The image of the gently reclining Ganesha wooden statue endears Him to us all. The chubby, elephant-headed son of Shiva and Parvati is widely revered for His childlike appeal. The twin qualities of innocence and wisdom pour forth from His every iconography, including and especially the one that you see on this page. On a bed of lotus petals of varying colors, reclines the Lord. A bolster under His

A compactly carved figure of Devi Lakshmi. Poised within a makeshift temple on a double-layered lotus-bloom plinth. From the iconography to the style of the surrounding temple structure, this composition borrows heavily from Hoysala aesthetics. It is the name given to the art and architecture that flourished under the patronage of the Hoysala rulers in South India. The tradition dates back to the

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Gautam Buddha, the first to attain Buddhahood, is the founder of Buddhism, primarily followed only by the people of Tibet, but now it is popularly revered all over the world. This brass statue of Buddha is a representation of his state where he teaches his followers the ways to achieve enlightenment. Lord Buddha sits in a lotus posture on an elongated lotus plinth, carved in a beautiful double lay

Gentle and wise and perfect in every way, Lord Ganesha is the widely revered son of Lord Shiva and Devi Parvati. Ganesha Brass Statue is adored by devotees for His childlike form and disposition, which gives Him a high propensity to mete out blessings and boons to those who simply turn to him. In this life-sized sculpture, He is seated in all His cosmic glamour upon a curvaceous multi-tiered thron

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

Lord Hanuman sits down balanced on a single knee. He sets the mace down to His right, and gathers His hands in the namaskaram mudra. This mudra conveys an acknowledgement of the divine contained within the entity afore oneself. In the case of the great Hanuman, it is none other than Lord Rama before whom He bows. The face with the protruding jaws that bear striking resemblance to a monkey.

Krishna is the most popular subject of choice for artistes in India. The predominant deity to be featured in paintings and sculptors, is because He is to most Hindus the superlative of all Indian deities. He is portrayed as the most handsome of youths, the calmest and wisest of minds to have descended on ihloka (our actual realm of existence), and the most divine of all flutists. The stance that H

The Hindu deity, Bhagwan Krishna is famous for his naughty leelas with Radha and other gopis of Gokul, the intense charm of his face, and the Madhur (melodious) tunes arousing from his flute. This sculpture of Krishna depicts him as standing on a rectangular thick brass block etched in a realistic stone-like pattern. He is postured in his iconic tribhanga posture with the left leg bent forward and

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 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

A seated Green Tara murti of substantial proportions. Queen of the Buddhist heavens, the epitome of karuna (compassion), metta (natural kindness), and shunyata (nothingness), She is a bodhisattva in the Mahayana tradition and a buddha in Vajrayana. On a petal-embossed throne, She sits, with the right foot cradled by a minuscule bloom in the foreground.n This is a signature aspect of the iconograph

Garuda is said to be the devourer of all the evils on earth; it is an immortal mythological bird revered by Hindus and Buddhists alike. This king of birds is the vahana of Lord Vishnu and is said to exterminate the entire oceans full of snakes. In Mahabharata, he is invoked as a symbol of impetuous force, speed, and martial prowess. This statue shown here is carved out of superfine teak wood by ex

This brass statue, a simple form not involving any kind of intricacy yet revealing rare luster and a great finish, represents a lion, the most majestic of all animals. The forelegs fully stretched for making a long leap, and the hind, collected to optimize the body’s force, the tail secured on the back lest it hindered the pace, the eyes fixed on the target, ears alert to the faintest sound of m

Shitala Mata is a folk deity and an incarnation of supreme Goddess Durga; cures poxes, sores, ghouls, pustules, and diseases. Shitala literally means ‘one who cools’ and is referred to as ‘ma’ or ‘mata’ as she, just like a mother cures her children of diseases and other evil spirits and ghosts. She is known by various names, Jagrani (queen of the world), Karunamayi (full of mercy), Man

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

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The Buddha is the fountainhead of inspiration for spiritual artisans across the subcontinent. His meditating figure is to be found in abundance in the art made across its length and breadth. The bhumisparsha mudra is by far the most popular of the mudras chosen by artisans. In Sanskrit, 'bhumi' means 'earth' and 'sparsha', 'touch' - it is the mudra assumed b

This elaborate brass sculpture is a variation of the Goddess Kali iconography, and hers is a distinct iconography. Her stance is far from the unassuming body language of Indian devices; she is clad in very little by way of clothing and shringar; and there is ferocity about her composure, which matches the weapons she wields in her numerous hands. This one is alone Goddess Kali's composition,

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The Mother Kali is an unusual deity. The hallmarks of the Hindu Devi are all in Her. She is supremely beautiful, a yogini of the highest adhikara, and bears superlative strength. Yet, She is unlike anything, you have ever set eyes on. For one, wrath is an integral part of Her personality. While the rest of the feminine pantheon are depicted as calm and reserved, Devi Kali comes with an iconogr

Aum is the most important syllable in Hindu chanting. It is the beginning as well as the culmination of every mantra in the divine language of Sanskrt. It is a composite of three different phonetics, namely ‘a’, followed by ‘u’, and finally ‘m’. Contained within the aum is the entire linguistic range of man; as such, chanting aum is to have chanted the Vedas and all of itihasa. A power

The mukhamandala (countenance) of Lord Ganesha emerges straight from a resplendent sun. A circular row of the Devanagari inscription of aum, a sacred life-affirming syllable, forms a halo around His head. In fact the sun itself is the halo of Lord Ganesha but, unlike other haloed sculptures in Indian iconography, this one does not comprise a discrete circular diskette at the back of the deity’s

Nataraja is the most popular representation of the Hindu God Shiva. In Sanskrit, Nata means dance and raja means Lord. Shiva, therefore, is the 'King of Dancers'. To understand the concept of Nataraja we have to understand the idea of dance itself. Like yoga, dance induces trance, ecstasy, and the experience of the divine. In India consequently, dance has flourished with the terrific aus

Sai Baba of Shirdi was an ethereal master, who is regarded by his devotees as a Saint and a fakir. Therefore, He is revered by both his Hindu and Muslim followers. He preached the importance of self-realization and criticized love towards perishable things with His teachings concentrating on a moral code of love, forgiveness, charity, inner peace, and devotion to God and guru. Simplicity reach