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  • The fish shaped figure may have been used as bead.
  • Compost figure of two animals carved in a form of a bead.
  • Four-armed Parvati, standing in samabhanga, stretches the lower right hand in varada and holds lotus flower in the upper right and trishula and ghanta in the left hands. She is flanked by female chauri-bearers as well as Jaya and Vijaya carrying danda or sword on the sides. Lion is represented on the proper right and mutilated deer (?) on the left of her feet placed on a lotus. Her head is flanked by a malavidyadhara on each side, that on the left being defaced. She wears a jatamukuta, kundalas, torque, hara wristlets and anklets and is draped in a sari and scarf which winds round both her arms. This is a typical early medieval art- specimen of Himalayan hills, characterized by metallic finish, elongation of the figures and an ornamental arched canopy crowning the image which is called as Katyuri Art.
  • An Ekamukha Shivalinga made of pink sand stone. It belongs to Gupta period.
  • Only the upper panel of the post remains. A woman is seen supporting herself on the branch of a tree to the left of which stands a much damaged female figure with hands folded in adoration. To the right is a stambha which appears to be surmounted by a horse or a lion. The panel is bordered by a row of stepped pyramids above, and is surrounded by a narrow band of floral buds. The uppermost plain section of the post bears an inscription: Pusasa thabhodhama. The panel may well be a representation of the nativity of the Buddha in the sala forest at Lumbini, in which case the main figure could be identified with Maya; this identification would be further reinforced if the creature represented on the stambha were indeed a horse as it has been conjectured that the pillar set up by Asoka at Lumbini was crowned by a horse capital.
  • Of the five episodes in the Buddha's life, which are graphically represented in sculptures, the mahaparinirvana (the great decease) is the last one. The present relief shows the Teacher's body lying on a couch and surrounded by grief-stricken disciples like Ananda (standing at his feet), Mahakasyapa and Subhadra along with Vajrapani. Others are seen mourning the lord's demise. According to the Chinese traditions, Vajrapani as Guhyapadi Malla holding the adamantine vajra (club) was a devout attendant of the Buddha. In the Ambattha Sutta of the Dighanikaya, he, as the chief of the yakshas, was present at the time of the Buddha's death.
  • The two-armed Khadiravani Tara is standing on a lotus pedestal. Her right hand is in the varada mudra, while the left holds the stem of a utpala. She is accompanied by Asokakanta Marichi and Ekajata. The inscription on the pedestal reds: 'This is a gift of gods; by the piou7s devotee Bhatta Ichchha, the son of Bhatta Naho. May the merit abiding in this, contribute to the well beings with his father and mother at the head! The second year of King Sri Ramapaladeva, 28th day of Vaisakha.'
  • The Buddha seated in padmasana holds his two hands in the vyakhyana mudra (preaching attitude). The halo is devoid of any carving and the transparent drapery covers only the left shoulder. The wavy hair is arranged in a big top-knot and the urna (mark of knowledge) is projected in the centre of the forehead. The half-closed drooping eyes impart an absorbed and inward vision. The blissful expression on the face is to be compared with the Gupta period classical idiom. The sculpture has a tenon at the base for fixing and a conical shaft above the halo probably for supporting an umbrella.
  • The Bodhisattva characterized by typical Gandharan features is seated on a high pedestal. His pensive attitude bespeaks of his all compassionate nature. The left leg of the bejeweled bodhisattva is wearing a sandal while the other sandal is placed on the pedestal.
  • The fragment from the base of a stupa represents the birth of Gautama, who emerges from the right side of queen Maya standing cross-legged and holding the branch of a sala tree in the Lumbini garden. Indra receives the new-born babe on a piece of cloth and behind him stands Lord Brahma with a halo around his head. Above is seen a heavenly figure rejoicing at the auspicious moment. The flywhisk between him and the branch of the tree signifies the greatness of the divine child, who is seen again standing with his right hand raised in abhaya (protection) mudra. As legend has it, the child after descending from Sakra's hands stood erect on the ground and taking seven steps declared, "I am born for enlightenment of the good of the world; this is my last birth in the world of phenomena". The sculpture is a fine specimen of the late Gandhara art and a superbly graphic representation of the legend.