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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.
  • The Surasundari wears an elaborate crown consisting of three large triangular plaques composed of kirttimukhas alternating with three smaller ones, large circular earrings together with jeweled strands hanging from the upper lobes, rows of bangles, necklaces, girdle with diamond-shaped pendants, and urujalakas. A series of anklets are worn above the ankles and a loose one over the feet. The monkeys clambers up her crossed legs as she raises the right hand to drive it away. A tenon is visible above the mango tree.
  • The dancing damsel is shown with one leg bent at knee, the other raised but now broken at the thigh. The right hand is lifted above the shoulder palm forward; the left is drawn to the breast. She wears on elaborate crown consisting of three large triangular plaques composed of kirttimukhas alternating with three smaller ones, large circular earrings together with jewelled strands hanging from the upper lobes, rows of bangles, necklaces. Girdle with diamond-shaped pendants and urujalakas. A series of anklets are worn above the ankles and loose one over the feet, the hair is tied in a large bun at the nape of neck and a scarf flutters at the side. Above is a stylized mango tree shaped like a snake hood and edged with a double row of mangoes.
  • The image of Bodhisatva Maiterya has been carved in blue schist stone. The sculpture belongs to the Gandhara School of Art.
  • Maya is in the center holding the branch of the shala tree with her right hand, the left hand being placed around the shoulder of her sister Mahaprajapati on whom she leans for support. The left is a woman holding what appears to be a whisk and another with spouted water pot. The child is just emerging from Maya's right side, the God Indra stretching out a towel in order to receive him. Behind him are two other figures, one with hands folded in adoration and the other waving a piece of cloth and touching his lips with a finger in a gesture expressing amazement. The rejoicing in the heavens is symbolized by musical instruments floating at the top
  • The Goddess leans forward, right foot planted on the head of the buffalo demon which she pierces with her trident. With her left hand she holds the creature's leg and bends it backward. The upper right and left hand carry a sword and a cauri-like object. Her ornaments consist of heavy round earrings, an ekavali, armlets with small floral crests, wristlets, and a double-stranded girdle. She wears a scarf which is draped across the hips and a lower garment, an end of which falls between the legs. The hair is parted in the center and done in rolled tiers that reach to the shoulders. The corpulent male attendant also wears a heavy wig like coiffure and holds a lotus flower in the right hand.
  • An Ekamukha Shivalinga made of pink sand stone. It belongs to Gupta period.
  • The head is strongly reminiscent of the Gupta style at Mathura. Nevertheless the linear features of the face are softened and more in keeping with the delicate handling characteristic of the Sarnath school.
  • The God embraces his consort, holding her lightly under the breast while she has her right arm thrown around his shoulders. The couple is seated on a lotus having the shape of a fiat, grooved disc; the flower is borne on a stalk with winding shoots and leaves supporting geese. The pendant legs of the couple rest on subsidiary lotus pedestals next to which are the bull and Lion vahanas, a badly mutilated image of Bhrngi, and a seated devotee. To the side are attendant figures below who are damaged figures of Ganesa and Karttikeya. At the bottom, in a register, are seven ganas, the central one supporting the slab, the others in a playful mood. Behind the couple are pilasters topped by alingana- murtis of Brahma and Vishnu with their consorts, on the left and right sides respectively. The side offsets contain the usual decorative motifs of vyalas on elephant heads and makaras with warriors. On top is a mutilated miniature image of a four-armed male Divinity flanked by flying Vidyadhara couples.
  • The image was originally housed in a small shrine known as the temple of Patian Dai, about six miles from Satna. The Goddess, all of her four arms broken, stands on a small rectangular pedestal the dado of which is carved with a simple lotus flanked by a worshipper and a seated Divinity holding a club (?) and a serpent. Ambika wears the usual elaborate jewellery characteristic of this period including anklets well up on the calves, a girdle with pendant bells, and a karandamukuta. The hair is done in a large bun which rests over the right shoulder; the halo consists of a stellate lotus flower. Above her head was carved the foliage of a mango tree, now missing. She is attended by two youths, the one to her right riding a lion, the other waving a chauri. At their feet are damaged figures of a male and a female devotee, seated on lotuses, and flanked by two four- armed Goddesses. Those to the extreme left and right are labeled Prajapati and Vajrasamkala respectively. Of the other two, the one on the left carriers a discus, and the one on the right is accompanied by an elephant. Below them, in narrow panels, are the Aagrahas, four on either side. The pilasters flanking the Goddess are divided into several compartments, each topped by an arched niche, and all filled with representations of attendant Goddesses, each one of them identified by a label. Thus, on the left, from top to bottom we have, Jaya, Anantamati, Vairota, Gauri, Mahakali, Kali, and Pusadadhi, on the right Aparajita, Mahamunusi, Anantamati, Gandhdri, Manusi, Jalamalini, and Manuja. In the niches between the pilasters are more Goddesses, identified from left to right as Vahurupini, Camunda, Sarasati, Padumavati, and Vijaya. On the top, in the central niche, is the seated Neminatha, identified by the conch carved below his legs and flanked by two seated and two standing Jinas. The narrow recesses at the edges contain images of the various Jinas, the usual vyalas, and also makara heads on which are seated tiny male figures carrying offerings in a pot.