The beautiful candle holder depicts six human figures on it. Cast on the dhokra format, the work reveals a deep sense of accomplishment and satisfaction. Meaning "oldest," dhokra is a crafting tradition dating as far back as 2000 B.C. Dhokra art is largely associated with the tribal groups of northern India, including Vindhyas and the Eastern Ghats, Bihar and its surroundings, Orissa, Madhya Pradesh and West Bengal. Myriad images are cast in the dhokra tradition as artisans preserve their millenary culture, custom and belief through the wondrous pieces they create.
The beautiful figure crafted in the dhokra technique celebrates the glory of motherhood. The tribal lady is holding her baby on her lap and she is feeding her mother’s breast. The compelling figure reveals the sense of accomplishment on the face of the mother for having the baby. Crafted in the traditional lost wax technique, the figure shows the beauty of the tribal culture, the rich technique of preserving the cultural traits.
The beautiful figure of the tribal bird hunter is given a refine and delicate treatment as the young man is moving out with his catapult in search of birds. He is wearing some beautiful ornaments and earrings on both the ears. The figure reveals a deep sense of vigour and strength. Dhokra is a very old crafting tradition and this art is mainly associated with the tribal groups of northern India. Myriad images are cast in the dhokra tradition as people try to preserve their pristine culture, custom and belief through the wondrous pieces they create.
The tribal mother with her son on her lap and an earthen pot on her head reflects the unbeatable spirits among the tribal women in Bastar region of Chhattishgarh. The image reflects the power of the tribal women and also the hard life they have to live in Bastar. Crafted in the ancient dhokra technique, the figure shows the beauty of the rich cultural heritage of Bastar.
A fine piece of sculptural creation, the brass statue of the tribal musician crafted in the ancient dhokra technique reflects a greater degree of smoothness and polished nature. The musician is playing a tribal instrument and his eyes are bulging and the lower portion of the body is nicely sculpted out of brass. Dhokra is an ancient technique of brass making and the lost wax method is applied to sculpt out figures.
The Bastar tribal man is smoking and the figure reveals a greater degree of refinement and embellishment. He is wearing few ornaments as well and bangles. He is holding a small pot in his left hand. Dhokra form of sculpture is associated with the tribal groups of northern India, including Vindhyas and the Eastern Ghats, Bihar and its surroundings, Orissa, Madhya Pradesh and West Bengal.
The beautiful figure of the tribal lady is given a refine treatment with some intricate and splendid designs on her brass figure. The standing figure reveals a deep sense of gracefulness and freedom. Tribal women don’t practice any form of seclusion and they enjoy greater freedom. The brass figure exalts that level of freedom and dignity of women.
The beautiful key hanger reflects the refined artistry of the dhokra technique. The figure of the Lord Krishna and that of Radha are beautifully chiseled out. The images of the cow and the peacock are also treated nicely. It reflects some of the floral designs crafted in the traditional lost wax technique. Dhokra is an age-old technique practiced by the tribals of Northern and Central India.
The beautiful Gond painting paints two roosters sitting on two tortoises. The roosters are popular birds among the Gonds. Gonds are the aborigine tribes of Central India and their paintings reflect a greater degree of simplicity and accomplishment.
The beautiful dhokra artifact reveals the simple life of the tribal people. The inhabitants of the jungle are going out to forest in numbers to collect wood and fruits. The male-female groups are holding axe and other essential things on their head and back. Meaning "oldest," dhokra is a crafting tradition dating as far back as 2000 B.C. Dhokra art is largely associated with the tribal groups of northern India, including Vindhyas and the Eastern Ghats, Bihar and its surroundings, Orissa, Madhya Pradesh and West Bengal. Myriad images are cast in the dhokra tradition as artisans preserve their millenary culture, custom and belief through the wondrous pieces they create.
The four beautiful elephants have been treated in a nice manner as the pachyderms have been symbolised with time. The symmetrical figures reveal a definite pattern. The elephants have been painted with some nice covers on them. The method of waxing and dewaxing has given rise to a special effect to the Batik painting.
The couple in the beautiful frame are coming back home after completing their daylong work. They are coming back from forest. The frames in both the works are given exquisite treatment. Crafted in the traditional dhokra format, the figures reveal a deep sense of accomplishment and satisfaction of the part of the sculptor.
The beautiful Batik painting depicts the god of wisdom in an attractive manner. As usual, his one hand is holding some laddoos and with his another hand he is blessing his disciples. His drapery is also well decorated with green and light green colour. He is wearing some beautiful ornaments. Ganesha, one of the most popular deities in the Hindu pantheon, is closely associated with the daily lives of millions of Hindus. A remover of obstacles, the Lord is worshipped before the beginning of any new venture: be it the building of a new house, the writing of a book, the beginning of a journey or the starting of a new business. His images adorn the walls of innumerable business establishments across India. It is customary for businessmen to seek his blessings each morning before they get down to business.
In this beautiful brass figure, the Lord Ganesha, who is worshipped first by the Hindus, assumes the role of a warrior, as He is also known as Vira Ganapati. Here He assumes a commanding pose with the bow and arrow. The figure is marked by a greater degree of smoothness and perfection. Some superb carvings make the figure even more beautiful.
The scenic beauty of an Indian village has been vividly portrayed here. Busy life of the rural folks, the women going to workplace, the menfolks are busy with their works all have been accommodated in the painting. Even animals have been given equal importance in the beautiful Warli Painting. An Indian village in remote area is with out any motor vehicle and the painting is a fitting example of the bare truth. ‘Pen work’ as literally translated, Warli paintings are popular in parts of Maharashtra and has a tradition of age-old century. In fact the hustle bustle of a village life is portrayed in a most attractive manner. The bullock carts, the birds atop the trees all have made the scenic beauty of a village life worth watching.
An epitome of force and energy, the beautiful image of goddess Kali is given a detail treatment. She is holding the slain head of the demon and the lion is looking back to her. The effulgence of colours and the characters that emerge on cotton fabric, help create a resplendent effect in the beautiful painting. Kalamkari art is unique in its use of colour as a medium to portray mythological characters. As the name suggests, Kalamkari is the art of painting cotton fabrics with a kalam i.e. pen, a sharp pointed pierced bamboo that regulates flow of colour on the fabric.
A symbol of energy and power, Lord Shiva is one of the most popular gods in Hinduism and He is one of the Trinity Gods, the other two being Lord Vishnu and Brahma, is given a refine and detail touch. Seated on meditative posture, the figure reveals a deep sense of gravity and accomplishment. His head is coiled with snake and tuff of hair and he is holding his trident with his one hand. Though the Lord is responsible for the destruction of the universe, destruction is also the immediate prelude to regeneration and for a new generation destruction is necessary.
The beautiful Kalamkari painting depicts the Lord Shiva in his cosmic avatar. Siva as the cosmic dancer, as transformer, the liberator of energy from the spiraling and coiling nature, symbol of spiritual ardor and passion for accomplishment is the most revered icon of Hinduism. His movements orders the rhythms and melodies of the universe, at once a dance into meditative states of transcendence. His dance is the dance of cosmic evolution of matter which knows no beginning, no middle, and no end, and is entwined and engulfed in spirit – from cell to spirituality. Lord Shiva is otherwise known as the destroyer of evil and ignorance, destroyer for the sake of regeneration; transformation and transmutation. Shiva as Nataraja is a quintessential symbol for the meaning of life itself – and the dance and its rhythms and melodies the universe itself. In Siva’s dance, the body becomes the spirit.