Maa Saraswati is the goddess of knowledge and the consort of Brahma, the creator. She is the dawn goddess whose cosmic rays dispel the darkness of ignorance. This wooden Saraswati sculpture is an effective work of art, highlighting the carver’s unique aesthetic sense and professional skills that enhance the charmness and delicacy of goddess Saraswati. This sculpture is moulded with the highest quality teak wood from South India that makes it a supremely durable and long lasting piece maintaining the smoothness, gloss and sharp formations of the goddesses’ iconography. As you zoom in to the image, you can’t stop yourself from applauding the blended vertical pattern in light brown and dark brown shades.
Goddess Saraswati sculpture is shown here as sitting on a high raised lotus pedestal in lalitasana posture, holding her extremely carved Veena, as symbolic of Saraswati being the goddess of art, two of her hands hold a pen and the book of Vedas respectively, highlighting goddess Saraswati’s inclination towards knowledge and wisdom, right posterior hand holds the rosary. This Hindu deity is considered to be the most beautiful of all and her innate delicacy and graciousness is accurately carved through the features of her face; Jeweled lavishly in multiple royal pendant necklace, long earrings along with matching bracelets, anklets and a nath.
Goddess Saraswati is adorned in a flamboyant ankle length dhoti beatified with a floral border and a complementing floral blouse that fits gracefully on her chest. Saraswati is always accompanied with Hamsa (swan), which is her auspicious vahana, hence she is also named as Hamsavahini; one sits near her legs, carved extravagantly and one other on the right side of her designer crown. This Saraswati sculpture is glorified with a multiple layered crown, chiseled precisely in gracious flower pattern.
This bitone ensemble has been made by folk artisans from Puri. It is a fine example of pattachitra, ‘patta’ being the local word for the organic canvas on which the image (chitra) is drawn. A skilfully done composite of Shivaleela, each panel is painted with superb precision and attention to detail. Note how one episode of the Lord’s divine playfulness (leela) is distinguished from the other by petal-like curves and lines filled in with minimalistic floral motifs.
Each panel of this composite work of art is good enough for an independent composition, albeit a miniature one. To the top left is the gracious Lord Adinath, father of the knowledge of yoga. In the same row and down the right side are panels that depict Him in togetherness with His wife, Devi Parvati. In one, they are on the back of Nandi. In the inner panels He is shown to triumph over demons and enemies of adharma. More of Devi Parvati is to be found in the laterally arranged panels, in one of which to the left She is seated in the poorna-padmasana.
Ashtalakshmi is a group of eight manifestations of the Hindu goddess Lakshmi. She presides over the eight sources of wealth which are, prosperity, fertility, good fortune, good health, knowledge, strength, progeny, and power. Each of the goddess Lakshmi’s miniature eight forms- Adi Lakshmi (Primeval and an ancient form of Lakshmi), Dhana Lakshmi (Goddess of wealth), Dhanya Lakshmi (goddess of agricultural wealth), Gaja Lakshmi (giver of animal wealth), Santana Lakshmi (goddess of bestowing offspring), Veera Lakshmi (a goddess who bestows valour during battles), Vijaya Lakshmi (giver of victory) and Vidya Lakshmi (goddess of the bestower of knowledge of arts and sciences), are sculpted with great care in lustrous brass.
It is the embroidery on these stoles that makes them unique. The technique in question is called ari in the vernacular, the name given to a superfine crewel. It is endemic to the artisans of the valley and is characterised by its dense, ornate finish. Zoom in on the repetitive, high-precision motifs that define the field of each stole. Variegated flowers in pastel tones, thickly curving vines in pink and gold, organic-coloured foliage, riotously coloured blooms, and monotone wilderness. With the exception of the Salsa Black number, each of these stoles features an eclectic colour palette that modern Indian fashionista could experiment with.
The ruling deities of paraloka (otherworldly realm of existence) are seated on a green velvet couch. He is chaturbhujadhari (possessed of four arms) with the damroo and the trishoola in the posterior hands, while She is dvibhujadhari (two-armed) and holds up a lotus in one hand. This is in keeping with their traditional iconographies. In stark contrast to His austere appearance, dressed as He is in a tigerskin loincoth and rudrakshas aplenty, Her red silks and jewels are symbolic of their otherworldly glory.
The graceful Nandi kneels on the other side of the altar (the two bhaktas are making eye contact with each other). The richly carved wooden pillars of the temple hold up a glamorous set of domes. The flower laden canopy grazes its zenith. Snow-coated peaks into the distance, and miles upon miles of verdure. It is almost as if the temple has sprung up on the spot as if by magic, just so that the Lord may consecrate the brothers’ efforts.
A compact, handheld sculpture. Devi Mariamman is seated in lalitasana in the mouth of a lotus. She is the chaturbhujadharini, the one possessed of (‘dharini’) four (‘chatur’) arms (‘bhuja’). In Her hands She holds a lotus (posterior right), a conch (posterior left), a long and slender weapon indicative of Her wrathful streak (anterior right), and a bowl (anterior left). From the navel downwards She is clad in a silken dhoti, while a world of shringar graces the youthful, maternal curves of Her upper body. Her attire is a signature element of the iconography of the South.
In addition to the same, other signature elements of Southern workmanship are the angular face set with sharp, handsome features; a tall, tapering crown; and the Kirtimukham aureole that stems straight from the pedestal. A ferocious snake raises its five conjoined hoods above Her crown, another expression of the wrathful streak of Devi Mariamman.
The colour is a delicate, peachy taupe. The base is solid-coloured, the same having been superimposed with crimson-coloured print. Circular panels depicting the upper half of the divine form of Lord Vishnu; a mere outline of His iconographical form, yet replete with ample detail such as the density of shringar and the rays of the luminescent halo. Crisp lines of alternating lengths cover the rest of the field of this prayer shawl. The multiple panels along the border comprise Vaishnavite symbols in succession as well as foliage patterns and the Shaivite trishool (trident).
It depicts Lord Krishna, a favourite subject of the Vaishnavite South. He is seated in lalitasana, the dangling limb having gone off the frame, as He plays on the flute. The pale sage green colour of His complexion is imbued with texture, the lines of each limb and curve defined by a pronounced obsidian shade. The bright marigold hue of His silken dhoti sets off the unusual colour. The gaze of those large, irresistibly beautiful eyes is directed to the left, perhaps taking in the form of a dancing milkmaid or a devotee at the receiving end of His succour.
The crown on Lord Krishna’s head is an ornate number. It rests on His head and shoulders, its deep metallic gold colour interspersed with white flowers and silver trims. At its zenith is a clutch of three peacock feathers, integral to the iconography. From the curvaceous lines and colour palette of the composition to the subject in question, the work of art that you see on this page draws heavily from the Kerala mural tradition.
Akshar Purushottam is a Brahma-Parabrahma philosophy that establishes worshiping god along with his Gunatit sadhu; this set of spiritual beliefs is based on the teachings of Swaminarayan. These brass sculptures are carved in precise details and formations such that it creates a shining channel through which the heart of the devotee is attracted and flows through it. As you gaze at these faces you can feel the presence of Lord and the feeling of recognition of divinity. These being sculpted in brass is an additional feature to their beauty and spirituality as brass is known for its grasping quality; it grasps the divine spirit and enhances spiritual vibrations towards these shining idols.
Bangalore is a one stop destination for the great fashionistas. Its silks are known for simplicity, purity, texture and grandeur. The one shown here is the Uppada Silk, symbolic of the unique floral patterns as motifs and use of zari work to weave distinct and beautiful designs. These saris are made with cotton warp using only non- mechanical techniques and defined only by the length and breadth count of threads.
Sari visible on this page has amazing zari woven leaves all over with an elegant golden border that completes the look, in addition to it, are the intricate hand woven patterns on pallu that give it a more vibrant aura.
Uppada silk is one of the most costly attires and it takes approximately two painstaking months before a superb piece of work is finished. These silks are among the first-hand choices for trousseau wardrobe and for those who have taste in royalties, elegance and richness.
Email a Friend
Manage Wishlist