Masterpieces of Art at Exotic India

25% Off on All Artworks!  [Click here]( to view in browser.   [Logo](  [Thangka]( [Oil Paintings]( [Hindu Statues]( [Buddhist]( [Large Sized]( Masterpieces of Art Superfine Tibetan Buddhist Deity Manjushri Seated on Lion - Brocadeless Thangka in Newari Style The color of Manjushri’s youthful body is yellow and he is seated facing the viewer on a lion. A roseate halo surrounds the crown lying on the head which is slightly tilted towards left. He has a sword in his right hand to erase the ignorance that obstructs the way of his devotees in gaining enlightenment and on the left shoulder rests a blue color lotus on which lies a small book, a symbol of transcendent wisdom. It is a manuscript of ‘Prajnaparamita’. Superfine Pashupatinath on a Lavish Carved Base of Shiva Family This statue is carved in the finest quality wood by expert artisans from South India; it’s glowy and smooth texture highlights each and every expression of Bhagawan Shiva’s face in the most expressive ways. The long matted hair is ornamented with a crescent moon, serpent coiled around it and the river Ganga flowing out from the top. The flower aureole at the back of his head glorifies his divine persona. Kailash Mansarovar Thangka (Brocadeless) This is a work of great dharmic devotion as much as it is one of skill. It is the Newaris of Nepal, most of whom reside in the Kathmandu Valley and speak a Sanskrit-nishtha language, who paint these thangkas. Each thangka is a singular work of art that takes months to be finished, that also by a group of monks. Here, seated Shiva and Parvati are leaning against each other, steeped in conversation, on the peaks of Kailash Mansarovar. In the foreground can be seen their respective mounts, Nandi the bull and Parvati’s lion. Superfine Lord Buddha Seated on Double Lotus - Made in Nepal Tibetan Buddhist Deity This Buddha is seated on a blue and green double lotus, contrasting beautifully with the 24 karat gold gilded sculpture, wearing an orange colored robe having a thin border with white colored Ashtamangala signs. His hair are in the form of snail shell curls because it is said that he was in meditation for such a long time that snails started to slid up on his body and rested on his head. Saguna Adi Parashakti Devi Rajarajeshwari Like the sliver of moon on Shiva’s hair, half a moon is balanced on Her crown. It is with all the love and devotion of a husband that the twilight-coloured Lord Shiva looks on at His beauteous wife. The Shri Yantra is affixed beneath Her feet, which in turn is flanked by Lord Ganesha and Lord Skanda. From the folds of Her brocaded saree to the reflection of light off the peacock lamps, these aspects of the painting have been done with remarkably lifelike brushstrokes. Superfine Lord Vishnu (A Perfect Blend of Ornamentation and Spirituality) The composition, framed in an ornate halo, packed with fantastic lions and topped with an auspicious Kirtimukha, shows the tall, erect figure of Bhagawan Vishnu flanked by two smaller images of Hanuman and Garuda, eternally in His service. This sculpture is a perfect blend of ornamentation and spirituality. Mata Parvati and Her Little Lord Ganesha Devi Parvati is of gorgeous svaroopa. She is glowing in the divine silks and pearls that clothe Her, Her composure of countenance one of maternal joyousness. Her son is in a pristine dhoti. Their heads are brought together, their golden crowns touching. A layered halo graces the back of their heads. The baby lovingly holds His mother by the chin, a gesture that fills Her with ecstasy. Lakshmi-Ganesha-Sarasvati Urli With Dangling Lamps The vessel stands on three peacock legs. There is a symmetrical vine motif carved at the front-centre of the mouth. The same is flanked by a pair of peacocks preening themselves, their miniscule plumage carved with great attention to detail. Their tails seemingly extend into the curvaceous vines that grace the edge of the urli’s mouth. Amidst the vines curving upwards from the abaxial edge of the urli are seated Devi Lakshmi and her sister, Devi Sarasvati. On a similar scale is a Lord Ganesha murti at the top, flanked by His humble vahana and a pair of lamp-trays that add to the aesthetic appeal of your urli. The majestic vines that define this composition gather in a signature kirtimukha image at the very top. Ten-Armed Mahishasuramardini The painting is outstanding in the depiction of force which most powerfully reflects in her act of striking upon the demon and in killing him. This powerful image of the Great Goddess shooting at the buffalo demon an arrow and striking him with her trident reveals rare force and divine energy. Her dynamically moved arms, weapons flung into space, body-language of her mount lion and its upwards shot tail and the boisterous sound of her bell, besides the far-flung animal’s severed head, all portray motion and force with which she overpowers the demon. Haloed Saraswati With The Engraved Veena, Seated On The Edge Her countenance is sharply featured, Her limbs precisely sculpted. The highlight of Her shringar is the towering, intricately sculpted and layered crown. Held in place by a band of inverted lotus petals, the same is embellished with kirtimukha and makara images, both of which are symbols of the cyclical destruction waged by time. Sheshashayi Vishnu Worshipped by Gods When the universe dissolved into the primordial waters, Lord Vishnu is shown stretched out in Yoganidra on sesa (his serpent), formed like a couch and the five hoods forming an umbrella over him. The iconic blue hued Vishnu is garbed in a lavish yellow dhoti decorated with charming zari and green and red stones along with precious jewels ornated all over him complementing his South Indian styled densely chiselled crown; he holds a lotus in the left hand and right lies straight supporting the stance of his posture. The Heavily Garlanded Lord Venkateshvara An ornate crown towers over His head, and the Vaishnavite tilaka predominates the brow. The finely sculpted face of the Lord is flanked by discoid karnakundalas, a symbol of penetrating wisdom and absolute knowledge. A finely carved rim behind His head constitutes His halo. Lord Venkateshvara stands on a pedestal, the design and composition of which is in keeping with traditional bronze statues of the South. It is a broad-based number with lattice-worked lotus petals and curving vine-like legs. Two pillars arise from the lateral edges of the pedestal, over which is a statement Kirtimukham aureole. Two Groups of Ascetics Battling This painting packed with figures is by Kailash Raj, a contemporary artist engaged in reviving India’s universally celebrated miniature art style, in characteristic Mughal idiom of the Akbar’s period, bringing back to canvas the Akbar’s court artists Basawan’s strokes of brush and Tara Kalan’s fine and sensitive colouring, represents two groups of ascetics engaged in fierce battle calling for intervention of royal forces that could control them but not without further shedding some blood. Durgaroopa Devi Mahishasuramardini Bronze is a rare medium. Having been patronised first by the Pallavas, then by the Cholas, it is a medium that takes a great degree of skill and patience to work with. The murti that you see on this page is a particularly fine number. It is sculpted from superior-quality bronze, as could be deduced from the metallic blue undertones, and is proof of the artisan’s skill and shraddha (superior devotion). It is a murti of the Devi Mahishasuramardini, slayeress (‘mardini’) of the buffalo-demon (‘mahisha-asura’), looking straight at you. Bhumisparsha Buddha, Amidst Himalayan Verdure Buddha’s asana is a bed of the lotus flower. The glimmering pastel hues of its petals go well with the surrounding landscape. Undulating hills in multiple shades and tints of verdure, which are the lower reaches of the Himalayas. Streams of the pristine, youthful Ganga making her way through their midst. The mythical flora of the region comprises luxuriant canopies and wild pink flowers that tug at the very soul. Amidst such natural plenitude stems the Bodhi tree with its bejewelled canopy reaching till the wisps of white and gold clouds in the skies above. Ravana With Nine Heads Ravana is mostly shown with ten heads and twenty arms, hence also called Dasamukha or Dasagriya with the power of being disguised into any form he wished for. His ten heads represent the ten negative emotions of a human, which are- ego, attachment, regret, anger, hatred, fear, jealousy, greed, lust and inertia. Here he is carved with nine heads as Ravana was a formidable devotee of Shiva and in order to please the god and show his devotion he had cut off his head. T Devi Worshipped By Brahma, Vishnu and Shiva Pictured in a vast sandy land that meets the bright sky at horizon, Devi sits on a full blooming lotus on her distinctively styled royal throne, covered by a large parasol at the top; garbed in strikingly colored attires, she holds her popular weapons- chakra, bow, trident and a conch in all her four hands respectively to eradicate stress, sufferings and sins and award people with grace, bravery and courage; ornated with precious jewels and the divine crown, stone studded and decorated with a crescent moon at the side. The Trinity (Brahma, Vishnu and Shiva) can be seen worshipping her along with other bhakts fanning and paying obeisance to her and a tiger, symbolic of strength, courage and willpower sits in front of her throne. Lord Krishna, Contained In A Network Of Vines The most statement-making aspect of this murti is the plethora of vines that seem to contain the figure of the Lord. Like sashes they descend from either side of His hips, their tips grazing the latticeworked pedestal. On either side of His crown are symmetrical profusions of vines that traverse the length of His upper arm and descend at the crease of the elbow. Finally, the long, slender body of the flute and the tall, tapering crown on His brow complement the gracious form of the Lord. Lord Ganesha and His Lilas (A Masterpiece) Lord Ganesha's lila is replete with joy and bliss - a boy-God with a reputation for innocence (His love for sweetmeats, for example) and generosity with blessings, stories of His lila abound in folk tales, both written and orally transmitted, of the subcontinent. This massive, 8 feet long painting does ample justice to His many lilas. Latticeworked Bronze Mandir (Home Altar or Temple) This has been carved in perfect keeping with ancient temple architecture. Three tiers of the roof are punctuated with miniature stoopas, each containing a mythic world of prayers within (there are a total of eleven stoopas in this altar). The structure is held up by four identical curvaceous pillars, within which lies ample room for more than one icon or a few large icons. The bottomrest is supported by four short legs carved like the thick, beauteous vines of the tropics. In The Midst Of Laya And Tandava (Made In Nepal) He, in the midst of His tandava; She, in Her laya against Him. Together they motion in unison on a tiger-skin mat. The wooden sculptures of their sons, Lord Ganesha and Lord Kartika, flank the background, in all their monotone iconographic beauty. The emerald-green grass beneath their feet is in sharp contrast to the fiery gold of the praksha (light, symbolic of sattvaguna) emanating from the dancing couple. It is a highly energetic dance. From the dreadlocks of the Lord to the shringar of the Devi, they sway in the air from the momentum of their tandava. The Splendour Of Lord Ganesha, Seated Under A Kirtimukha Aureole This bronze Lord Ganapati sculpture from Bangalore doubles as a temple. The adorable boy-deity is seated in a half-hearted bhadrasana, with a snake-tie holding His chubby belly in place and His four arms bearing the usual lotuses and laddoos and a piece of His own tusk. The central figure of the Lord has an iconography that is replete yet unconventional - delicate, embossed ears and an intricately tattooed trunk. Paradise Of Tibetan Buddhist Deity Padmasambhava (Superfine Thangka) In Tibetan Buddhism, the concept of paradise is relative and dependent on the individual that attains enlightenment. In this one-of-a-kind thangka painting, the paradise of Padmasambhava, an Indian Buddhist master revered across the subcontinent, is depicted in alluring colours and ethereal shapes. Each thangka painting is a composite work of art consisting of a panel of extensive painting and/or embroidery, a textile mounting, and sometimes wooden dowels decorated with knobs. The beauty of this thangka lies in the contemplative experience offered by the subject. Haloed Parvati Seated On An Exquisite Pedestal, A Flower In Her Hand Her long gracious limbs are arranged in the characteristic lalitasana; one hand supports Her frame on the inverted lotus asana (seat), while the other seemingly holds a flower. Her lissome proportions are matched by the typical Southern-style crown resting on Her haloed head, tri-layered with a lotus petal in the centre at the hem, with a generous proportion of Her gorgeous locks escaping from underneath. Note how the rays of Her halo resembles the petals of a freshly bloomed lily. Simhavahana Lord Heramba The Heramba-roopa of Lord Ganesha is one of the little-known thirty-two forms of the son of Shiva. He is seated on a lion and has five orange heads and is clad in a dhoti of red silk and adornments aplenty; a plethora of weapons in His right hands and symbols of vidya (pothi or manuscript), compassion (padma or lotus), life (amrta-kalasha or pot of life-giving elixir), piety (rosary), and innocence (laddoos) in His left hands. In the fold of His anteriormost hands He bears His two wives, Buddhi and Siddhi, who stand for intellect and accomplishment respectively The Ethereal Majesty Of Shiva-parivar The much-revered Shiva parivar comprises of His wife, Parvati, and Their 2 sons, Ganesha and Kartika. Shiva Himself takes centrestage. His two posterior arms are holding divine weapons to battle adharma; He raises one anterior hand in blessing, while with the other He secures the lovely Parvati on His lap. She is also seated in lalitasana, and holds in Her hand a weapon. The harmonious, self-sufficient unit of life that They form together is superbly expressed in the way Their respective silhouettes have been made to align with each other by the artisans. Their intricately crafted, perfectly symmetrical crowns tower above Their heads, Their silk dhoties and ample shringar fit for the celestial realm They belong to. Seated in union on a layered lotus pedestal, with the graceful much-devoted Nandi sitting at the base, They form a complete picture of blissful togetherness.   Exotic India Art 2573 Hamline Ave N Suite A, Roseville, MN 55113 USA  [icon-facebook]( [icon-twitter](  Sent to {EMAIL} | [Unsubscribe]( at any time. [Update]( your profile All rights reserved. Copyright 2020 © Exotic India