Rural Gujarat is known for the quirky textiles it produces and its love for vibrant colours. Local artisans make it a habit to infuse the pastels one sees in the countryside into their fabrics, of which this bedspread is proof. The motif of the richly adorned elephant with its trunk raised has been arranged in repetitive panels across the field, which are interspersed with kantha embroidery. The elephants have been appliqued onto the base fabric, which gives away the degree of creative skill and labour that has gone into this bedspread. The dominant colour variations include black and red, from which you are welcome to choose depending on the tone you want to set your bedroom to.
The elephant had seen it in the form of a substantial little bush when he was a baby; the monkey remembered it from his childhood as a mere shrub; the rabbit had seen the same tree as a leafless sapling; while the partridge had carried its very seed in its body and planted it there. Hence, the partridge came to be honoured most among the brothers. The way the four creatures are arranged in this thangka symbolise the harmony, stability, and mutual respect that now defines them. In the gorgeous shade of the luxuriant banyan tree the brothers stand one on top of the other according to age, while ducks and lotuses abound in the pond in the foreground and numerous verdant hills dot the landscape in the background.
Lord Soorya is revered as the prime source of life and nourishment by the peoples of the subcontinent. His many names include Vivasvat (Sanskrit word for 'brilliant'), Savitra ('nourisher'), and Lokachakshu ('eye of the realm'). Lore has it that He rides a chariot as brilliant as He is, drawn by no less than seven horses, across the skies each day in His bid to overpower the demons of darkness. He is one of the highest-order deities of Hinduism and a lesser-known deity in Buddhism.
It is a fine example of Nepalese handiwork. While the paintings and sculptures produced in the region are coveted by spiritual art patrons across the world, its jewellery is no less. This pendant boasts of a sterling silver foundation, overlaid with dense gold filligree and gemstone embellishments. The delicate tracery as well as the pastel blue and red gems, each more exquisitely shaped than the other, are both characteristic of regional workmanship. The quadrilateral motif that dominates the foreground (and surrounds the central red, gold-rimmed gemstone) is the all-important Buddhist mandala.
Shodashi (also known as Tripura-sundari, Lalita, and Rajarajeshvari) is a beautiful young girl of sixteen. She is shown seated on the navel of Shiva, who is reclining below her. They are on a pedestal supported by the gods Brahma, Vishnu, Rudra, and Indra. Her dhyana mantra describes her as follows: "She shines with the light of the rising sun. In her four hands she holds a noose, a goad, bow, and arrow".
There is an interesting legend behind the origin of Tripura-sundari. We are told that once upon a time Shiva referred to Kali by her name in front of some heavenly damsels who had come to visit, calling her "Kali, Kali" ("Blackie, Blackie"), which she took to be a slur against her dark complexion. She left Shiva and resolved to rid herself of her dark complexion, through asceticism. Later, the sage Narada visited Kailasha and, seeing Shiva alone, asked where his wife was. Shiva complained that she had abandoned him and vanished. With his yogic powers Narada discovered Kali living north of Mount Sumeru and went there to see if he could convince her to return to Shiva. He told her that Shiva was thinking of marrying another goddess and that she should return at once to prevent this. By now Kali had rid herself of her dark complexion but did not yet realize it. Arriving in the presence of Shiva, she saw a reflection of herself with a light complexion in Shiva's heart. Thinking, that this was another goddess, she became jealous and angry. Shiva advised her to look more carefully, with the eye of knowledge, telling her that what she saw in his heart was herself. The story ends with Shiva saying to the transformed Kali: "As you have assumed a very beautiful form, beautiful in the three worlds, your name will be Tripura- sundari. You shall always remain sixteen years old and be called by the name Shodashi.
Tripura-sundari is described in great detail as extremely attractive, beautiful, and erotically inclined. The Lalita-sahasranama details her charms from head to foot, and the majority of the Saundaryalahari is similarly occupied with her attractive appearance. She is often said to give desire and to suffuse the creation with desire. The Saundaryalahari also states that that a worn-out old man, ugly and sluggish in the arts of love, can be restored to physical attractiveness and vigor by her glance.
The dreamy blue colour of the base is set off by a world of embellishments. Cream- and brown-coloured booties emulating fresh flower-laden tendrils grace the kameez. The same is punctuated with pristine faux pearls and crystals to enhance the regal appeal of the dress. The neckline is high and fuss-free, as if to complement the midway slit that starts slightly above the knee. Note how the sleeves transition into transparent silk fabric at the elbow, the transition having been marked with more pearls. The dupatta is matching but translucent, and hemmed with a fine strip of gold lace for a look that is as regal as Indian suits get.
This variety of paintings are made on spiritual themes. The subjects are usually from the diverse Hindu pantheon, replete with their respective long-established iconography and personal beauty. However, this one draws not from popular iconography but from a much lesser-known motif of the tree of life. This all-important tree in Indian Hindu and Buddhist tradition is said to have infused the Buddha with the ultimate truths of life and enlightenment as He sat underneath it steeped in meditation. Done in a simple tritone palette comprising of solid black, white, and orange that hints at a setting-sun background, the curves of the rising branches are eerily realistic. This one-of-a-kind painting is bound to fill your space with calm and serenity.
Of the three deities, it is Shiva's iconography that is somewhat of a match to Hers. His tresses are as matted and moon-ridden as Hers, as opposed to the ornate bejewelled gold of Their lotus petal-tipped crowns. His tiger-skin loincloth and skull-and-snakes shringar are in stark contrast to the coloured silks and jewels of Brahma and Vishnu. All three deities are barefoot on the lush verdure that makes up the background of this watercolour. Note the ashen-faced curs at the mouth of the pyre, which are seemingly ready to charge on the adharmee.
This watercolour conveys the contradictions that Devi Chhinamasta is all about. Her sahasranama is laden with paradoxes - from Prachanda Chandika to Sarvanandapradayini. This goes to show that Her wrath could be turned to something infinitely blissful with worship and devotion. Note the peacefulness that pervades the landscape behind Her. Undulating verdure punctuated with cool, still, grey lakes (one of which is in the foreground, at the superbly lifelike paws of the lion) and flower-laden shrubs and trees. A couple of birds soar against the light of the setting sun, while pristine templetops could be seen in the distance. These ar ein stark contrast to the superimposed imagery of blood and gore.
Devi Bhadrakali stands on the prostrate form of a man on the grass. Except for the hints of adornment on His arms, neck, and lobes, He is naked. The dominant colour of the background is the rich golden yellow of the tropical sunset. A layer of thick, pale blue clouds have been painted along the arc at the centre of which is an embossed aum syllable in smooth silver. The foreground comprises of the glowing green grass on which the ensemble stands, superimposed with a jet of water. The pristine silver of the foundation rims the composition. This statement pendant would inspire whoever sets eyes on it with an eerie curiosity about Devi Bhadrakali.
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