The Great Eastern Home

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18th Century Wooden Sculpture of a Dancer

Beauty has always been associated with divinity; no wonder dance and sculpture have been fostered by the Hindu temples! They have influenced each other’s growth enriching their common themes and forms. The dancer has always been a delectable source of inspiration for the sculptor. The sculpture, thus created had also been a silent guide to generations of dancers. This is how the two art forms have been in correlation with each other in the process of their mutual refinement. The fundamental principle in dance and sculpture is the filling up of the space based on symmetry. The law of symmetry and proportion plays a vital role in Indian dance.


Seen below is the sculpture of a dancer posing on a pedestal double bordered with lotus petals. Her hair is tied into a top knot and is decorated with heavy ornaments. The background is carved with trees, flowers and fruits that give an arch like appearance over the dancer. It is an 18th century old sculpture in wood from Rajasthan. You’ll find many more wooden sculptures such as this at The Great Eastern Home that has aged gracefully and speaks volumes about the excellent craftsmanship available at that period.

You can also visit us at http://www.thegreateasternhome.com to get a glimpse of some of the fine pieces on display at our store.

18th-Century-Wooden-Sculpture

Winner of GoodHomes Editor’s Choice Award for ‘Range of Furniture’ – The Great Eastern Home

21st January was a very special evening for all of us at The Great Eastern Home as Dr. Anurag Kanoria went on stage to receive the award presented by GoodHomes, in the Editor’s Choice Category for our Range Of Furniture. All of us thank Good Homes and our clients, for making this day possible. It is your excellent taste that makes it all worth our while. GoodHomes is one of the leading decor magazines in India that offers an eclectic mix of innovative ideas to its readers that fits every space and budget. The Great Eastern Home is indeed honored for receiving this appreciation from them.

The trophy is a stunning piece of art in itself. It  is inspired by the Fibonacci curve, a symmetry in the design with aesthetic and artistic appeal. It represents the epitome of excellence and achievement in perfecting the art-of-living. You can visit us at www.thegreateasternhome.com and take a look at our pride!GoodHomes-Awards-Range-of-Furniure

Merry Christmas from everyone at The Great Eastern Home

Merry Christmas everyone

Merry Christmas everyone

Save the Date – Just four days to go for The Grand Trunk Show

Block your calender - The Grand Trunk Show

Block your calender – The Grand Trunk Show

Sculpture of Yali and its rider

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A strong tradition and expertise in sculpture is one of India’s long-standing glories and one of our strongest claims to eminence in the domain of art. Surviving artifacts, spanning many centuries, are incontestable evidence of the creative imagination and skill of Indian artisans.

The 18th century Rajasthani sculpture featured today, 46 cms, in height and 34 cms in breadth, rendered in  high relief, is that of a rider seated on the back of a passant lion headed-horse. The mythical creature is called Yali which is commonly seen in Hindu temples, often sculpted onto pillars. They are also depicted as part elephant, horse and lion.

Rajasthan is one state that has always been known for possessing one of the most exotic forms of art and crafts. The Great Eastern Home includes a number of noteworthy Rajasthani pieces of stylized wooden sculptures (some of which have already been featured on this blog). Come visit us …. hours will pass effortlessly as you make your way through our many collections. Plan your visit at www.thegreateasternhome.com.

Himalayan furniture

Many times, when we chance upon something that is centuries old, we notice the extraordinary attention to detail that has been lavished in the making of that thing. Perhaps our appreciation is tinged with the knowledge that it will be a while before something like this crosses our path again. It really is quite something, to look at a now-almost-forgotten workmanship, expressed in structure, detailing of design and colour.

Pictured below is a gem of an antique from the furniture in a Buddhist monastery. It dates to almost the early 18th century, which makes it at least 200 years old. A close look shows that the fine cusps are highlighted with floral and geometrical motifs all over its front side, keeping the insides completely plain. The artwork blending into an exquisite pattern is a visual treat.

Notice the three cusped arches on the front and four comparatively smaller arches on the sides bordered with a low protective parapet. At the top, the terrace is kept flat. The square base below has a faint painting of the bust of a demon decorated with leaf patterns on the front thereby covering every inch of space.

Come see it at The Great Eastern Home. We have all the time and space for you to admire it at length, without any interruption. Plan your visit, if it suits you, at www.thegreateasternhome.com

great-eastern-home-himalayan-furniture

19th century passant goat sculpture

Most certainly an antique, this goat, handmade in the 19th century, is technically a ‘passant goat’. The term passant is used to depict any representation of an animal walking. The profile of the animal is usually facing the dexter side and the tail is always raised.

What is the function of a passant? To appreciate its full function, one must understand what heraldry is. It is the system by which coats of arms and other armorial bearings are devised, described, and regulated. Coats of arms are the distinctive heraldic bearings or shield of a person, family or country. So, a passant animal performs the duty of flanking the shield and upholding it.

This passant goat It is adorned with garlands on the neck and on the hips. There is a repetitive design of a four leaf-pattern on its body and a cape on its back. The original paint still remains in patches so we can tell it was painted in red, green, yellow and black with gold leafing. It was probably from the southern part of India.

You can see this passant goat up close at The Great Eastern Home showroom, among other notable antiques. Come visit. For now you can see more at www.thegreateasternhome.com.

Great-Eastern-Home-Passant-goat

References
http://www.thefreedictionary.com/passant
http://www.thefreedictionary.com/heraldry
http://simple.wikipedia.org/wiki/Coat_of_arms
http://www.boyntons.us/yorkshire/generalinformation/notesheraldry.html

Kingson Swargiary

Viewing Kingson Swargiary’s work is like looking at the world through coloured glass; or, at times, through coloured waterfalls. Kingson’s current interest is in the portrayal of the beauty of Mother Nature, which he expresses through varied forms of women. Glimpsing undulating shapes, as if viewed through a screen of colours, his canvases suggest a world of mystery and aloneness, of individual rles that must be played out despite the broader existence in society. The ‘flaming’ sorrow of beggars and ‘red’ songs of longing provide a counterpoint to the beauty of primeval forests as suggested by the tricking point – a device that creates forms within forms, and stories within stories.

Kingson Swargiary

Tahsin Akhtar

“The voyage of discovery lies not in finding new landscape, but in having new eyes.” This quote by Marcei Proust encapsulates the core essence of Tahsin Akhtar’s approach to art. He dramatizes everyday objects and beings, in order to connect them with the audience. Tahsin’s surreal landscapes, muted colour palette, enigmatic forms, and the use of telling details – often a result of conflicting personal experiences – provoke thought and dialogue. In questioning identity and existence, he presents faceless heads that reflect his concern for distinctiveness formed through facial features. Tahsin questions reality by manipulating objects to render them useless: a gun without a trigger, a car without its wheels or a cigarette without filters at both ends. Tahsin’s work appears to mirror unpleasantness of society, the loneliness, the insecurities, the anxieties and the obsessive dependence on technology.

Tahsin Akhtar

Abhishek Kumar

Abhishek Kumar’s canvases burst forth with a myriad of colours, like fireworks against a dark sky. He loves to play with the palette in order to express his feelings and moods. The artist’s sheer enjoyment of the ‘process’ is clearly visible to the viewer. The dance of the palette knife and the paintbrush together produce islands of calm in the midst of creative frenzy, or disturbing voids in already shattered words. In some, it is the flow of liquid fire against a forest  of greens and reds; in others it is a flare of white sunbeams dancing on a lotus pond; and in some others, refracted strains of colours seem  to pass through innumerable pieces of glass. Forceful and abstract, yet pregnant with multiple narratives, his canvases sing lustily of the seasons and the passions they evoke, thereby lending a a lifting rhythm to the circle of life.

Abhishek Kumar