Editor's Picks

Five-Strand Kundan Jadau Choker With Black Gem Drops, Statement Pendant, And Matching Danglers

Nothing like a statement kundan set to set off an ethnic outfit. Kundan jadau work has a place amongst the oldest, and the most beautiful, of traditional Indian jewellery. It is characterised by slivers of gold foil placed between the gems employed in the piece and their mount. This one is a fine example of this style, a five-stranded choker made of glassy silver gems and a row of shining black drops. One could see a lot of gold betwixt the profusion of gemstones, the colour of the copper alloy from which this set has been fashioned. Zoom in on the same to gauge for yourself the high-precision jadau that is the hallmark of Indian kundan handiwork.

The statement pendant completes the beauty of the chunky choker. A mass of more of those matching silver gems, punctuated with copper gold and lined with a miniscule row of black drops. Similar drop gems characterise the accompanying danglers. Note the preceding gold-coloured, silver gem-studded temple-like structures that add to the traditional ethnic appeal of the whole set. The rest of the danglers comprise of tinier versions of the same black and silver gemstones, arranged to form a petal motif before the drop and vine-and-drops throughout. Teamed with a neutral coloured evening saree, this kundan necklace set would make you feel like a queen at gatherings with a traditional spin.

Beetroot-Purple Bridal Anarkali Suit with Crewel Embroidered Bolero Jacket

This four-piece suit would be a superbly feminine addition to your wardrobe. A rich pink colour set off by glittering silver embroidery, classic Anarkali cut that makes for an irresistible silhouette, and clinging chiffon as the foundation fabric, which together make for a buy you cannot go wrong with. The skirt is long and flowing and gorgeous - layers upon layers of rustling chiffon flirtatiousness - and the fitted bust that complements it comes with a rim of luxuriant embroidery at the waist, cinching it in place. Matching pink choodidar trousers complete this Anarkali suit.

What sets this apart from your run-of-the-mill evening suits is the pink jacket it comes with. Long-sleeved, front-open, almost kissing the hem of the kameez itself, it is superimposed with silver crewel-embroidery that would glitter as you motion. With that being the centre of attention of the whole dress, the dupatta has been kept relatively simple and fuss-free. It is a length of translucent pink chiffon that you may effortlessly throw over the shoulder such as not to block the statement-making jacket from view. Wear this on an evening do with some chunky, youthful silver pieces, and this suit would make you the talk of the town for some time to come.

The Glamour Of Tribhanga Uma

A swaying sense of motion, a heightened awareness of deviroopa. This Swamimalai bronze conveys a universe of sensuousness and divinity. Handpicked from the recesses of the South, the home of the Indian bronze tradition, this sculpture captures as much of Devi Uma's beauty and presence as is humanely possible. She is tall and lissome, the characteristic tribhang (the spinal column of Her body breaks - 'bhang' - at three - 'tri' - places) of Her stance exuding elegance and stateliness. She is wife to none other than Shiva, and Her gaze onto the world is laced with fearlessness and wisdom. Note how well the sharp lines of Her shringar go with Her superbly defined proportions.

The iconography of Shiva's wife is replete in this independent Devi Uma composition. The crown that towers above Her head has been sculpted with superb detail, and adds to Her gorgeous stature. Her countenance and the features that grace it are full and lotus-like, a signature of contemporary Chola-style bronzes. Long, vine-like kundalas and a bunch of necklaces complement the dhoti of thin silk that reveals rather than conceals Her yogic musculature. The pedestal is an important aspect of Indian religious sculptures. This one comprises of multiple tiers of lotuses of downward ascending surface area. Indeed this work of superfine art is fit to be consecrated and housed in a temple in your space.

Aspen-Gold Banarasi Sari with Woven Bootis and Brocaded Pallu

Figured silks of Banaras are the most sumptuous of sarees. Every Indian woman dreams of getting wedded in one; and given the beauty and splendour of these statement-making silks, it is no wonder why. The saree you see on this page is a wearable work of art. It is fashioned from pure homegrown silk and given the signature colour of spring, a vibrant shimmering yellow. It takes weeks and months of painstakingly executed skill and labour to put together a single, unique Banarasi saree, and this brocaded number is no exception.

While Banarasis have traditionally been made on endemic naksha drawlooms, it is now jacquard equipment that produces the characteristic weave. The exquisite yellow of the foundation is superimposed with booties of red thread and pale gold brocade. More of that brocade could be found on the border and at the edge of the endpiece, a superbly intricate weave done in a gracious tone that complements the base colour of the saree. Wear this on the choicest of ritual gatherings to turn the maximum number of heads.

Coloured Glass- And Pearl-Embellished Danglers (South Indian Temple Jewellery)

South Indian temple jewellery is among the finest of Indian-made jewellery. They are made by select artisans who specialise in making these pieces. This kind of jewellery is designed to grace idols installed in the magnificent temples of the South, hence the their name in Indian parlance. This pair of gold-coloured sterling silver danglers betrays the highly distinctive style of South Indian temple jewellery. The work is intricate and perfectly symmetrical; the embellishments are of the finest quality; and it has been made with a great deal of love and devotion to the idea of the devi.

Indeed, these danglers would make you look like a Hindu devi Herself (in Hindu dharm, every woman is considered a svaroopa of the devi). Teamed with a South Indian-style pooja saree that come with thick gold borders, these danglers would look great at a gathering with a traditional spin. Zoom in on the work to appreciate the precision with which this rare skill has been executed - the statement lattice-work, the gorgeous leaf- and petal-motifs, and the richly coloured glass gems that have been used to complete the work. Do not miss the super-miniscule pearls at the absolute bottom of the danglers.

Devi Bhadrakali, Worshipped By Brahma, Vishnu, Shiva, And Indra (Tantric Devi Series)

Devi Bhadrakali is the embodiment of all that is celebrated and revered in Hindu devis. She is the supreme entity of the Shakti sect, and wife to Veerbhadra Himself. According to the Devi Bhagavata Purana, She is the one originally responsible for the dharmic cycle of creation, preservation, and destruction that pervades the whole universe. In this Basholi-style watercolour by Kailash Raj, She is depicted with the supreme devas of the Hindu pantheon in homage before Her. Her form is dusky and dynamic, as given away by the raised ankle. In Her anterior hands She holds a musical instrument; in the posterior ones, libations of blood and wine in a basin and a goblet. In Her flowing pink and purple silks and pearls-and-gold shringar, Devi Bhadrakali is replete with everything that makes the quintessential Hindu Devi what She is - beautiful, wrathful as given away by Her statement complexion, and a divine proficient.

Amidst the sun-bathed moors, the rulers of svargaloka stand before the powerful Devi with their hands folded in namaskaram. Brahma, the chaturmukha and the chaturbhuja (a kamandalu and the pothi in the posterior hands), is followed by Vishnu whose complexion gives away His Krishna avatara, Shiva in His signature loincloth and the naga wound around His neck, and finally Indra with a thousand eyes on His skin. Apart from Shiva's moon-trimmed jatamukuta, the studded gold crowns sprouting blooming pink lotuses of the entities in this watercolour are characteristic of Basholi paintings.

Tibetan Buddhist Ritual Kettle Embossed With Four Harmonious Brothers (Made In Nepal)

The boiling kettle is a simple item, so thoroughly annealed into our lives that one could not possibly give it any meaning beyond its utilitarian role. As everyday and easy to overlook as it is, it has been written about in great detail in the tripithakas. When the whistle blows, it takes one aback by the senses; one naturally realizes that is time to take it off the fire, and the moment this action is performed, it is like nothing ever happened. Somewhere in the Buddhist texts, they say that the whistling kettle is akin to the anger in us (or restlessness, jealousy, any emotion that induces unease in the mind) and that these emotions are triggers for us to take some action. They take us back by the soul, and giving in to them would be akin to letting the jarring sound of the kettle's whistle go on and on whilst trying to otherwise live our lives.

The symbolic kettle that you see on this page is, therefore, more than a work of art. It is sculpted from copper and gilded with gold and silver, with a finesse that is the hallmark of Nepalese workmanship. Embossed on the surface are images with a spiritual significance in Tibetan Buddhism, such as the four harmonious brothers. However, there is more to this buy than just the irresistible aesthetics. The kettle conveys the lesson that through anger, your mind is indicating to you that something needs to be done. You need to take control of the situation that angers you instead of venting it and doing away with whatever harmony is left. Like taking the kettle off the fire, that decisive action - if it is the right one - would satiate your anger such that you would no longer suffer from it.

Bamboo-Yellow Phulkari Embroidered Dupatta from Punjab with Sequins

Phulkari ('phul' means 'flower' in the vernacular, while 'kari' means 'embroidery') plays a very important role in the life of a Punjabi lady. She is given one by her grandmother at the time of her birth; wears one during the all-important phere ( as an integral part of her trousseau); and wears one when she steps out for the first time after becoming a mother. The dupatta that you see on this page is more than a fashionable odhni that would merely look great at a party or a pooja. It is a slice of history, a work of folk art that you could wear. From the vibrant colours of the phulkari to the sequins that punctuate the embroidery, this one is a characteristically cheerful number.

Traditionally phulkaris were not commercially produced. They were the domain of women who made these wonderful textiles at home for the daughters and other women of the subsequent generation. It is no wonder then if this gorgeous dupatta, should you decide to buy this, becomes a precious hand-me-down in your family. It is long and luscious, decidedly youthful in its appeal, and fashionable in a way that will not fall out of trend. An ethnic classic, this piece of folk fashion would more of an investment in your wardrobe.

Vitarka Mudra Buddha, Seated In A Glade

Having originated as bhitti chitra (wall paintings), Madhubanis are a rage among folk art connoisseurs. This is because the charms of the original Mithila style, the region of Bihar where this form of art originated, are largely intact, arguably unlike other Indian folk arts. The work you see on this page is unconventional in that it deviates from the norm - it is done on portable canvas to cater to modern-day demands as opposed to a mud-plastered wall, and no vivid colours are to be found between the lines of the composition. However, the thick black lines of the Buddha's form and the elements of nature that surround him, occupy every surface area unit of the handmade paper canvas. Both the subject and the style betray the spiritual ethos of the home of Madhubani art.

It is a complex work - curves of varying lengths, thickness, and degrees of straightness put together a picture that is simple yet eloquent. A solemn, haloed Buddha sits in poorna-padmasana on a magical lotus in a glade. One of His hand is in the vitarka mudra; an alms-bowl rests in the other. He has only fawns and peacocks of the forest for company. Delicate sprigs fill the forest floors, while the woods begin to thicken in the background. Apart from the kundalas, the Buddha has His princely shringar on, a reminder of His early life in the Shakya clan. Zooming in on His halo, one would see a rim of gorgeously symmetrical lotus petals. This Mithila painting would add to your space an ethos of the rustic and the ethereal.

The Four Harmonious Brothers Reach The Fruit Of The Tree

The four brothers are in harmony as they traverse the Himalayan foothills in this gorgeously coloured thangka. Ample verdure coats the numerous hills dotting the landscape. Deep blue waters, abound with life and motion, punctuate the same. Some of the taller hills are covered with snow, their cloud-kissed peaks painted with a skill endemic to Tibetan and Nepalese thangka painters. In the centre are the four brothers, each arranged on top of the other in terms of seniority (partridge over the rabbit, over the monkey, over the elephant). A recurring motif in Buddhist-inspired visual arts, this arrangement conveys the importance in Buddhist tradition of honouring age above nobility or greatness or learning.

It all started when the brothers fell out with each other, and in a state of mutual discord turned to discussing the age of the banyan tree (which has been painted ahead of the brothers in the direction they are taking). While the elephant remembers it as a bush from his childhood, the monkey remembers it as a mere shrub and the rabbit as a leafless sapling. However, it is the partridge that had carried its very seed in his body and planted it there, so he is the one sits above the rest of his brothers. This is the Tittira Jataka parable that the Buddha had narrated to teach his disciples that age comes above everything else. In fact, it is this arrangement that enables the partridge to reach for the fruit of the banyan tree to share with his brothers.