Kubera, the God of wealth according to Buddhism is also known as Vaishravana. He is considered as a guardian king of the north direction and of Mount Sumeru that is believed to be the center of the universe. In this thangka Lord Kubera, the God of wealth is seated in a royal posture. He has a golden yellow complexion and plump torso decked with gold ornaments. He wears a five-pronged crown that sy

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Sarah Bernhardt Painting

Beneath a Kirtimukham prabhavali (aureole), stands the gentle Lord Ganesha. The superb proportions of Kirtimukham contrast sharply with the chubby child’s form of the standing Ganesha idol. So does the diametric variation in the expressions - the former is a paragon of all-consuming ferocity, while the latter is widely worshipped for its childlike gentleness. The Lord Ganesha statue that you see

The panchamukha-roopa is common to many deities in the Hindu pantheon. The word ‘panchamukha’ is a portmanteau of ‘pancha’, which means five, and ‘mukha’, which means face. The murti that you see on this page is of the Panchamukha Vinayaka (another name for Ganesha). Each of the five faces stands for the yogic koshas or layers of existence. It is a murti of Vengai wood, derived from a

Upon a throne of bejeweled gold, upholstered in blue and purple velvet, sits the gorgeous Devi Lakshmi Watercolor Painting. Her legs are in lalitasana, the signature stance in Indian iconography; and lotuses in Her posterior hands, symbols of wealth and plenty in Her anterior ones. The richly colored silks and ample jewels that clothe Her convey the divine glamour of the wife of Lord Vishnu. The p

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An image of tender devotion. Lord Hanuman kneels on one knee upon the earth and gathers His hands in the supplicatory namaskaaram. His tail flourishes behind Him as He raises His head towards His beloved Lord Rama, His eyes brimming with the bhakti in His heart. Bhakti, or unconditional love, is the yogamaarga (‘maarga’ is Sanskrit for path) of Hanuman, an accomplished yogi of the finest order

This brass image of Ganapati, small in size but immeasurable in its magnificence and grandeur, defines his Vira Ganapati – the ‘valiant warrior’ form, one of his initial thirty-four classical forms which early texts, the eighth century Maudgalya Purana in special, have identified or conceived. Though exceptionally beautiful and endowed with divine aura, Vira Ganapati, primarily a votive form

On the pistil of an upturned lotus, pedestal stands the steady chaturbhujadhari (four-armed) Ganesha, poised on a quadrilateral plinth engraved with lotus petals. The vertical structures on either side of the same are designed to be wound around with a rope in order to maneuver the sculpture. This Ganesha composition is a panchaloha murti from Swamimalai. Panchaloha refers to a blend of five (‘p

A many-layered Ganesha idol, designed for the finest home or office temple. A traditional-style plinth carved with elongated lotus petals. Featuring a simple floral structure down the frontal midline. The mouse vahana of gigantic proportions, on all four on its surface. It is craning its head back to glance at the Lord Ganesha statue on its back. This Ganesha murti depicts the chaturbhujadhari Lor

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In Tibetan Buddhism, Chemchok Heruka is most notably known to be the focal divinity in the Fifty-eight Wrathful Deities mandala where he is the furious aspect of Samantabhadra. These 58 deities are said to be wrathful deities one can meet in death and rebirth. He is also known as the Mahottara Heruka. Meanwhile, in the Guhyagarbha Tantra, he is the main deity among the herukas of the Eight Command

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Amoghasiddhi is one of the five spiritual vectors of the Buddha’s divine personality (tathagata). He is the Buddha of perfect practice leading up to consummate accomplishment or ‘siddhi’ (‘amogha’ stands for that which goes not in vain). The thangka that you see on this page depicts Amoghasiddhi in the seated-contemplative stance of padmasana, complemented by the mudras of His hands. Thi

This ovally framed portrait is of the Mughal emperor Shahjahan, the builder of the Tajmahal. He is the only one of the Great Mughals to have lived to the greatest of grandeur and the worst of grief and achieved the highest of glory and the lowest of gloom. This depiction closely represents his likeness, as has been recorded in his contemporary portraits. The National Museum, New Delhi, has in its

Rendered in Marwar idiom of Rajasthani art style, pursuing the theme, style and everything of an early nineteenth century miniature from Jodhpur, in its exactness except the painting’s size and the background colour of the circle in the centre containing the figures of Radha and Krishna, the painting portrays a grieving Radha for Krishna’s failure to reach there despite the promise he had made

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

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Adorned with a blood-red Rajhistani pheta turban, the swarthy, chisel-faced man smokes a cigarette with a cruel, curved mustache that compliments his grim expressions and bushy eyebrows outlining his brown complexion in this painting. His mustard yellow choga is festooned with bijou red and green Mala contrasting the background. His collar is displayed as if strangling his neck. His wrists are gra

This is a stylized statue of the brass form of Lord Ganesha (the god of remover of obstacles and provider of happiness). The quirky long trunk is forming a ‘C’ and resting on his folded legs. A slight outstretch from the sides at the top represent his artistic ears. There is a small leaf-like texture on the right knee symbolizing his hand blessing people for fearlessness. The sharp eyes are lo

A simple, time-tested image of the seated Shakyamuni. The epithet Shakyamuni refers to the rulership (‘muni’) of the Buddha’s family over the Shakya clan. It is a traditional thangka made with age-old painting techniques (acrylics, gouache) set off by subtle metallic infusions in pure 24K gold. Everything about this thangka is in keeping with the traditional iconography of the Buddha. Legs g

Kailash Raj works his magic again as he pictures a vibrant and prominent drawing that is marvelously filled with watercolors worth leaving a deep mark on your soul. The illustrated princess is appareled in a baggy silk gharara pant that is colored in thick vertical stripes of bright sandstone orange and moss green color with a printed banarsi design on its lower end, coupled with the same colored

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