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  • 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.
  • The fragment is divided into five panels. The one to the left contains a gana wearing a tunic and Scythian cap blowing a horn, the center panel a gana dancing, and the panel to the right a seated gana leaning against a bolster, and head bowed over a flower which he holds in the right hand. The two floral panels contain practically identical lotus lunates.
  • The fragment consists of seven panels, four containing floral eliefs and three containing ganas.
  • Only the portion of the image below the knees is preserved.
  • "The figure is damaged, the head, arms, lower legs and the feet being lost. Traces of the left hand, resting at the hip, are present. The figure is frontally conceived, and must have stood erect with the weight equally distributed on both feet. The shoulders are broad; and the torso, except for a slight protuberance at the belly, is flat. The workmanship is very similar to Bharhut, particularly in the stiff line and cubical form. Even though the image is technically carved in the round it is essentially a bilateral relief, more so than any of the other free standing Yakshas of this period."
  • Lotus leaves and buds emerge from the sides of the lunate and are carved along the bevelled edge. The base of the post, which is roughly dressed, was embedded in the ground.
  • Female bust with hair arranged backward and tied with a fillet. She wears a torque and beaded necklace.
  • Fragment of a temple wall containing the figure of four-armed 'Saraswati'. The Goddess holds a 'vina' in two hands, the upper right hand holds a lotus while the lower left hand is broken. A goose can be seen near her feet. The 'vina' is largely a later restoration effected by the villagers who worshipped the image before it was acquired by the Museum."