For the devotee of Devi Sarasvati, this murti comes with its own temple built around the Pratima. The handiwork is distinctly South Indian.

The panchamukha is very significant in Indian culture. It is a portmanteau of the words pancha (five) and mukha (face), which translates to the five-faced one.

This Lord Ganesha marble sculpture is an absolute beauty to the eyes, its white color indicates its infinite purity and auspiciousness. Ganesha is the primary god, worshipped as an obstacle remover and a friend of all.

This ten-armed statue cast in fine brass with selected parts: ensemble, ornaments, attributes, pedestal, anodized in copper represents the goddess Kali India's most extensively worshipped divinity in her manifestation as Bhadrakali.

This pendant is a must-have if you are fond of Ganesha. The most widely loved and revered of the entire Hindu pantheon, His unmistakable silhouette has been captured in this perfectly smithed glimmering gold pendant.

A warm, brilliantly hued saree. Expressively lined eyes. Captivating mudras accompanying the sonorous sound of ghungroos.

ave you ever wondered about the heavenly beauty of lord Krishna and the divine grace and extreme love of the cosmic couple Krishna and Radha? Well, if you are confused, we have an answer to your thoughts.

The signature element of Vajrasattva's iconography is the pristine silvery skin. It represents this tantric deity's essential qualities of purity and newness, and the ability of the mind to transcend the space-time continuum.

No finite number of limbs suffices for the most ferocious of the Indian pantheon. The Devi Durga's force is invincible; Her weapons to vanquish all traces of adharma, many.

Varanasi is the spiritual capital of India, home to no less than 2,000 temples of Hindu culture and tradition. The ghats and mandirs in this city provide ample opportunity to spiritually cleanse oneself.

The local word 'li' is a versatile syllable. It designates the vast range of metals, of diverse origins, levels of refinement, and blends, that constitute a medium of sculpture in the region (Central Asia, Kashmir, Tibet, and Nepal).

When earth, water, air, fire and ether (elements governed by Lord Shiva) united with pure consciousness (Shakti), Lord Kartikeya was born.

This striking Shiva sculpture is indeed the very picture of asceticism. This portrayal depicts Him walking across the Himalayas, a section of the jagged folded rocks beneath His kharam-clad feet.

This extremely lovable form of Lord Ganesha depicts him in his royal grandeur with the legs folded in utkutasana and the right ankle supporting his large portly belly.

This extremely lovable form of Lord Ganesha depicts him in his royal grandeur with the legs folded in utkutasana and the right ankle supporting his large portly belly.

When one begins to look for the beloved Ganesha in itihasa, the older of the two, which is Ramayana, yields no result.

The more that is said about Lord Hanuman, the more that remains left out. Of superlative strength and great personal beauty, this vanar-roopa deity is best known for His devotion to Rama in the itihasa.

Hoysala is the term used for the architecture and the iconography that developed in present-day Karnataka under the patronage of the Hoysala dynasty rulers.

Two sharp-featured beauties pore over the letter of a lover. The one clad in pistachio green holds it between her trembling fingers. It is she who has a rightful claim over the things expressed therein..

The history of wood carving dates back to the Middle Paleolithic age and exists as a universal phenomenon in human culture as a means for artistry.

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.

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.

Ashtalakshmi are a group of eight manifestations of Hindu goddess Lakshmi. She presides over the eight sources of wealth which are, prosperity, fertility, good fortune, good health, knowledge, strength, progeny and power.

Maa Saraswati is the goddess of knowledge and the consort of Brahma, the creator. She is the dawn goddess whose cosmic rays dispel the darkness of ignorance.

Hoysala was the name of the ruling dynasty in present-day Karnataka between the eleventh and fourteenth centuries.

The bodhisattva of compassion, Avalokitesvara (Chenrezi to Tibetans) is portrayed here in his most powerful, royal form, with eleven faces, one thousand eyes, and one thousand arms.

This brilliant brass statue of a four-armed female divinity with a round face, well-fed cheeks, subdued chin, eyes, three-fourth shut as when absorbed in meditation.

A composite painting of Shaiva-Vaishnava significance. Lord Rama and His brother Laxmana traverse through the wilderness of Dandaka, dressed in rudimentary clothing, their trishoolas (tridents) in their hands.

The first impression gleaned from a cursory glance at the Nataraja is one of dynamic energy. In stark contrast to the Mahayogin image of Shiva wherein His divine energies are seemingly drawn inward, Nataraja exudes His force in all eight directions.

A complex seated Ganesha composition. While the iconography is in keeping with the popular imagination, the style in which it has been executed makes this an unusual pick of a Ganesha murti.

The pattachitra of Orissa is a folk-art variety of Indian miniature paintings. While ‘chitra’ is the vernacular word for ‘image’, ‘patta’ is the word for an especial type of canvas that characterises these works.

This contemporary painting by a Delhi-based artist Anup Gomay, rendered in oil on canvas measuring 3ft by 4 feet, portrays a dancer performing all alone, fully enthused and as in ecstasy.

Patachitra art is originated from the beautiful art culture of Orissa and is painted on a piece of fine new white cloth which is clean, having no fringes and is devoid of any strings.

They say a sadhu (ascetic) lives by three tenets. He comes and he goes, but does not stay; he sees and he listens, but does not say; he eats and he drinks, but does not taste.

Mahakali is the great darkness and also personifies the universal power of transformation, the transcendent power of time and the cosmic goddess who rules unchallenged over the entire universe.

A Devi of unspeakable beauty dances on a bed of death. Her roopa is like the pregnant dusk of amavasya, Her eyes like glowing embers studded in that soft round countenance.

Endowed with child-like innocence, mischief in eyes and carefree disposition, the cool, soft and benign elephant-headed Ganesha is invoked primarily for removing obstacles and assuring a hassle-free start to any enterprise.

Lord Krishna is one of the biggest stars who has dominated and influenced the Indian thought, life and culture in a very profound way.

The Bodhi tree gathers the untiring ascetic in its soothing shade. Located at Gaya, its branches spread out to form a canopy that the erstwhile Shakyamuni found irresistible.

Medicine Buddha or Bhaisajyaguru is the Buddha Sculpture of healing and medicine in Mahayana Buddhism; he cures sufferings and pains using the medicines of his teaching.

The beauty of Devi Parvati is supreme. She is wife to the Lord of destruction, the great Lord Shiva. With Him She resides in Kailash Mansarovar, Her skin the same colour as the pristine snows that cover Her home.

A young lady climbs the steps up to the mandir. The time is early morning, and there are fresh pink jasmines in her hair.

Ganesha is revered in Hinduism popularly as Vighnaharta (one who removes obstacles) and also worshipped first before the start of any auspicious event or celebration to have an easy flow of work.

This socio-religious folk dance marks its origins from Gujarat and is majorly performed during Navaratri festival with the only condition of being done in a pair of two or a group of even number of people.

A medieval Indian lady is sitting in the balcony reading a book. She is a mischievous young soul, sitting on the wrong side atop the railing and directing at the painter with an all-knowing gaze.

Lakshmi carries her name from the Sanskrit word Laksme, meaning ‘goal’, thus she represents the goal of life which includes spiritual as well as worldly philosophies.

A distinctive miniscule of its own kind, painted on a hand made sheet of paper of a favourable size, in the ever-so-famous Madhubani style of art.

The aesthetic beauty of goddess Saraswati is framed here in an exquisite ethnic gold pattern on a background of maroon shade.

The dissolution of space and the cessation of time occurs at once when the lovers meet. The time they are not with each other they spend in longing; and when they are with each other, in ecstasy

The pure and fine brush strokes take this masterpiece to the next level of sanctity, depicting the eye-catching self love of Nayika.