Devi Mariamman is seated in lalitasana on a giant lotus throne. She is possessed of eight arms and, as such, is the Ashtabhujadharini. She is clad in nothing but a dhoti below the navel, the silken fabric of which gathers in lifelike folds over Her legs. A world of gold adornments on Her upper body and divine weapons, including a kapala (skullcup) in each of Her hands, a twin symbol of the feminine aesthetic and omnipotence. On Her brow sits a tall crown that tapers towards the top. It is flanked by the ferocious hood of the panchanaga, the texture of its underbelly having been executed with superb detail.
The composition is placed on a wide-set quadrilateral pedestal that features a row of latticeworked lotus petals followed by a row of lotus petal engravings. The legs of the pedestal are short and shaped like the lion’s paw. A strikingly symmetrical aureole, with minimal engravings, completes the composition.
Bhagwan Krishna is popular for his expansive beauty and charm, clearly presented in this wooden sculpture through his finely sculpted Tribhanga posture, pointed nose, smiling lips fluting the stylized bansuri (flute) and the delicate expression of his eyes giving a touch of realism. One may notice the beauty of dual toned teak wood, special from South India having a vertical self-texture; the high oil content accentuates its gloss and smoothness, and durability makes this sculpture a popular run in quality. Krishna stands here on a double layered lotus pedestal, adorned in an ankle length dhoti, decorated with parallel layers of beads and a distinctive Kirtimukha kamarband having multiple hangings in the front and on the sides.
The sleek stole that runs through his shoulders is carved in layers of blooming lotus flowers one above the other, swung in accordance with his body stance. The floral ornaments highlight a sense of traditionality and pristine culture. Zoom in to applaud the sharp formations of his body parts, focusing on every inch of its realistic quality. The designer crown adds to the gracefulness of his persona; formed in hick multiple layers of flower petals and topped with the traditional peacock feathers. These long styled crown carvings and its lavish elongated accessories picture an essence of South Indian culture and styles.
The flower aureole is decorated with strings of floral hangings and the Vaishnava tilak on forehead identifies him as a divine incarnation of Lord Vishnu. This beauteous Krishna statue is surrounded by floral embellishments highlighting his peaceful, loving and calm personality that soothes the environment by the melodious tunes of his flute.
A saree is the richest Indian attire a woman can possess as it enriches their personality and elegance and having a brocaded poly silk is like a cherry on the cake. This flaming brocaded sari is a treasured Indian handloom that holds a special place in every bridal collection wardrobe. Poly silk is a blend of polyester and silk, designed to make the silk fabric more durable, easy to wash and wrinkle resistant; its light weight and translucent texture allows it to be worn at any time of the day and in any season. A brocaded sari is defined by its intricate and luxurious patterns that celebrate the history of Indian tradition.
The type of brocade saree shown on this page was mostly worn by royal families and are a staple clothing for every woman because of the use of silver and gold zari with the main fabric of the sari brocade. This zari woven pattern of heavy floral design on the entire body of the sari is hand woven in gold brocades on a relishing bright orange colored fabric. Zoom in to the pallu to have a precise look at the large ethnic patterns in a mix of gold and red colors.
This color and type of sari is a traditional garment choice for every India bride; its lavish looks and ultimate weave highlights the elegance without a doubt, regardless of her age. The smart borders of this sari are woven with a intermingled pattern of flowers and peacocks which all-the-more makes it the rarest of all. Its comfortable wear and sophistication allows it to be worn in any formal gathering of a wedding, engagement or any other get together.
kanjivaram sarees have dominated the world of South Indian saris since ages and are a popular attire among women across the globe because of its shiny, smooth and durable fabric. They originated from a town called Kanchipuram in Chennai, hence are also called Kanchipuram saris. These saris are woven from pure mulberry silk thread that comes from South India and the zari borders and designs come from Gujarat. The one shown here is a masterpiece of its kind, handpicked by our expert team from the selected lots. This sari is woven in a royal black and red combination making it an elegant wear in various occasions and festivities.
The border color and design are generally different from the body, like the one here has a plain and soft caviar black body complemented by a lustrous red zari border and pallu. The border and pallu of Kanjivaram silks are woven separately and then delicately interlocked with the sari in a strong stitch; they form the highlight of a kanjivaram silk with the border designed here in a zari thread in temple style and pallu decorated with elephant layers at the top followed by a mesh of flowers and paisleys. Owning a kanjivaram is a symbol of luxury and a must have variety in the wardrobe.
A divine incarnation of goddess Lakshmi and the consort of Lord Venkateshwara, she is Devi Padmavati. This Hindu deity is the goddess of elemental prakriti; her name in Sanskrit refers to ‘the one who emerged from lotus’. The extreme beauty of this brass statue is one of a kind. She sits in lalitasana on a vertical blooming double lotus throne, which is supported by a high raised supremely carved pedestal. The base is structured exquisitely and carved in elaborate Devi figures; divided in six rectangular portions by thick floral inscribed vertical bars, it complements the aesthetic vibes of the deity.
This sculpture is inspired from the characteristic Orissa art style, which has its clarity in symbols and other elements. The luxuriously carved prabhavali along with a Kirtimukha at the top is a feature akin to Orissa tradition. You may notice the round and broadened face and other features, also the belly of the figure protrudes out of its proportion highlighting towards the Orissa art tradition.
The goddess carries two lotuses each in her rear hands and anterior hands are placed in abhaya and varada mudra respectively, blessing the devotees of all the positivity; bejewelled graciously in multiple treasures placed in absolute beauty on her body and the carvings of her garbs accentuate the skills and mesmerized imagination of the sculptor. Have a look at the long multi-layered crown, chiselled heavily in varied minute patterns and a leaf-like broch takes the centre place, all justifying the South Indian temple carvings.
It is an intricately sculpted bronze, a superior hallmark of the workmanship of the South. Lord Vishnu, the presiding deity over the preservation of existence, is seated in lalitasana on a four-legged throne. His wife, Devi Lakshmi, is sitting on His lap. She is the presiding deity over wealth and resources; and, as such, She is indispensable to Him. One hand He raises in blessing, while the other He puts around Her waist. She holds a lotus-bud in one hand; the other She rests gently on Her lap. The language of their bodies, their composite stance, is one of calm and stability. In other words, this sculpture would exude a world of sattvaguna wherever it is installed.
Suggestions of the Hoysala style are to be found in the legs of the throne shaped like a lion’s paw and the network of vine down the frontal midline; the shringar of Lord Vishnu and Devi Lakshmi, and the aureole that stems from the backs of the lions that flank the Vishnu-Lakshmi ensemble. The simple yet elegant aureole, with its multiple curves, completes the beauty of the sculpture.
In a private chamber within their home in Vrindavan, where there is only a tiny window to let in a modest quantum of light. Built into the grey mud walls of the background is a column of shelves from floor to ceiling, a common feature in the rural homes of the subcontinent. The same are lined with the family’s choicest chests and utensils. The mother and child are in the foreground: out of an old velvet-lined sandook (chest) she pulls out the finest jewels in her possession and bedecks her little baby with them.
Note the sharp contrast between the vivid colours of the foreground and the matte grey background. Fresh jasmines hold the mother’s bun in place; gold and pearls adorn her neck and ears and nose. A pale purple-coloured saree and glimmering gold bangles. There is the signature peacock plume in Lord Gopala’s black hair and streams of pearls in His hair and around His neck. With His delicate infantine hands He clutches at a necklace of gold and rubies.
Maa Saraswati is the goddess of knowledge and the consort of Brahma, the creator. She is the dawn goddess whose cosmic rays dispel the darkness of ignorance. This wooden Saraswati sculpture is an effective work of art, highlighting the carver’s unique aesthetic sense and professional skills that enhance the charmness and delicacy of goddess Saraswati. This sculpture is moulded with the highest quality teak wood from South India that makes it a supremely durable and long lasting piece maintaining the smoothness, gloss and sharp formations of the goddesses’ iconography. As you zoom in to the image, you can’t stop yourself from applauding the blended vertical pattern in light brown and dark brown shades.
Goddess Saraswati sculpture is shown here as sitting on a high raised lotus pedestal in lalitasana posture, holding her extremely carved Veena, as symbolic of Saraswati being the goddess of art, two of her hands hold a pen and the book of Vedas respectively, highlighting goddess Saraswati’s inclination towards knowledge and wisdom, right posterior hand holds the rosary. This Hindu deity is considered to be the most beautiful of all and her innate delicacy and graciousness is accurately carved through the features of her face; Jeweled lavishly in multiple royal pendant necklace, long earrings along with matching bracelets, anklets and a nath.
Goddess Saraswati is adorned in a flamboyant ankle length dhoti beatified with a floral border and a complementing floral blouse that fits gracefully on her chest. Saraswati is always accompanied with Hamsa (swan), which is her auspicious vahana, hence she is also named as Hamsavahini; one sits near her legs, carved extravagantly and one other on the right side of her designer crown. This Saraswati sculpture is glorified with a multiple layered crown, chiseled precisely in gracious flower pattern.
This bitone ensemble has been made by folk artisans from Puri. It is a fine example of pattachitra, ‘patta’ being the local word for the organic canvas on which the image (chitra) is drawn. A skilfully done composite of Shivaleela, each panel is painted with superb precision and attention to detail. Note how one episode of the Lord’s divine playfulness (leela) is distinguished from the other by petal-like curves and lines filled in with minimalistic floral motifs.
Each panel of this composite work of art is good enough for an independent composition, albeit a miniature one. To the top left is the gracious Lord Adinath, father of the knowledge of yoga. In the same row and down the right side are panels that depict Him in togetherness with His wife, Devi Parvati. In one, they are on the back of Nandi. In the inner panels He is shown to triumph over demons and enemies of adharma. More of Devi Parvati is to be found in the laterally arranged panels, in one of which to the left She is seated in the poorna-padmasana.
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