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Bridal Disarray (Raja Ravi Verma Reproduction, Framed)

Bridal Disarray (Raja Ravi Verma Reproduction, Framed)

Full figures, flawless skin, and luscious hair, Raja Ravi Verma's women are strong and sensuous. This reproduction of a signature oil by the modern maestro is the unabashed, almost brazen, portrayal of a bride fresh from her bath. The same could be gleaned from her dense black locks sticking together because of the moisture and the fact that she is undressed. She had not even had the chance to put on her sindoor, when someone - probably her husband - had untimely walked in. Caught by surprise, she had scrambled for her saree laid out on the bed, but got her hands on his dhoti right next to it and drawn it over her torso to shield herself from his gaze.

It is a very delicate moment between husband and wife. She is clearly not succeeding in her pure, womanly endeavour given the translucence of the fabric. Her beauty, despite the nakedness, lies within the sacred precinct of her husband's singular presence, whose gaze she returns helplessly, almost pleadingly. Her skin is a roseate fair, the the dull gold of her ornaments almost blending in with her complexion. The soft, rounded features of her face make for a beauty that pleases as opposed to one that pleasures, that is inspiring and not intimidating. The dark green of the background brings out the subject, and the disarray she is in, with perfection.

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Tibetan Buddhist Goddess White Tara - Made in Nepal

Tibetan Buddhist Goddess White Tara - Made in Nepal

The beautiful Tara is called Saptalochani because She has seven eyes (in Sanskrit, 'sapta' means seven and 'lochana' means eyes). The remaining eyes are on Her temple, on each of Her delicately shaped palms, and on the tenderly sculpted soles of Her feet. Her composure of countenance is grave - Her eyes are shut, head tilted slightly to a side, as if She is listening to the prayer of some devotee. From beneath Her five-crested crown emerge a mass of dense curls, adding to Her great beauty. Lengthened earlobes and a pair of ornate karnaphool frame Her face.

Her slender torso is bedecked with a number of necklaces, each carved with greater skill than the other. A couple of lotuses in full bloom are entwined with Her sash on either side of Her. Her legs are placed in padmasana. The high double-lotus pedestal of this sculpture bears huge prominent petals, setting off off the lissome frame of the Goddess to perfection.

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The Ethereal Ardhanarishvara Floating Amidst Sunset Clouds

The Ethereal Ardhanarishvara Floating Amidst Sunset Clouds

A sharp image of androgyny as expounded in the shastras, the Ardharishvara is an unmistakably Indian symbol. It is a half-Shiva and half-Parvati figure; a confluence of purush and prakriti, of tandava and lasya, of the masculine (energy) and the feminine (matter). The resulting image is one of great beauty and significance, as could be seen in this handpicked Kerala mural. The murals of Kerala are not as well-known as those of Rajasthan, but they are in a class all their own. Having originated as early as the eighth century, a profusion of these murals dated between the fifteenth and nineteenth centuries are to be found in the annals of Kerala. The one you see on this page is a contemporary work of art done after traditional Kerala murals.

The Ardhanarishvara stands against a background of dense sunset-coloured clouds. A network of green vines and pink and white blooms frame the figure, like a natural aureole. The central figure is formed in the best proportions of both the male and the female forms, the distinction between the two given away by colour as well as silhouette. Decked up in streams of pearly white shringar, the silk clothing of the divine is held below the navel by a kirtimukha brooch and floats about the figure as if floating. The pale blue clouds at the feet of Devi Parvati and the blue jets of stream at Lord Shiva's complement the vibrant colour palette that dominates the composition. The soothing effect of these colours are matched the superb calm on the beauteous face of the divine.

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Cascade Wristlet With Beaded Roze Quartzes, Aquamarines, And Lead Glass Crystals

Cascade Wristlet With Beaded Roze Quartzes, Aquamarines, And Lead Glass Crystals

It is very important for a woman to have that one signature accessory that she could team with almost all, if not literally all, of her wardrobe. This statement-making bracelet is just the thing. It has a sterling silver wristlet, from which emerges a cascade of semi-precious gemstones. Beaded in dangling strips are a plethora of rose quartz crystals, steel-coloured aquamarines, and gorgeous lead glass crystals. These handpicked gems would create a soft, dull sound as they gently touch each other on your motioning wrist. It goes without saying that an accessory like this would add a world of personality to whatever outfit you choose.

It is an unassuming colour palette - rose gold and moss green and steely silver, all of which are in seductive, translucent tints. This bracelet would go with a wide variety of outfits. Think everyday western-wear, contemporary suits and sarees, or Indo-western moods. It will not only up the glamour quotient of your presence, but also serve to make a statement grounded in ethnic fashion. Charming and quirky, it is a superbly youthful piece and one to turn heads and start conversations whenever you are wearing it.

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Curry-Mustard Macaw Chudidar Crochet Kameez Suit with Patchwork

Curry-Mustard Macaw Chudidar Crochet Kameez Suit with Patchwork

Nothing like chiffon to make an impression in. The go-to fabric for women who want to dress both traditional and seductive, its drape is inimitable. No matter whether it is fashioned into the oh-so-popular solid-coloured sarees or an ultra-feminine suit like the one you see on this page, chiffon empowers you to make a statement. This one boasts of a colour palette that conveys a great deal of charm and good cheer - earthy yellow, deep pink, and a Prussian blue. The kameez is densely crocheted, which is sure to make you stand out at daytime dos with a spin of the traditional.

The structure of the dress is such as to highlight the woman's form and whatever she has by way of tallness. The straight-fit kameez comes with a deep neckline, which is complemented by the superbly long sleeves and low hemline. Crocheting work in blue makes up the designed panel at the centre against the yellow, the hem defined by more crocheted panels in varying colours. The signature choodidar trousers complements the rest of the dress. The chiffon dupatta, as light and translucent and dominantly pink as it is, completes the glamour of this dress.

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The Pristine Beauty Of Devi Durga

The Pristine Beauty Of Devi Durga

This superfine sculpture captures the image of Ma Durga with a great deal of perfection. The roopa-svaroopa of the most powerful of peaceful female deities has been expounded in the Mahalaya (in Sanskrit, 'maha' means 'great' and 'laya' means 'lyric'). Composed in Bengal, it describes Her flawless beauty and unmatched strength. She is poised in a perfect lalitasana atop Her trusty steed, the lion, who is a personification of Her own ferocity and strength. Having come from the unattainable reaches of the Kailasha Parvat, She resembles the pure glacial whiteness of Her home and exudes transcendental stability.

Marble is a difficult medium to work with. It takes years of learning and practice to perfect one's way around stone. The marble sculptures that you see in our collection, of which this is a fine example, have been handpicked with the greatest care. Note the sheer degree of skill that must have gone into this number - the Devi's and Her lion's minute proportions such as the digits and the expressive facial features, the stateliness of the lifelike posture, and detailing in the weapons. Hints of gold detailing in the adornments of the two as well as the weapons bring out the pristine colour of the high-quality marble. The composition has been placed on a relatively austere pedestal to highlight the aforementioned details.

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Shiva-Parvati Pendant With Pristine Drops Neckpiece (South Indian Temple Jewellery)

Shiva-Parvati Pendant With Pristine Drops Neckpiece (South Indian Temple Jewellery)

While the idea of devotional jewellery is not limited to India, the beauty and depth of the tradition is to be found nowhere else. It is in South India that these elaborate pieces are made, known as 'temple jewellery' because they are meant to be worn by idols in the gorgeous temples of the South. This sterling silver neckpiece is fit to be worn by a larger-than-life Devi icon. The necklace is made up of identical studded peacock motifs strung together, while the pendant is engraved with seated Shiva-Parvati figurines complete with a temple flanked by Nandi and parrot detailing.

It is the superbly carved pendant that is the most statement-making aspect of this devotional neckpiece. Zooming in on the sacred figurines would enable you to appreciate the precision and skill that have gone into the work. The altar is replete with serrated pillars and an engraved roof rimmed with lotus petals, typical of South Indian temple architecture. The haloes of Shiva-Parvati are intact, and it is on Nandi Himself that they are seated. A jade-coloured gem sits on the roof of the temple, besides the dark red stones that punctuate the silver in the rest of the neckpiece. Note the pearly white drops beneath the pendant that add to its beauty.

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Jet-Black Pashmina Shawl with Indricate Needle Embroidery By Hand

Jet-Black Pashmina Shawl with Indricate Needle Embroidery By Hand

There are not enough words in any language to describe the beauty and luxury of pashmina. This one-of-a-kind fabric is lighter than butter, warmer than freshly made toast. Each unit of this magnificent fabric takes an eye-watering proportion of time and skill to finish - from combing off the molt of the changra goat of the Kashmir and Tibetan highlands to spinning it into fabric, then dyeing and embroidering it, the expertise required at each stage of the process is endemic to the Kashmir valley. The shawls and sarees this results in, a gorgeous example of which you see on this page, are truly fit for the wardrobe of a queen.

It is pure pashmina, the colour of jet black dusk. Adding to the allure of the foundation black is the dense embroidery in the foreground. The colour palette is decidedly feminine - pinks, oranges, and reds with hints of blues and greens - such that it could go with a wide variety of evening sarees and suits. Zoom in on the work to appreciate the precision and symmetry with which it has been carried out, that also by hand. It is this rare skill with the needle, as well as the time and labour that have been put into this wearable work of art, that would make this pashmina shawl your most statement buy of the season.

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Yogini Plays The Veena

Yogini Plays The Veena

The Indian yogini is a female ascetic. She is one who has transcended and renounced all worldly pursuits, in her singular practice of ashtanga yoga. She desires nothing more than the supreme union of her jivatma with paramatma, which Patanjali has declared in his Yogasutra to be the very purpose of yoga and human life. The yogini is revered in Indian culture because of her superlative devotion, wisdom, and roopa, such as which are attainable only in the course of sustained yogic austerities. It is no wonder then that the portrayal of the yogini in Indian art, of which this one-of-a-kind sculpture is a fine example, is replete with a beauty that is superhuman, a fluidity of form that is to be found in no ordinary mortal.

She stands on an two-tiered inverted lotus pedestal as she strums on her veena. It is said that when a yogini bursts into music, she enchants nature itself. This yogini is clad in a dhoti that is tied beneath her navel and drops to well above her ankles. Layers of traditional Indian shringar clothes her upper body as well as her feet. She has a gorgeous silhouette, to which the stringed instrument she holds is a fine complement. Her full face is framed by kundalas and a crown that rests delicately on her head, beneath which is gathered all her hair. The glow on her skin, which is characteristic of yoginis, and the general dynamicism of the composition are proof of the sculptor's superb skill.

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Kailash Mansarovar Thangka (Brocadeless)

Kailash Mansarovar Thangka (Brocadeless)

The thangka is more than a painting. Sure, it is all homegrown fabric canvas and traditional pigments, framed in brocade and meant to be hung on the wall like a run-of-the-mill painting. However it is a work of great dharmic devotion as much as it is one of skill. It is the Newaris of Nepal, most of whom reside in the Kathmandu Valley and speak a Sanskrit-nishtha language, who paint these thangkas. Each thangka is a singular work of art that takes months to be finished, that also by a group of monks. One must have perfected the plethora of Buddhist symbols and motifs prior to composing one and leading the group that devotes itself to the thangka in question. The work that you see on this page is one such example of this endemic spiritual art, a work that is unique and powerful.

Usually, the central motif that constitutes the theme of the thangka is painted by the most experienced monk that leads the group. The symbols and motifs that complete the painting - the fire-wielding snake-dragons and other fauna included here, clouds, leaves, mountains, and rivulets - are done under his supervision by the junior monks. Seated Shiva and Parvati are leaning against each other, steeped in conversation. Solemn and gathered, their divine stance befits the luxuriance of this thangka. Statement-making jewel tones, a dusky black backdrop, the lush Himalayan landscape, this thangka is the very image of Kailash Mansarovar, the home of Shiva-Parvati.

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