Editor's Picks

Brahma-Vishnu-Shiva In The Worship Of Devi Kali

This is a powerful painting. It comprises of the sacred trinity of creator (Brahma), preserver (Vishnu), and destroyer (Shiva), and the Devi Kali Herself. Brahma-Vishnu-Shiva are paying their homage in unison to the supreme Devi, while She seated on a flaming pyre in all Her ferocity and divine glory, as the three supreme lords of the composite universe reach out to Her in Their devotion. The pyre that constitutes Her asana is made up of logs of wood and the naked bodies of a man and a woman. The fire that rages around Her has been projected with determined brushstrokes in rich orange, and emits copious proportions of deadly black smoke. The Devi's iconography is what could be termed disturbing for those used to the soothing, maternal image of the Indian devi. Seated in a poorna-padmasana, a tiger-skin functions as Her loincloth, while the shringar on Her limbs and torso comprises of human skulls and wild snakes. With Her four hands (chaturbhujadhari), She wields weapons and dispenses blessings with equal fervour. She lets out her tongue in bloodlust; Her temple bears the spiritual third eye against a spattering of coloured ash; and a pristine moon is perched on Her dishevelled tresses.

Of the three deities, it is Shiva's iconography that is somewhat of a match to Hers. His tresses are as matted and moon-ridden as Hers, as opposed to the ornate bejewelled gold of Their lotus petal-tipped crowns. His tiger-skin loincloth and skull-and-snakes shringar are in stark contrast to the coloured silks and jewels of Brahma and Vishnu. All three deities are barefoot on the lush verdure that makes up the background of this watercolour. Note the ashen-faced curs at the mouth of the pyre, which are seemingly ready to charge on the adharmee.

Simhavahini Devi Chhinnamasta

The Chhinnamasta belongs to the Mahavidyas (embodiments of great cosmic wisdom), the quirkiest of the Hindu devi pantheon. While the word devi inspires in one's mind an image of the calm and beauteous maternal figure, the das (ten) Mahavidyas are each poles apart from the same. Chhinnamasta, the sixth of the ten embodiments, is the severed-head version of the Tibetan Buddhist Devi Vajrayogini (in Sanskrit, 'chhinna' means 'separated', 'masta' 'head'). Her iconography is unsettling, in keeping with the rest of the Mahavidyas. She rides the most ferocious of wild beasts between Her legs (as opposed to the usual sidesaddle of Hindu devis), a lion so bloodthirsty its tongue protrudes out of its mouth from between its powerful white teeth. The streams of blood that spurt out of Her slashed-through neck pour straight into the mouth of Her own severed head, which She holds in one hand. With the rest of Her four hands She carries a container of fresh blood, wields a sword that she dips the tip of in the blood, and fondles the mane of Her trusty steed. The rest of Her is every bit in keeping with typical Indian iconography: a beauteous form clad in ample silks and jewels, an ornate crown with a moon sitting on it, and long black tresses that captivate the onlooker.

This watercolour conveys the contradictions that Devi Chhinamasta is all about. Her sahasranama is laden with paradoxes - from Prachanda Chandika to Sarvanandapradayini. This goes to show that Her wrath could be turned to something infinitely blissful with worship and devotion. Note the peacefulness that pervades the landscape behind Her. Undulating verdure punctuated with cool, still, grey lakes (one of which is in the foreground, at the superbly lifelike paws of the lion) and flower-laden shrubs and trees. A couple of birds soar against the light of the setting sun, while pristine templetops could be seen in the distance. These ar ein stark contrast to the superimposed imagery of blood and gore.

Chaturbhuja Bhadrakali Pendant Round

Contained in a small, circular pendant, this image of the Devi Bhadrakali is as awe-inspiring and ferocious as they get. Portrayed on sterling silver, the iconography is stunningly replete. She is dark-complexioned and long-limbed. Her tresses fall in wild curls about Her shoulders, and a sliver of the silver moon rests on Her brow. Her pearls-and-jewels shringar is what practically clothes her besides the girdle of severed human arms around Her loins. In Her four arms (ashtabhuja) are the remains of vanquished adharmees and the sword She has weilded against them. The aspect of her that truly conveys Her power as Devi are Her large, bloodshot eyes, and their fierce, determined gaze.

Devi Bhadrakali stands on the prostrate form of a man on the grass. Except for the hints of adornment on His arms, neck, and lobes, He is naked. The dominant colour of the background is the rich golden yellow of the tropical sunset. A layer of thick, pale blue clouds have been painted along the arc at the centre of which is an embossed aum syllable in smooth silver. The foreground comprises of the glowing green grass on which the ensemble stands, superimposed with a jet of water. The pristine silver of the foundation rims the composition. This statement pendant would inspire whoever sets eyes on it with an eerie curiosity about Devi Bhadrakali.

20" Radha Inching Closer To Her Krishna In Brass | Handmade | Made In India

Much has been written about the undying love between Radha and Her Krishna. The years they spent loving each other in Vrindavan are to this day the subject of devotional art and literature as well as popular imagination. This exquisite brass sculpture captures the divine lovers in a moment of togetherness. They are locked in each other's arms, their fingers on the verge of meeting. Zoom in on the skilfully carved figurines to take in the unusual stance each is in - the neck thrown back, the shoulders slightly closing in, the knees delicately hinged, all of which convey that the lovers are subtly inching closer to each other.

Vibrant Shringar Of The Devi Saraswati

This superb portrayal of the Devi Saraswati is replete with all that makes folk paintings of the type so coveted. Madhubani paintings have evolved in Mithila of Bihar as interior decorations for the mud homes of the region. They are characterised by rudimentary lines, a limited but definitive colour palette that is derived from natural vegetable pigments, and themes that betray the spiritual-devotional inclinations of the simple folks who make this art. This painting is a fine example of Madhubani: the minimalistic silhouette of the Devi, the vivid colours permeating those lines, and the sacredness of the Devi Herself. With Her four hands She plays on the veena, carries a pothi, and counts the beads on a rosary. She is the deity that presides over wealth and resources, prerequisites to preservation that is in turn presided over by Her husband, the Lord Brahma.

This painting is bound to fill your space with an abundance of colour. The Devi is seated in lalitasana, Her form bedecked in brightly coloured silks and shringar, the most notable of which is the thick orange garland that cascades from the neck all the way down to the floor. Her gold kundalas and nath (nosering) and crown against the jet black tresses about Her shoulders and waist, are huge and go with the ultra-feminine makeup on Her divine countenance. Not one but two peacocks are on either side of Her. While She is shown seated on a bed of colourful flowers, the foreground is dominated by a freshly blooming lotus. Note the vibrant red background that hints at something of a court of the Devi in question.

Navagraha (The Nine Planets) - With Each Deity Facing the Correct Direction, Highly Auspicious and Suitable for Rituals and Worship of Navagraha

Possessing this ornate sculpture from the Exotic India collection is equivalent to having the entire heavens upon a small stand in your house. Navgrah (Sanskrit for 'nine celestial bodies') is the collection of deities in Whom are manifested the divinity contained within each celestial body of the solar system. Soorya, Chandra, Mangal, Budha, Guru, Shukra, Shani, Rahu, and Ketu are arranged delicately on an elaborate, common base, each facing the direction ordained to them by the essence of the universe.

Bronze has been the preferred metal of sculpturors since time immemorial. Even though sculptures of brass are more abundant due to the commercial availability of the alloy - especially across the Exotic India website - it is bronze that has a more artistic, elite whiff to it. The members of the Chola dynasty constituted the key patron group of bronze sculpture, who demanded great skill in this art form, funded innovative methods that have gone down in history, and caused the golden age of bronze casting to flourish in the subcontinent.

Dancing Ganesha, Four-headed, Eighteen-armed, Captured In Vivid Red In Brocadeless Newari-style Thangka

Ganesha is as popular with Nepalese Buddhists as He is with Indian Hindus. Called Vinayak in the Kathmandu Valley, which is the origin of the Newari style of art and architecture, this widely loved and venerated deity has been captured in vibrant colours and detail in this brocadelss thangka. He is dancing on a large, black, rather vicious roopa of His vahana, the rat, as His eighteen arms flailing around His portly frame as He motions in dance. His silken dhoti is a pastel red, matching the dye on His inner palms and complementing the pastel-coloured sashes on His troso. In fact, red is the dominant colour of this thangka, from the rich red of the aureoles (even those of the accompanying deities in the corners) and the inner flaps of the Lord's ears, to one of His four pastel-hued heads. The colour, together with the lifelike stance of His limbs and the ecstatic composure of countenance, conveys motion supremely well.

The thangka has all the hallmarks of Tibetan art. A vivid colour palette, Dikapals and other guardian deities that flank the central figure, and a cheerful lotus pedestal. From the bejewelled gold crown and the halo rimmed with gold petals to the entirety of His delicate shringar, the sheer amount of gold in this thangka matches the generous proportions of red that characterise the Neweari style. In each of His hands are objects of dharmic significance, more of which are painted against the dense turquoise background. Note how fiercely He guards His favourite laddooes from toppling over as He dances with a bowlful in one of His hands.

More Colors

9" Devi Gayatri Idol on Blooming Lotuses | Handmade Brass Statues | Made in India

Goddess Gayatri holds a special place in Hindu mythology and spiritual practices. She is considered the personification of the Gayatri Mantra, one of the most revered and powerful mantras in Hinduism. This mantra is a hymn from the Rigveda and is dedicated to the sun god Savitar, who symbolizes illumination, knowledge, and spiritual awakening.

Gayatri is depicted with five heads, representing the five elements (earth, water, fire, air, and ether) and symbolizing her connection to the entire cosmos. Her ten hands hold various divine attributes, showcasing her multifaceted nature and divine powers.

Worship of Goddess Gayatri is believed to invoke spiritual wisdom, knowledge, and enlightenment. Devotees seek her blessings to remove ignorance and attain inner illumination. She is revered as the mother of the Vedas, signifying the source of knowledge and the sacred scriptures.

Nandi Nuzzling The Feet Of Ardhanarishvara

Of all the folk art forms in India, pattachitra is the most complex. One of the oldest art forms to have flourished in the subcontinent, it is what a lot of people know the state of Odisha by. 'Patta' in Sanskrit means canvas, and 'chitra' picture. And it isn't your run-of-the-mill canvas that functions as the foundation to the pictures. The patta of pattachitra is made in a week-long process that starts with soaking tamarind seeds for the first 3, pestling them thoroughly, and heating them in an earthen pot. The natural paste that emerges is called niyas kalpa in the local language, which is used to glue 2 pieces of fabric. This is further given double coats of soft powdered clay and polished with a rough stone followed by a smooth stone to produce the finished canvas.

The natural pigments that are used for the chitras look great on this patta. While themes usually revolve around Jagannath (for the obvious reasons) and avataras of Krishna, this pattachitra depicts the Ardhanarishvara instead. The deity is stands on a blooming lotus with the seated Nandi muzzling Shiva's feet. Parvati's saree is long and flowing, while Shiva is draped in an austere tigerskin. Her shringar is ampler and more feminine than the grim bands of rudraksha on His limbs. The curves of Her anatomy are more defined, Her thick straight tresses cascade down Her back while His wavey locks are flying in the wind. His jatamukuta is complemented by Her luxuriant crown. Winged celestial beauties floating amidst the clouds on either side of the pattachitra on top complete the composition.

More Colors

17" Vajrayogini - Tibetan Buddhist Deity In Brass | Handmade | Made In India

This image is that of dakini Vajrayogini. A dakini is the most important female principle in Tantric Buddhism, representing the ever-changing flow of female energy. They are the guardians of teachings and are considered the supreme embodiments of wisdom. The dakini can help change human weaknesses into wisdom and understanding, and the concept of self into enlightened energy.