Krishna is the most popular subject of choice for artistes in India. The predominant deity to be featured in paintings and sculptors, it is because He is to most Hindus the superlative of all Indian deities. He is portrayed as the most handsome of youths, the calmest and wisest of minds to have descended on ihloka (our actual realm of existence), and the most divine of all flutists. The stance that He has adopted in this murti is how His devotees love to picture Him - He is the tribhanga murari, the flutist (murari) whose form is punctuated (bhang) in three (tri) places namely the shoulder, the
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Krishna or Kanhaiyya is the major deity in Hinduism. He is revered as the God of love, compassion, and tenderness. He is also regarded as the eighth avatar of God Vishnu. He is reflected through the legends of Mahabharata, Bhagavad Purana, and Bhagavad Gita, portraying him as God's child, a lover, and a divine hero. Janmashtami, his birthday, is celebrated, with great enthusiasm, as songs are sung and plays are performed in his commemoration. Our sculpture brilliantly captures the details of honorable Krishna brass statue describes the exquisite orientation of the aesthetic peacocks in the backdrop
This exquisitely remarkable and stunning creation from the region of Swamimalai truly awes the viewer, whether for its artistic presence or religious sentiment. This skillful work of art truly encapsulates how a god’s image, or its ‘murti,’ rivets the devotee to the ground, making him lose his material bondings and wholeheartedly devote his life to the service of this benevolent and majestic deity. This is the grand bronze statue of Perumal, which is but the South Indian manifestation of the powerful Hindu god, Vishnu. Presented in the most painstakingly fine detailing, the central image is that
In the Shaiva shrines of South India, the wife of Mahadeva Shiva- Parvati, resides as Shivakamasundari – the beautiful woman who is the sole focus of Shiva’s passionate love. Resonating with her descriptions in the Hindu textual traditions, Devi Parvati in her sculptures appears as a divine amalgamation of yoga (spiritual attainment) and Bhoga (material fulfilments). Maa Parvati’s standing images, similar to the brass statue we have here, are often related to her role as the prime audience to Shiva’s transcendental dance- Tandava. She remains gracefully poised and still as Shiva moves, enriched
Aventurine is a variety of quartz that is known for its unusual texture. It has a natural translucence coupled with a deep shimmer, termed as aventurescence. The same is brought out to perfection in the longline Nataraja sculpture that you see on this page. It is a rich green colour, which is the natural colour of aventurine. A two-tiered plinth comprising lotus blooms with the pistils against each other. An Apasmara figure of substantial proportions, crushed beneath the feet of Shiva. Nataraja dances on its back, symbolising the consistent victory of enlightenment over ignorance (‘avidya’, of
Lord Varaha, the third of Vishnu’s dashavataras, is the most instantly recognizable of the incarnations. The word ‘Varaha’ is Sanskrit for boar; and while some iconographies feature Varaha as a pig-shaped deity, the painting that you see on this page is of an anthropomorphic boar-headed human-bodied entity. Lord Varaha is possessed of eight arms (ashtabhujadhari) and clad in a flame-colored dhoti. In fact, it is the predominant color in the palette of this mural. It is to be found in the palms of His numerous hands, the snout of the boar face, and the lifelike petals of the lotus-bloom throne.
Sri Hanuman is one of the most widely revered gods of the Hindu pantheon. This imposing, bejeweled statue of the Lord captures His divine appeal to perfection: the resplendence of all three looks pours forth from the skin, while His muscles give away His superhuman strength. The clenched fist, the parting of His legs, and the angle of His mace - without which His iconography is incomplete - are indicative of His propensity to attack the adharmee. He has a calm, yet fiercely determined composure of countenance, His gaze directed straight ahead of Himself. His tail flourishes behind Him, its end
We devote our thought to the one-tusked Lord, Aum ekadantaya vidmahe, vakratundaya dhimahe, tanno dantih prachodayat. We meditate upon Him who has a curved trunk. May the tusked One guides us on the right path. This is precisely for what we worship Lord Ganesha Brass Statue. The single tusked, or the one tusk broken form of Ganesha suggests that for accomplishing his devotee's prayer he would not hesitate in sacrificing even one of his body parts. Aum ekadantaya Namah is the mantra that ends the duality, leads to a one-pointed mind, and singleness of object. The Elephant headed Ganesha Brass Statue
A one-of-a-kind bitone Buddha composition. The predominant color is black, which has the unmistakable sheen of marble. The medium captures the otherworldly glamour of the erstwhile Shakyamuni. The complementary color, white, is to be found in the dotted raiment clothing of the seated figure, which makes for a surreal visual experience. Legs gathered in the perfect padmasana - heels together directly below the navel, soles of the feet facing skywards, and the hip-and-knees trifecta along a level plane. The hands in dharmachakra mudra: the left one rests upon the heels, while the right one is raised
Hindu religion is a massive expanse spanning countless sects, traditions, and cultures. While some are just nice and elegant, some go beyond the societal norms to realise their spiritual quest. In her essence, Kali is the divine protector of her devotees, protecting them from the forces of evil, and bestows her grace upon those who open their hearts to her. This brass statue depicts kali in her fierce form with the traces of Tantra clearly visible in her appearance. With her left leg placed on the chest of Lord Shiva, she looks fearless and vibrant with the energy she possesses. Holding various