The work of art you see on this page is a powerful confluence. It is a fusion of the innocence and wisdom of Lord Ganesha with the strength and prowess of Lord Hanuman. The former has the gigantic head of the gentle elephant, the latter the protruding jaw of the clever monkey. A fine blend of the two makes for composition so unusual, that it would be a one-of-a-kind addition to any private space o

The art historian Partha Mitter, when writing his oft-cited masterpiece ‘Many Maligned Monsters,’ explained that European and Victorian sensibilities wrongly assumed the significance of Indian art – when they came across depictions of four or eight-armed gods and goddesses, often in striking and fierce moments vanquishing demons, Westerners thought that we had an underdeveloped sense of real

The art-loving Hoysala dynasty of Karnataka was responsible for building a number of temples between the 10th the 14th centuries. They lent their name to a timeless standard of architecture, iconography, and aesthetics, a fine example of which could be seen on this page. It is a murti of Lord Vishnu with His wives, Bhudevi and Shridevi. The tall, slender form. The proportions between limb and crow

Lord Hanuman is revered as a fine warrior and a great bhakta (devotee). As part of the vanara-sena that fought Lanka on Rama’s side, His valour and His love of Rama (and everything dear to Rama) are much talked about to this day. The fact that Hanuman is a superior yogi, possessed of the ashtasiddhis and the navanidhis, is oft overlooked. The murti that you see on this page is a solid-cast work

Dhokra is an ancient art form significant for making metal artifacts using the lost-wax casting technique. It is a tribal form of art that dates back to nearly 5000 years and has effectively survived the time's test by being in use till date, popular for making human or animal figurines, religious deities, lamps, and measuring bowls; for a superfine quality single product, it takes approximat

The image of the Sheshashayi Vishnu induces great calm and stability in the mind of the devotee. Shesha is the name of the naga (snake) on whose coils the Lord lies in sleep, which is the Sanskrit word for 'end'; 'shayi' in Sanskrit stands for one who is lain down. It is the volatile moment between destruction and re-projection, the transitional state between two cycles of time

The majestic Lord Ganesha is seated on an upturned-lotus throne. This chaturbhujadhari (the one possessed of four arms) figure seated in lalitasana is a widely loved and worshipped roopa (form) of the deity. What makes this a unique work of art is the medium in which it is fashioned and the finesse with which it has been executed. It is a panchaloha sculpture handpicked from the finest studios of

The embodiment of sacrifice and the savior of Earth, Vishnu’s third avatar, Varaha, is presented in a highly charged form in this ‘panchaloha’ bronze sculptural image, along with his consort Varahi, or the Earth goddess Bhudevi. This visual presentation is also symbolic of what Hinduism today celebrates as Varaha Jayanti, which marks the mythological celebration of Varaha defeating Hiranyaks

As the bronze in the mould cools down and the wax surrounding it is melted away in the traditional style of the lost wax art form, what remains is an elaborate statuette of Lord Shiva in his dancing form as Nataraja. Body twisted in a graceful pose that came straight out of the pages of the Natyashastra, Nataraja dances away divinely, feet trampling a demon. From the two aspects of Natraja’s per

Sri Maha Shodashi is a Hindu goddess and is an aspect of Mahadevi mainly worshipped in Shaktism, a goddess-oriented sect of Hinduism. She is also revered as one of the prominent Mahavidyas. She is glorified in many Shakta texts, with Lalita Sahasranama being the most popular one. Sri Maha Shodashi is also known as Tripura Sundari, Rajarajeshwari, and Lalita. She is a personification of Supreme Ene

Bhogashakti is the name given to a special roopa (form) of Devi Uma. The beauty of bhogashakti comes out in the presence of Her husband, the great Lord Shiva. It is said that bhogashakti is the form She assumes moments before She draws Him into the inner sanctum of their divine togetherness. The word ‘bhoga’ is Sanskrit for material fulfillment. ‘Shakti’ refers to the distinctive strength

Tibetan singing bowls have long been utilized in meditation practice by Buddhist monks. The Nepalese singing bowl by Exotic India is used during treatment by several wellness practitioners, including music therapists, massage therapists, and yoga therapists. A singing bowl is frequently used to relax before bedtime or to help focus before beginning work. The soothing tones of this Tibetan singing

Lord Ganesha's nature is to shower fortune and bliss wherever he is worshipped and here also he is holding a traditional lamp via chain by his twisted trunk. Well, in this illustration, Shri Ganesha's sweet face represents all the attributes of his personality, such as; his smartness, cuteness, attentiveness, childish expressions along with the lotus eyes, all these features are filled i

Gaja Samhara is a ferocious form of Lord Shiva popularized during the Chola period. Gaja Samhara Shiva means the slayer of elephant and represents him as ego annihilator and soul emancipator. Legends tell of an asura who in the guise of an elephant, Gajasura, became so strong in time that he began to torture and kill even the devas. There was none left in the three realms who would stand before Ga

In a touch of artistic poetry – the god of auspicious starts – is artistically shown reclining in rest in this ‘panchaloha’ bronze statue executed in the ‘madhuchista vidhana’ lost wax technique. Ganesha’s image is presented to us in his two-armed avatar, lying on his side, and supported by a long bolster under his hand and head. His left hand is placed over his left leg. Ganesha’s

Narasimha, literally man-lion, is one of the Dashavatara (ten incarnations) of the Hindu preserver god- Lord Vishnu, the tutelary deity of dynasties of mighty rulers, the Pancharatras (a Vaishnava Tantric sect), and commoners looking for His protection. The myth around the emergence of Narasimha is well-known across India. The demon-king Hiranyakashyapu performed great austerities and pleased Brah

A superfine Saraswati murti, sculpted from panchaloha. Panchaloha is a unique bronze made of five (‘pancha’) different iron-based (‘loha’) alloys. The metal casting method used to work with it is called madhuchista vidhana, an Agamic term for a technique that is now known as the lost wax method. This Saraswati Mata murti depicts Her in lalitasana on a narrow-cut lotus-petal throne. Her lim

In Hindu Religion Lord Vishnu is a paramaguru, the creative aspect of the Hindu creator-preserver-destroyer trinity. He is a handsome, powerful deity who dreamed the world into being whilst He napped upon the back of Sheshanaga, the finality serpent (‘shesha’ is Sanskrit for ‘final’; ‘naga’, for ‘serpent’). The bronze composition that you see on this page depicts Lord Vishnu seated

According to the Siddhartha-Samhita, there are twenty-four avatars of Lord Vishnu. The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by Brahma the creator, Vishnu the preserver, and Shiva the destroyer or transformer. His four arms indicate his all-powerful and all-pervasive nature. The conch (Panchajanya) symbolizes that

A multitude of lamps to fill your space with light and sattvaguna. This classical-style Indian lamp would be a valuable addition to any traditional Indian home. It features a long stem of uniform thickness along the centre. Unlike the complex engravings on the stems of your run-of-the-mill traditional Indian lamp, this one has the unassuming pattern of a single, slender trellis wound around its bo

The embodiment of sacrifice and the savior of Earth, Vishnu’s third avatar, Varaha, is presented in a highly charged form in this ‘panchaloha’ bronze sculptural image, along with his consort Varahi, or the Earth goddess Bhudevi. This visual presentation is also symbolic of what Hinduism today celebrates as Varaha Jayanti, which marks the mythological celebration of Varaha defeating Hiranyaks

With his legendary flute in hand, the Supreme Lord Krishna stands cast in bronze, his graceful pose with his legs crossed acting as a hallmark to the elaborate carvings of the Hoysala architecture. In the form of Venugopal, Lord Krishna becomes the protector of cows and the owner of the flute Venu. His face is at utter peace and serenity as he plays his flute, harmonious notes pleasing to the ears

The Kalinga Nardhana Krishna is the quintessential image of the triumph of dharma over adharma. When the wicked serpent, Kalinga or Kaliya, had made a home for itself in the Yamuna and none of the inhabitants of Braj could access its beauty and nourishment due to his presence, it was the great Lord Krishna who acted as savior. In a brutal battle between the divine and the serpentine, the conqueror

Renuka Mahar, also referred to as Renuga Mahar and Renumata Mahar, is a Hindu goddess worshipped predominantly in Karnataka, Maharashtra, and southern Indian states of, Tamil Nadu, Telangana, and Andhra Pradesh ancient Renuka Mahar / Yellamma Devi temple at Savadatti is one among the prominent Shakthi peetas in Karnataka, Mahar Renuka's temple at Mahur in Maharashtra is one of the shakti peet

Polished with a golden sheen and cast in bronze, the majestic Hanuman kneels in the form of Panchamukhi (five-headed) on this sculpture. All his five heads stare off in five different directions, eternalised at the moment he defeats Ahiravana in the warm depths of the underworld. During the battle between Lord Rama and the demon king Ravana, the latter went to the ruler of the netherworld seeking