While anklets like these are traditionally worn by married women around the house - indeed, these would make an amazing wedding or anniversary gift for a married woman - nowadays it is a fashion statement to don these even when one is unmarried. While simpler, trendier ones abound that are designed to be worn on just one ankle, the ones you see on this page have more of a traditional spin that is best preserved by being worn in a pair. Not only will this announce your presence moments before you walk in anywhere, but also end up being a one-of-a-kind conversation-starter.
The statement border sets this apart from your run-of-the-mill Rajasthani ghagras. It is thick and woven from gold-coloured fabric into multiple panels. A thick strip of gold lattice is framed by solid gold panels, which are further hemmed in by a strip of pink lace. A matching solid gold band trimmed with more pink lace defines the waistline of the ghagra. This makes it a glamorous number designed to be worn on special occasions as opposed to usual ghagras made from homegrown cotton that are worn around the house.
Speaking of technique, the finished pata-astra is first demarcated into panels, which is followed by sketching with conch-water (tipana). This is crucial to the finish that emerges later on. What ensues is a dynamic technique that almost amounts to ritual - luga pindha (painting on the divine raiment), then alankara lagi (painting on the divine ornaments). Finally, the work is finished with thick black colouring wherever required (mota kala), then delicate outlining to complete the details (saru kala). In other words, the chitra before you is a high-precision work that has taken an eye-watering proportion of time and skill and labour to be made. The most wondrous aspect of this painting is the composition of the Jagannath mukhmandal, with each feature made of tinier, more detailed panels depicting the Lord Vishnu.
This is an unusual Devi Sarasvati composition. Brass sculptures of the Devi abound, even inlaid ones; but the workmanship of this one is one-of-a-kind. She is chaturbhujadhari, as is the norm with Her iconography, and She is seated in lalitasana on an inverted lotus pedestal. She is wearing a gorgeous saree, and shringar and a haloed crown to match, each aspect of which has been highlighted with ample proportions of inlay. Even the pothi and the bird She holds in Her posterior arms are inlaid in keeping with the composite finish. In Her anterior hands She cradles a veena. Her stance is so lifelike - from the angle at which Her head is lowered to the expression on Her brow as She gazes lovingly at Her veena.
It is the details that sets this composition apart from your run-of-the-mill Devi Sarasvati murtis. From Her long, beauteously sculpted fingers and feet to the dynamic composure of countenance. Strategically positioned inlay, hair flowing about Her shoulders, and a gracious crown that befits Her divine glamour add to the perfection of this work. Indeed She looks Her part - wife of none other than Lord Brahma, She is the Hindu Devi of learning and the fine arts. In fact, He presides over the creative process, to which knowledge - over which She presides - is indispensable. Placing this murti somewhere in your space would fill it with a divine calm and stability that are conducive to the learning and to the practice of art.
This elegant bracelet comes with a string of seven rainbow moonstones studded into sterling silver foundation. The clasp is adjustable in order to accommodate varying wrist girth, so if your friends wanted to try it on - something they might not be able to resist - it would look perfectly good. You could even pair this with when you are experimenting with an Indian suit, lehenga, or saree in order to add a layer of sophistication to your ensemble. No matter what you team this with, such a versatile accessory is sure to be the conversation-starter everywhere.
The silk of this saree is super-fine and will sit luxuriously against your skin as you drape it. While this would be a statement pick for an evening do, the colour is such as would fit into a puja ambience as well. A mix of your hand-me-down jewels and fresh flowers would bring out the gorgeousness of this saree. If you zoom in on the pure silk field, you could make out miniscule paisley-shaped booties made in pale gold thread that add to the glamour of this number.
From the background of it, it looks like she has emerged quite a distance from her palace. The fields around her are plain and a pale green; and not a single tree or bush tended to by the famously skilled Mughal gardeners are within view any longer. A soufflé of the highly characteristic cirrocumulus clouds dominate the skies visible at a distance into the background. Just like those clouds, the princess seems to have wandered in her thoughts to a time, probably to an individual, that the scent of the flower reminds her. Her composure of countenance - and what a fair, soft-featured countenance that is - is one of plunging solemnity, almost sombre. Perhaps no sleep is slated to visit her aching mind the ensuing night.
The lines smithed onto the gold are unmistakable. The simple loincloth, the signature goad, and the thick tail flourishing in the background are all indispensable elements of His iconography. A multi-tiered turban and a chunky necklace thrown across His torso are all He has by way of shringar. He is seated on one knee, and the hand that is not holding the goad is raised in blessing. It is not simply the superior gold workmanship that makes this pendant so desirable - it is also the spiritual functionality of the Lord's blessings that you could wear on your person.
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