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Showing 1 to 10 of 1348 results
Showing 1 to 10 of 1348 results

72" Super Large Gautam Buddha Preaching His Dharma | Black Marble | Shipped by Sea

A one-of-a-kind bitone Buddha composition. The predominant colour is black, which has the unmistakable sheen of marble. The medium captures the otherworldly glamour of the erstwhile Shakyamuni. The complementary colour, white, is to be found in the dotted raiment clothing the seated figure, which makes for a surreal visual experience.


Legs gathered in the perfect padmasana - heels together directly below the navel, soles of the feet facing skywards, and the hip-and-knees trifecta along a level plane. The hands in dharmachakra mudra: the left one rests upon the heels, while the right one is raised as if extending blessing.


The Buddha’s robe is the most striking aspect of this sculpture. It is draped across the left shoulder, brought down over the right. The miniscule white dots on its surface are painted in long, continuous waves. These add a realistic quality to the fabric and make for an illusory optical experience.

Thanjavur Paintings: Materials, Technique and Conservation

Foreword

India has a rich legacy of painting, from prehistoric rock art to contemporary art. In this wide spectrum, the gem-encrusted, gold-embellished, high-relief Thanjavur or Tanjore painting holds a unique place. While the profuse use of gold in this painting is shared by the Mysore and Deccan schools of painting, its high and three-dimensional relief sets it apart from other schools of painting. Hitherto, stylistic and iconographic aspects of this painting have received attention. The present volume has made an admirable attempt to delve into its materials, techniques, and problems of deterioration. In the absence of textual material, this volume has derived a corpus of best practices in Thanjavur painting from a meticulous reiteration of the mnemonic history of the correct tradition, preserved through changes in the manner or material of making of this painting. It has set off these standards against inferior materials and techniques, adapted by in discriminated consumers and sellers of an undiscerning market. It has offered valuable guidance for preventive conservation, in the backdrop of such historical analysis.

The book should be of equal value to owners, collectors, conservators, and restorers because it not only deals with problems of deterioration and conservation intrinsic to materials and techniques of Thanjavur painting but also provides investigative tools for the detection of fakes that are invading the market in response to exploding demands.

The book is a valuable attempt to induce interest in quality over quantity, in slow track over fast track technology, and, in sacred products of a knowledge system, sustained transgenerationally by a community of artists, patrons, and devotees over market products mass-produced by entrepreneurs peddling religion. It is hoped that this volume will make a modest contribution to combating and reversing the accelerating trend of homogenization and degradation, which has been engulfing the pristine tradition of Thanjavur painting, in course of its dissemination.

53" Large Devi Sivagami (Goddess Uma) | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai

The tall and stately Uma or Parvati. Daughter of the mountains, wife of Lord Shiva. On a multi-tiered plinth She stands, Her delicately shaped feet cradled on the pistil of an upturned lotus. Her ample hips are jutting laterally outwards, accentuating the fecund shape of the feminine form.


The style of the Goddess Parvati murti that you see on this page is reminiscent of Her traditional, textual iconography. From the solemn plinth to the minimalistic yet expressive engravings of attire and adornment, it is as if this Parvati Adi Shakti has emerged from the precinct of a centuries-old temple.


It is a contemporary Maa Parvati idol sculpted by the artisans of Swamimalai, the home of India’s traditional bronze sculptural tradition. Made from panchaloha, it has the unique colour finish of a dull metallic and coppery blue gradient. From the colour finish to the composure of Parvati Nath’s countenance, this composition is destined for the home or office temple of the finest modern-day devotee.

Matri Vani (Set of 3 Volumes) - The Voice of Anandamayi Ma

Foreword

The present booklet contains fragments of personal advice and suggestions tendered by Sri Anandamayi Ma to some of Her devotees at different times. As these formed part of letters (in Bengali) dictated by Mother in reply to their own supplications, their language bears upon it the native simplicity and freshness of the original messages without the least deterioration owing to the mechanism of transmission.

12'' Writing Ganesha | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai

Our pot-bellied god of auspicious beginnings and the remover of obstacles presents us with an interesting image to appreciate in this ‘panchaloha’ bronze sculpture. Standing on top of a raised lotus pedestal, Ganesha is in the ‘tribhanga’ posture – with his body twisting at his legs, his waist, and his neck – and holds in his hand his broken tusk and parchment to write on.

Taupe-Gray Georgette Designer Salwar-Kameez Party Wear Suit With Heavy Embroidery

Need the traditional Indian touch for the upcoming party but also want to experiment a little bit? With the calm Taupe shades of this gorgeous georgette designer salwar kameez, get attractive ethnic designs on a modern color palette. A favored women’s wear in India- the Anarkali suit is heavily embroidered and layered, providing you with a grand appearance. Grey georgette textile is worked on using rose taupe threads and tiny sequins creating a stunning effect. 

52" Brahmapriya Devi Sarasvati In Brass | Handmade
  • Double Chola
  • Exotic Triple Chola
  • Natural Brass
More Colors
52" Brahmapriya Devi Sarasvati In Brass | Handmade
She is the fairest Devi of the Hindu pantheon. She strums Her veena, cradled on the lap of a divine lotus. She lulls Her devotees with Her music and Her charm. She is the wife and the loved one (‘priya’) of Lord Brahma, who presides over the creative process (termed ‘srshti’ in Indian philosophy). She is the Devi of learning and the arts, crucial to that process. She is Devi Sarasvati, the beauteous daughter of the supreme Devi Durga.
Maiya Yashoda with Bal Krishna Tanjore Painting | Traditional Colors With 24K Gold | Teakwood Frame | Gold & Wood

The quintessentially Indian mother-and-child image. The fair Mother Yashoda lovingly gathers the baala-Gopala (‘baala’ is Sanskrt for little boy) in Her supple arms. The seated figure is clad in a saree, which is executed in solid gold gessowork. Studded with stones in green, pink, red, and blue colours, it conveys the affluence of a mother who is possessed of a son such as Gopala.


Mother Yashoda is seated on a velvet-upholstered throne. Given the gold embellishment that defines its structure, it gives the impression of a heavenly throne of solid gold. Next to the seated mother-and-child figure is a pillar and the section of an archway, like in the interiors of a palace of yore.


The adornments on the body of Yashoda and Gopala have been made with pure, studded gold. The same applies to the miniscule flute in Gopala’s hands. The faces are drawn together, brimming as they are with lifelike expression; the mother’s as innocent as the child’s. Such a Tanjore painting would be a valuable addition to any Krishna-loving home.

59" Large Superfine Vrishvahana Shiva

The name Rshabha, pronounced and widely spelt as Rishabha, translates to bull. While it could be an epithet for Shiva, Rishabha Devar is considered by many to be the first tirthankara of Jainism, Lord Mahavira, or an avatara of Lord Shiva Himself. Understandably, the iconography of Rishabha Devar is quite dated.


Mahidhara's Mantra Mahodadhih: (Two Volumes)

Introduction

It goes without saying that "Mantravidya" constitutes an integral part of our multi-dimensional cultural heritage. We are already aware of the tradition of the uninterrupted oral transmission of Vedic mantras beginning 5000 B.C. or 2000 B. C. or even earlier, down to the present times, as recorded by Yaska (900 B. C.), there was a school of thought (Kautsa's name is specifically mentioned by Yaska) which regarded the mantras just as a collection of utterances of divine sounds with their irreversible sequence, devoid of any sematic relevance (mantra anathakah). Even the Saundaryalahari ascribed to Sankara (? 800 A D.) concludes with dedication of utterances of prayers consisting of words generated by Mother goddess Herself to Herself (tvadiyabhir vagbhis tava janani vacam stutir iyam ).