A palazzo suit is one of the most popular attires worn by Indian women in any kind of social gatherings and hold the topmost place when it comes to fashion trend. An elegant attire accentuates the personality of the wearer, keeping this in mind, our expert team has selected the best out of the lot for you. The one shown here is woven on a finite art silk fabric allowing it to be worn in all kinds of seasons. Every woman looks for an attire that graces her being, and this is surely your type, as the soothing yellow color highlights your beauty and elegance. The kurti is heavily zari embroidered forming a chained pattern in the centre guarded by a rectangular floral border and the remaining field area is covered with similar kind of floral zari bootis formed at equal distances reaching upto the sleeves. Every zari work on this suit is decorated with small beads enhancing its embroidery and look.
The long kurti is paired with a similar shade plain silken sharara or palazzo having a thing golden zari border at the hem. The smooth fall of this flared palazzo gives a comfortable and beauteous look to the attire. The length of the kurti and that of the sharara complement each other creating a perfect balance of the attire. Every Indian suit is incomplete without a dupatta. The one with this embroidered suit is of a satisfactory length in a fine quality georgette, styled with a thin golden border on all four sides complementing with the beautiful zari embroidery on kurti.
You can style this Indian wear suit with a pair of long jhumkas or other ethnic danglers and a golden hued bracelet with golden flat bellies or minor heels to have a proper party look. It is the best wear for your wedding ceremonies or other social gatherings with friends and family.
Indian traditional wear is more of a work of art, that pleases all by its elegant aesthetics and royalty. The shawl shown on this page, is also a part of this magnified culture. Kashmiri artisans believe to spread the floral beauty of Kashmir by all possible mediums, so here they have done it by weaving this Kashmiri stole, decked up with a colorful variety of flowers all over the field area. We have for you the best two shades from the entire collection, keeping the base as black for both and one having flowers embroidered in bright shades with yellow being the dominant one and the other in subtle shades where white holds the primary place.
All of this design is hand embroidered in aari style, which dates back to the Mughal era and still holds its popular trend on suits, saris, stoles, shawls etc. As shown here, aari embroidery is characterized by intrinsic floral motifs and traditional designs in finest thread work. The fabric is sure to protect you from scorching winters, as its pure wool type makes the stole soft and warm. Each of the colors are beautifully hand embroidered in chains of flower and vine patterns, all highlighted with multiple-colored threads and unique embroidery. The black base allows it to be worn over any color of attire, as black can be graced upon with all shades equally. Wrapping this woolen Kashmiri stole with your attires will surely make you shine like a star.
A wide-set Devi Sarasvati figurine is seated under a lotus-petal aureole. A gigantic lotus bloom is Her throne. She sits in lalitasana upon its gld-and-peaches petals, the toe of the right foot gracefully touching the bhoomi (earth) beneath. A dhoti of green silk wound tightly around the length of Her gracious legs, and a sash of curvy green vine around her hips cascading down the frontal midline of Her throne.
She is the chaturbhujadharini, the one possessed of (‘dharini’) four (‘chatur’) arms (‘bhuja’). In keeping with the textual and popular iconography, the anterior hands are devoted to playing the veena, while in Her posterior hands She holds a rosary and a Vaidik pothi (manuscript of the Vedas). The veena, a long-necked, slender-stemmed string instrument, is a classical Indian musical instrument which is indispensable to the presence of Devi Sarasvati. After all She is the presiding deity over aesthetics, which includes the fine arts.
A tall, tapering crown engraved with great detail despite the scale. Together with the karnakundalas (danglers), it frames a full, youthful face that has an expression of omniscience and bliss. The halo behind Her head blends into the aureole. The zenith of Her crown juts into the self-mutilated jaws of Kirtimukham. Underneath the lotus plinth is a platform made up of rows of lotus petals upon lotus petals, a characteristic of Southern Indian workmanship.
The sacred hum symbol is at the heart of this mandala. Thick, white strokes of the brush against a scarlet-coloured circlet. Painted in the Tibetan script, it is the final syllable of the Shadakshari Avalokiteshvara mantra, which is extracted from the Mahayana Karandavyuhasootra and is considered the moola (fundamental) mantra of Buddhism. Against the cobalt blue of the surrounding circle, its sacred syllables are inscribed in delicate gold letters. It reads om mani padme hum.
Around the blue-and-scarlet pistil are flame-coloured petals totalling eight in number. Eight is a significant number - on the surface of each petal is painted one of the all-important ashtamangala symbols. Ashtamangala is a portmanteau of the Sanskrt words ‘ashta’ (eight) and ‘mangala’ (auspiciousness) and comprises, among other things, the infinity knot and the conch and the lotus. Solid blue and pink petals complete the image of the lotus.
A deep blue gradient fills up the circular space between the petals and the concentric gold diskettes. The same is superimposed with sacred Tibetan letters and miniature motifs in dense gold colour. The inner edge of the mandala is packed with lotus petal motifs infused with green and crimson, while the outer edge features a complex, filigree-like handiwork. Framed by natural bouquets of gold and pink, such a mandala thangka would be a colourful addition to the personal space of any devotee.
The graceful Devi Sarasvati, the presiding deity of the Hindus over learning and the fine arts, floats amidst a sea of vines. Wife of Lord Vishnu, daughter of the invincible Devi Durga, Devi Sarasvati is the fairest of the Hindu devi pantheon. Her silvery complexion is set off by the gold and coppery tones that make up the tritone colour palette of this composition. In keeping with Her traditional iconography, She is seated in lalitasana on a wide-set lotus bloom.
When spirituality and fashion go hand-in-hand, it induces a sense of harmony and a feeling of love while being in style. A jewelery can enhance the look of an attire and accentuate its value to more than what it actually is. This gold plated filigree pendant holds a great value in Buddhism as this Tibetan prayer box is used as an amulet container and is worn as an ornament. The circular shape is studded with stones all along the circumference followed by ruby and coral circular gemstones that beautifully contrast with the bright gold plated base. As per the astrological guidance, coral and ruby gemstones are like planet Mars and Sun which are friendly planets and can be worn together.
The turquoise blue Endless Knot in the centre is one of the auspicious Ashtamangala symbols of Buddhism which symbolises samsara. It focuses on the endless cycle of birth, death and rebirth in Tibetan Buddhism and since this doesn’t have a start or end, it also highlights the wisdom of Lord Buddha. This turquoise blue endless knot is crafted beautifully on a gold plate filigree pattern which gives this pendant a rich and heavy look. It is decorated with stone studded hooks and an inverted droplet stone at the bottom. You can wear this colorful pendant with any Indian attire in social get togethers and even in puja ceremonies.
The knees-and-hip trifecta rests on a parallel plane. The soles of the feet are turned skyward, the heels gathered just below the navel. The padmasana of the Buddha is the culmination of all asanas, the pathway to pranayama and bahiranga yoga. A tall, stately torso down which cascades the silken folds of His robe. Afore His chest, the gracious fingers of His long, slender hands gesture (‘dharma’) the dharmachakra (‘chakra’ is the Sanskrt word for wheel; stands for the cyclical). The tips of the thumb and a finger of the right hand touch to form a circle, indicative of the inner world; the curvaceous fingers of the left, indicative of the outer world.
An irresistibly handsome brow, the eyes beneath which are gently shut. A gorgeous, Grecian nose and lips as tender as the petals of a young lotus bloom. A meticulously carved head of hair. Thin lateral sections on either side of the composition feature a distinctively washed out tint of the earthy colour of the wood medium, adding to the unconventional aesthetics of the work.
The queen of the veena and the most beauteous of all, goddess Saraswati embraces her devotees with the power of knowledge, wisdom, arts and science. The bright delicacy, calmness of her smile and the sharpness in her eyes represents her bent towards education, creativity and music which makes her one of the popular worshipped deities in Hinduism. This Saraswati brass statue is carved with so realistic aspects that it seems as if the goddess herself is sitting with her veena on the royal throne. Saraswati has her throne lavishly carved with the legs like that of a lion, decorated with two boosters on either side and a small footrest where the beautiful Saraswati vahana, peacock is placed, waiting for the goddess to take a flight.
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