While yogis are not known to take shade under a parasol, the one in this composition serves the purpose of a temple canopy, evening out the weight suggested by the multi-tiered pedestal the deity is on. The bells that dangle from its edge produce a sweet, sonorous sound in the wind. The conventions pertaining to Lord Ganesha iconography are, however, intact - the naga (snake) that secures His chubby belly, the laddoo He cradles at the tip of His belled and striated trunk, and the tilak at His forehead indicating His parentage. The hallmarks of endemic South Indian workmanship include the delicately carved peacocks on His crown, the lifelike stance of the ears and the folds of His dhoti, and the grand pedestal that supports His frame.
It depicts the Lord's much-celebrated victory over the multi-hooded naga (snake) namely Kaliya, who was banished by Lord Garuda to a corner of the Yamuna river. He grabs the serpent-villain by the tail and dances over his helpless hood, leaving His footmarks on the vanquished one. The waters of the dishevelled Yamuna swirl around them as witness to this historic episode. The same have been depicted with simple cloud-like curves filled in with a powdery blue blending out into white. The vibrant colour palette of the Lord's form in the foreground makes a powerful, aesthetic statement. The shocks of fiery orange vines that flank His expressive face, His superbly gathered composure in the midst of battling evil, and the matching peacock feather-crested crown and shringar, complete the picture of Hinduism's most charming deva.
The luscious silk make of this Indian suit is of a glade-green colour and layered with ample proportions of tulle. Monotone vine embroidery graces the fitted bust from the neckline downwards, and spreads out along the length of the translucent sleeves. The voluminous skirt is the most statement-making aspect of the ensemble, the weight of the dense embroidery near the hemline adding to the signature fall. Simple choodidar trousers and an unassuming dupatta complement the gorgeous Anarkali kameez.
From the smooth musculature of His form to the realistic stance and composure of countenance, it is the medium that lends these things to the work of art. It is with a great deal of skill that the finest-quality marble has been sculpted and polished to give it the inimitable svaroopa of the Lord. Between those eyes on that haloed face that are teeming with life and wisdom is the third eye of the yogi, further above which is a sliver of the moon in His dreadlocks. Note how the pristine Ganga emerges from the coil on top of His head, a quintessential part of Lord Shiva's iconography, like the naga (serpent) that has wound itself around His shoulders and the janeu that lies across His torso. With a hand raised in blessing, it seems from the stance of His feet on the rather minimalistic pedestal that He is on His way through the mountains and not static, which is in keeping with the asceticism of His personality.
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.
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.
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.
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.
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.
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