Skanda – The War God Son of Shiva Also known as Kumara, Subrahmanya, and Murukan, Skanda “has been hunter, warrior, philosopher… He is teacher… He is the eternal child as old as time itself”. Obeyesekere writes that Skanda is viewed as possessed of having six faces, twelve arms, and riding a peacock. Throughout Skanda’s history, he has been worshipped for several different reasons. He has been worshipped “as a god of hill and hunt… and avenger of ananku and cur, malevolent spirits of the hills”. During the Cankami period of Tamil India “Murukan was known … as the lord of the hunt”. According to Clothey, he has also been worshiped in South India as the son of Siva. Through this several other deities related to vegetation and hunting embodied the name Murukan. Clothey also writes that the name Murukan has become commercialized with an array of different industries using his name, for songs and films.

The purpose behind Idol Worship in Hinduism “kleśo ‘dhikataras teshām avyaktāsakta-cetasām avyaktāhi gatir duhkham dehavadbhir avāpyate” Severe is the path of those whose minds are set on the Unmanifest, for the goal of the Unmanifest is painful to reach by the embodied beings. – Bhagavad Geeta Chapter 12, V. 5 In this verse, Bhagwan says that it is very difficult for an embodied being like you and me to worship him in his unmanifest form. The realized person, the sthitaprajna sees Divinity or God in every being, human or animal, the animate or the inanimate. But for ordinary people like you and me, it is easier to focus our thoughts and devotion on something visible, be it a stone, wood or clay. The shape and size of the statue does not matter. Even a picture if you look at it day after day with love and devotion, you will build an unseen bond with the object of your devotion and that regular Abhyasa (practice) will finally make you aware of The Divinity within you.

Jamdani is a vividly patterned, sheer cotton fabric, traditionally woven on a handloom by craftspeople and apprentices around Dhaka. Jamdani textiles combine intricacy of design with muted or vibrant colours, and the finished garments are highly breathable. Jamdani is a time-consuming and labour-intensive form of weaving because of the richness of its motifs, which are created directly on the loom using the discontinuous weft technique. Weaving is thriving today due to the fabric’s popularity for making saris, the principal dress of Bengali women at home and abroad. The Jamdani sari is a symbol of identity, dignity and self-recognition and provides wearers with a sense of cultural identity and social cohesion. The weavers develop an occupational identity and take great pride in their heritage; they enjoy social recognition and are highly respected for their skills. A few master weavers are recognized as bearers of the traditional Jamdani motifs and weaving techniques, and transmit the knowledge and skills to disciples. However, Jamdani weaving is principally transmitted by parents to children in home workshops. Weavers – together with spinners, dyers, loom-dressers and practitioners of a number of other supporting crafts – form a closely knit community with a strong sense of unity, identity and continuity.

The Hindu deity Krishna is a highly regarded and popular god in Hinduism, known to hold the title of svayam bhagavam (The Supreme Personality of Godhead). The myths of Krishna are displayed in several Hindu texts, primarily in the Bhagavad-Gita, where he epitomizes the ideals of both karma and dharma. The myths depicting Krishna and his adoptive mother Yasoda elaborate on these karmic and dharmic ideals by showing Krishna as the quintessential son and Yasoda in the image of the perfect mother. In the Bhagavad-Gita, Krishna “performs actions without attachment, and so persons should do the same. He also cautions against indecisiveness and inaction, which is a form of ‘doing’ and carries with it karmic consequences”. The immense popularity of Krishna’s image in Hinduism has been attributed to his accessibility, compared to other gods who are typically depicted as isolated and inaccessible. Through his many myths, Krishna is seen as an ideal infant, child, and adolescent, one who gains much devotion from those who encounter him.

Prevalent in ancient and contemporary art alike, marble artworks have a prominent place in many major art movements and are among some of the most famous sculptures in the world. For millennia, artists have opted for marble, a metamorphic rock, due to its soft, easy-to-carve composition and the translucence of its surface. In ancient Mesopotamia, marble was used to create crude models of animals (both naturalistic and anthropomorphic) and figures, though other mediums like limestone, diorite, and terra-cotta were used more frequently. Similarly, ancient Egyptians artistically employed a wide variety of stone. While limestone and granite were their mediums of choice, they occasionally used marble to craft figures of pharaohs, gods, and guardians for temples and tombs. Like the Mesopotamian figures that came before, these pieces are primitive in design, showcasing flat and stylized silhouettes rather than realistic forms or lifelike details. During Ancient Greece's Archaic Period of art (8th century-500 BCE), artists began to show increasing interests in marble. Though rendered with more realism than sculptures from preceding periods, marble figures from this time are not yet naturalistic, as their expressions remain relatively stoic and their poses convey little movement.

The Four Vedas: Sacred Scriptures of Hinduism The Vedas are ancient Hindu text that are considered to be the most holy scriptures. One could say that the Vedas to Hindus is akin to what the Bible is to Christians. The sacred scriptures found in the Vedas are considered to define the truth for Hinduism. The word Veda itself is Sanskrit for “knowledge” or “wisdom”. While no one can say precisely when the Vedas were composed, most scholars accept that the Vedas originate from somewhere between 1500-1200 BCE, making them the oldest text of the Hindu religion. These sacred scriptures are said to have been introduced to India by the Aryans. Being truly sacred, Hindus believe that god himself imparted the Vedas to scholars. As such, Hindus think of the Vedas as being apauruseya or in other words, “not of man but supernatural”. The scholars then passed on the holy words of god. For many centuries, the sacred scriptures were entirely passed on and spread to Hindu believers by word of mouth.

Buddhism and the Middle Way to Nirvana Originating in India two thousand years ago, Buddhism is one of the world’s oldest religions. With approximately four hundred seventy million Buddhists, it is also one of the largest religions in the world. Buddhism first began with Siddhartha Gautama, who is considered to be its founder. A former prince who evolved into a spiritual leader, he was born Siddhartha Gautama and died Gautama Buddha or Lord Buddha, which means “enlightened”. His revelations and teachings became the very foundation of Buddhism. After his death, Buddha’s followers continued to spread his teachings and developed a religious movement that would spread throughout the world, especially across East and Southeast Asia. A great turning point came when, in the third century BCE, the Indian emperor Ashoka the Great established Buddhism as India’s state religion. This paved the way for monasteries to be built across the nation and encouraged missionary work for the teachings of Buddhism to be further proclaimed.

The Mahabharata: The World’s Longest Epic Poem The Mahabharata, which is Sanskrit for a “Great Epic of the Bharata Dynasty” is indeed a great epic. Alongside the Ramayana, it is one of the greatest and most significant epics in Indian literature. However, its significance extends beyond India and beyond Hinduism. It is, in fact, one of the greatest and longest epics in world literature as a whole. Not only a lengthy poem, the Mahabharata is actually considered the longest epic poem ever written. It is made up of one hundred thousand verses, which are divided into eighteen parvans or sections, and also includes a supplement entitled the Harivamsha, which means “Genealogy of the God Hari.” The Mahabharata is actually seven times longer than the renowned Iliad and Odyssey epics combined.

The Ramayana: The Epic Journey of Rama The Ramayana is one of the most significant works of Indian literature, alongside the Mahabharata, and also very significant in Hinduism. The epic poem was the work of Maharishi Valmiki, who wrote it in Sanskrit. While the exact year it was written is unknown, many scholars believe that it was likely not written any earlier than 300 BCE. Not much is also known about Valmiki himself. However, it is believed that he may have been a thief who was named Ratnakara. He then evolved into a sage and become known as Valmiki, the poet who is renowned for his epic work creating the Ramayana. The ancient epic tells the story of Prince Rama. In fact, the title Ramayana itself translates to “Rama’s journey”.

The Hindu Conception of Time - Yugas Time is a very important concept for many of the world religions, and for the Hindu tradition the concept of time is explained through yuga. The concepts of the yugas were first mentioned in the popular Mahabharata epic, as well as the Manusmriti. The cycle of time is divided up into four different sections. Each section is known as a yuga, or time period. Each successive period brings the world into a greater state of decreased dharma, because through each cycle the earth gets further and further away from the Absolute. Within every subsequent era there is less order, cosmic law, and the life expectancy of humans is shortened. A metaphor commonly used to explain this dharma is the image of a bull. In the very beginning of the cycle, the animal is strong and sturdy.

For Hindus, especially the younger generation, understanding rituals makes them more meaningful, helps clarify misconceptions, increases respect for Sanatan Dharma and inspires them to imbibe these rituals in their own lives. It also increases their pride in belonging to the most ancient tradition in the world. It even helps them to tolerate insults. Hindus who are not given samskaras (nurture) by parents from early childhood, tend to develop an inferiority complex and cultural identity crisis when confronted with issues raised at school by peers and even teachers. Ignorant of their lofty cultural roots, such young Hindus reject their Indian identity and mimic peers (Warner 1998:62). For instance, they will readily practice rituals in other forms such as the gesture of bowing, similar to prandms, to their martial arts instructor, yet disdain and feel uncomfortable in offering pranams to parents, other family elders, sadhus and even deities!

Jade is a stone of sublime tranquilly and well-being, as well as a good luck amulet, a totem for welcome abundance, wealth and fortune. Exotic India has an exquisite and large collection of Green aventurine jade gemstone statues of Hindu deities. Saraswati, the goddess of knowledge, eloquence, and wisdom, is symbolised in this exquisite jade statue, which is a testament to the sculptor's enormous effort. Everything about this model is distinctive; the Goddess's face is modelled in such a way that it shows her effortless smile, her lotus eyes, and her jewels all add to her feminine beauty. Note how appealing the heavy work on the pleated silk sari is, as well as the creativity that went into it; floral motifs and oriental designs appear to be traditional and timeless. The floral work and scroll patterns on her instrument in entirety is very prominent, and how observable the fact is that the foliate and paisley pattern on Veena looks natural. The real expertise is around the knees, where the left knee makes an excellent curve as she stands atop her swift vehicle, swan. Notice the pearls in swan’s mouth that symbolizes knowledge and self-realization. The sacred swan has a sensitive beak that allows it to discern the difference between milk and water. Therefore, the swan represents the ability to distinguish between good and bad, right and wrong, precious and inoperable. 

A living room or restful boudoir should feel familiar & comforting. With Exotic India Art wooden tables we want you to get in touch with your artsy and classic sense of style. Showcasing wooden side table with four drawers that has exquisite bohemian patterns and floral motifs. Caliginous colours with a rich golden foliate design accentuate this eye-catching furniture made by Exotic India Art. The pinnacle of the polychrome wooden table has patterns filled with vines and wreathed elements. 

The blissful beauty of urdhavatandava, carved in wood and finished in a varied colour palette. As opposed to the rudra tandava of Shiva, urdhavatandava conveys a gathered serenity. The murti that you see on this page depicts Lord Shiva amidst His urdhavatandava. The left foot presses down upon the back of Apasmara, while the right foot is raised along the front all the way up to His own head.A rare image of the dadashabhujadhari (the one possessed of twelve arms) Shiva. The Himalayan ice complexion of His body, set off by the shimmer of the tiger skin around His loins. Dense dreadlocks of a washed out colour that flies about His face as he motions. The anteriormost hands He gathers at the base of the raised leg as He cups the damroo. Note the contrast of Apasmara’s form, the avidya-roopi one.At the base of the flame aureole (prabhavali), flanking Apasmara, are the figures of Lord Krishna (Vishnu-roopa) and Lord Brahma (multi-headed) to the right and the left of Shiva, respectively. The presence of the complete trinity makes this an especially sacred composition. Note the sheer proportion of detail along the length of the prabhavali, including and especially the elaborate Kirtimkham at top of the prabhavali.

Whenever and wherever, there is increase in irreligiosity and abominable activities, the Supreme Lord descends Himself on the earth to reestablish Dharma and deliver the impious or evil people. In the beginning of Kali Yuga, a form of Lord Vishnu, known as Lord Venkateshvara or Balaji appeared on the earth to bring the Adharmees close to God so that they can come out of the repeated cycle of births and deaths which is the ultimate goal of the human life. Lord Venkateshvara is the presiding deity of Tirumala Temple located in Tirupati, Andhra Pradesh. Everyday, thousands and lakhs of devotees come to this temple to take the mercy and blessings of the Lord. 

As the wife of Lord Vishnu, Devi Lakshmi is the presiding deity over wealth and resources. To Her husband, the presiding deity over preserving existence, She is indispensable. Understandably, She is widely worshipped in ihaloka, which could not be preserved without material affluence. In traditional form, Devi Lakshmi is resolved into the Ashtalakshmi form, a composite of eight (‘ashta’) Devis, each of whom signifies one of the eight sources of wealth.The composition that you see on this page comprises eight square-shaped panels of each of the Ashtalakshmi, arranged in two rows of three panels each and one (the top one) with a miniscule Ganesha-head between the remaining two Ashtalakshmis. Clockwise from top left, the Ashtalakshmi are Adi Lakshmi, Dhana Lakshmi, Dhyana Lakshmi, Gaja Lakshmi, Santana Lakshmi, Veerya/Dhairya Lakshmi, Vijaya Lakshmi, and Vidya Lakshmi. The names translate to classical, wealth, grain, elephant (cattle), progeny, valour/patience, victory, and learning, each of which is symbolic of a source or means of affluence. They are adhered on a stretch of fabric, which is mounted on a dark-polished wooden stand.Note the tiny bell dangling from the trunk of the Ganesha-head at the top row. It adds to the auspiciousness of the work. Zooming in on each of the Ashtalakshmi as well as the Ganesha-head will enable the viewer to appreciate the high-precision engraving and the flawlessly executed iconography of each deity.

This stunning pure wool stole with Kashmiri aari-embroidery comprises gorgeous, intricate flowers. The masterfully ari-hand-embroidered flowers are detailed very intricately in multicolor with green leaves on an almost apricot base by master artisans in Kashmir. The design of this stunning piece is truly inspired by nature and is doing wonders to incorporate it into a layering piece. 

The unmistakable stance of the tribhanga murari. The Sanskrit word ‘tribhanga’ is a portmanteau of ‘tri’, which means three, and ‘bhanga’, which means broken or punctuated. It denotes the fact that the standing figure of the Lord is jutting out at three different junctures namely the shoulders, the hips, and the ankles. ‘Murari’ translates to one who is possessed of the flute, which is an integral aspect of Lord Krishna’s personality. As such, the tribhanga murari Krishna murti that you see on this page is a fine example of His classical, widely loved iconography.Sculpted from bronze, the murti features a remarkable proportion of detail and symmetry. It begins with the tall, sharply engraved crown, a hallmark of Southern workmanship (where bronze sculpture has flourished since centuries ago now). A halo from which emanates rays as powerful as those of the setting sun. The handsome, smiling face of the Lord, replete with the Vaishnava tilaka on the brow. A world of adornments starting at the ears and neck and bringing out the beauty of Krishna’s form, all the way down to the ankles.The flute in His hands is the supreme adornment of the Lord. From its long, slender body pours forth irresistible music that bewitches the milkmaids of Vrindavan as well as the mortals of ihaloka (earthly realm of existence). The feet of the Lord rest on the pistil of an upturned lotus. With its engraved petals and the octahedral base, it is a signature element of traditional iconography of the art of South India.

Buddha is the one who has attained bodhi or enlightenment by his supreme patience, excellence and practical approach of life. His teachings are a way of guiding people towards a purposeful, knowledgeable and happy lifestyle. Namaste or Anjali Mudra is a gesture of greeting the guests and welcoming their divine aspect; it is an expression of obeisance, salutation, adoration and reverence which the sculptor has beautifully carved in this copper Buddha sculpture. Nepalese sculptures are best known for religious figures made of bronze or copper and the artisans take major inspirational subjects from Buddhism and Hinduism as these two religions peacefully coexist even today in Nepal.This copper Buddha statue from Nepal is sculpted very graciously and justifiably with palms joined together and pressing each other. One of the most attractive part is that the stylish robe is chiseled briefly with undistorted pleats and an amazing combination of light and dark hues giving it a sassy look. His head with coiled hairs matted up together is framed in a dazzling crown, having a beautiful border of flowers and vines with accurate markings. The marvellous patterns and superfine carvings of this Buddha sculpture is suggestive of the perfection of sculptor’s skills.Designed with his characteristic features of long earlobes and curved lines on the neck, this statue, wherever placed, can bring a delicate smile and respect on the viewer’s face because of its unique and fine attributes. As you focus on the facial features, you will applaud the sharpness of its carves, having a long pointed nose, half close eyes, a small bindi on forehead symbolic of his third eye of wisdom and the natural curve of lips. Placing this at the entrance gate will be a sweet gesture of respect and a great ornamentation to the place.

Goddess Durga is as widely worshipped as Vishnu and Shiva. She is the fierce form of Devi who, as Shakti, is considered the personification of universal energy. According to the Devi Bhagavata the Universe is but Her manifestation - and even Brahma, Vishnu and Shiva worrship Her. Durga is worshipped in sixt-four forms as Ambika, Kali, Chamundi, Devi, Uma, etc. The worship of  Durga is supposed to be more than 4,000 years old in India. The names of Uma and Parvati occur in the Taittiriya Aranyaka and the Kena Upanishad. Some Indologists are of the opinion that the figure seated on a lion in the coins of Azes I; the Shaka ruler (c.5 B.C. to A.D.30), represents Ambika or Durga. Durga is worshipped in one form or another in almost every Indian village. This Amar Chitra Katha is based on the Durga-Saptashati of the Markandeya Purana.