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Books > Language and Literature > The Divine Romance (Tales of an Unearthly Love)
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The Divine Romance (Tales of an Unearthly Love)
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The Divine Romance (Tales of an Unearthly Love)
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About the Book

Love stories have an enduring appeal, and the ultimate love affair is between the soul and the Divine. Everyone who has known the heartache that goes with being in love will resonate with this wonderful collection of stories from early Christian times that tell of a love surpassing all other loves.

In the Divine Romance, John Davidson Shows how these ancient and intriguing tales depict a universal spirituality the path to divine union. This the story of the soul's descent and its subsequent return, is told in terms of the divine marriage. The collection includes two parables of Jesus, with interpretations suggested by Gnostic texts, and two Gnostic parables one from the Nag Hammadi library, the other from the Acts of Thomas. The rambunctious early Christian classic Joseph and Aseneth, a tale that has circulated in various forms over the last 2000 years, concludes this luminous book.

 

About the Author

Born in 1944, John Davidson has had a lifelong interest in mysticism. Graduating in 1966 from Cambridge University with an honours degree in natural sciences, he worked for seventeen years at the University's Department of Applied Mathematics and Theoretical Physics.

In 1984 he left the University to pursue independent interests, and since then has written a number of books, including a series on science and mysticism. The present book is the fifth in a series on science and mysticism. The present book is the Fifth in a series on Christian origins, following on from his ground breaking work, The Gospel of Jesus: In Search of His Original Teachings.

Introduction

The Divine Romance is the second of three books concerned with the interpretation of ancient parables and allegories, the other two being The Prodigal Soul and The Song of Songs.

Everybody loves a good story, especially those with a mystery or a riddle. The message of some of the greatest literature the world has known is expressed in parable or story form. These parables address the most basic needs of humanity, needs so fundamental to our existence, yet hidden so deeply within the recesses of our being, that they are generally unconscious or, at best, remain unarticulated. They concern themselves with the ultimate mysteries of our existence: What is man? Why do we live? How best can we face this mysterious experience we call life?

It seems understandable that answers to such ultimate questions must - by their very nature - always go beyond words. Faced with the Absolute, we are speechless. Yet being human, we want to hear the tale.

For the most part, we look to the great teachers of our ancient past to address these fundamental issues. This they have often done in the simplest way that we could understand - through stories that in their telling could at least hint of an understanding that cannot be caught in words. Stories that could point the way. Good stories, told around innumerable firesides, passing along from soul to soul the accumulated wisdom of mankind.

Such stories are of many types. Some, like Aesop's Fables, are simple tales in which nothing but the moral is meant to be understood. Often, the nature of the story is fantastical or mythological- involving speaking and scheming animals, for instance. Other stories are a mixture of straight narrative, explicit spiritual or moral teaching, and allegory. The early Christian Acts of Thomas and losepn and Aseneth belong in this category, and ancient Jewish writers have understood parts of the Bible (such as the Exodus story) in this way, too. Some stories are entirely allegorical, written in a form or style in which every word or phrase is intended to convey a particular meaning through the use of symbols, images and metaphors. One of the best examples of such allegorical writing is the poem known as the Robe of Glory or the Hymn of the Soul, found embedded in the Acts of Thomas. Many Jewish and Christian mystics and philosophers throughout the ages have understood the biblical Song of Songs, as well as some of the other stories in Genesis and Exodus, to be of the same genre. A number of the parables of Jesus are also of a similar nature, like the parables of the sower, the wedding feast, and the good Samaritan.

Jesus and many other great spiritual teachers have used stories to convey their message, and The Divine Romance is a compilation of five parables or allegories, drawn from the gospels and other early Christian and allied literature.

The metaphors and images employed in ancient parables occur repeatedly in mystic literature. In fact, they constitute a timeless language of metaphor used by writers of many cultures, languages and times. Living Water, the Tree of Life, the Bread of Life, the Bridegroom, the Bride, marriage, the serpent, the pearl and the garment of the soul, for instance, along with many other metaphors, are all commonly encountered in the mystic literature of the ancient Middle East. Some of these even date back to Sumerian times of the third millennium BC.

The Western mind, usually unfamiliar with this style of allegorical storytelling, has a tendency to take allegories literally, as with the Genesis creation myths. But, as we will see, that was not the way that many people of ancient times actually understood them. Nor does it appear to have been the meaning their original writer intended to convey.

The essence of all the stories in this series of three books is a spirituality that is universal in character and common to all religions. In any open-minded study of the world's mystic and sacred literature, one is inescapably impressed, not so much by their diversity as by the common threads that unite them all. It is true that if we look at the variety of human interpretations, at the external trappings of the religions that claim these writings as their own, at the differences in the linguistic or cultural modes of expression, or at any other of their more outward features, we can find differences enough. But if, dispassionately, we examine the fundamental principles being voiced, we cannot help but note that they are all, essentially, saying the same thing. They all contend that there is one God, or one ultimate Reality. They also indicate that this Reality can be found and experienced within every individual in an utterly transcendent and indescribable mystic experience.

In early Christianity, this experience was called 'gnosis-implying knowledge or experience of God. To attain this experience of salvation, the 'gnostic myth', as it has been called, always spoke of the need of a Saviour or Master. No one disputes this. It is clear that Simon Magus, Basilides, Valentinus, Bar Daisan, Mani and many other gnostics of that period all taught this basic principle. Indeed, it is probable that Jesus did so too, though with the passage of time his teachings have been greatly distorted. In modern times, this 'gnostic myth', regarded at a safe distance from across the centuries of history, has been studied critically as an interesting philosophy of long ago. But it seems to me that the essence of it is as true and relevant nowadays as it was then.

The 'gnostic myth' is the oldest story ever told - the story of the soul's separation from its eternal home with the Father, its wanderings in the labyrinth of creation, its follies and its heartaches, its eventual rescue by a divine Messenger, and its final return.

Echoes and variations of this story are found in the mythology, folklore and mystical allegories of every culture. It is a captivating tale that touches the spiritual heart, awakening memories of a peace and inner comfort long forgotten, stirring up a longing for the pure realms of being, beyond the strife and turbulence of the material universe. It is the parable of the prodigal son, the prince who awakens the sleeping beauty, or the princess who has fallen under the spell of an evil power and awaits the touch and mystic kiss of the ever youthful and life-giving prince before her release can be effected. It is the story of the good Samaritan or The Virgin, the Harlot and the Bridegroom.

In one way or another, this story will always be told, for souls - having long ago left their home - will never be happy in the material realms. The soul, separated from its divine Source, is ever restless, finding no peace until reunited with its divine essence.

There have always been souls who have been called to make the journey home. And there have always been divine Messengers, Sons of God, Saviours or perfect Masters who have been sent to guide such souls on their long journey homewards. Indeed, it is this divine Beloved, calling from hidden places in the inner realms of light, who awakens the soul and fills it with the desire to find God, its source of being. But at the outset, the soul does not know who it is that is beckoning - or even that it is being drawn. Like a man waking from a deep slumber, he does not know that there is someone else who is awakening him.

In many places, I have relied upon the existence of my earlier book, The Gospel of Jesus (1995, revised 2004), to support the interpretation of particular metaphors. This is useful because it avoids making unsubstantiated assertions on the one hand, or burdening the text with extensive quotations on the other. Only if particularly beautiful or pertinent, or when they have not been covered in The Gospel of Jesus, have I included quotations in addition to those comprising the parable or story under discussion. Likewise, the various ancient texts used are generally described more fully in The Gospel of Jesus, and background details concerning them may be found there for those who are interested.

Regarding translations of the various ancient texts, I have generally relied on existing translations. There are a few occasions, however, when the intended mystic meaning seems clear, but it has not been adequately conveyed. Sometimes, the simple capitalization of a word makes all the difference. God, for example, could not be expected to have manifested the creation with a human 'word'. But if we write 'Word' - meaning his creative Power or Emanation - we have a statement with which mystics throughout the ages would all agree.

In instances of this sort, I have taken the liberty of either very lightly editing the text, or of adding explanatory words in parentheses. But no editing has been done unless the meaning of the full context supports it. I have also modernized archaic English. In some cases, where a number of scholarly translations are available of some particular text, I have combined them, indicating this by a reference to the various sources consulted. Also, because of the variety of typographic styles found in the many quotations, I have standardized the layout, as well as the spelling and punctuation. The aim has always been to help convey eaning with clarity, lucidity and simplicity.

Unless otherwise noted, any significant clarifications or additions to a translation offered by myself or the original translator have been placed in round brackets, while significant conjectured words or phrases, usually provided by the original translator to fill gaps in an original, defective manuscript, appear in square brackets. Where trans- lations used have been edited for any of the above reasons, this is indicated by the use of cf. in the source reference.

 

Contents

 

  Acknowledgements vii
  Introduction 1
  The Story so Far 6
1 The Wedding Feast 11
  The Zoroastrian Connection 22
2 The Bridegroom 25
3 The Virgin, the Harlot and the Bridegroom Origins 34
  The Virgin and her Divine Father 35
  The Prostitution of the Soul 39
  The Coming of the Bridegroom 44
  The Repentance of the Soul 54
4 The Damsel of Light 63
5 Joseph and Aseneth 71
  The Story of Ioseph 71
  The Text 74
I THE HOUSE OF PENTEPHRES 78
  Pentephres had a Virgin Daughter 78
  Aseneth's Penthouse Suite 81
II JOSEPH 85
  You shall be a Bride to Him 85
  Ioseph is Standing at our Garden Gates 88
  When Aseneth saw [oseph 90
  When Ioseph saw Aseneth 93
  Greet your Brother 96
  Ioseph's Blessing 100
III THE REPENTANCE OF ASENETH 104
  Aseneth was left Alone 104
IV THE PRAYERS OF ASENETH 109
  With whom shall I Seek Refuge? 109
  You Spoke the Word 114
  With you do I Seek Refuge 118
  The Wild Primeval Lion Pursues me 119
  Rescue me, O Lord 123
  Deliver me from my Ignorance 125
V THE MAN OF LIGHT 128
  The Chief Captain of the Lord God 128
  Her New and Brilliant Robe 132
  You will be Renewed 134
  Daughter of the Most High 137
  The Ancient and First Robe 139
  What is your Name, Lord? 140
  Bring me also a Honeycomb 141
  This Comb is the Spirit of Life 146
  Have you Understood? 151
VI THE RETURN OF JOSEPH 153
  Her Eyes like the Morning Star 153
  Ioseph Stretched out his Arms 156
  Your Soul is my Soul 157
  Betrothed from Eternity 161
  Golden Crowns upon their Heads 162
VII EPILOGUE 164
  I have Sinned, Lord 164
  Appendix 171
  The Text of The Virgin, the Harlot and the Bridegro 171
  The Text of loseph and Aseneth 171
  Abbreviations 177
  Bibliography 181

Sample Pages






The Divine Romance (Tales of an Unearthly Love)

Item Code:
NAK971
Cover:
Paperback
Edition:
2004
ISBN:
9789380077277
Language:
English
Size:
8.5 inch x 5.5 inch
Pages:
198
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Weight of the Book: 220 gms
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$25.00   Shipping Free
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About the Book

Love stories have an enduring appeal, and the ultimate love affair is between the soul and the Divine. Everyone who has known the heartache that goes with being in love will resonate with this wonderful collection of stories from early Christian times that tell of a love surpassing all other loves.

In the Divine Romance, John Davidson Shows how these ancient and intriguing tales depict a universal spirituality the path to divine union. This the story of the soul's descent and its subsequent return, is told in terms of the divine marriage. The collection includes two parables of Jesus, with interpretations suggested by Gnostic texts, and two Gnostic parables one from the Nag Hammadi library, the other from the Acts of Thomas. The rambunctious early Christian classic Joseph and Aseneth, a tale that has circulated in various forms over the last 2000 years, concludes this luminous book.

 

About the Author

Born in 1944, John Davidson has had a lifelong interest in mysticism. Graduating in 1966 from Cambridge University with an honours degree in natural sciences, he worked for seventeen years at the University's Department of Applied Mathematics and Theoretical Physics.

In 1984 he left the University to pursue independent interests, and since then has written a number of books, including a series on science and mysticism. The present book is the fifth in a series on science and mysticism. The present book is the Fifth in a series on Christian origins, following on from his ground breaking work, The Gospel of Jesus: In Search of His Original Teachings.

Introduction

The Divine Romance is the second of three books concerned with the interpretation of ancient parables and allegories, the other two being The Prodigal Soul and The Song of Songs.

Everybody loves a good story, especially those with a mystery or a riddle. The message of some of the greatest literature the world has known is expressed in parable or story form. These parables address the most basic needs of humanity, needs so fundamental to our existence, yet hidden so deeply within the recesses of our being, that they are generally unconscious or, at best, remain unarticulated. They concern themselves with the ultimate mysteries of our existence: What is man? Why do we live? How best can we face this mysterious experience we call life?

It seems understandable that answers to such ultimate questions must - by their very nature - always go beyond words. Faced with the Absolute, we are speechless. Yet being human, we want to hear the tale.

For the most part, we look to the great teachers of our ancient past to address these fundamental issues. This they have often done in the simplest way that we could understand - through stories that in their telling could at least hint of an understanding that cannot be caught in words. Stories that could point the way. Good stories, told around innumerable firesides, passing along from soul to soul the accumulated wisdom of mankind.

Such stories are of many types. Some, like Aesop's Fables, are simple tales in which nothing but the moral is meant to be understood. Often, the nature of the story is fantastical or mythological- involving speaking and scheming animals, for instance. Other stories are a mixture of straight narrative, explicit spiritual or moral teaching, and allegory. The early Christian Acts of Thomas and losepn and Aseneth belong in this category, and ancient Jewish writers have understood parts of the Bible (such as the Exodus story) in this way, too. Some stories are entirely allegorical, written in a form or style in which every word or phrase is intended to convey a particular meaning through the use of symbols, images and metaphors. One of the best examples of such allegorical writing is the poem known as the Robe of Glory or the Hymn of the Soul, found embedded in the Acts of Thomas. Many Jewish and Christian mystics and philosophers throughout the ages have understood the biblical Song of Songs, as well as some of the other stories in Genesis and Exodus, to be of the same genre. A number of the parables of Jesus are also of a similar nature, like the parables of the sower, the wedding feast, and the good Samaritan.

Jesus and many other great spiritual teachers have used stories to convey their message, and The Divine Romance is a compilation of five parables or allegories, drawn from the gospels and other early Christian and allied literature.

The metaphors and images employed in ancient parables occur repeatedly in mystic literature. In fact, they constitute a timeless language of metaphor used by writers of many cultures, languages and times. Living Water, the Tree of Life, the Bread of Life, the Bridegroom, the Bride, marriage, the serpent, the pearl and the garment of the soul, for instance, along with many other metaphors, are all commonly encountered in the mystic literature of the ancient Middle East. Some of these even date back to Sumerian times of the third millennium BC.

The Western mind, usually unfamiliar with this style of allegorical storytelling, has a tendency to take allegories literally, as with the Genesis creation myths. But, as we will see, that was not the way that many people of ancient times actually understood them. Nor does it appear to have been the meaning their original writer intended to convey.

The essence of all the stories in this series of three books is a spirituality that is universal in character and common to all religions. In any open-minded study of the world's mystic and sacred literature, one is inescapably impressed, not so much by their diversity as by the common threads that unite them all. It is true that if we look at the variety of human interpretations, at the external trappings of the religions that claim these writings as their own, at the differences in the linguistic or cultural modes of expression, or at any other of their more outward features, we can find differences enough. But if, dispassionately, we examine the fundamental principles being voiced, we cannot help but note that they are all, essentially, saying the same thing. They all contend that there is one God, or one ultimate Reality. They also indicate that this Reality can be found and experienced within every individual in an utterly transcendent and indescribable mystic experience.

In early Christianity, this experience was called 'gnosis-implying knowledge or experience of God. To attain this experience of salvation, the 'gnostic myth', as it has been called, always spoke of the need of a Saviour or Master. No one disputes this. It is clear that Simon Magus, Basilides, Valentinus, Bar Daisan, Mani and many other gnostics of that period all taught this basic principle. Indeed, it is probable that Jesus did so too, though with the passage of time his teachings have been greatly distorted. In modern times, this 'gnostic myth', regarded at a safe distance from across the centuries of history, has been studied critically as an interesting philosophy of long ago. But it seems to me that the essence of it is as true and relevant nowadays as it was then.

The 'gnostic myth' is the oldest story ever told - the story of the soul's separation from its eternal home with the Father, its wanderings in the labyrinth of creation, its follies and its heartaches, its eventual rescue by a divine Messenger, and its final return.

Echoes and variations of this story are found in the mythology, folklore and mystical allegories of every culture. It is a captivating tale that touches the spiritual heart, awakening memories of a peace and inner comfort long forgotten, stirring up a longing for the pure realms of being, beyond the strife and turbulence of the material universe. It is the parable of the prodigal son, the prince who awakens the sleeping beauty, or the princess who has fallen under the spell of an evil power and awaits the touch and mystic kiss of the ever youthful and life-giving prince before her release can be effected. It is the story of the good Samaritan or The Virgin, the Harlot and the Bridegroom.

In one way or another, this story will always be told, for souls - having long ago left their home - will never be happy in the material realms. The soul, separated from its divine Source, is ever restless, finding no peace until reunited with its divine essence.

There have always been souls who have been called to make the journey home. And there have always been divine Messengers, Sons of God, Saviours or perfect Masters who have been sent to guide such souls on their long journey homewards. Indeed, it is this divine Beloved, calling from hidden places in the inner realms of light, who awakens the soul and fills it with the desire to find God, its source of being. But at the outset, the soul does not know who it is that is beckoning - or even that it is being drawn. Like a man waking from a deep slumber, he does not know that there is someone else who is awakening him.

In many places, I have relied upon the existence of my earlier book, The Gospel of Jesus (1995, revised 2004), to support the interpretation of particular metaphors. This is useful because it avoids making unsubstantiated assertions on the one hand, or burdening the text with extensive quotations on the other. Only if particularly beautiful or pertinent, or when they have not been covered in The Gospel of Jesus, have I included quotations in addition to those comprising the parable or story under discussion. Likewise, the various ancient texts used are generally described more fully in The Gospel of Jesus, and background details concerning them may be found there for those who are interested.

Regarding translations of the various ancient texts, I have generally relied on existing translations. There are a few occasions, however, when the intended mystic meaning seems clear, but it has not been adequately conveyed. Sometimes, the simple capitalization of a word makes all the difference. God, for example, could not be expected to have manifested the creation with a human 'word'. But if we write 'Word' - meaning his creative Power or Emanation - we have a statement with which mystics throughout the ages would all agree.

In instances of this sort, I have taken the liberty of either very lightly editing the text, or of adding explanatory words in parentheses. But no editing has been done unless the meaning of the full context supports it. I have also modernized archaic English. In some cases, where a number of scholarly translations are available of some particular text, I have combined them, indicating this by a reference to the various sources consulted. Also, because of the variety of typographic styles found in the many quotations, I have standardized the layout, as well as the spelling and punctuation. The aim has always been to help convey eaning with clarity, lucidity and simplicity.

Unless otherwise noted, any significant clarifications or additions to a translation offered by myself or the original translator have been placed in round brackets, while significant conjectured words or phrases, usually provided by the original translator to fill gaps in an original, defective manuscript, appear in square brackets. Where trans- lations used have been edited for any of the above reasons, this is indicated by the use of cf. in the source reference.

 

Contents

 

  Acknowledgements vii
  Introduction 1
  The Story so Far 6
1 The Wedding Feast 11
  The Zoroastrian Connection 22
2 The Bridegroom 25
3 The Virgin, the Harlot and the Bridegroom Origins 34
  The Virgin and her Divine Father 35
  The Prostitution of the Soul 39
  The Coming of the Bridegroom 44
  The Repentance of the Soul 54
4 The Damsel of Light 63
5 Joseph and Aseneth 71
  The Story of Ioseph 71
  The Text 74
I THE HOUSE OF PENTEPHRES 78
  Pentephres had a Virgin Daughter 78
  Aseneth's Penthouse Suite 81
II JOSEPH 85
  You shall be a Bride to Him 85
  Ioseph is Standing at our Garden Gates 88
  When Aseneth saw [oseph 90
  When Ioseph saw Aseneth 93
  Greet your Brother 96
  Ioseph's Blessing 100
III THE REPENTANCE OF ASENETH 104
  Aseneth was left Alone 104
IV THE PRAYERS OF ASENETH 109
  With whom shall I Seek Refuge? 109
  You Spoke the Word 114
  With you do I Seek Refuge 118
  The Wild Primeval Lion Pursues me 119
  Rescue me, O Lord 123
  Deliver me from my Ignorance 125
V THE MAN OF LIGHT 128
  The Chief Captain of the Lord God 128
  Her New and Brilliant Robe 132
  You will be Renewed 134
  Daughter of the Most High 137
  The Ancient and First Robe 139
  What is your Name, Lord? 140
  Bring me also a Honeycomb 141
  This Comb is the Spirit of Life 146
  Have you Understood? 151
VI THE RETURN OF JOSEPH 153
  Her Eyes like the Morning Star 153
  Ioseph Stretched out his Arms 156
  Your Soul is my Soul 157
  Betrothed from Eternity 161
  Golden Crowns upon their Heads 162
VII EPILOGUE 164
  I have Sinned, Lord 164
  Appendix 171
  The Text of The Virgin, the Harlot and the Bridegro 171
  The Text of loseph and Aseneth 171
  Abbreviations 177
  Bibliography 181

Sample Pages






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