The sheer degree of skill that has gone into this work could be gauged by zooming in on the mane and the face amidst the same. Each strand of the man, the alternating black and gold streaks, and the realistic ends of each clump of hair make this a one-of-a-kind sculpture. The musculature of the face is so lifelike. The eyes convey fierce anger, and the jaws are set to make the onlooker go weak in the knees. Note the curves of the whiskers beneath the fiery nostrils of the lion. Hang up this formidable work of art to add an aura of the wild and the otherworldly in your space.
This pendant is a simple but substantial piece of adornment. From the delicately fingered palms and the pot belly, to the signature trunk that dominates the image and the tilak on His temple, the defining curves have been fashioned from gold. The dhoti that clothe His legs brought together in the seated posture, the laddooes in the one hand that is not raised in blessing, and kingly turban that sits on His brow are a glittering silver colour. Despite the minimalistic handiwork of this pendant, it would stand out in your jewellery box as a piece of devotional jewellery that is as complete as it gets.
It is fashioned from the pure homegrown wools, and is a fine example of the highly coveted Kashmiri handiwork. Signs of the latter could be gleaned by zooming in on the luxuriant, richly coloured ari embroidery that dominates the foreground. Team this with your choicest Indian suit or saree, preferably a neutral-coloured one that is low on the embroidery, in order to bring out the best of this number. Such a stole would serve to keep you warm yet fashionable-looking when the galas run a tad late into the evening.
The rich red of Her silk dhoti brings out Her unmistakable ashen blue complexion. Her long silver hair is complemented by the white translucent dupatta around Her head and shoulders and the streams of pristine pearls that constitute Her shringar interspersed with studded gold. From Her protruding fangs and the third eye popping out from the vibhuti on Her brow, to the fact that from Her body language She barely acknowledges the trimurt's homage, everything about Her exudes a divine degree of power possible only for a Hindu devi. What sets this apart from the other watercolours in this series is the soorya-roopi mandala within which the Devi and Her worshippers are contained.
The figure is four-armed and bears the all-important implements required to overpower the adharmee. Its eyes are determined, teeth bared, lending to a merciless composure of countenance. Its legs are splayed such as it is about to pounce in attack. Note the glittering shringar and the red-coloured gem-laden crown - the handiwork is superb and the finish flawless. A number of gemstones in pastel blues, greens, and golds complete the picture. They fill the gold-lined aureole of Mahakala, as well as outline the composition with their flame-like shapes. A row of matching-coloured lotus petals constitute the Mahakala's pedestal, which is an indispensable aspect of Oriental iconography.
The ample pleats alone would make this a statement addition to your wardrobe or even trousseau. Ample brocade-work graces its gorgeous length, filled in with a definitive variety of motifs - gold tendrils with paisleys against the dark blue of the foundation, an infusion of petals in gorgeous bridal pinks and oranges, and panels of lilies and lotuses in matching colours all the way down to the hem. The choli has similar gold motifs in matching dark blue. The signature pink dupatta complements the base colour of the lehenga. It is so long it reaches the hem of the skirt, while the translucent silk it is made from is dyed a colour no woman or bride could go wrong with.
The Devi is waited upon by two handmaidens who rival each other in terms of personal beauty and devotion to Her. Dressed in elegant silken skirts and seductive translucent dupattas, one of these ladies offers a namaskaram to Bhagavati while the other waves over Her head a chauri, which is an arati implement fit for royals. Their shringar does justice to the resplendent, enthroned entity painted betwixt them. Note how this composition has similarities with Mughal imperial portraiture, which serve to convey the power implicit in Her iconography and attributes.
The beauty of Ramayan's brightest character has been captured in this sculpture with great skill. The handsome face of the Lord is framed by a semi-circular halo, the glamour of which has been conveyed with multiple tiers of engraving. Broad shoulders and muscular arms give way to a well-defined torso followed by limbs of divine strength. Pearly shringar and a dhoti of silk, the pleats of which are spread on the pedestal right beneath where He is seated, grace His form. The three-tiered pedestal is the most unusual aspect of this composition. The topmost tier is engraved with lotus petals; the middle tier has inverted lotus petals superimposed with His signature weapon, the goad; and the third tier has a flower in full bloom at the centre.
Amongst the Nataraja and the tandava pieces abound, the Daskhinamurti portrayal reveals a rare side of Lord Shiva. On one of His Himalayan wanderings, Shiva was stopped by a group of wandering ascetics and beseeched to be their guru Himself. The kind and merciful Shiva agreed and sat upon a mountaintop facing southwards. His newfound shishyas gathered round His feet with their hands in the namaskaram mudra, expressive of the deepest veneration. Thus emerged the Dakshinamurti roopa of the Lord, as could be seen on this page.
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