In India, in every home, store, office, and workplace of the Hindu faith, there is a wall, a shelf, or a small space above a piece of furniture dedicated to the deity or deities worshiped by the family or by those who work in that space. It may be a simple print hung on the wall, before which the devotee recites a prayer and burns a stick of incense, or it may be a small altar on which one or more figurines of the deities are placed. It is a millennia-old tradition that makes the deity present even outside the temple, where not everyone can go to participate in the rituals celebrated by the Brahmins. It is also a living presence because these figurines, once consecrated, do not merely represent the deity but contain it—as a living presence, ready to listen, to receive supplications, or even simply to be worshipped. Among the millions of deities in the Hindu pantheon, every believer has their own god or goddess to whom they turn for guidance and whom they honor with prayers dedicated to him or her.For millennia, the household altar has consisted of figurines of the most popular deities—mostly made of metal, less often of stone, and rarely of wood, which is considered a perishable material and therefore not very divine. The metal ones were produced using the lost-wax casting technique, a complex process that requires great skill and has been used in India for millennia. In many cities—often near major pilgrimage sites—there were, and still are, workshops where, for generations, artisans have been creating both the larger statues for temples and the smaller ones for personal worship through a process that blends religious devotion and technical skill. Similarly, in the vast Indian countryside, there were itinerant metalworkers who, using simple yet ingenious metallurgical techniques, produced everyday and work tools as well as small sacred statues for the household altar. These two distinct traditions—what we might call the “classical” and the “folk” traditions—have produced very different styles. The former faithfully reproduced the deities as described in the sacred texts, and the devotional statuettes possessed the same perfection as those found in shrines; whereas in rural and tribal areas, where less skilled artisans worked, the sacred images were less perfect but possessed a spontaneity and imagination that enhanced their expressive power.

2. Altar of Durga
Karnataka
18th / 19th century
H. 14 cm

These differences can also be seen in some of the examples in this collection. The small altar dedicated to Durga (no. 2) displays the same richness and perfection as a large altar in an important temple, while the one dedicated to Vishnu and Lakshmi (no. 15) retains the same structure and iconographic coherence but simplifies it, making it more essential.

All of these “images of faith” could be purchased at stores and from street vendors specializing in religious items such as incense, ritual objects, rosaries, and, of course, a myriad of statuettes of various sizes. Sometimes they serve as a memento of a pilgrimage to the temple dedicated to the deity to whom the family is devoted, and the “small bronze statue” blessed by the priest becomes both the household image of the god and a reminder of a spiritual journey and a moment of respite from everyday life. When a believer is away from home for an extended period, they may feel the need to take the figurine of their guardian deity with them to offer daily prayers: these are “travel” figurines, such as the small Jain altar, no. 19.

30. Jain Travel Altar
Gujarat, 15th–16th century
Bronze alloy, H 6.5 cm

31. Hanuman and Ganesh
Resin, 6 to 9 cm

After centuries of uninterrupted tradition, the production of these sacred figurines changed in the second half of the 19th century when the spread of printed images—which were cheaper than metal ones—made it possible to hang one’s own patron deity on the wall for just a few cents. A further change occurred with the introduction of die-casting, a process used to produce numerous copies of the same image—significantly more affordable than those made using the lost-wax casting method—but all identical and lacking the unique, refined quality of the bronze figurines in this collection. Finally, in the 20th century and more recently, new materials such as plastic and resins have enabled even more economical production, enriching the figurines with vibrant polychrome coloring (no. 30).

This large-scale painting on canvas—a medium often preferred in Rajasthan for narrative and topographical compositions, particularly in place of the more common handmade paper—offers a remarkably structured and lively depiction of a bustling urban market. Probably painted in Jaipur or Bikaner around 1780, the work exemplifies the painter’s interest in civic life and spatial order, rendered with precision and vitality. The composition is meticulously organized into a grid of nine vertical columns, each divided into three horizontal registers, thus forming a matrix of 27 distinct scenes. This architectural segmentation facilitates a panoramic yet compartmentalized view of daily market activity, functioning almost like a storyboard that captures the kinetic pulse of a Rajasthani bazaar. Three broad pathways run the length of the painting, delineating wide aisles along which a variety of vendors are stationed in small stalls. While the visual attributes of the figures do not immediately distinguish shopkeepers from customers, the nature of each trade is subtly signaled through iconographic cues.

Whether made of plastic or metal, molded or finely carved, weathered or painted in the colors of the rainbow, these figurines of the gods continue to grace the altars of Indian homes and serve as symbols of a millennia-old, living faith.

1. Ganesh
Orissa
17th century
Copper alloy
H. cm. 13
Price on request.

Ganesha is seated on a lotus flower, where a mouse—his distinctive mount—can also be seen. He has four arms; the upper ones hold a cobra and an ankus, an instrument used to control an elephant. The lower ones hold a rosary and a dagger, which Ganesha, who has a fondness for it, grasps with his trunk.

2. Altar with Durga
Karnataka
18th–19th century
H. 14 cm
Price on request

It is a small but richly decorated altar with a statue of Durga at its center. What is striking is the number of mythological animals surrounding the goddess: a large kirtimukha mask at the top, two makaras on either side of her head, six parrots on the lower sides, and the bull Nandi at the center of the base. The altar consists of three parts: the base, the statue, and the halo. Enlarge the photo and notice the precision of every detail, carved with the same care as a grand altar intended for a sanctuary.

3. Durga Slaying the Demon Mahisha
Orissa
15th/16th century
Cm 13
Price on request

The goddess, with a triumphant expression, rests her left leg on the lion, her mount, and her right leg on the back of the demon-buffalo, which she pierces with a spear. What appears unusual are the conch shell and the discus, ritual objects from the iconography of Vishnu.

4. Lakshmi
Tamil Nadu
18th/19th century
Copper alloy
Cm 15
Price on request

5. Narasimha with Lakshmi
Tamil Nadu
19th century
Copper alloy
Cm 9
Price on request

Narasimha is the fourth of the ten incarnations (avatars) of Vishnu. He has a human body and a lion’s head; here he supports the goddess Lakshmi, who is seated on his bent left leg.

6. Altar with Shiva, Parvati and Nandi
Central India
17th – 18th century
Bronze
H.15 cm
Price on request.

A charming altar in the tribal tradition, yet highly original, refined, and beautifully crafted. The two figures—likely two deities protecting the village, identified as Shiva and Parvati—rest on the outer leg, which is extended to support them as if in an unusual yoga pose. On the base are depicted the bull Nandi, a peacock, a cobra, and a shivalinga.

7. Virabhadra
Karnataka or Tamil Nadu
19th century
Embossed silver
Cm 25 x 18
Price on request.

This plate shows the fine style of classical Indian art of 19th Century. Virabhadra is depicted in the tribhanga pose. Rising from the base of the “gate of honor” (toran) are two columns that end in two mythological animals supporting an arch of flames surrounding the figure. Virabhadra has four arms, and at his feet, Uma and Daksha are prostrated in prayer. The plate is embossed and chiseled with precision and elegance.

8. Virabhadra
Karnataka
18th century
Copper alloy
H. 19 x 15 cm
Price on request.

The plaque was cast using the lost-wax method and then carved to give the figure of the god a distinctive prominence.

9. Virabhadra
Karnataka
17th – 18th century
Copper alloy, lost-wax casting
H. 27 x 13 cm.
Price on request.

A beautiful plaque depicting Virabhadra in the “triple bend” posture, surmounted by a cobra’s head and flanked by Uma and Daksha. It also features a lovely patina of age on the reverse side, where a handle is attached for the ritual display of the god’s image, in the typical style of South India.

10. Triptych with Vishnu, Lakshmi and Rukmini
Tamil Nadu
Copper alloy, cm 13 x 18
Price on request.

It is an altar triptych consisting of three figurines, a base, and a large halo framing them.

11. Mahavira
Maharashtra.
18th cent.
Bronze. H. 16 cm.
Pub. “Jainism” 2024, p. 18
Price on request

This is Mahavira, the last of the 24 Jain teachers, who lived in the 7th century BCE. He is depicted in the “renunciation of the body” posture, and his arms and hands, held away from his body, symbolize the absence of all attachment, both physical and mental. At the base, a lion can be seen—the symbol that distinguishes him from the other teachers.

12. Vishnu and Lakshmi
Tamil Nadu
18th – 19th centurt
Copper alloy
H. 9 cm.
Price on request.

13. Tribal deity
Central India
19th century
Bronze alloy
H. 12 cm.
Price on request.

This is undoubtedly an important figure—either a deity or a deified queen—but the absence of distinctive features, such as the ritual objects typically held by Hindu deities, prevents her identification. The bracelets which cover the forearms, the large earrings, and the style of clothing, combined with a stylization that reduces the figure to its essential lines, suggest a connection to the tribal areas that still inhabit parts of central India.

14. Altar depicting Vishnu standing on the turtle Kurma, his second avatar
Central India
19th century
Bronze alloy
H. 12 x 7 cm
Price on request.

The ten incarnations of the god Vishnu represent the Hindu mythological view of the history of the world and humanity, and could almost be interpreted in evolutionary terms: the birth of humanity—or rather, of consciousness—from the primordial waters, up to the present day Kurma is the second avatar of the god in the form of a turtle; he comes after Matsya, the fish-form of Vishnu who dwells in the primordial waters. Kurma is an animal that lives both in water and on land, thus marking the transition to a new dimension; but the primordial ocean is full of riches, among which amrita, the nectar of immortality, and Kurma is also the foundation upon which gods and demons vie for it. In this three-part miniature altar, Vishnu rests on the tortoise, who is, in fact, his second avatar. He has four arms holding his characteristic ritual emblems: the conch shell, the discus, the mace, and the lotus flower, and he is surrounded by a flaming halo; before him, two devotees are praying.

15. Vishnu with Lakshmi
Himachal Pradesh
15th century
Bronze alloy
H. 21 cm.
Price on request.

16. The deified hero Khandoba or Mallanna (?)
Maharashtra
19th century
Bronze casting
H. 22 cm
Price on request.

Surrounded by a beautiful toran (gateway of honor) topped by a five-headed cobra and the face of the mythological kirtimukha, the hero-god rides his steed, clutching a spear and perhaps a scepter. The statue consists of three separate parts: the horse, the rider, and the portal, which is inserted into the base of the horse. Amid the ceaseless struggles for territory and wealth that are also part of India’s history, the “village hero” stands as a champion defending the community—the village—from enemies and powerful invaders. Kandhoba is one of these local heroes, revered in the regions of South India; they have different names because they represent local traditions, but in the Hindu tradition they are also manifestations of Shiva, the most “warlike” of the heroes of the Trimurti. For more information, you can read the article “The Village Hero” published on my website.

17. Four Mother Goddesses
South India
18th century
Copper, cm. 14
Price on request.

18. Shiva
Tamil Nadu
18th century
Copper alloy
cm 7,5.
Price on request.

19. Jain travel altar
Gujarat
15th – 16th century
Bronze alloy
H. 6,5
Price on request.

It is a small altar divided into two parts that can be joined together: the empty altar, resembling a frame with two standing Tirthankaras, and a small statue of a Jina seated in the lotus position, which can be inserted into or removed from the altar. It was likely a small travel altar. It is heavily worn, and the inscriptions on the back are indecipherable.
Published in “Jainism, Religion of Non-Violence” on p. 68

20. Nandi, the Sacred Bull
Central India
19th century
Bronze
8 x 8 cm.
Price on request.

In India, the bull Nandi is the quintessential mythological animal, mentioned as early as the Vedic hymns, and small stone statues of him dating back to the 3rd millennium B.C. have been discovered. In Hinduism, he is the mount of Shiva, with whom he is associated as a symbol of creative power.

21. Annapurna
Karnataka
19th century
Bronze
4,2 cm.
Price on request.

Annapurna is the goddess who brings food, which is why she holds a large spoon. She is a household deity, obviously benevolent because she nourishes families. As a sign of devotion and gratitude, a small silver bracelet has been placed on her left arm. Standing just over four centimeters tall, the figure is perfectly carved, like a small piece of jewelry.

22. Harihara
Karnataka
18th – 19th century
Copper alloy
H. 12,5 cm.
Price on request.

Harihara is a deity who unites Vishnu and Shiva in a single image and represents the balance between the creative and destructive forces of the Absolute. In this small bronze statue, however, the rear arms hold a lotus and a conch shell, symbols of Vishnu, while the front hands grip a sword and a shield, distinctive attributes of Virabhadra, who is nevertheless a manifestation of Shiva.

23. Tirthankara jain
Bihar
Pala Dynasty, 12th century
Basalt
H. 12 cm.
Published in the catalog “Jainism, Religion of Non-Violence 2024”
Price on request.

Although made of stone, this miniature image of one of the Jain Masters served the same purpose as the metal ones: small images for travel or for the home altar. The Jina shown above is in the “renunciation of the body” posture (kayotsarga) in front of a portal with two columns decorated with leaves from the Ashoka tree (Saraca asoca), also known as the “tree of no sorrow” and considered a sacred plant throughout India. The leaves of the Ashoka tree appear primarily in the Jain art of northern India, and their presence on the columns surrounding this small sculpture allows it to be placed within this artistic tradition. The Jina is sculpted in the round; the body is full and well-modelled.

24. The Jain Saint Bahubali
Karnataka
18th century
Bronze, H 12.5 cm
Price on request.

Bahubali is the quintessential saint of Jainism. Living several centuries BC, he resolved to attain Enlightenment and remained standing motionless in meditation for a year: slowly, as seen in this statuette, plants entwined his body without him ceasing his quest for absolute Knowledge.

25. A warrior
17th/18th century
Central India (?)
Bronze, H cm 10

Like a cave drawing: pure, simple, timeless. A small bronze statue that defies the conventions of classical Indian art—the kind that only simple artisans in remote rural areas or tribal regions could create.

26. A pair of mother goddesses
18th century
Himachal Pradesh (?)
Bronze, H cm 12
Price on request

This is an unusual iconography, likely linked to a local cult. The goddesses—the larger one is Durga—ride on the backs of two tigers, recognizable by the fur pattern engraved on their bodies. Both are surrounded by their own halos.

27. Ganesh
18th century
Tamil Nadu
Copper alloy, H cm 6
Price on request

Seated on a double lotus pedestal is a small statue of Ganesha in the classic Tamil Nadu style, with four arms and spread legs that accentuate his pachydermic belly. The perfection of this miniature work follows the tradition of the region’s millennia-old bronze sculpture tradition.

28. GARUDA, the divine eagle
19th century
Northern India
Copper alloy, cm 20
Price on request

Garuda is the mount of Vishnu, a mythological bird with an anthropomorphic form, large outstretched wings, and a beak ready to seize the serpents—symbols of the hostile forces of the underworld. This piece follows his classical iconography but with a very effective simplification. The eight feathers on the wings accentuate the statue’s dynamism.

29. Hanuman
Himachal Pradesh
18th – 19th century
Bronze
H. 6+5+5
Price on request.

These are three small bronze statues of Hanuman, the monkey king, famous for his crucial role in Sita’s rescue in the famous Ramayana. The one on the left is the most traditional because it depicts Hanuman in a realistic style, with his hands clasped in prayer. The other two images are recognizable by the long monkey tails surrounding them; they are stylized yet original depictions in a folk style.

30. The monkey god Hanuman flanked by two Ganeshas.
Singapore 2023
Polychrome resin, 6 to 9 cm

These are three contemporary examples of traditional “bronzetti.” Cast using die-casting, they are then painted in the brightest Indian colors, evoking the charm of Hindu mythology.