestructible hand of Buddha, by being his protector and a power of mind to overcome obstacles of pride, anger, hate and jealousy; Vajra means ‘thunderbolt’ or ‘diamond’ and Pani means ‘hand’, he is the one who holds Thunderbolt Sceptor, symbolizing the power of compassion. He is always depicted in a taut posture representing the active warrior pose with the outstretched right hand brandishing a Vajra and left deftly holds a lasso to bind the demons.
Apart from his usual iconography, what strikes most is the unique color combination of chocolaty brown and metallic silver to highlight his key features; Sculpted in a wrathful expression symbolizing yaksha to generate fear in the individual to loosen up his dogmatism. He wears a skull crown with the red hairs standing on end; dense bushy eyebrows, third eye on forehead, serpent coiled around his neck and the loin cloth made of tiger skin are some of the major attributes to justify his wrathfulness. The sculptor has depicted all the features and elements in extreme realism.
Vajrapani Buddha stands here on a supremely carved lotus pedestal with a flamboyant prabhavali at the back having a complimenting gesture of rigorous and fiery carving such that of the Buddha himself. He is often depicted in front of Buddha temples justifying his nature of being Shakyamuni’s protector.
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