A miniature sculpture of the Buddha made from pure brass. It depicts Him seated in padmasana, the king of the dhyani (contemplative) yogic stances. An almsbowl in the palm of His left hand, indicative of the years of wandering and mendicancy leading up to His enlightenment. The right hand raised in infinite blessing. The withdrawn composure of a handsome countenance. This chhavi (image) of the Buddha is one of the most calming sights to the devotee. From the princely features of the erstwhile Shakyamuni to the stance of His beauteous body, it exudes a sattvik calm and stillness.
Under the whispering kadamba tree, against the inky blackness of a night in Vrindavan. Lord Krishna meets His beloved Radha, who has risked a great deal in order to show up for Her Lord under the circumstances. She lunges at Him with all the passion of a woman in love; His long, sinewy, masculine arms barely contain Her. She winds an arm round His neck and makes as if to take Him in Her kiss. He slips a hand under Her thigh and seductively draws Her close. On a night like this, the divine lovers are unable to resist themselves.
A Radha-Krishna rendezvous is a popular theme with traditional and folk artists of India. While Lord Krishna is one of the all-important ihalokiya (worldly) avataras (incarnations) of Lord Vishnu, Radha is considered to be the very roopa (manifestation) of Devi Lakshmi Herself. As such, their profound love, their undying togetherness, their unabashed intimacy with each other are the object of devotion and worship. The painting of Radha-Krishna that you see on this page is as much a work of shraddha as it is of skill.
The rendezvous of Radha-Krishna has been facilitated by a pair of milkmaids (gopiyaan) who are selflessly devoted to Krishna’s pleasure and happiness. They stand on either side of their Lord, looking on with the matchless bhakti of their hearts. A gorgeous swan preens itself in the pond in the foreground and a little deer arches its head back to look at the life-affirming image of the lovers. A black and green-gold bitone colour palette adds to the mood of the composition.
A solemn Devi Sarasvati is seated in lalitasana on the back of Her swan. The pristine bird, known for its beauty and poetry of motion, is Her vahana or mount. Its long, lissome neck matches the slender body of the veena which its divine mistress strums on. The veena, a classical musical instrument, is indispensable to the iconography of Devi Sarasvati. As the wife of Lord Brahma, the presiding deity over srshti (creative projection), She is the presiding deity over learning and the fine arts.
The Sarasvati murti that you see on this page is a life-sized number sculpted from pure brass. She is wearing a traditional Northern-style saree. The shringar befits Her status as the queen of paraloka (otherworldly realm of existence); they lie gracefully against the maternal curves of Her youthful body. The chaturbhujadharini, the one possessed of (‘dharini’) four (‘chatur’) arms (‘bhuja’), holds a lotus-bud on the verge of bloom and a pothi of the Vedas in Her posterior hands, while both the anterior hands are devoted to cradling the veena.
An ornate crown sits on Her head. Zoom in on the same to appreciate the level of detail introduced into the structure - the studded jewels, the engravings on the tapering section, and the chakras on the sides. A serrated halo sets off the composure of omniscience of Devi Sarasvati. Another example of the super-skilled workmanship is to be found in the body of the vahana, its plumage having been executed with a lifelike quality. The composition rests on a discus-shaped pedestal engraved with lotus petals.
His head features a lifelike tilt and is flanked by convoluted ears of great depth. Beneath the keenly engraved crown is a semblance of the third eye and the tilak indicative of His parentage between His brow. A complete tusk peaks out from one side of the long, narrowing, serrated trunk. The chaturbhujadhari (four-armed) Lord is clad in a short dhoti, in keeping with the norms of how little boys in India are dressed. His shringar comprises a bunch of necklaces on His clavicles and bracelets on His limbs.
He stands on an upturned lotus featuring gigantic gold petals. The same is placed atop an engraved pedestal with extensions on all four corners, making the work of art convenient to carry. Note the childlike yet all-knowing gaze of Ganesha, and the laddo in His anterior left hand, without which His iconography would be incomplete.
The colour palette pours forth with the auspicious good cheer of Indian weddings. The rich yellow of marigolds, with lush-plumage peacocks brocaded on the same. Infusions of purple vines and paisleys arranged in panels along with the rows of peacocks. The unusual yet simplistic zariworked border complements the luxuriant embroidery of the field and makes for a feminine statement. The most distinctive aspect of this saree is the endpiece, a decidedly bridal aspect. A luscious, young shade of red, layered with dense proportions of gold zari embroidered into sleek motifs.
Almost all of the surface area of the inky black foundation of this saree has been layered over with dense gold zari. Rows of paisley-within-a-paisley motifs, alternating with multi-petalled flowers and punctuated by delicate vine- and tendril-patterns, make for a sumptuous work in brocade. The endpiece features even denser embroidery, with sparse betel-leaf motifs which are considered auspicious in a home where a wedding is taking place. The solid gold of the thick border goes well with the jet black of the hem of the endpiece.
The chaturbhujadhari (four-armed) Lord is clad in dhoti and angavastram, the hem of the former barely reaching below the knees as is the fashion with little boys in India. His hands, legs, and torso are clad in solid gold ornaments, which complement the glamorous crown on His princely head. The same is studded with precious stones and set off by an embossed halo behind the head. A bejewelled parasol forms the zenith of the composition. The gaze of Lord Ganesha is one of solemnity and profound wisdom. As the son of Lord Shiva, He is omniscient and omnivolent. However, these aspects of His divinity does not lie in contrast with His love of laddoos, one of which sits in the palm of His anterior left hand, nuzzled by the tip of His trunk. Note the row of mice, His cosmic vahana, each holding up to their lord and master a delicious offering of a laddoo.
The Indian dusk colour palette of black and azure makes this a great evening saree. The black of the field is woven in with a plethora of warli-style figures, in tints of blue and white that match the colours of the endpiece. Warli is a style of folk art that belongs to the Southwest, but its minimalistic style and dynamism are replicated in regional fashion across the subcontinent, as could be seen here.
The endpiece alone is a head-turner. The rich, placid blue, which makes it so irresistible, is superimposed by luxuriant white weave. The same is set off by the thick, shimmering silver border, which adds to the glamour of this saree.
In fact, therein lies the beauty of pashmina. Such a wool is to be found nowhere else in the world, nor the skill required to work with it. Giant paisleys have been embroidered across the field of this shawl using the endemic sozni technique. Pale blues, pinks, and greens are thrown in with a deep, vivid red that dominates the colour palette. Against the creamy ivory base colour, it is the perfect mix of feminine and eclectic. This work of pashmina is sure to become a wardrobe heirloom in the family.
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