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(archaeology)
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  • Circular disc carved in relief on one side, depicting a sixteen- petalled lotus flower design, enclosed in a circle of nandi- padas (dot and a crescent-pattern). Greyish-buff soap-stone. An inscription at the back reading.
  • Image of Shantinatha seated cross legged in dhyanamudra over a cushion placed on simhasana (lion-throne), the latter shown on a terraced pedestal. The figure is detachable from the throne, and bears an inscription at its back giving the name. Both his hands, one over the other, are placed on his lap. He has elongate ears and a srivatsa mark on the chest. The hair is arranged in small schematic spiral curls with an ushnisha. A halo behind the head. The figure is surrounded by an arch consisting of two standing and two seated Tirathankras and a triple umbrella with perforated design flanked on either side by an elephant. All around the arch, on both sides and on top, are depicted on the back plate, 19 Tirthankaras all seated in dhyanamudra. The upper part of the plate is ornamented and semi-circular in shape with a purnaghata on either side and on top. The extreme ends of the plate are elaborately worked in vertical bands depicting from top a makara head rampant leogryph or lion over the elephant head, a musician and a chauri-bearer. On either side of the throne are six figures of devotees contained in arched niches. In front of the throne below is a row of navagrahas and the cognizance of the Tirathankara, a chakra flanked by two deers On the base in front is an ached niche enclosing a seated female figure; extremes the attendant Yaksha and Yakshi standing figures.
  • Four armed figure of Gaja-Lakshmi seated cross legged on a rectangular pedestal, with a row of seven purna-kalasa in front, and two devotees seated on either side. The facial features are mutilated. In both the upper hands, she holds lotus flower, each supporting on elephant which are bathing the deity. In both the lower hands she carries purna- kalasas. She wears a coronet, Ear-rings, necklace, scarf around the shoulders and a waist cloth wore with a girdle. A trefoil arch at the back with beaded border and a finial, is supported by two columns on either side.
  • Head of Buddha. Spiral hair tied up in top-knot fashion; elongate ears and lines on the neck. Chunar sand-stone. Chipped at the neck.
  • Four armed figure of Balarama Sankarshana or Anant Vasudeva Narayana, standing on a circular lotus pedestal mounted on a rectangular base, under the canopy of a seven-hooded serpent. In the upper right hand he carries a goad (gada), in the lower right a lotus flower; in the upper left a plough, and in the lower left a chakra (wheel). The proper left leg is slightly bent forward. The hair is braided upwards with three locks falling on each shoulder. He wears an ornamented coronet, two necklaces , beaded yajnopavita, circular earrings, vanamala, armlets, bracelets, anklets, the lower garments reaching below the knees and held at the waist by a girdle with a floral clasp in front and a sash around the thighs. On his either side stand two female deities with a plain nimbus around their heads. On the extreme ends of the shafts supporting the serpents canopy are two rampant lions over the elephants. Seated figure of the donor on the proper right corner of the base, in front. The base on the back bears an inscription recording that the image was erected during the reign of king Devapala in the 9th century A.D.
  • Mother and Child on a four-legged rectangular couch. The child is shown lying flat on the back. The mother is reclining on a pillow on her left side supporting her head with the raised left hand. In the right hand, she holds the stalk of a lotus flower. Her hair is arranged into a top- knot. The costume consists of a scarf around the shoulders and a lower garment worn with an elaborate girdle. She wears a tiara, patra-kundalas, necklace, bracelets, etc. A female attendant figure seated on a high seat in the rear right corner with the head bent towards the left foot of the mother. On the rear left corner there is a circular pedestal with a hole in the centre, probably for taking in the chhatra. On the couch in front are depicted seated Ganesha to the proper right and another figure to the proper left. On the front right leg is tapering object and on the front left a kneeling devotee with folded hands. The back-support has an ornamental torana in the middle with foliage on either side. It depicts a full-vase inside and on top, as also a miniature Siva-linga, and floral petals border. The figures are rubbed out. The back bears an inscription in Bengali script.
  • A stucco head looking like a portrait study. The charming drooping curls are tied by a zig-zag floral band. The face is clean shaven but contains a moustache. The impression of an annoyed elderly man of the face is amazingly made by the artist.
  • Buddha standing in abhayamudra (the right hand being lost), on an abacus of a lotus pedestal. In his left hand he holds the hem of his garments. The robes cover both the shoulders. The folds being in schematic, sinuous and flowing lines. He bears an urna mark on the forehead. The wavy hair is arranged in top-knot fashion. A plain nimbus (slight by damaged on the proper left) around his head. The hem of the garment on the proper right is also slightly damaged. Schist stone.
  • Image of standing Surya complete with pedestal. He wears a profusely ornamented crown, earrings, necklaces yajnopavita, armlets, girdle, uttariya and antariya. He is flanked on either side by two standing male figure holding a sword and a shield, two bearded small standing figures, two ladies holdings flowers and full blown lotuses. A kirtimukha on top with two flaying figures on the extreme ends. Seven horses are shown on the base in front in three rectangular niches, driven by Aruna seated on pedestal with reins in his hands. Chloride stone.
  • Figure of a female (Mohini) standing in a graceful pose under a flowering tree bearing fruits. The trunk of the tree is to her proper right and a standing dwarf figure with the left hand raised above the head and the left resting on the hip, to her proper left. Her left arm flexed at the elbow rests on the side while the right-hand is raised above the head She is looking in a mirror held in her left hand. Her hair is arranged in schematic spirals, tied into a loop behind her head to the left. She is profusely ornamented and wears round ear-ring, necklaces of pearls, a breast chain, stanottariya, jewelled armlets, bangles, anklets, etc. Her lower garments is fastened at the waist by a double ornamented band from which tassels are suspended. The pedestal has a pointed tenon and is carved with floral motifs at the bottom. The sculpture was broken into 14 pieces, but has now been joined Black stone.