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The beautiful brass figure of Goddess Sherawali is given a refine and detail treatment with some exquisite carvings on it. Seated on a roaring tiger, the goddess is holding six different weapons on her six hands. With her two hands, she is blessing her devotees. One of the most benevolent mother goddesses in Hinduism, she can be easily propitiated.

The beautiful brass figure of Goddess Sherawali is given a refine and detail treatment with some exquisite carvings on it. Seated on a roaring tiger, the goddess is holding six different weapons on her six hands. With her two hands, she is blessing her devotees. One of the most benevolent mother goddesses in Hinduism, she can be easily propitiated.

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Specification

• Product Code :11162
• Material :Golden Emdroidery, Jari Work, Golden Lace

Description

Beautiful red color chunri for the deities having full jari work. Beautiful golden embroidery design and golden lace, used to offer to the deities and also like cover of any worshipable objects. Ideal use as Navratri Kanya Puja, Shringaar Puja etc. Best gift for kanya pujan, navratri, diwali & all rituals.

Specification

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Description

The spectacular brass figure of the Goddess Vaishno Devi or Shakti is given a refine and detail treatment. Seated on her vehicle, a roaring lion, the goddess is holding eight different weapons. She is also known as Mata Rani and Vaishnavi and is in fact a manifestation of the Mother Goddess. The Vaishno Devi temple located in Jammu is one of the most popular destinations for the pilgrims.

The present monograph is a result of the comprehensive and scientific study of the Material Life of Northern India between C. 600 BC to 300 BC. For the better understanding of the contents, the author has presented a synthetic study of the twin sources viz. archaeological and literary sources within the limitations and scope of the given topic and available data. This period also marks the process of political fusion culminating in the first ever great empire of ancient India. Interestingly the material background of this period led to the origin of a number of sects and second urbanization. The book is also helpful to understand the state formation and social proliferation. The authors divides his data into deductions of food habits, construction of house, agricultural activities vis-a vis crops cultivated with the idea of seasonal variations and the irrigational resources exploited, the knowledge of varied technology applied in the making of objects of daily use in metals such as gold, silver and copper, objects of stone, bone, ivory and clay by the people of that remote past make the book worth reading. The book will be highly useful to the research students and scholars working on ancient Indian history, culture & archeology to get a more comparative and comprehensive understanding of the subject.

The Author
Dr. Mohammad Nazrul Bari did his PhD from the Center of Advanced Studies, Department of History, Aligarh Muslim University, Aligarh. On leave vacancy, he stared his teaching career in the same department. After working for some time in the P.G department of History, Kashmir University, Srinagar (J & K), Dr. Bari joined Poona College, Pune in Maharashtra. Currently Dr. Bari is the Assistant Professor & Coordinator, Department of History, School of Social and Behavioral Science, Central University of Karnataka, Gulbarga.

Expert Views
This thesis is thoroughly researched and referenced, listing approximately 280 references... The author's key sources are the forty four archeological excavations he list in the appendix. The author divides his data into his deductions of food productions, architectural evidence, metal objects, indications of metallurgy, finds of bone and ivory, stone objects and ceramics…..The thesis is strong on empirical evidence………

Robert G. Bednarik, Professor & Director, International Institute of Replicative Archaeology, Australia

Dr. Mohammad Nazrul Bari's book titled “Material Life in Northern India C. 600 BCE to 300 BCE” which is a result of meticulous archaeological and historical analysis of data retrieved through some field studies and rigorous literary surveys. I am privileged to read his manuscript before being published and happy to recommend it as one of the best historical reviews of the particular period by a promising academic who is surely be an asset to Indian scholarship.

Anura Manatunga, Professor, Department of Archaeology & Director, Centre for Asian Studies University of Kelaniya, Sri Lanka

"In this thoughtful monograph, Dr.Bari has brought to light very fascinatingly the material life of the entire northern India from 600 BCE to 300 BCE by correlating the archaeological findings with literary sources, which is a vital contribution to our understanding of South Asian Cultural legacy".

Shahnaj Husne Jahan, Professor and Director, Center for Archaeological Studies (CAS), University of Liberal Arts Bangladesh (ULAB), Dhaka, Bangladesh.

Specification

Description

The beautiful Pata painting reflects a jubilant Lord Krishna returning back after his triumph over Kansa, his maternal uncle and the ruler of Mathura. Patachitra style of paintings is popular in Orissa and has been practiced in the temple. A refine treatment of colour and beautiful patterns is a unique feature of this style. Lord Krishna and his brother Balabhadra are shown making their royal entry into Brindavan on a beautiful chariot. The people are welcoming them. The city life of Brindavan is getting a real portrayal in the painting.

The figure of Matya, an incarnation of Vishnu is nicely carved out of brass. Vishnu took up Matsyavatara, or the form of the fish during a deluge that submerged the earth. Vishnu commanded a rishi to gather together samples of all species and wait in a boat. The gigantic golden fish then dragged the boat through the deluge and then enabled Bhrama to start the act of creation all over again. Yet another legend has it that a demon once stole the four Vedas and hid them under the sea. Vishnu assumed the Matsya form and retrieved them and then restored them to their original fragrance.

The beautiful figure of Vishnu in his Matshya incarnation (Fish) is crafted in the traditional dhokra technique with some sparkling carvings. Dhokra (oldest) 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.

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Description