Editor's Picks

A Friendship That Blossomed By The Well

A few times a week, these young ladies see each other at this mud well by happenstance. It is a relatively isolated one from their village, as could be made out from the hints of overgrowth in the background. On days when these hardworking rural women have a few extra minutes at their disposal, each of them takes the slightly longer route to this well in hopes of meeting the other. This soft, lifelike watercolour depicts one of those days when they do. It does not depict a joy of a zealous nature, but in fact one that is calm and gathered. Sincere pleasure at chancing upon the company of the other is in each of their faces, of a gentle middling degree bred by familiarity; further proof of which lies in the relaxed stance of their bodies.

One of them balances both their pots about her on the mud platform surrounding the well, whilst the other leisurely gathers the ropes. Dressed in the colourful bootidar ghagra-cholies of North Indian married women, they have let the diaphanous wisps by way of their dupattas fall away from their torsos. They are probably chatting about the torment their children subject them to or expressing their gratitude at having seen the other in the course of their respective days. A woman's days are all the same - she is the essential backdrop against which her loved ones function, tending to an unending cycle of things that need to be done such that a contrary state of affairs occurs to no one - and it is this that forms the subject of the women's conversation at the well.

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Vishnu-Lakshmi On The Shoulders Of Lord Garuda

Lord Vishnu and Mother Lakshmi are the divine couple responsible for preserving srishti as we know it. While He belongs to the trinity that otherwise comprises of Lord Brahma, the srishtikarta, and Lord Shiva, the destroyer; She, as His wife, presides over resources and is the Devi of affluence, a precondition for preservation. They are a beauteous couple as portrayed in this superfine watercolour, exuding in their togetherness a world of bliss. It is Lord Garuda who has hoisted the divine couple up on His magnificent shoulders. He is the vahana (mount) of Lord Vishnu, a ginormous example of divine life, unsurpassed in strength and vigour and martial prowess. In fact, in the Mahabharata, Dronacharya employs a military formation named after the great vulpine creature.

The setting is against a Mughal-style garden. Lush vegetation and ample flowering foliage characterise the surroundings of the deities. The parrot-beaked Lord Garuda supports His masters by their feet, the stance of His wings as if He is about to take off into the heavens. Lord Vishnu and His Devi Lakshmi are in auspiciously coloured silks (saffron and red) and gold-and-pearls shringar. She secures Herself in position with a hand on the vahana's crown, as She sits in close communion with Her Lord. They are looking straight into each other's eyes, as His multiple weapons-laden arms flank their composite central figure. A rosy sunset dominates the background, bringing out the beauty of the delicate sprigs that dangle from the shock of green along the upper edge of the painting.

Butterscotch Bomkai Sari from Orissa with Woven Bootis on Border and Pallu

This Bomkai saree has been handpicked for its elegance and statement simplicity. The body is dyed the beaten gold of the tropical sunset, the unusual beauty of which is brought out by the jet black of the layered border and the pallu. Miniscule booties are spaced out on the gold, while the pallu is lined with panel after panel of gracious folk motifs woven densely from shortly beneath the shoulder. Teamed with the right jewels, this saree is as fit for a daytime do as it is for an evening gala.

Padmavati Shri Devi, Devi Lotus-Lakshmi

Shri Devi has been celebrated in the poetry of South Indian saints as Padmavati, the lady who bears the lotus. This is the primary hallmark of the pedigree of this sculpture: it has been handpicked from Swamimalai, the home of India's rich bronze tradition. Devi Lakshmi's South Indian iconography is distinct. In addition to Her lotuses-wielding full-figured, full-featured beauty, the channavira is an integral part of Her shringar (the thick necklace whose tip grazes Her midriff) and a breast-band graces Her torso. She stands in the tribhang stance, which means that Her silhouette is jutting out in three places (shoulder, hip, and left ankle). In fact, it is this sensuousness that is the signature of Kongu Nadu sculptures (located in western Tamil Nadu; to be specific, the sculptures are from a region barely west of present-day Coimbatore).

These bronzes are not just about skill. The devotion with which each artisan works on the murti at hand is nothing like other sculptural traditions from around the world. Such streamlined skill, such sanctity of purpose could be made out from each aspect of the standing sculpture. The lifelike lines of Her hands and feet, the yogic musculature of Her powerful form, and the supremely compassionate expression on Her face. The pleats of Her silken dhoti clings to Her legs, and a plethora of sashes float about Her hips. Dense shringar clothes Her torso and arms. The pedestal She is on is a fine example of devotional workmanship of the region - an inverted lotus atop multiple tiers engraved with more lotus petals. Note how unusual Her engraved crown is, resembling the amalaka and shikhara of the quintessential Dravidian temple.

Tranquil Roopa Of Devi Durga, With Superb Detailing

The kalamkari Durga is beauteous and tranquil. While Her beauty cannot be disputed, wrath and not tranquility characterises the major part of Her iconography. She is the ashtabhujadhari (eight-armed) simhavahini (lion-rider) Devi, seated in lalitasana on its back. Like traditional Devi Durga compositions, the weapons in Her hands constitute Her shringar; and it is from traditional Devi Durga compositions that certain aspects of this kalamkari set Her apart. One of Her anterior hands is raised in blessing, another one bears a lotus that rests delicately on the lap of Her saree. Her face is soft-featured, and bears a composure of supreme compassion and stability. The Shaivite tilak on Her temple serves as Her husband's presence in this painting, without which no projection of the Devi Herself is ever complete.

The word 'kalamkari' is a portmanteau of 'kalam' (pen) and 'kari' (handiwork). The kalam in question is a sprig of bamboo sculpted into the shape of a rudimentary pen. The kari is done on a section of very specifically treated fabric canvas, using homemade colours put together from organic pigments. This form of folk art has been practised in Andhra Pradesh, its Southern roots quite visible in this particular composition. From the tall tapering crown of the Devi Durga to the highly detailed motifs in the background. In fact, the level of detailing done in each unit surface area of the painting is quintessentially kalamkari - zoom in on the pleats of the Devi's saree, the engravings on Her crown, ad the body of the simha to appreciate the same. This work of art is designed to be hung solo on a wall in your space, making for an imposing statement.

Canteloupe Brocaded Lehenga in Multicolor Thread with Embroidered Choli and Pink Dupatta

This silk lehenga is everything a traditional lehenga should be. It is made from silk and features a soft colour palette of peach, pink, and gold. This makes for a statement that is distinctly feminine, almost bridal. The piped choli is round-necked and short-sleeved, a superbly elegant piece that features gold foliage embroidery. The skirt is voluminous, which promises an irresistible rustle and motion as you walk. The same comes with an abundance of tiny booties as well as statement-making motifs in natural green and pink pastel colours. A thick panel of gold superimposed with peach-coloured embroidery graces the hemline.

While most traditional Indian three-piece lehengas have that one signature skirt or choli or dupatta, this one is a complete package. The dupatta is dyed a solid shade of pink, which seems to dominate the whole ensemble. It is a long, luscious strip of translucent silk, set off by miniscule gold booties. Given the high-coverage choli and the length of the skirt, the translucence of the dupatta makes it an apt layering option. Note the luxuriant border along the edges of the whole dupatta. Its length makes for diverse draping options, which you may improvise depending on the occasion.

16" Elegant Married Couple from Sikkim | Traditional Handmade Dolls

The kho is the signature dress of the Sikkimese people. It is a long, loose, flowing garment that is draped around the body and belted in place at the neck and the waist. The adorably miniature ones draped on this handsome doll-couple are the more elegant varieties of men's and women's kho, worn to traditional festivals and gatherings. The garment is supposed to cover the legs when draped by women, while men team a shorter hemline with trousers. The dolls you see on this page are a married couple, as could be gauged from the pangden that cascades down from the lady's waist: it is the vernacular word for the striped silk garment that married women use to tie over their khos, indicative of their marital status.

The two of them make a young, elegant couple. The husband has teamed his shimmering dark gold kho with a solid pastel yellow shirt, while the wife wears a full-sleeved blouse in red underneath her embroidered red kho. Designers of traditional khos usually turn to local foliage for motifs to embroider these gorgeous garments. Both the dolls are wearing dark velvet hats that are wide-rimmed, indicating that they may be from one of the northern villages where drizzling snow is a common phenomenon. Tall leather boots is the traditional footwear of choice for both men and women, even though in this case the lady is in gleaming leather pumps. This pair would make for a unique, expressive piece of home decor.

The Striking Banjara Woman, Looking Out Into The Distance

A striking Banjara woman forms the subject of this oil. She is tall, as could be made out from the length of her decolletage and torso; and dressed in minimal clothing to beat the merciless North Indian heat as she goes about her chores around the house. Her roseate skin, as much of it as is exposed, shimmers in the sun. Her rich black hair, which she had thrown into a ponytail prior to starting housework for the day, is now in a tousled mess. In fact, a few of the younger strands from her hairline have escaped through the band of her mangteeka and reached down to her temple and cheek. As is the norm with these desert tribeswomen, she is dressed in chunky silver jewellery to match the sequins on her ghagra-choli - a statement necklace with a pendant that grazes her navel, amulets and bangles, bunched up danglers, and gem-studded hair ornaments.

She stands at the threshold of her bamboo hut, moments before stepping in after a round of chores in the courtyard. Something has caused her to pause, as she looks out into the distance with those intense, kohl-rimmed eyes. Perhaps she is waiting to watch her makeshift fields crop before her eyes (makeshift, because jhuming or slash-and-burn cultivation is how Banjaras subsist), a surreal prospect; or her husband is working on the cultivated patch, and she is trying to gauge from his body language whether he is returning to her any time soon. How realistic is the stance of her fingers - especially as she grips the shoot next to her - and the fold of the loosely knotted ghagra against the raised thigh, with its exposed sweep of skin.

Jester-Red Handcrafted Decorative Jewel Wall Hanging with Intricate Zardozi Hand-Embroidered Flower Pot

For those of who identify on the minimalist side, home decor could be a tricky domain to apply oneself to. You do not want to splurge on a tonne of merchandise that would later qualify as junk, but rather invest in a few key pieces each of which would make a distinctive statement. The wall-hanging you see on this page has been handpicked to go into the latter category. It comprises of a foundation of gorgeous red velvet. The same has been superimposed luxuriant zardozi, a technique of embroidery that is both ancient and unique. A work of art as powerful as this would make your guests stop dead in their tracks and function as an amazing conversation-starter.

From a tall, slender vase, the kind that would probably have been used to adorn the Mughal court, emerges a shock of beauteous foliage. The velvet had been stretched on a wooden stand, and a needle has been used to work - with both hands - the statement gold string onto the fabric. Note the plethora of sequins and semi-precious gemstones that have been incorporated into the complex embroidery, zooming in on which would allow you to truly appreciate the skill and labour that have gone into the finished piece.

Faceted Onyx Danglers With Cascading Silver Bulbs

A most elegant piece of jewellery in green onyx, you cannot go wrong with these danglers. Green onyx is an unusual gemstone, given that the onyx as a birthstone is usually black. Its green variation is an amplification of its spiritual properties - it is meant to soothe the wearer's intrinsic turmoil. Teamed with sterling silver in these bunched-up danglers, the faceted greenness of the onyx would have a calming effect on the onlooker. Zoom in on the superbly smithed onyx petals that would sit pretty against your lobes, glittering as you motion your head.

From the five-petalled green onyx flower emerges a cascade of glistening silver bulbs. The first row of bulbs is held in place by a horizontal silver band, the next by miniscule silver loops, while the third and smallest row has been designed to exude full dangling glamour. It would give off the soft, susurrous sound of silver touching silver as the bulbs gently collide from time to time. These danglers are best teamed with a traditional ensemble, such as a neutral coloured evening gown or a gorgeous green Indian saree/suit.