Here 108 pearl beads are nicely put together to create the japa mala. A Japa mala is an essential ingredient for meditation. Basically it is a set of beads usually made from 108 beads, though other numbers are also used. Malas are used for keeping a tab on reciting, chanting, or mentally repeating a mantra or names of a deity.
Mantras are repeated hundreds or even thousands of times. The mala is used so that one can focus on the meaning or sound of the mantra. One repetition is usually said for each bead while turning the thumb clockwise around each bead. When arriving at the head bead, one turns the mala around and then goes back in the opposing direction. There are typically knots between each bead. This makes using the mala easier as the beads will not be so tight on the string when you use them.
There are numerous explanations as to why 108 beads are used in a japa mala.
Some suggest that there are 108 paths to God. Some say there are 108 feelings, with 36 related to the past, 36 related to the present, and 36 related to the future. There are said to be 108 earthly desires in mortals and also 108 lies that humans tell.
There are said to be 108 human delusions or forms of ignorance. Some say there are 108 Upanishads, texts of the wisdom of the ancient sages. In astrology, there are 12 houses and 9 planets. 12 times 9 equals 108.
There are said to be 108 Indian goddess names. In the Krishna tradition, there were said to be 108 gopis or maid servants of Krishna.
In doing a practice of counting the number of repetitions of the mala, 100 are counted as completed. The remaining are said to cover errors or omissions. The 8 are also said to be an offering to God and Guru. Some say there are 108 styles of meditation.
Tantra estimates the average number of breaths per day at 21,600, of which 10,800 are solar energy, and 10,800 are lunar energy. Multiplying 108 by 100 is 10,800. Multiplying 2 x 10,800 equals 21,600.
Some suggest that there are 108 paths to God and Atman, the human soul goes through 108 stages on the journey.
In case more than 108 repetitions are to be done, then sometimes in Tibetan traditions grains of rice are counted out before the chanting begins and one grain is placed in a bowl for each 108 repetitions.
The 109th bead on a mala is called the sumeru, bindu, stupa, or guru bead. Counting should always begin with a bead next to the sumeru. In the Hindu, Vedic tradition, if more than one mala of repetitions is to be done, one changes directions when reaching the sumeru rather than crossing it.
Some Hindu traditions hold that the correct way to use a mala is with the right hand, with the thumb flicking one bead to the next, and with the mala draped over the middle finger. The index finger represents ego, the greatest impediment to self-realization, so it is considered best avoided when chanting on a mala.
In northeast India, particularly those in the Shakta traditions in West Bengal and Assam, the mala is often draped on the ring finger of the right hand, with beads moved by the middle finger with aid of the thumb and avoiding the use of the index finger.
A number of materials are used to make mala beads. Beads made from the seeds of the rudraksha tree are considered sacred by Saivas, devotees of Siva, while beads made from the wood of the tulsi plant are used and revered by Vaishnavas, followers of Vishnu. Other common beads include wood or seeds from the sandalwood tree or the Bodhi tree, and seeds of the Lotus plant. Some Tibetan Buddhist traditions call for the use of animal bone (most commonly yak), but sometimes human bone is used, those of past Lamas being the most valuable. Semiprecious stones such as carnelian and amethyst may be used, as well. In Hindu Tantra, as well as Buddhist Tantra (or Vajrayana), materials and colors of the beads can relate to a specific practice.
Sized 72"x45", this wall painting depicts Lord Shiva’s marriage with Parvati. Extensive use of motifs from the Indian mythology is a special feature of the Kalamkari painting centred on Andhra Pradesh. The astute painter has minutely depicted the sharp contrast of various gods and goddesses. The gods and goddesses have been shown wishing the Lord Shiva and his consort, as the duo are all set to put garlands on each other’s neck. Indeed a masterpiece by the painter!
The Batik painters have treated the ‘wonderland’ in a most artistic manner. The gracious lady, the parrot and the peacock have been given a beautiful treatment. Batik painters make use of simple motifs to yield a wonderful result. Batik form of art is very old in India and paintings are made more attractive by applying the wax resist and systematic cracking. The special batik effect is created by cracking of wax on the lighter hues and seeping in of the darker colors though them. This art form is practiced in Tamil Nadu, West Bengal and Orissa.
The classic batik painting has reflected a rare sense of beauty as the king along with his wife are moving by the side of the lake. The Queen kneels down and have a feel of the fragrance of the beautiful flowers. The method of dewaxing has given the painting a special effect as the trees and the background has been treated with a rare sense of artistry.A quality work by artist B. Kashyap seems to have been well conversant with the nuances of the painting style as he has made wise use of the colours and patterns.
Two beautiful village women are filling water on their earthen pots. A panoramic village ambience with the well, green trees, cows is manifest in the beautiful Batik painting. The women are also engrossed in talking as they are filling water on their pots. Batik paintings are mostly centered on West Bengal, Orissa and Tamil Nadu in India and are known for their originality, uniqueness and finesse. Batik is the art of creating images on the cotton cloth using wax resist method.
The beautiful painting cast on the traditional Batik style celebrates love that Lord Krishna spread through his flute. The Lord is given a detail and refine treatment with some spectacular designs of his drapery. Love between Lord Krishna and His consort Radha is an immortal saga in Indian mythology. Lord Krishna was amazingly beautiful and He was loved by the gopis. They craved for a glimpse of this cosmic Casanova. Batik prints of West Bengal, Orissa and Tamil Nadu are known for their originality, uniqueness and fineness. Batik is the art of creating images on the cotton cloth using wax resist method.
An incarnation of Lord Vishnu, Krishna is one of the most popular gods in Hinduism, and is worshipped with devition and piety. The beautiful Batik painting of the Lord Krishna shows the god playing his flute. The lord is creating an immortal tune on his flute that mesmerized hundreds of gopis. The method of waxing and dewaxing gives rise to a special effect to the painting.
The beautiful Batik painting depicts a Shivling being protected by a Nagraj, snake. Shivling is one of the most auspicious emblems for the devotees and people worship the phallic emblem with great devotion and piety. The method of waxing and dewaxing has given rise to a spectacular effect in the beautiful painting.
Lord Buddha seated in bhumisparsha mudra ( calling the earth to witness ) gracefully, with a rare sense of accomplishment on his face, a smart treatment of colour and pattern has made the piece an object of joy. Lord Buddha is painted seated behind the huge tree that too is being given a really beautiful treatment. Lord Buddha, the apostle of truth and non-violence and truth, is painted reaching the spirit of truth . Covered with a red cloth his figure reflects a greater sense of colour. The background is also given a beautiful treatment.
The most conspicuous feature about the painting is the vibrant colour pattern and the strong application of lines. The scenic beauty of Vrindavan has been depicted using variegated colour patterns and lines. The saga of immortal love between Radha and Krishna has been given a vibrant portrayal by the batik painter. The grasses, the trees, the animals all have been treated with equal sense of urgency.
A man playing the Veena has been depicted in the traditional Batik painting reflecting some of the traditional characteristics of this genre of artistic work. The person and the Veena have been painted with sheer lines along with some beautiful colour formations. High quality designs and intricate colour patterns are evident here. The method of producing a batik painting is quite rigorous one and the system of dewaxing the batiks gives the painting a rare impact.
The spectacular Batik painting celebrates the rich tradition of Batik with some dazzling colour pattern and sharp lines. A riot of colours and some beautiful designs make the beautiful painting a real masterpiece. The crown prince is painted wearing garland and he is shown in a remorse mood as the agonies and sufferings of the mankind pain him so much. Royal paraphernalia are also given a royal treatment. The Crown prince gave up the lap of luxury in search of the truth and he ultimately could find the panacea for all the ills plaguing humankind.
A sense of gracefulness, effulgence is manifest in this beautiful Batik painting. Here the Lord is in Nataraj posture. The background is sparkling.
Lord Shiva, as the Nataraj, represents the rhythmic motion of life. He is considered the Master of all the 64 forms of dance mudras. The painting in variegated colours is full of life and enthusiasm. The method of waxing and then dewaxing, a characteristic feature of this genre of painting, gives rise to a special effect in the painting. It is believed that on the auspicious occasion of Maha Shivaratri, Shiva performs the ecstatic dance of realization (Nataraja). The dance symbolises the thrill of god-realisation.
The breastfeeding mother and her child have been painted by the Batik painter in a most affectionate way. The painting is an epitome of love and affection a mother nourishes towards her child. The patterns of variegated colours are beautifully scripted. An indigenous painting form of the country, Batik paintings embody the originality of this form. The characteristic batik effect in this painting is created by cracking of wax on the lighter hues and seeping in of the darker colors though them.
A charming prince on horseback receives a love letter from his beau. The prince comes secretly to his lover on a horseback dosing the nearby security personnel. The lady also comes to the window to hand the love letter to her man. An amorous feeling is manifest in the painting. The method of waxing and dewaxing gives rise to a special effect in the painting.