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Specification

• Product Code :9222
• Material :Brass
• Size :12.5"H x 8"W x 5"D
• Weight :4 kg.

Description

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• Product Code :9223
• Material :Brass
• Size :14"H x 9"W x 6.75"D
• Weight :3.730 Kg.

Description

The fine figure of Goddess Tara is nicely carved out of brass. One of the most popular deities in Buddhism, she is the female Buddha. According to Buddhist belief, she came into existence from a tear of Avalokiteshvara, which fell to the ground and formed a lake. Out of its waters rose up a lotus, which, on opening, revealed the goddess. Like Avalokiteshvara, Tara is a compassionate, succouring deity who helps men “cross to the other shore.” She is the protector of navigation and earthly travel, as well as of spiritual travel along the path to enlightenment. The highly ornate body of the goddess reflects a deep feminine beauty and her face is treated exceptionally fine.

Specification

• Product Code :B6738
• Material :Brass
• Size :9.45 "H x 6 "W x 3.54"D
• Weight :3.850 Kg

Description

The brass figurine unique Buddha head antique look is nicely carved. Sharp eyes, nice carvings, and fine treatment of the bust of Buddha make the figure a masterpiece. There is delicate design reflected on the bust. Lord Gautam Buddha gave up the lap of luxury in search of the Ultimate Truth in life. His quest was to find out a universal panacea for all ills plaguing mankind. The path shown by Lord Buddha is still being followed by millions across the world. His gospel of non-violence and truth has wider implications in today’s world.

Specification

• Product Code :B6740
• Material :Brass
• Size :14.77 "H x 9.65 "W x 8.47"D
• Weight :5 Kg

Description

Here Lord Gautam Buddha is shown in Vitarka mudra on lotus base. His Greek style hair, elongated ears, sharp nose, half closed eyes and the entire body all are given a royal and detail touch. There is a deep sense of refinement and gracefulness in the brass figure. The Buddha statues are often depicted with their hands performing a number of different poses and ritual postures. There are altogether ten such Mudras. Vitarka mudra is one of the much commonly found mudra or poses. Vitarka Mudra is the mudra or a gesture representing the discussion and transmission of the teachings by the Buddha. It induces the energy of the teachings and discussions of the spiritual principles which may also involve the arguments of the ideas. The Vitarka Mudra is usually performed by joining the tips of the thumb and the index fingers together while keeping the other fingers straight. This is similar to Abhaya as well as Varada mudra but with the thumbs touching the index fingers. The circle formed by the thumb and the index finger symbolizes the constant flow of energy and information. Vitarka Mudra increases wisdom. It is a gesture of teaching or a mudra of discussion. It helps with the flow of knowledge without fear.

Specification

• Product Code :4154
• Material :Soft Stone Statue of Orissa
• Size :9.50"H x 6"W x 2.75"D
• Weight :3.00 Kg.
• Special Note : Not in a single piece of stone

Description

Specification

• Product Code :B6068
• Material :Brass, Reconstituted Turquoise and Coral
• Size :14.75"H x 9.75"W x 6.75"D
• Weight :6.180 Kg.

Description

Specification

• Product Code :444
• Material :Brass
• Size :18.50"H x 11.50"W x 10"
• Weight :10.500 kg.

Description

Specification

• Product Code :B6603
• Material :Brass
• Size :8.75"H x 5.50"W x 2"D
• Weight :1.750 kg.

Description

Specification

• Product Code :2281
• Material :Albizzia lebbeck wood
• Size : 36"H x 11.50"W x 4"D

Description

One of the most popular goddesses in Hinduism, Goddess Lakshmi is the goddess of wealth and prosperity. Wife of Lord Vishnu, the goddess is worshipped for wealth and prosperity. The big wooden figure is nicely carved out with some exquisite carvings and designs. Seated on a big lotus, the goddess is wearing lot of jewelries and nice drapery. Seated cross-legged, from her one hand is flowing golden coins and with her another hand the goddess is blessing her devotees. The figure is treated with green and red colour and it reflects a sense of beauty and accomplishment.

Specification

• Product Code :1679
• Material :Wood
• Size : 35"H x 17"W x 5.75"D

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• Product Code :4035
• Material : Wood, enamel paint
• Size : 36"H x 15.50"W x 6"D

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From the Jacket
The Mahayanasraddotpadasastra – The Awakening of Faith is one of the most important books in the world. Its importance is still more apparend when we consider that its doctrines are the fundamental onesd of the Mahayana Faith, which is by far the chief school of Buddhism. This Chinese version of the texts xxwas mxade by the Buddhist missionary, Paramarth, who lived in China in the Liang dynasty, A.D. 502-555.

The book is divided into five chapters which deals with Reasons for writing this books; The fundamental doctrine of the Mahayana Faith; Exposition of the Faith; The practice of the Faith, and Advantages of the Faith.

Translator’s Introduction

This is the title of one of the most important books in the world. A Japanese scholar has translated it The Awakening of Faith. It might also be rendered The Mahayana Faith or The Faith of the New Buddhism. Its importance is apparent when we consider the fact that of the 26,000 Buddhist monks and nuns in Japan no less than 17,000 of them belong to the Pure Land School and the True School, which regard this book as their fountain and origin.

Its importance is stilt more apparent when we consider that its doctrines are the fundamental ones of the Mahayana Faith, which is by far the chief school of Buddhism, not only in Japan, but also in China, where are the great majority of the Buddhists of the world. If we estimate the value of books by the number of adherents to their doctrines, then, after the Bible, the Koran, the Confucian Classics, and the Vedas, this volume, about the size of the Gospel of Mark, ranks next, or fifth, among the sacred books of the world.

The great value of the book is also apparent when we remember that the Eastern world had been, driven to general despair by the atheistic doctrines of primitive Buddhism, called the Hinayana School, and that it was by the doctrines of. this book, which gave rise to the Mahayana School of New Buddhism, that a gospel of great hope was preached to the greater part of the Eastern Asiatic continent. Its new doctrines were that of the One Soul immanent for good in all the universe, that of a Divine Helper of men, of individual immortalitv and growth in the likeness of God, of the importance of faith in God to produce good works and that of the willingness of the best spirits to make sacrifices to save others—the very subjects which in these modern days still OCCUPY the attention of the most thoughtful men of the world.

The book is Brahministic and Buddhistic, Indian and Western in some aspects of philosophic thought. It is profoundly philosophic, reminding one strongly of Hegel, Berkeley and G. Gore in the earlier part, and is as hard to understand as Bishop Butler’s famous Analogy; yet very practical in the latter part, therefore it has great importance arising from its high and extensive range of view.

If it be, as it is more and more believed that the Mahayana Faith is not Buddhism, properly so-called, but an Asiatic form of the same Gospel of our Lord and Saviour Jesus Christ, in Buddhistic nomenclature, differing from the old Buddhism just as the new Testament differs from the old, then it commands a world-wide interest, for in it we find an adaptation of Christianity to ancient thought in Asia, and the deepest bond of union between the different races of the East and the West, viz., the bond of a common religion. Both Christianity and the New Buddhism hold to the transcendent and the immanent forms of God; but the East emphasi3es more of the immanent form while the West emphasises more of the transcendent. The almost universal reception of the doctrines contained in this book by both the East and the West constitutes to my mind its highest claim to our attention; for thereby we are brought face to face with a solution of the stupendous practical problem of uniting all races in one bond of religious charity!

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The Warli painting depicts the serene beauty of an Indian village in a most artistic manner. The long chain of human figures has been painted using natural dyes to give the painting an attractive look. Whereas some people are busy in the paddy fields, some others are working in the kitchen. Yet other people are busy chatting with each other and others are pulling the bullock carts. Village life is full of revelry and merriment and the painting has been a testimony of that gaiety.

Description

The spectacular Madhubani painting depicts the fishes in dancing mode. Madhubani style of painting is an important genre of Indian painting and is centred around Mithila region of Bihar. Fishes are given a refine and detail treatment. Madhubani painting is marked by line drawings filled in by black and white colours. These are basically tribal art which are marked by the application of strong earthly colours. Madhubani paintings are done with mineral pigments prepared by the artists. The work is done on freshly plastered or a mud wall. But nowadays, to meet the growing commercial demand, such paintings are also done on paper, cloth and canvas.

Specification

• Product Code :B2787
• Material :Handmade Paper treated with Cow Dung
• Size :22"W x 15"H
• Available Unframed

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The ten avatars of Lord Vishnu get a vivid depiction in the Kalamkari painting. Lord Vishnu, the master of the Universe comes to the world in different forms to rescue his devotees from the evils. His ten incarnations include Matsya- the fish, Kurma-the tortoise, Varaha-the boar, Narasimha-the man-lion, Vamana-the dwarf brahman, Parasurama-the axe wielder, Rama-the bow wielder, Balarama-the plough wielder, Krishna- the complete Avatara and Kalki, who is yet to come.The use of natural dyes makes the painting a quite impressive one. The artists use natural colours instead of artificial colours in the Kalamkari paintings and this makes this type of painting the distinct one.

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The beautiful Kalamkari painting depicts the Goddess Saraswati in a most accomplished manner. The Goddess of Learning and Art is painted seated on a big lotus and she is wearing some spectacular jewelries and drapery. The Goddess is one of the most popular goddesses in Hinduism and she is worshipped by the students as Goddess Saraswati is considered an embodiment of learning. The beautiful painting has some exquisite designs on it and the beautiful pattern of some variegated colors add sparks to the masterpiece. Centred on Kalahasti region of Andhra Pradesh, this genre of painting is marked by strong colour pattern and lines.

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"The multi-volume History of Civilizations of Central Asia is the first attempt to present a comprehensive picture of this subject. The publication of this work falls well within UNESCO's terms of reference since the underlying research was conducted by a distinguished international team of specialists which for many years laboured in harmony at the task of presenting to a wider public the civilization of this vast area located at the heart of the Eurasian continent. The volumes will reveal the cultures that flourished and vanished in this area, from the dawn of civilization to the present time. Only a few names, such as those of Samarkand, Bukhara or Khiva, are familiar to a wider public; eminent specialists, many of them native to the region, now lift the curtain to reveal a richer, more varied civilization. To a great extent, the history of the ancient and medieval world was shaped by the movements of peoples in this heartland of Eurasia, stretching from the Caspian Sea in the west to the borders of China proper in the east.

Review:

""No Doubt,it is a noble venture of the Unesco to collect and edit these four volumes on the History of Civilization of Central Asia in such details as are not available elsewhere.Especially,the first three volumes are important and useful which no doubt."

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"The Agama literature includes the Silpa-Sastra, which is basic to iconography. Worship dealt with in the Agama necessarily involves images which are worship-worthy. The rituals and sequences that are elaborated in the Agama books find relevance only in the context of an icon which is contained in a shrine. And icons are meaningful only in the context of shrines and worship.

Agama texts are not easily accessible to the people. A large number of them are still available only in manuscripts; some of them which have been printed are only in their Sanskrit originals. There is need, therefore, to present relevant excerpts from them at least, to make the volumes on iconography more meaningful.

Further, Indian temples are to be considered only in the general framework of temple culture, which include not only religious and philosophical aspects but social, aesthetic and economic aspect also.

The volumes named Agama Encyclopaedia deals with the temple-culture and Agama framework, the sectarian division of the Agama into Saiva, Vaisnava and Sakta, and the topics selected from the Agama texts follow. Thus, the entirety of the Agama, literature in so far as it is relevant to the temple-culture is brought within the scope of The Agama Encyclopaedia.

Vidyalankara, Sastra-Chudamini, Sangita-Kalaratna, Professor Saligrama Krishna Ramachandra Rao, is a well-known scholar who combines traditional learning with modern research. Well versed in Sanskrit, Pali, Ardhmagadhi and several modern Indian languages and acquainted with Tibetan and some European languages, he has written extensively on Vedanta, Buddhism, Janism, Indian Culture, Art and Literature."