It has brownish shade and intricately imprinted with the Buddhist supplication inscriptions. There's a mystical pictorial monogram that offers a sound of serenity. Color discrepancies might occur between your system screen and the product. This singing bowl features a nicely made color for decoration purposes. Find out the best way to get the right sound out of it. A different sound comes from this unique bowl. Its material makes of high-class quality, so you don't need to worry! We assure you a product of good quality, designed with a mantra! The Buddhist mantra makes people feel healthy with their sound. Experts invent Tibetan Buddhist Vishva-Vajra Singing Bowl in crafts from the Himalayan states of Nepal.
The Rubocondo Lukhnavi Chikan Saree, adorned with intricate floral hand-embroidery all over, showcases the enchanting harmony of red and white in traditional Indian attire. This Chikankari masterpiece offers an elegant drape that's simply swoon-worthy. Blooming Chikankari patterns, meticulously handcrafted, grace the entire saree, lending it a luxurious weightiness. Nowhere is this artistry more evident than on the pallu, a breathtaking masterpiece in itself. The exquisite craftsmanship and the fusion of red and white create a drape that's not just clothing but a true work of art, embodying the timeless beauty of Indian hand embroidery and the allure of this classic color combination.
The art of Chikankari has been in the run since the Mughal era and continues to be a trendsetter even in the contemporary world. This traditional style of embroidery holds its origin from Lucknow and graces the personality of every woman when crafted on a sari. This delicate embroidery is a blend of multiple stitching patterns, often done on a light pastel coloured georgette fabric with white thread, for a subtle and classy look. The one you see on this page is a perfect example of the same, woven on a pure georgette salmon buff (yellowish-orange) lightweight fabric which makes it easy to wear, carry and simultaneously allows for a sober personality.
Chikakari is often decorated with white thread hand embroidery in Mughal architectural patterns of flowers, leaves and paisleys which have their inspiration from the rich Persian culture that reveals their love and affection for nature. A similar kind has been embroidered here with the main field lavishly filled with intrinsic motifs of bunches of leaves and pallu flourished with small flowers and stylized nature-inspired designs all over. The most striking one is the border embroidered in designer large paisleys along with the intense floral mesh at the bottom of the pallu.
If you are looking for elegant wear for your summer functions or any morning functions, then there can be no better fit than this georgette Lucknavi sari. Accessorize it with traditional uncomplicated danglers, matching bracelet, subtle makeup and get ready for your party charmer attire!
A temple sculpture is a sculpture that draws heavily from the architecture and iconography of ancient Indian temples. As such, temple sculptures are particularly ornate and especially fit to be housed in your home, office, or community temple. The Panchamukhi Hanuman that you see on this page is a fine example of the same. It is fashioned from strong, homegrown wood and infused with a world of detail. Given the difficult nature of the medium to work with, it is proof of the sheer skill of the artisan.
Bronze as a medium of sculpture is the heritage of the South. Amongst brass and stone and organic media like wood, bronze stands out as an elite medium to work with. While it was a thing with local sculptors since the Pallava dynasty was in power, it gained prominence under the patronage of the art-loving Chola dynasty rulers around five centuries later. As such, the work of art that you see on this page draws from centuries of a deeply devotional (shivam) and aesthetic (sundaram) tradition.
The handsome Lord Vishnu stands on the extended pistil of a compact lotus bloom. He is tall and built in the finest proportions of purushatva (masculine being). He is at the very centre of the creative-projective Hindu trinity of Brahma-Vishnu-Shiva, and His glory has been captured by the artisan in a superb aesthetic. There is something about the undulations of His musculature, in the ratio of His limbs, and in that composure of countenance that inspires the onlooker with a sense of dharma and harmony.
There is a skilfully sculpted dhoti around His legs. The adornments and the implements in His four hands (He is chaturbhujadhari) are minimal, yet carved with a great deal of detail. These add to the aura of Lord Vishnu. So does the inimitable colour of bronze, a deep matte gold with green overtones. The composition described so far is poised on an elegantly sculpted plinth characterised by three tiers.
A multi-deity composition, the pattachitra that you see on this page is a fine example of Indian folk art. A thing of Orissa, pattachitra is the name given to paintings (‘chitra’ is the vernacular word for picture) made on a locally produced, fabric-based canvas called patta. Devotional subject matters are common with pattachitra painters and, as such, the iconographies of the endless Hindu pantheon and episodes of itihasa are found in abundance in these works.
The painting that you see on this page is a composite of multiple deities. Each of them are painted within a panel of its own, arranged over a temple-esque aureole. Poised on a wide-set lotus-shaped plinth, it resembles the very temples that lend Puri, a temple-town and the capital of Orissa, its age-old cityscape. The solid-coloured panels in cerulean, scarlet, and green bring outs the smooth white colour with deep ivory overtones.
In the central panel are the figures of Devi Lakshmi and Devi Sarasvati. They are flanked by Lord Brahma and Lord Garuda to their right and Lord Shiva and Lord Narayana to their left, making for four smaller panels. Set in the templetop, above the five panels described so far, is a circular panel of Lord Ganesha. Except for Lord Garuda and Lord Narayana in the lower panels, the remaining deities are all seated. In the midline of the lotus plinth is a miniscule circular panel featuring a wide-eyed gaja (elephant) gazing with wonder at a lotus in its own forelegs.
There is little to equal the radiant Devi Tara. Her beauty is ethereal; Her wisdom is all-encompassing. Queen of Mount Potala and fairer than the paralokiya lotuses and the moons thereof, She is revered by Buddhists as the quintessential Mother. The mask of Tara that you see on this page captures the grace of Her mukhamadala (countenance) to perfection.
A row of lotus buds grows from the murky waters of a pond in the woods. A layer of emerald-coloured lotus pads coats its surface, from amidst which rise the slender stems with the pink crowns. Of varying lengths and bloom, they sway this way and that, conveying life and dynamism in a seemingly still work of art. The princely face of the Buddha predominates the background. His mukhamandala is the softest, most beauteous lotus of them all.
But for the jewel tones of the lotuses and lotus-pads in the foreground, this painting is largely monotone. A smooth silvery complexion, a composure of bliss and wisdom and equanimity. He is the Enlightened One, having attained Buddhahood after years after years of wandering and mendicancy and asceticism. Those long, wisened ears and the profound contemplation of that brow are the result of lifetimes of intangible sadhana. The painter has captured exactly that out of the sheer skill of his brush and the shraddha in his heart.
Smoke-coloured clouds fill the background in this painting. The whole of it is coated with a layer of shimmering gold mist, proof of the gently rising sun outside the frame of this painting. Its rays emerge into the frame and light up the left side of Gautama Buddha’s face. This infuses the composition with warmth and light and life.
A richly adorned mukhamandala (countenance) of Lord Ganesha to uplift the aesthetics of your home. This is a wall-hanging that you may put up at the entrance to your poojana-kaksha or at your threshold. With Lord Ganesha being the presiding deity over new beginnings, it would exude auspiciousness and good cheer every time you or your visitors step in to your space.
Madhubani paintings are the hallmark of the region’s (present-day Mithila) folk art. Developed by homebound women seeking to beautify their dwellings, it is usually done on an organic canvas with homemade vegetable-based dyes. Note the limited yet vibrant colour palette of this painting and the sheer proportion of detail despite the rudimentary techniques of traditional Madhubani painting.
The fish, within which lie the gorgeously dressed couple, is a richly adorned one. It is wrapped in delicate pink silks that float about it as it swims. Its scales and mouth are dyed with vermillion, indicative of its being a bridal fish. Hints of lace at the gills and the tail. Note the simplistic yet powerful brushstrokes that make up the lifelike waters of the surrounding.
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