Lamps and aaratis are typical features of an Indian temple. They give off prakasha (light) and dhvani (sound), respectively, both of which are sattva guna-predominant. They are integral aspects of ritual worship in Hinduism. The work of brass you see on this page is a handheld lamp, which doubles as an aarti implement. In obscurer temples of the South and the East, the priest is seen to be holding it in His hands and motioning it before the burning eyes of the deity. Each of the dias on this composite lamp has deep-seated bottoms (zooming in on the same would enable you to appreciate the depth as well as the uniformity of the handiwork). Their outer walls, miniscule as they are, are engraved with a bunch of angular curves, which testify to the skill of the artisan. Once they are filled up with ghee and the resting cotton wicks all lit up, one may hold it up as a flaming offering to the devi or deva. This is the aarti of Indian culture, a highly composite image when it comes to the interpretation of the trigunas.
The shapely base of this lamp is engraved with petals and tendrils, which is best appreciated by zooming in. From the same rises a narrow, wavey-walled stem along which are three concentric trays of dias, their numbers descending upwards. A singular dia on the top and a distinctive handle for the priest completes the composition.
The painting depicts the Lord Shiva and Devi Parvati in their togetherness, seated on the back of their beloved bull, Nandi. From the richly embroidered dhotis they are wearing to the intricate shringar starting from the crown downwards, it all betrays a breathtakingly keen attention to detail. Zooming in on each aspect of the painting would enable you to appreciate the dexterity with which the pen has been wielded by the artist. In fact, the word ‘kalamkari’ means penmanship, wherein the ‘pen’ is a rudimentary instrument fashioned from a sturdy twig.
The beauty and shringar of Nandi in this composition is matchless. The long, tattooed tail; jewels descending from His underbelly; and the ornaments surrounding the lifelike eye exposed to view. A vast halo-aureole encompasses both the figures on His back. A uniform pattern of zigzag lines and curves frames the composition.
The chaturbhujadhari Lord Vishnu is in a silken dhoti, the hem of which grazes His feet. The angavastram floats about Him as He raises one of the anterior hands in blessing. In the other He holds, but not wields, a gada; the characteristic chakra and conch in the hands of His posterior arms. The crown on His haloed head and the shringar that graces His torso match those of His wife’s, the beauteous Devi Lakshmi’s.
Her saree is cinched at the waist by a distinctive kamarband, from which descends a series of pleats (this is in keeping with Her Lord’s attire). She raises the same hand as His in blessing; in the other, She cradles a pristine lotus. A striking likeness is to be found in their composure of countenance, which is one of superlative consciousness and bliss.
This oil painting depicts the subject in all the beauty of her youth and Indianness. Her skin is glowing, setting off the dramatic makeup she has freshly applied for the sight of her lover. She has chosen a maroon lehenga with a brocaded, low-cut blouse to greet him in. She stands against the background of the gently flowing river and the verdant mounds beyond, but her eyes are not for any other beauty but his. In fact, she has just caught sight of his advancing figure, right when a gust of wind almost stripped her of her dupatta, exposing her to his view. She was trying with both hands to draw the dupatta around her, but paused midway at the sight of him, having forgotten herself. And from her eyes - large, soft brown eyes are longing for him to motion closer to herself - one could gauge the mutual joy of the lovers at setting eyes on each other.
Zoom in on the embroidery to take in the delicate beauty of sozni, a technique of tribal origins that gives stunning results on pashmina. The motifs are traditional - curvaceous paisleys, leaves with complex embroidery within, and embroidered tendrils with a high-precision finish. The thick border comprises of rows of symmetrical foliage that serves to contain the magnificence of the handiwork in the field. Because pashmina is a statement in itself, this number is best teamed with an understated evening saree or suit.
Having originated amongst the region’s homebound women who were in a bid to decorate their simple mud dwellings, Madhubani paintings keep to spiritual themes and deva-devi depictions. This work is no exception to such a rule. The slender dashabhujadhari (ten-armed) Devi, with Her trusty vahana the lion, vanquishes the adharmi Mahishasura (buffalo-demon) and his vahana. She pins them down, gazing straight into the demon’s eyes with an expression of triumph and finality.
The colour palette of this work of art is dominated by ochre, which makes up the solid-coloured background. The figures in the painting feature understated pastels applied with superfine brushstrokes, complemented by a sparing proportion of black. This is quite unusual, given that Madhubanis are typically painted in thick black lines which are rarely ever filled in with colour. This one would therefore make a statement addition to your folk art collection or an expressive one to your pooja-room.
What completes the ensemble is the signature dupatta. The almost bridal colour palette of pink and hints of matching purple is set off by the lush gold zari-embroidery along the edges. More zariwork is to be found in the booties against the pink of the dupatta. Note the embroidery down the bust and along the hemline of the kameez, which add to the traditional glam of this dress.
Saraswati is the Hindu goddess of learning, knowledge and creativity. She also guides the souls of the deceased to find their way in the afterlife. In the states of Bihar, west Bengal and Orissa, she is considered as the daughter of Durga, along with her sister Lakshmi and brothers Ganesha and Karthikeya. In Hinduism, she is worshipped not only for academic knowledge, but also for her divine knowledge required to achieve moksha.
This gentle watercolour depicts the two deities as one, seated in bhadrasana on a mat of tiger-skin. They are the primordial yogis, Lord Shiva having imparted the knowledge of yoga to His Parvat; in fact, Yogadarshana is the applied aspect of the more theoretical Sankhyadarshana. He wields a trishool; She, a noose. A sliver of the moon graces His matted locks, while Her gorgeous curls are held in place by a bejewelled crown. He is bare-bodied but for the loincloth, in stark contrast to which She is drawing the pallu of Her saree over Her torso with Her anterior hand.
Their mat is spread on the transverse section of a gigantic tree, set amidst the pale landscape of the lower Himalayan reaches. The painter has chosen a particularly verdant spot to depict his Ardhanarishvara in. In the foreground is the devoted Nandi on His haunches, looking ahead with a gaze as gathered and serene as the Ardhanarishvara’s.
Email a Friend
Manage Wishlist