A single glance at this skilfully smithed pendant is enough to confirm its South Indian temple jewellery origin. When a piece of ornamentation is called temple jewellery, as opposed to spiritual jewellery (astrological prescriptions) and bridal jewellery, it means that it was designed to adorn the idols housed inside temples. South India is the home of temples - the most ancient and awe-inspiring of Indian temples are to be found in its gullies and recesses - and also the home of temple jewellery. The pieces are divine regalia, and have an ethereal charm about them, irrespective of whether it's in the make or the finish or the quintessential motifs. This temple jewellery pendant is a fine example of the same.
It is chunky, relatively large, and designed to complete the necklaces of the larger idols. Cast in sterling silver and finished with a delicate gold colour, it would surely jazz up the entire jewellery ensemble it is added to. Temple jewellery dominates the jewellery boxes of classical dancers and even everyday women who want to achieve a particular look. This pendant would make for a great addition to yours, what with the sampoorna (complete) Shiva-parivar smithed onto the frontal section. There is Parvati right next to Shiva on Their trusty Nandi, flanked by their gorgeous sons, Ganesha and Kartika, on Their respective vahanas; and another seated Ganesha figurine dangling from underneath the centre of the elongated pedestal that supports the deities. Zooming in on each figurine would enable you to truly appreciate the workmanship and labour that have gone into this statement pendant.
Embodiment of ‘Karuna’,
Buddha’s message has traveled the world and left a deep impact on its
introspection. This Panchaloha
bronze idol of Gautam Buddha is seated under the finely branched Bodhi
tree, on a Lotus in Padmasana, eyes closed in meditation - his one hand is
placed on another in relaxation. On the sides are his two principle disciples -
and Arhat Moggallana,
depicted under the Naga shade.
This aventurine Buddha would be an unusual addition to your home or office decor. Carved from its mineral red variation, it depicts the monk seated on a high lotus throne and steeped in samadhi (yogic contemplation). Given the ratio of the height and width of the composition, it could be said to be a longline sculpture.
Aventurine is a kind of quartz that is known for its translucence and natural glisten. It is called aventurescence, a quality that is somewhat muted in this variation of the medium. The murti is defined by smooth lines and consistent engravings introduced into the aventurine. The aventurescence is best brought out in the relatively smooth sections of the sculpture’s surface area, such as the upper torso of the seated figure and the neatly defined features of His face.
This seated Buddha sculpture in aventurine quartz is perfectly symmetrical. The pleats of His raiment, the petals of the traditional lotus-shaped throne; the composure of the divine countenance.
One of the most
prevalent gestures among Buddha statues is Buddha in the dhyana mudra stance,
with his fingers crossed and thumb tips united in a perfect triangular angle,
denoting his dhyana mudra. Buddha is the one who has gained wisdom and is in
charge of disseminating enlightenment knowledge across the world. This depiction of Buddha in dhyana mudra is an imitation from the 4th to 5th centuries. During the great Mahayana congregation of Harshvardhana in the 7th century, life-size metal representations of Buddha, including those of gold, were carried in procession.
The stately, seated Buddha. Limbs gathered in ardhapadmasana, the hands in signature contemplative mudra. A lotus bloom of multitudinous petals beneath Him. A perfectly regal form, and a face so irresistibly blissful that one may not gaze away.
The Buddha sculpture that you see on this page is a substantially large composition. It is sculpted entirely from bronze, the pure quality of which explains the burnt gold colour finish with green overtones. Behind the seated figure is a structure resembling the back of a chariot (note the simhayali), which is symbolic of that fateful chariot ride Shakyamuni Siddhartha took into the city.
Sachamara disciples on either side behind the chariot back. Sheshanaga hoods rising above their heads, indicative of Lord Vishnu (of whom Buddha is an avatara). At the zenith of this Buddha sculpture is a densely and skilfully engraved section resembling a chariot top.
Large Ganesha Seated on Throne Tanjore Painting | Traditional Colors With 24K Gold | Teakwood Frame | Gold & Wood
A delicately embellished Ganesha Tanjore painting. Housed within a temple of ruby-studded gold, the Lord is seated against a pale crimson background. From the pleats of His amber-coloured dhoti to the crown on His head and the adornment on the rest of His form, these details have been executed in gold-layered gessowork.
Solid gold embellishment defines the archway above the seated figure, the templetop, and the pillars on either side. From the throne of the Lord to the necklace around His vahana’s neck and the platters of fruit and sweetmeats in the foreground, the artisan’s handiwork is truly admirable in its precision.
A series of lotuses barely about to bloom graces the archway. The colour is decidedly pale, like the complexion of Ganesha’s body and the nightskies in the background. This is characteristic of the art of Thanjavur because the idea is to gather focus on the pure gold sections. The same have been studded with red and green stones that emulate the glamour of rubies and emeralds.
Vermillion is a symbol of love, power, protection and longevity; applied by all married women in their maang revealing their highest kind of beauty and virtue, for well being and prosperity of their husbands. This statue is a brilliant brass transform of one of the best sculptures from Khajuraho, sculpted at parshvanath temple, famous for its intrinsic artistry.
Ganesha - 35 inch Height X 23.5 inch Width X 21 inch Depth
Lakshmi - 33 inch Height X 20 inch Width X 19.5 inch Depth
Saraswati - 32 inch Height X 21.5 inch Width X 20 inch Depth
A set of Ganesha-Lakshmi-Saraswati murtis to grace the space of the finest devotee. These are sculpted from pure bronze, which explains the deep blue overtones. Substantial in size and carved in great detail, this set of three bronze sculptures would be a great addition to the traditional yet tasteful home.
Each of the deities is seated on a lotus-shaped throne. The tips of the engraved petals curl realistically outwards. Minimalistically engraved plinth beneath the same, featuring a hollowed out pattern. Ganesha, Lakshmi, va Saraswati are possessed of four arms and are seated in the traditional stance of lalitasana.
Sumptuous adornment notwithstanding - it is a feature of traditional bronze iconography - the most striking aspect of these murtis is lifelike composure of each face. Interestingly, Lord Ganesha is the only one accompanied by His vahana, the mouse, in this three-figure ensemble.
In traditional Lakshmi iconography, the lotus is of special significance. The lotus is a symbol of transcendence and compassion in Hindu and Buddhist cultures, while Devi Lakshmi is Hinduism’s presiding deity over resources ie wealth. The image of the padmasana (lotus-enthroned) Lakshmi is a reminder that wealth is a means to transcend desire and extend compassion.
The marble Lakshmi murti that you see on this page would be a tasteful addition to the traditional Indian home. Besides complementing Her pristine beauty, soft colours such as peach and green and gold are expressive of the Devi’s gentleness.
Lotus petals flattened out on the surface of the plinth. A miniature elephant bowing at Her fair feet, raising to Her its tiny trunk. Shiny metallic bits studded across the murti, akin to jewels.
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