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Showing 11 to 20 of 314 results
Showing 11 to 20 of 314 results
Lord Ganesha In The Lap Of A Lotus
In addition to the deity in the garbhagriha (the central deity of the temple), the typical South Indian period temple features a plethora of ancillary iconographies. These may be sculpted on walls and pillars and ceilings, both interior and exterior, adding to the beauty of the architecture. The sculpture that you see on this page is an example of this kind of temple sculpture. It is the wise and all-encompassing Lord Ganesha, son of Shiva-Parvati, adored by devotees all over ihaloka.

He is seated in lalitasana, upon the bed of a gigantic young lotus. From the tints of pastel pink to the serrations on each petal, it is a realistic bloom of great beauty. The chubby child’s body of the Lord is clad in a green silk dhoti and bedecked with gorgeous gold shringar, fit for a parlokiya prince. In His posterior hands He holds a conch and a lotus; one anterior hand He raises in blessing, while with the other He obviously cradles a laddoo.

Lord Ganesha’ love of laddoos adds to His childlike demeanour and endears Him to devotees. Together with His adorably plump form, His wisdom and innocence, and the unassuming elephant head, He is the baby that is subject to the maternal attention of all. Given the elements of His ionography brought out in this work, it is a fine example of India’s inspired sculptural tradition.

CornStalk Chanderi Sari from Madhya Pradesh with Zari-Woven Border and Bootis
Chanderi is the fabric of choice of young women lately initiated into the saree tradition. The characteristic blend of cotton and silk makes for a great starter’s drape, and the way it sits against the skin makes it a rage amongst fashionable ladies. The one you see on this page has been handpicked from the looms of Madhya Pradesh. Because of the colour palette and the style, it would be a great one to add to your collection, no matter how long you have been draping sarees.

The colour of dark ochre earth adds to the gravity of the statement this saree makes. The same is complemented by a border of pale gold zariwork, finished by a piping of dark red. In keeping with the mood of this number, minimalistic booties grace the field of this saree. Simplistic red and gold flowers across the field and endpiece, and miniscule ones down the pleats. Team this with some simple gold pieces for an understated elegance.

The Glory Of Nataraja
The Shivatandava is more than just a dance. It is a force of nature, of its constituent eternal energies. It is srshti, sthiti, and samhara in one composite process. The Mahadeva is lord of the tandava, king (raja) over such a potent dance (nata). The image of the Lord Nataraja, with that highly characteristic mudra of His limbs, captures a powerful moment in the midst of the tandava.

The Nataraja composition that you see on this page is a lifelike, skilfully finished one. The mudra of His hands convey abhaya or fearlessness (anterior right hand) and the grace of the divine gaja or elephant (anterior left hand). In His posterior hands are a damru (exuding the creative nada) and a flame of fire (the means of destruction). Crucial to the Nataraja iconography is the predominance of the naga (snake). Note the flaying snake-like locks of His hair; the ones that slither over His torso, wrists, and ankles like divine adornments; and the multi-hooded one that forms the crown on His head.

The prabhamandala (‘prabha’ is Sanskrit for ‘flame’) and the pedestal that frame the central figure, distinguish this work from your run-of-the-mill Nataraja sculptures. The three-ringed aureole does justice to the glamour of the tandava and gathers in a kirtimukha motif at the very top. Note the unusual, angular finish of the traditional lotus pedestal.

Aluminum-Grey Uppada Sari from Bangalore with Zari-Woven Motifs on Border and Pallu

Bangalore is famous for producing the fine weave of the famous Uppada sarees. A geographical indicator of the East Godavari district, these silk sarees are the more understated versions of the sumptuous silks of the South (think Kanjeevarams, Mysore silks, and Kondrads). No Indian bridal trousseau is complete without a handful of carefully selected Uppadas, as they are indispensable for one’s post-wedding obligations. The one you see on this page is fit to be worn to poojas as well as formal gatherings and weddings.

The pale charcoal field features dense floral tendril motifs. The same is superimposed with large gold lotus-shaped booties. More gold zariwork (gold-thread embroidery, a distinctly Persian influence on Indian heritage fashion) is to be found in dense proportions on the thick border of this number. The infusion of sindoori pink on the endpiece adds a world of feminine appeal to the colour palette. Zoom in on the luxuriant motifs woven onto the pink of the endpiece and the fine motifs along the border.

Bhumisparsha Lord Buddha With Inlay Stone Work

Lord Buddha holds a sacred place in the heart and mind of those who are deep followers of Buddhism. Although Buddha is always shown with the basic iconographic aspects, as also shown in this brass statue, but what makes this Buddha sculpture so attractive and worth purchasing is the realistic carvings of his expressions, accurate shape and size of body parts, natural and smooth curves and last but not the least is the stylized robe inlayed in multiple colors. Lord Buddha is always depicted in a meditation posture with the half open eyes. It is said that meditating with eyes fully closed, makes a person go to sleep and completely open eyes lets you get distracted easily, therefore Buddha always meditated with half open eyes as a gesture of his mind being fully awake.

Gautama Buddha holds a pot in his left hand resting on his feet, which identifies him as the head of the order and right hand faces down touching the ground in Bhumisparsha mudra. ‘Bhumi’ means ‘earth’ and ‘sparsha’ means ‘call to witness’, which implies that Lord Buddha here is calling the mother earth to witness his accomplishment of the goal of enlightenment. You will be mesmerized by the heavy inlayed stone work on his robe; bordered gracefully with a contrasting brown-colored beaded flowers and natural golden ethnic pattern, whilst the entire field area is covered with circular silver-colored reconstituted stones, that give an impression of lavish mirror work. The entire robe is decorated with colorful large multicolored flowers formed at equal distances all around.

The glossy lustre of this Buddha brass statue highlights the beauty of even the minutest aspect of his personality and physique. The nose is given a sharp pointed shape and the lips slightly smile out of his innate satisfaction on achieving enlightenment. This Buddha sculpture is a perfect piece to decorate your house or office spaces in an eye-catchy way.

Ashtabhujadharini Devi Mariamman
Hoysala is the term used for the architecture and the iconography that developed in present-day Karnataka under the patronage of the Hoysala dynasty rulers. Having flourished in the twelfth and thirteenth centuries, its structures stand as testimony to a Karnata Dravida aesthetic. The murti that you see on this page depicts the Devi Mariamman, who is the equivalent of Devi Parvati or Devi Shitala of the North. From Her iconography to every other detail of the sculpture, She looks like She has been handpicked from the garbhagriha (inner precinct) of an ancient Hoysala temple.

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.

Floral Embellished Murli Krishna Carved in Teak Wood

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.

Flame-Scarlet Brocaded Bridal Sari from Bangalore with Peacocks on Border

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.

Caviar-Black Kanjivaram Sari from Tamil Nadu with Zari-Woven Motifs on Anchal

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.

Goddess Lakshmi as Devi Padmavati

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.