Indian stone jewelry is beautifully decorated and available in various stone and precious metal types. Sterling silver, amethyst, and citrine stone jewelry are a few of many gems seen adorning the runways of Indian Fashion Week 2021. From chandelier earrings to choker style necklaces, adding bold indian accessories isn’t a challenge. Keep reading to learn how you can achieve high fashion looks by creating casual and evening outfits with indian stone jewelry! Add a collar necklace with an embroidered skirt and dupatta A collar-style necklace is the perfect way to accentuate your neckline. This look also allows you to skip earrings and bracelet accessories, since the intricate detailing of your necklace will become the focal point. You can add a full skirt with a ruffle hem and an all-over embroidered design. This indian stone accessory works best with lighter, neutral colors against darker colors, like white and blue. You can wear your hair in a sweet half up, half down hairstyle and light makeup. For a royal touch, add a matching, sheer dupatta scarf!

This article is for handloom users keen to understand more about the process and those interested in exploring handlooms for the first time. We would like to acquaint you with the different stages in the process, where individual fibres come together to become beautiful fabrics and how you can distinguish pure handloom from imitations. Knowing handlooms also allows you to understand the challenges industry is facing in current times. This journey into the handloom world, we hope, will enable you to better enjoy and appreciate these fabrics. 1. In Cotton Cotton was traditionally the single largest natural fibre used in clothing. Today India occupies the second position in cotton production in the world. Many varieties of cotton were produced in our country, the majority being the short staple variety which is ideal for hand spinning. We have moved away from growing short staple varieties but still produce good amounts of cotton both for domestic use and for export. Heavy use of pesticide has led to many problems and now there is a shift to organic farming Over 500 indigenous varieties of cotton were grown in India in the past. Today, we grow less than 20 varieties

Anklets When thinking of jewelry, one always immediately considers what earrings, necklace, bracelet and rings to wear. However, beyond the most common categories of jewelry, body jewelry includes styles that one should not overlook. The anklet, in particular, is one style that is subtle yet sexy and actually steeped in history. Beyond a common accessory or piece of jewelry, in Indian culture, anklets actually have a lot of meaning. Also known as a payal in hindi, the piece of jewelry that fits around the ankle is worn by married Indian women, usually on the left ankle. In fact, it is traditionally gifted to a newly married Indian woman upon first arriving at her new husband’s home. However, anklets aren’t actually only reserved for married women. Unmarried women also wear anklets. For single women, the piece of jewelry is a symbol of both their bravery and pride. Wearing one on the right ankle could also signify that the woman is in search of a partner.

Not all saris are created equal. In the world of Indian saris, the Banarasi Sari is in a class of its own. In fact, a few years ago, the Banarasi Sari was granted Geographical Indication rights, which distinguishes a product as originating from a particular region, where superior quality, excellence, renown, and distinct characteristics are associated with that specific location. This means that, much like Champagne must come from the Champagne region of France in order for it to be actually called Champagne, a sari must meet certain characteristics and be produced within the six districts of Uttar Pradesh in order for it to be rightfully called a Banarasi Sari. So, what makes the Banarasi Sari so special? First, it’s important to understand its history. Banarasi Saris originate from the city of Varanasi, also known as Banaras, which is, naturally, within the region of Uttar Pradesh, India. It was during the Mughal period in the 14th century when the art of intricate weaving began to flourish in the city. During those times, the exquisite silk of the Banarasi Sari was exclusively crafted for royalty and was woven using genuine gold and silver threads. It could often take as long as one year in order to handcraft these silks. Suffice it to say, when it came to garments, the Banarasi Sari represented the pinnacle of quality craftsmanship, luxury, and extravagance.

Buddhism is full of unique religious expressions, in which faith combines with culture to shape all those beliefs that make up this ancient religion. Within Buddhism there are many deities with special characteristics that are worthy of veneration by believers; whether they are from Hinduism or other beliefs, these deities are important and the rituals to worship them are always present. That is why deities such as Tara, a goddess with many forms in which the green Tara stands out, is important to Buddhists, as this divine mother has qualities such as helping you achieve success and get ahead.

The dupatta scarf is one of the most highly decorated scarf types made of delicate materials and luxurious detailing. The length alone makes it breathable for movement, while allowing for easy pinning to create different looks. It’s more than just a square cloth, with both devout and sentimental meaning. In this article, we dive into the symbolism, design and styling of this diverse cut of fabric! A brief history of the dupatta scarf A dupatta is a traditional headscarf (usually worn over the shoulders), within Asian cultures including Indian, Pakistan, and Bangladesh. Dupatta is a combination of two Sanskrit words which means two or double (du) and (patta), which means piece of clothing. The earliest remembrance can be dated back to Indus Valley civilization, when they were worn by both men and women. Males mostly wore their scarves to symbolize royalty and were mainly used to cover the upper body area. Over time, the dupatta scarf was geared more towards the seclusion of women within the social hierarchy. Majority of women not only covered their upper with a scarf, they rarely showcased bare legs. The delicate fabric has also been used as a way to show respect for elders within families, while keeping the look of modesty.

A quintessential item of Indian fashion is undoubtedly the Sari. In fact, when considering Indian style, the first thing that many often think of is the sari. The word “sari” itself comes from the Sanskrit word “sati”, which means strip of cloth. From the very meaning of the word, the Indian sari, which can also be spelled as “saree”, is one long piece of cloth, which is unstitched and usually measures between four and a half to nine yards long and twenty-four to forty-seven inches wide. Now, a sari is not just any simple piece of cloth. Saris come in a wide range of eye-catching colors, and striking designs that often feature various prints, embroideries and embellishments, and are made of different fabrics. There are said to be approximately thirty different regional varieties of Saris in India. The nation’s well-known tradition and expertise in dyeing, printing and silk weaving fabrics all come alive in the countless saris worn by women in India and beyond the country’s shores.

If you’ve ever attended a wedding or special occasion, then the chances are that you saw dozens of women wearing jhumka. They’re a style of earrings popular on the Indian subcontinent and hold a cultural significance, dating back to the Mughal Empire. Jewelry is the ultimate form of self-expression and an opportunity to reconnect with your heritage through a form of living art. You can find jhumka earrings in almost every shape and style, each incorporating the signature bell shape into the design. No woman’s jewelry box is complete without a pair of jhumka earrings. These timeless earrings double as an ornament, giving you a statement piece that is sure to be the center of attention wherever you go.

No one does body art like in India, where the craft has existed for thousands of years. Mehendi or Mehndi, as it’s also known, is the ancient form of temporary body art or skin decoration. In fact, the tradition goes so far back that archeologists have found mummies with forms of Mehendi on their hands. You could say that it’s the early ancestor of today’s common tattoo but one that isn’t permanent. In Western cultures, the temporary skin art is widely known as the henna tattoo. Unlike permanent tattoo ink, Mehendi is applied on the skin using a paste that’s derived from the crushed dried leaves of the henna plant. Hence its western name. A paintbrush, gold rod, plastic cone, toothpick or stick are the usual tools used to apply the paste onto the skin. While the color of the paste is usually a dark brown, it can also vary in shade with Mehendi sometimes applied in red color tones.

Ethnic traditional bedspreads from India are full of vibrant colors! This makes it easy to add a touch of culture to your room decor. Traditional Indian quilting dates back as early as the 17th century, when the technique was used to make clothing such as hunting coats. Usually made from chintz fabric, which was dyed and painted cotton, each was made with running stitches. Originally made to carry babies, kantha quilts specifically are a popular Indian style bedspread. Made from cotton or silk, they adorn patterns of flowers and birds. They have a soft feel due to the intention of creating each quilt from cotton saris. Lep Kanthas, a different type of quilt, are made of 7 layers and usually have geometric designs and patterns. There's also Sujni quilts that are mostly used for guests. Between vibrant colors and intricate prints, these homemade bedspreads from India will satisfy your eclectic home decor needs.

Navratri Festival The Navratri Festival is right around the corner with the most prominent celebration taking place this year from the seventh until the fifteenth of October. What is the Navratri Festival you may ask? The Hindu festival of Navratri is celebrated for nine nights and ten days. The word Navratri itself has quite a literal meaning. It comes from the Sanskirt words Nava, which means nine, and ratri, which means nights. According to a few Hindu texts, including the Vaishnava Puranas and the Shakta, there are actually two or four seasons where Navratri is celebrated. Two of these are specifically known as the Sharada Navaratri and the Vasanta Navaratri. The most prominent and observed of the Navratri festivals is the Sharada Navaratri, which is celebrated near the autumn equinox, in the months of September or October, referred to in the Hindu calendar as the months of Ashbin and Ashwayuja respectively. Regardless of the specific time of year that the Navaratri is celebrated, all of the festivals celebrate the triumph of good over evil, and specifically, are in honor of the noble Hindu goddess Durgu and her victory over the malicious Mahishasura.

As the saying goes, all that glitters is not gold. However, in India, well, it often is. A magnificent part of Indian culture is traditional Indian jewelry. Imagine intricately formed, ornate gold adorned with the most stunningly brilliant gemstones, pearls and diamonds. There are actually three major classifications of traditional Indian jewelry. There’s bridal jewelry, spiritual jewelry and, last but not least, temple jewelry. The origins of temple jewelry can be traced back to South India in particular. From the ninth century until the sixteenth century, the region of South India was ruled by the Chola, Pandya and Krishnadeva Raya dynasties, who were all fine jewelry connoisseurs. Ruling for such a long period of time, temple jewelry became an intrinsic part of both religious and cultural tradition.

Paintings are one of the oldest forms of storytelling in the world. Pattachitra art is one of the oldest forms of art from Pattachitra – giving the artform its name. This art style was used to depict images of Hindu mythological stories and fascinating characters. You can spot Pattachitra art with its distinctive bold colors and Italian craftsmanship. If you want to add a unique piece of Indian art to your home, there is nothing better to choose than a Pattachitra painting. These paintings incorporate Indian customs, rituals, and values in a unique and beautiful way that celebrates the Hindu faith and religion. This traditional art has evolved to appear in clothing and accessories, becoming living art that you can incorporate into your everyday life.

Is there anything more beautiful than a pashmina shawl? No two styles are the same, with a spectrum of colors and infinite designs to choose from. Pashmina shawls take their name from Pashmina goats that reside high in the mountains of Nepal and across India and Tibet. The word ‘pashmina’ comes from ‘pashm’, meaning ‘inner layer of hair’. These scarves add a sense of luxury to your everyday life. While one human hair is 75 microns thick, normal cashmere is typically 20 microns. What makes pashmina cashmere so luxurious is that it is 12 microns thick, meaning it is 6 times finer than the typical human hair. It takes around three goats to produce enough hair for a pashmina shawl.

Yoga / Palazzo Pants Yoga pants may be part of this generation’s everyday uniform but way before activewear and athleisure wear became fashion must-haves, yoga pants were already an intrinsic part of the Indian lifestyle. The contemporary yoga pants that are popular today are known for their ultra-fitted, figure hugging style. They’re usually made of stretch fabric that encases one’s legs like leggings and allows for easy movement. However, traditional yoga pants were actually the very opposite in fit. As we all know, the yoga practice involves a lot of body flow and transitioning from one position to the next. Whether you’re doing a lotus pose, a downward facing dog, a handstand scorpion or any other position in between, you need clothing that won’t hamper your flow and interrupt not only your movement, but also distract your frame of mind. When doing yoga, one therefore needs to wear clothing that will enable and support this type of free movement, providing both ease, comfort, and calm.

The ferocious Devi Mahakali was captured in black marble. Like an all-absorbing vortex, Her complexion is a deep black color. The medium of marble lends to Her skin a silvery sheen; the scarlet of Her bloodthirsty mouth, with the tongue, protruding out, making for a sharp contrast. Devi Kali is the wrathful roopa (manifestation) of the wife of Lord Shiva, and it is against adharma and the predominance of tamoguna (inertia) that She directs Her divine ferocity.Yet She is unequaled in beauty. Behind the stark body and the terror-striking stance of the Mahakali, lies a beauteous maternal figure, replete with feminine strength (shakti) and grace. She is the Devi Mahakali (in Sanskrit, ‘maha’ stands for great), in whom the strength and wrath, and beauty of Devi Kali are augmented a thousand times. The same is conveyed through the multitudinous limbs of this murti, each of them as black as the rest of Her. Indeed She is the color of sattvaguna.A fine sense of symmetry pervades the entire composition - from the sculpted angles of Her handsome face to the lines of Her torso and the undulations of Her limbs. She is clad in nothing but a skirt of severed arms, symbolic of the karmaphala offering of Her devotees, and a garland of the heads of vanquished adharmees. The weapons in Her clutches take precedence over the gold bangles in Her wrists. The omnipotent Lord Shiva, Her husband, lies supine at Her divine feet.

Sri Ramana Maharshi was more than a modern-day sage. In the language of yoga, he was a jivanmukta who propagated the twin paths of svadhyaya (self-enquiry) and bhakti (unconditional love). As a youthful sannyasin, he had gathered quite a following in his ashrama in India and grown popular in the west. The oil painting that you see on this page captures the self-contained composure of the Maharshi.The subject in and of itself is a bitone composition. Earthy blue and green, interspersed with ample proportions of white, make up the Maharshi’s complexion. The color has been superimposed on a dark, crimson background with luxuriant strokes of the brush. The same is best appreciated by being zoomed in on. While the lines that make up the hair and beard are a chaotic profusion of moody brushstrokes, the ones on the face bear a semblance of relative uniformity. The aged neck and shoulders of the Maharshi feature a more unassuming technique.The brushstrokes that have gone into the background of the bust are of a smoother, more solid nature. The dense crimson colour with black overtones gathers in an all-absorbing vortex at the back of the wisened, whitened head in the foreground. Note the dull green undertones in the crimson to the right of the subject, in sharp contrast to the jewel brilliance on the left.

Lord Ganesha is the god of everyman, revered as the primary deity before starting with any auspicious or inauspicious event in every part of the world. He sits here in lalitasana on a heightened throne, carved in the most wonderous layered patterns having boosters on either side and is placed on a thin pedestal with a slight curve in the front and sides occupied by a water Kalash on the right and Ganesha’s vahana, mouse in obeisance in the left. The sculptor has kept in mind each and every detail of this statue from its intricate carvings and curves to the smooth and glossy texture. His large paunchy belly rests in ease as he sits and is supported by the marvelous bordered dhoti that hangs loose at the feet and is decorated by beautiful flower patches on both knees. The most captivating features are the distinctive structure of his large flappy ears, tattooed with an enchanting flower design, lavish ornamentation of his neck and arms, and the floral strand that grows on his folded trunk. Chaturbhuja Ganesha holds a laddoo in the left hand and the right is in a gesture of granting Abhaya (fearlessness), while the rear hands hold the iconic implements, Axe and a Conch. The serpent coiled around his belly and the elegant Shaivite tilak on the forehead is a symbol of his patronage. Zoom in to have a clear view of the intricacies of his flower haloed crown; sculpted in the most lavish carvings and a decreasing circular pattern approaching the top, highlighting Ganesha’s royalty and divinity.

This oil painting depicts the beauty and realism of Mother Earth. The initial sight of the water that flows down like a cascade at a gushing speed from the hilltop enhances satisfactory and soothing nurture to the eyes and life. Waves crossing the high rocks placed at the bottom seem realistic and tend to attract the viewer by their purity and beauty, as if ready to cleanse the bad omens of the inner soul and Mother Earth to make it the one full of love, purity, and delicacy. The stubborn, large, and solid hills with the lustrous green grass, exemplify their caring and protective nature that directs the soft easy-going flow of water towards positivity. The overpowering waves emerging out from the waterfall seem to abolish the conscious setting sun, depicted by the orange-colored vignette effect frame, and the upcoming darkness by its peace, liveliness, and purity to approach for a world full of loving humanity. The painter’s hard work and effective skills have to be applauded as he depicts all the aspects of the environment and the motive behind it, very beautifully and realistically.

Maa Saraswati is the most beautiful goddess in the entire Hindu pantheon; she is the repository of knowledge which is why she is also worshipped as ‘Mother of Vedas’. This oil painting depicts the goddess postured in her extreme elegance and grace on a sun pedestal. She is so much attracted by the brilliance of Sun God that she seems to be dissolved in the bright and divine rays of the sun forming the background of this art. She is an embodiment of knowledge, art, science, and wisdom. The name ‘Saraswati’ means ‘elegance’ and ‘flowing’ representing the river of consciousness that enlivens creation. She is adorned in a gracious ankle-length frilled dhoti of pearl white hue and a designer red blouse that matches with the royal red kamarband embellished by a gold jewel waist belt; the garbs embrace the beauty of her sun-kissed yellow-gold plumage. She is the wife of the creator (Lord Brahma) and it is opined that when Saraswati sits on the tip of the tongue, that speech is fulfilled. She is laden with charming stone studded gold all over her body and a traditional styled gold crown glorified on her head. Chaturbhuja plays a beautifully painted Veena having ends of Hamsa, symbolizing harmony and intellect. The left anterior hand is postured down in a subtle mudra and the right posterior hand holds the divine book of Vedas. The peacock (her sacred vahana) behind the goddess’ legs has its feathers painted in amazing realistic strokes and two similar feathers accessorizing her long curly hair along with the large flower at the back. The opaque aureole formed by the divine white light enlightens her purity and a cosmic aura.

The beautiful apsara is playing dholak (drum) and it seems as if she is completely lost in the sound coming from it. Her stance is so happy and relaxed; tilted face with a smile and legs bent, dancing to the mesmerizing beats of the dholak. She is wearing a short dhoti with a beautiful belt tied on her waist and ends fall down from sides gracefully; hair matted up together like that of Lord Shiva’s and some let loose to flow freely. On the left hand, she has a stick and right hand near the dholak for banging. Her accessories are creatively designed and they perfectly adorn her body enhancing her charmness. The orange and green colored dholak gives an accurate contrast to apsara’s accessories; exquisitely showing off her skin color. The wondrous green orange tinsel coming out of her head in a flowy manner appears as if gliding smoothly to infinity with the beats of the drum. She is standing on a three-layered rectangular pedestal having a leafy design. Bindi on her forehead showcases her feminity and the confidence in her gesture clearly indicates her fearlessness. This wooden carved statue of apsara is a great eye-catcher if kept at home or office.

Goddess Kali stands for the ferocity and the invincibility of the Orient. She is bloodthirsty and triumphant over adharm, usually portrayed wearing a garland of the heads of adharmees She has been slain. With Lord Shiva (Her husband) lying at Her feet, this image has been embossed and inlaid with the brightest of hues over rosewood that grows in Mysore.

Mata Yashoda straddles Lord Gopala on Her hips whilst in commune with a parrot. The gracious, maternal curves of Her form are accentuated by the way Her hips are jutting out to the left in order to support Her baby and Her shoulders are leaning in towards the parrot in Her right hand. Her ample tresses are gathered at the crown of Her hair in a large bun, held in place with multiple gold headbands. The same match the rest of Her shringar - necklaces that cover Her torso, amulets and wristlets, and anklets. However, the large gold karnakundalas dangling from Her earlobes are the most statement-making aspect of Her adornment.The Shishu (infant) Gopala looks up at His mother with childlike reverence. His tiny form is planted securely on Her hips. He places a hand on Her breast, lunging at the affection and security and nourishment that a mother has to offer to Her offspring. Indeed, Mata Yashoda is the most fortunate of mothers to have Lord Gopala as Her baby, despite His having been birthed by another.

The laughing Buddha is the Oriental staple when it comes to symbols of welcome. Usually placed within a rectilinear view of the entrance to homes and offices, this laughing Buddha from the Exotic India collection will be sure to add great sprightliness to your interiors. Look at how the glazing, pastel inlay seemingly complements the mirthful composure of countenance. The Laughing Buddha is a symbol of happiness, contentment, and prosperity. 

To the Hindoo mind, there is harmony and meaning in everyday phenomena. Such a kind of beauty tends to manifest in the deviroopa, to which the full moon is no exception. She waxes and waxes again, over the course of dark successive nights. She emerges as the incomparably beautiful and benevolent poornima (‘poorna’ is Sanskrt for full; ‘ma’, for the maternal), the Indian word for the full moon. Understandably Poornima Devi is a mature woman. She bears the grace and stateliness of age before beauty. Like a superior matriarch, She looks on Her devotees below with compassion and the attitude of nurturing. Indeed, She nurtures us with a flood of light in the dark of the dusk and resolves the tides of oceans often in our favour. In a golden saree She floats amidst pristine clouds, almost washing out from sight because of how fair She is. The Devi Poornima is the very picture of asceticism. In Her hands She holds a rotund kamandalu, which glows with the same mist as the rest of Her person. A bunch of dark-coloured rudraksha is to be found on Her neck and wrists. Zoom in on that graciously lined, white-haired face - note the maternal benevolence in Her eyes and the golden light pouring forth from Her brow.