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An ancient South Indian legend tells of Deva Guru Brihaspati and Lord of Winds Vayu, descending to Earth to build a Bhuloka Vaikuntam, in the Thrissur district of Kerala. It was to be a holy abode for Vishnu in the mortal realm. That town was named Guruvayur after its two celestial architects and the temple came to be called the Guruvayur Temple. Guruvayurappan is the Lord of Guruvayur or the Unni

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A glowing Ramadurbar Tanjore painting for your home or office walls. The haloed Lord Rama is at the very centre of the canvas. His smooth dusky skin sets off the glittering silken amber of His dhoti. To His left is the beauteous Devi Seeta, the brave daughter of King Janaka who never of Her own will left Her husband’s side, even during vanavasa. On the right side of the Lord is Lakshmana, br

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Nara-Narayana, sages who were the incarnations of Bhagavan Vishnu were deep into austerities when Devas alarmed by their powers, sent celestial nymphs to disrupt their effort. Reacting to this nuisance, Narayana placed a lotus flower on his thigh, from which an unmatchable beauty emerged. She was Urvashi, the maiden whose beauty put to shame all the women of the Devlok. Among the many lessons from

Aventurine is a variety of quartz that is known for its unusual texture. It has a natural translucence coupled with a deep shimmer, termed aventurescence. The same is brought out to perfection in the longline Nataraja sculpture that you see on this page. It is a rich green color, which is the natural color of aventurine. A two-tiered plinth was comprising lotus blooms with the pistils against each

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

Off the flute of the young and handsome Lord Venugopala, emerges divine music. The kind that perpetrated the woods and alleyways of Vrindavan not so long ago. The kind that uplifts and cleanses and elevates, makes space in the heart for bhakti. The desi cow that supports the figure of Lord Krishna in this composition is the very picture of bhakti. He looks up at his friend, the neck at a sharp ang

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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

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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

In the pages of the pious Hindu text- Bhagavata Purana, we find the episode of Kartavirya’s battle with Parashurama, how the sixth avatar of Vishnu slew the king, and how this led to the murder of his father, sage Jamadagni at the hands of the sons of Kartavirya. As vengeance on the death of his father, in whose lamentation his mother Renuka beat her chest twenty-one times, Parashurama (literall

Of the many wives of Lord Krishna, the King of Dvaraka, Shrimati Rukmini was the first. Whilst engaged to His cousin Shishupala, promised to him by her envious brother Rukmi, the princess of Vidarbha beseeched Her Lord and love to come and take Her away. In carrying out her wishes, He made her the first queen of Dvaraka. In this superfine wooden sculpture, she is seen standing to His left, gazing

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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

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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

The Tibetan deity Chenrezig is the most untiring of the Bodhisattvas. With His thousand arms and thousand heads, He strives until space and time remains to free those of us in ihaloka (current realm of existence) of existential perpetuation and suffering. In this superb sculpture of the Lord Chenrezig, He is depicted in a rudimentary bhadrasana. The plenitude of limb and head is invisible to us ma

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

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

The image of the seated Lord Ganesha in the Tanjore idiom. The son of Shiva and Parvati, a widely adored baala-deva (boy-deity), is seated on a studded throne of solid gold. Behind the chaturbhujadhari deity rises the velvet-upholstered backrest hemmed in with gold. The same is studded with concentric rows of red and green stones which resemble rubies and emeralds, respectively. Ganesha is dressed

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

This exceptionally ornate brass statue is an example of highly balanced anatomy with delightfully distributed right and left – a strange symmetry with the center unable to contain its line and mincing to the figure’s overall rhythm: the navel and abdomen tilting to the left, and the little inflated right breast, to further right, represents Lord Ganesha in a posture as if commanding and assuri