ISBN 0-520-05992-1
Introduction
125
Catalogue
151
Age
of
the
Kushans
and
Satavahanas
Introduction
155
Catalogue
211
Age
entries
Dr.
Pal
history, religion,
coins
he
traces
the
development
of
in
displaying
application as the volume
have
been
arranged
chronologically
by
followed
by
section is
Indian
keep in
many lacunae
by
members
Director for
Tuchman.
successful
production
of
the
book.
Head
Jeffrey
Conley
have
the
east.
By
the
year
187
B.C.
the
Maurya
Empire
had
the Greek rulers
territories
comprised
These included
political
presence
south into India,
Saka
era
of
A.D.
78.
The
shortly
after
as is known
from contemporary inscriptions
the region.
While the
to
the
Andhra
trans-Vindhya
Andhra
Pradesh.
In
any
event,
later
expanded
east
Great
third century, the dominant
political dynasty in the region were the Ikshvakus, who were once
feudatories of
political
force,
the
female
century.
India
from
Panjab
Although stone
been found.
us by
the Greek
constructing,
and
religious system of the
being
did
later
economy,
at
least
With
the
coins
provide
no
found
earlier
than
the
the
although
images
the Vedic
Tyche, Zeus, and others on various
Indian
from
Bharhut,
Sanchi,
of
included
members
dominions of
to
a
religious
of donors,
by the
to state why a
(
=
be
for
the
acquisition
of
knowledge
... for the
lessening of
all griefs
of Buddhavarman
happiness of all
and
to
endowments {of
brahmins
a guild.
considered the
royal interlocutor
asks the
next.
Markandeya
unhesitatingly
replies
that
the
worship
of
the
gods
is
the
best
other
consisting
of
abstinence,
adoration.
20
This
emphasis
on
devotional
worship
dynasty
overthrown
by
The
early
religious purposes.
the favorite
sculptures served
or
compositions
temples
using
therefore, most stone sculptures are in the form of deeply
carved
reliefs
forms
placed some
ten or
fifteen feet
metal
have
survived.
Bronze
for sculpture
chapter
in
Varahamihira's
in
aims.
Jains
began to
major
components
are
Vishnuism
(Vaishnava),
Sivaism
earlier
centuries.
The
core
texts
of
artists.
sky god
in
gods
and
goddesses,
the
former
religion of devotion,
 as
the
exalted
Being,
the
Universal
Spirit,
the
ultimate
certainly
in
demonstrated by briefly
recounting the principal
Jain
pantheon,
gods,
their
absorption
into
Vishnuism.
The
ninth
the
by
says
a
typical
Jain
text,
 by
the nonsoul
Sakyamuni
is
earth
to
Avalokitesvara's
function,
however,
B.C.
Although
the
whether they
Mother Goddesses to
be distinguished and elevated as a major deity in the Hindu pantheon is Sri-
Lakshmi, venerated
Jains
the
Kushan
inherent
power
and
innumerable
gods
and
goddesses
were
created
to
Mathura and the northwest.
a transcendental
Jain
monks
dispense
and lead a life of complete abstinence and continence, lay
followers
must
subservient
to
the
Jinas
are
as
village
one
or
more
trees
are
as Nandi, Vasudeva, or Vishnu, and the Goddess were rarely
portrayed
however,
the
was
not
iconography of the
Valley,
c.
250-300,
S50.
family
of Kubera.
representation
does
not
Sri-Lakshmi, is
adored
supposed
frequently
as
indispensable
as
his
bag
origins
and this
associated
with
In Kushan
coin of the
included in the
his
cult
was
not
unknown
in
the
Kushan
period
but
seems
shrine to
the
Goddess,
The
name
of
the
the
that
a
form
attire
Sasanian monarchs,
principles
underlying
the
(S54)
retains
the
tree
climbing
up
her
back.
Indeed,
by
integrating
and sighting a beautiful woman (divyandri) and a full jar
(purnakumbha)
before
undertaking
the two
elements of
conceived as
millennium B.C. As some
influence
we
was
introduced
from
Buddhist,
and
Jain
rituals.
For
for
as
gods
with
similar
proportions.
Like
the
gods,
royal
images
should
In
lived in the same
courtesans came
have
been
the
models
for
the
exotic
figures
that
appear
monarch
are
representational,
imitative
of
taste, so also
each sculpture or
to which the transient
by
combining
various
emotions,
as the
the peaceful. The heroic and the terrifying are combined in
representations of the wrathful
emphasize
depicted
temples
of
the
palace,
such
as
the
audience
hall,
can
all
nine
moods
be
portrayed.
41
The two most popular rasas depicted in Indian art in general are
the
erotic
Indian
artists
devised
an
idealized
erotic.
would be
night with
of
the
principal
distortion
of
his
Siva's
attendants,
known as ganas, are often among the most whimsical figures in Indian
sculpture. Interestingly,
of
proportions.
Otherwise,
Madhya
Pradesh,
c.
500,
S128.
and
But for
the
two
centers.
be used
gods
other
concepts.
provided
with
indicate
did accept
with
coins Siva seems
centuries
of
the
Christian
era
second century B.C. the lotus was not only the
support
of
the
goddess
Sri-Lakshmi,
principal
attribute.
By
become a seat for the
image
steps
decorative
divine worship.
dissolution
of
world,
Heaven
Gupta period
reflection
of
Vedic
text:
 Fire
is
verily the lotus of this Earth, the Sun the lotus of yonder Sky.
54
for and
attribute of
Sri-Lakshmi, the
earth mother
personifying all
(provider of
Si
7)
being
bathed
by
of Mayadevi, mother
that
the
future
emancipator
had
entered
her
womb
mother
were
 serpent or
of
the
fire
god,
Agni,
and
sage
Vasishtha,
waters.
Vishnu's
navel
(prithlvi) or
space (akasa):
mandalas,
which
later
came
to
40
Pundarikaksha (lotus
an
the universe,
of
an
in
the
bodhisattva Avalokitesvara long
the
to
the
beliefs.
was
borrowed
wheel
symbolizes
word
is
primarily
associated
with
literature
considered to
The
wheel
belonged
to
Vasudeva-Krishna
destructive
power
was
various
on the movement
respectively ; elsewhere, the
knowledge, while
of the whole,
yogi Siva is shown in such images to have an
erect
penis,
which
continence
and
self-control
even
as
Parvati is
especially
in
its
emphasis
indirectly
on
ten,
and
eighteen
are
important
in
Buddhist
iconography
as
its
on
of
analogy
between
the
elephant
Varaha,
altar was called vedi,
represents Purusha
and its
idea led to
the
usually
the
image
as
a
cosmic
pillar
can discern the influence
legs
are
frequently
fully
outstretched
and
unnaturally
are,
of
course,
of the
through
the
wisdom
who
have
Vishnu's
mount
constantly
A.D. Buddhists
Buddha
Sakyamuni
of
his
previous
births.
During
the
period
representation
identify such
myth
itself
was
Hindu
made
oblong or
presence.
It
is
generally
power
regions
on
the
obverse
is
invariably
a
to be used by other foreign dynasties in India, such
as the
Scythians, or
coins
of
the
Parthian
monarchs,
by
in the north
to, perhaps, the Deccan in the south and Bihar in the east.
Although
the
northwest
long
after
the
coinage
of
portraits
example
(C3C),
King
No
doubt
the
were familiar
with their
the elephant-rider
have been the
equestrian portraits
while in the
of
divine
general.
king.
The
spear
continued to be held by Huvishka (Ci2b) but was replaced by the
trident
kings, and beginning with Vasudeva I
it
In the Kushan
knees, and leather boots.
and
(03a—
b).
Standing
figures
invariably
display
of
Huvishka's
coins
must
have
been
elderly figure.
and
showing
his
added
behind
the
heads
of Zeus and
Kushan
sculpture
the
halo
is
Kushano-Sasanian
coins
state,
was
both
monumental
frontality, and
encountered in
origin
to
nationalistic
attitude
ear
ornaments.
their
phase
with
the
emergence
of
the
Gupta
in the Indian fashion,
hieratic
postures
assumed
the
Kushan
Gupta monarchs continue
royal cult. The trident
the
wealthy
and
influential
members
of
society.
with
images
that
clearly
distinguish
them
for
their
physical
representations
on
Gupta
gold
coins
was
the
(C28a—
c).
bow
and
arrow.
7
No
explain
Samudragupta's
golden
will
be cited, one may consider the equestrian royal figures
of Sasanian
combat on
in
combat
with
represent
One
cannot
fail
to
draw
horse
hunting
lions,
written:
Representations
of
carved
extended
the
most coins
a bull
Saka copper
only
obverse and may signify the city deity of Kapisa (present-day
Begram
in
eastern
coins generally are
spirited
robed figure
somewhat
classical art
who
used
such
Azilises's
appears to be a vessel with
flames,
goddess here
absent.
encountered
in
Scythian coinage. Portrayed on the reverse of one of Kanishka's
dinars is
engraver
so
employed
a
familiar
Greek
model.
In
fact,
certain
features,
particularly
the
clothing
would
have
Indians. Further,
model
Kushan engravers
to represent
(Ci2b)
Thus, although
southern capital
b).
Although
the
figure
is
to be an innovation
waterpot instead of
and
may
indicate
introduced by
in the
Very
likely
this
presentation
was
meant
to
symbolize
the
are
Skanda,
or
Kumara,
and
Visakha,
the
Gupta
period
Skanda
and
Visakha
had
Huvishka's
coin
Skanda
as
wear
swords
are
Gandharan
numismatic art.
have
coins
in Indian
on
differ from
characteristic of
do
not
flower.
78
goddess's
right
hand
is
usually
identified
as
the
diadem,
emblem
goddess
functions
figure
to
presiding
goddess
of
royal
fortune.
not consider
early
Gupta
coins
could
have
replaced
Ardoxsho with the more familiar, and Indian, image of Sri-Lakshmi (Si
7),
Some comments are
image
lion, holding
Very
Devimahatmya, the
spear, which may
beneath
her
well-defined
robes.
posture, the figure
rather
even
more
evident
in
interplay
Gupta coins is so
Eukratides).
Eucratides
I
the
throne
about
155
as
Bactrian mint;
that it
reverse,
standard.
The
device
of
a, obverse: Bust
helmet
apparently
introduced
the
different.
almost
parallel
keeping
with
the
she is
is
crested,
although
in
c.
The
royal
bust,
however,
is
sensitively
ren-
Each
is
portrayed
with
slightly
does c
quality
of
the
reverse
Lahiri
elephant was a
cited as
great
hand, scepter in left. Snake
symbol
perhaps, Mathura.
His lifedates
with its
left
hand,
may have
type. Once
conforms to a
attire
More interesting
same figure as
royal glory.
As suggested
independent
special
significance
figure.
87
megaloy
Azoy
(of
Legend,
Prakrit
with
Kharoshthi:
Maharajasa
frame.
Legend:
None.
tight
hand.
In
of
Greek
Coins
combine to
characterize a
powerful personality.
monarch. While the
not clear,
while the firm, hieratic stance and flames near
the
right
shoulder
Kanishka is said
to in
version
of
Mahesa,
or
left hand
to a king. In the
Indian
context,
however,
an
initiation
was adopted
god, as
Greek
ruler
Philoxenus
(r.
125-1
15
B.C.).
As
with
of
diadem,
rather
to left,
emerging from
rock or
Legend: Same as
Notwithstanding their similarity,
as
in general
attire differ in
worn in
seems
somewhat
less
formal.
Interestingly,
the
a
belie
considered
idealized
representations
emerging from
these,
only
predecessors
employed
Regarded
been
removed,
makes
64
or
67
to
98,
presumably
represents an
bull
on
the
reverse.
Vasudeva
obviously
preferred
the
full-length
Siva
of
the later
placed
difficult
to
as
diagonally
behind
right
tight-fitting
trousers,
beside
trident
in
left
and
and
and
crude
execution
relate
these
coins
have
more
than
one
head;
in
b
held that
larger
with
coins.
and
the
because
it
first
appeared
on
present-day western Madhya
Satakinisd]
powerful
obverse, an
display this pride
and emphasized their
king is
headdress
name,
Chandra,
lion
generally
identified
with
Durga,
even
though
composite figure,
hand
placed
above
Kacha;
the
heaven
by
with
Brahmi
is
the
standard
while
it
was
was also devised.
the
tunic are different,
king's
form
is
by
standard
bearing
simple line
from the
body
turned
slightly
to
stool
announce to the world
survival
of
a
Vedic
for
propaganda.
The
unknown
(Indian artists
with
on the
not
pos-
ture
elegant
goddess
(b),
stands
(articulately
rendered
represent a victory
left arm:
hand,
lotus
flower
Symbol near
either
to issue both
coins
is
now
Not
clearly wears a long
much
(C6—
7).
horse
are
on
horse.
King's
of
same
coin
type
(Altekar
1954,
pi.
xxv)
he
hand
a
shows
minor
variations
from
the
equestrian
larger with a
succeeded in
legend:
 The
royal
foes.
peacock. The iconographic device was a
very
distinctive
Highly
Legend, Sanskrit
the
western
been
coins.
missing. Garuda
standard behind
or noose in right hand, lotus in left.
Legend:
Bdladityah.
Narasimhagupta
have ruled
intermittently
proved
introduction
Standard
with
unrecognizable
many
ancient
imitations
of
Gupta
coinage
(Altekar
1954,
pi.
xxxil,
nos.
14-15).
the ancient
awkward
stone
pillars
at
various
or
naturalistic.
Rather,
they
abstraction
head,
mostly
in
terra-cotta.
Indeed
one
of
the
period.
Such
figurines
symbolizing
fertility
continued
as
an
instances
without
have
more
common
posture
and kings from the Kushan period. Despite their stumpy and
awkward
arms
and
legs,
the
sophistication,
which
is
also
evident
in
the
impressive
elephant
trunk
are
more
naturalistically
modeled.
The
exact
succeeding centuries.
Bharhut
was surrounded
style at Bharhut
such
specialized
mints
were
established.
Considering
the
overwhelming
preponderance
craftsmen.
It
would
but
sculptors
(S4,
impressive
stone
gateways
and
with
undiminished
zeal
in
various
during the Maurya period. Many of these terra-cottas are plaques
with figures
round, such
terra-cotta
plaque
(Si
4)
is
whether goddesses
that
cities in northern
early sites
demonstrate
an
assured
handling
of
form.
The
by
fluid
much
more
plastic
at
imbue the
terra-cotta
from
hole so that the
much too early date.
sec-
ond
century
A.D.
(Dani
1965-66,
p.
73,
pi.
xxxvi,
1).
trade route linking Gandhara with
Bihar.
Most
pointing out
and her
disks and bangles
two
applied
circles
modeled.
Similar
similar figure was recovered
the animal's bulk is
quantities
from
various
sites
in
the
Peshawar
division
of
Pakistan.
Known
as
both
sides
of
the
torso.
example
excavator (Marshall
by
rather
high
cheekbones,
broad
knees.
is
held
at
the
breasts,
Gray-black terra-cotta;
an important
of
The head of
part
somewhat
wear
Red terra-cotta; 2
column
individual
seated
on
on
his
shoulder.
One
dancer
appears
to
be
bald,
another
may
have
an
animal
head.
The
tray
Kubera,
of
jewels
whom
in
while
goddess's face and
slightly effaced lotuses
clearly
demonstrate
that
the
image
must
architecture of the period
similar to those on this
dog
have
been
discovered
(Shere
1961,
bloom.
The
popular
what
appears
the
left.
The
emblems
certainly
is remarkably
round
face,
distinguished
by
very
large
area,
and
at
similar fashion
West
published
another
fragment,
showing
first
century
B.C.
(Kala
1950,
pis.
IV,
xxi;
Kala
1980,
fig.
115).
popularity
of
(Biswas
1981,
pi.
xv;
although other examples
(Ghosh
1958,
pi.
Lxxxivb).
Like
the
others,
this
object
is
The
tall
headdress
ritualistic
favor
of
religious rather
than secular
head
with
its
wonderfully
One
(a)
holds
in the
raised left
S27).
When
complete,
From the
1975,
pp.
18-19,
146;
Craven
1976,
p.
71;
Heeramaneck
1979,
no.
3;
Newman
It
is
not
with
her
right
leg
bent
right
arm
is
meant
represent the
she
of
commercial
greater
centers
also
contributed
collection (S45). Mathura sculptors, conversely, were not reluctant to represent the
human
tion,
without,
however,
sacrificing
the
sensuality
of
approach
who
has
taken
clouded in
any
Hindu
and
Jain
images
were
Mathura.
The
terra-cotta
sculpture
Bihar was
as prolific
sculptures from
been
In
most
other
specific
Generally, the
the stone
is particulary
gold
attractive
sculpture,
bearing
a
remarkable
formal
affinity
A
third
this period
flourished in the Guntur district of Andhra Pradesh first during the rule of the
Satavahanas and
then during
several
sites
along
the
Roman
art,
northwestern colleagues.
While the
of
this
cosmetic trays,
known.
From
Marshall's
work
in
B.C.—c. A.D.
been
compact.
decorative.
standing central figure seems to be
receiving
obeisance
from
billowing scarf forms
cosmetic
tray.
Even
the
same
manner
into
three
compartments
with
a
border
decorated
with
the
male.
Each
the
right hand a
(5.7
cm)
Gift
of
Neil
Kreitman;
M.85.73.
157
shoulders
back
of
each
tortoise
buds
that
terminate
in
clusters
of
globules
either
who
when
subject
was
quite
popular
with
Gandharan
artists
(Lyons
sits
indicates
hollow cylinder,
225,
fig.
56).
S39
into a
was
used
as
a
reliquary
Whatever
(egg).
Except
frequently as
representations of a warrior
Kumara,
the
are a
by
his
sword,
The
diminutive
of
flowers
further
in contrast
distinc-
supreme
Ahura
Mazdah,
while
in
Roman
art
young
boys
are
cultures.
Since
he was
ends
beneath the
S44 A
as
placed on
a footstool.
The
woman,
elegantly
coiffed
with
entire
body.
Her
feet
rest
object
in
her
right
(simhakundala),
and
his
head
once
was
covered
arm
is
better.
S46
Head
of
(47.0
cm)
From
his
stupa.
Behind
the
brahmin
Drona,
which
must
have
fourth figure, whose
1957,
figs.
147,
protrude
from
the
hands
on
the
of
the
mouth.
the
Rocks
the
life
Gandharan artists
they hold a child in a similar fashion at the
left
seated figure can
modeling
of
knots around his
in a
(S70).
He
also
seems
to
wear
arm
can
assume
frequently
rendering
of
volume,
as the Balarama
bodhisattvas
and
flat treatment
of the
wanted
to
function
remains
unknown.
Such
is
broken.
Her
waist
an
Hartel further
Collection
Museum
Associates
Purchase;
M.86.21
with
Typical
of
the
gathered
folds
between
the
legs,
a
tassel
across
not interfere
perpendicularly
surrounded
companion
increase its
(Sivaramamurti
1970,
pp.
the
tree
with
wine
from
her
asoka
Sanskrit poet
of the wheel alternate with knobs, the exact
function of which is not
known. They
as
a
A
nimbus
is
ing, rectangular
stele. In
posture on a lion
with
clenched
fist
would
have
ing
eyes
earlobes
are
manity.
The
urna
and
spiral
topknot
are
absent.
projecting above
his right
hand he
what
has
been
Interestingly,
his
hair
tors
at
probably into the third century.
Several
complete
examples
from
the
Ahichchhatra (Rosenfield
identity, however,
is yet
to be
established. In
some reliefs,
such as
the well-known
one
figure
is
usually identified
represents Balarama,
in
the
left
is
the
belonged
to
a
standing
the
oval.
The
remarkably
now broken.
are
not
quite
as
open
been used
in Mathura
yogi rather than a
Pratapaditya
Pal;
M.76.
147.2
bodhisattva image.
This identification
1985, p.
lively
identified,
there
is
and delicately
Spouse
reliefs in the
female
holds
a
(Joshi
1966)
may
relief of
the period
between
the
hand
cylindrical
stool.
The
right
placed symmetrically
held in the
perfunctory,
the
hands
and
torso. The goddess wears
Buff
terra-cotta;
3
Vh
in
(9.2
cm)
Indian
troughlike base
with his
1950,
p.
74,
pi.
lv;
Kala
1980,
fig.
204).
collection (S26).
Mottled red
sandstone; 28
V2 in
represent the
Heeramaneck
Collection
medium,
this
chain
shrine,
is
not
known.
She
among the terra-cottas from Kausambi, where in
at least two examples
although
Czuma
hip
strangles
a
buffalo
with
carries,
along
with
a
sword,
crescent and
of
Kushan-period
sculpture.
The
manner
in
which
the
would
fondle
a
calf.
Yet
in
(30.8
cm)
and
away
have
been
Parvati
swells
out
their armlets is
197
circular
and
pierced.
The
most
distinctive
feature
energy. His
also seen
fourth-century
have
permitted
side,
and
thus
they
may
have
been
type
to
the
than
figures
riblike
collarlike folds around
remnants
of
such
of
Buddhas, and
a more
proportions, too,
300
but it
bottom
were
restored
polycephalic hood encloses
the
typical
monk's
robes.
the upper garment,
have
stupa,
is
not
known.
When
first
Jambu
tree
including his
event
takes
and the
although his
other
right
hand
forms
the
preaching
gesture
Separated
above
205
to omit
(S81),
once
served
as
excavations have
site indicates that
third
century.
spirited
representation
of
the
scene
with
the
elephant
instead
of
the
must
also
are the
with
Vajrapani
such scenes
dwarfs.
The
(192-1)
1985,
pp.
71-72}.
cannot be
improved. The
period was
the most
creative. The
ideal forms
created by
the unknown
age of
literature
and
drama,
a
continued
refined
aesthetic
artistic ideas
seem to
the
collection
by
a
richly
varied
Despite
the
disintegration
continued
unabated
in
ancient
Gandhara.
Stucco,
Although
wide
of
the
imperial
Kushans
and
disruption
sixth
beauty
and
majestic
grandeur
(Legge
1965,
p.
34).
By
quarter
of
is
attributed
to
Hadda
(S91),
remains
one
of
from the
more interesting is a seated,
headless
figure
(S90).
good idea
registering
inner
is
vibrant,
suave,
developed
during
this
period
at
Sarnath.
This
Hindu
iconographic
three religious
Gupta artists
principal
guises. To mention only a few examples, the concept of
the
avatars
of
Vishnu,
the
Krishna
the Goddess added enormously
the
different from contemporary
qualities
in
and
subliminal
grace.
Both
the
plastic
volumes
defined with
delicate features and
expressive and enigmatic
the group
forms one of the most impressive assemblages of early Kashmiri art. Many of the
early
by
the
Kumarajiva was brought there
cosmopolitan
and
hospitable
valley
during
the
period
too,
did
the
Tibetans.
traveling
to
from Gandhara,
Central Asia,
of
Iranian or
group
of
The design
very
1967,
pis.
136-39;
Colledge
1977,
fig.
23).
The
to the late third—early
fourth
not
incompatible
with
the
evidence.
215
that enjoyed great
great
satisfaction, and later he was to preach against
all
such
stone
and by shallower
Museum
(Rowland
1966,
figs.
59,
70-71)
and
Musee
Arthur M.
the head and
auspicious
neck,
the
right,
eyes,
pensive
gaze
and
from Hadda. In none
countenance
used in the
and
neck.
The
manner
[1951]
1975,
3:
pi.
158,
no.
53).
Thus,
although
prov-
by
a
bow.
to a wall.
(20.3
cm)
M.
84.
220.
As
with
meant
more roundly
and
rosettes.
The
pupils
a sacred cord
from Kashmir
frequently
in
Gandharan
bodhisattva
figures.
The
1957,
figs.
415,
417),
Gandhara
he
may
bird
is
also
water
without
being
attached
to
it,
he
can
also
by
as
image,
as
is
of
the
Swat is the
remarkably
similar
to
that
worn
by
a
standing
this example are
(Huntington
1970,
fig.
3).
Thus,
the
Kushan period. A
ear
the
of
the
to a
plate or
In the
familiar
the
Harwan
tiles
(see
in
Tapa
Sardar,
Afghanistan
(Antonini
1977).
S102
Personified
Wheel
Copper alloy;
2 Va
attribute by the Hindu
figure's
head
His
face
is
were
top.
His
chest with
in an unusual fashion. The
wide rim is grooved,
600
(Pal
1975b,
those
on
the
treatment
of
the
wheel
an earlier
iconographic tradition,
earrings,
artists.
Thus,
a
sixth-century
date
century,
West
Asiatic
goddess
Nana,
whose
cult
appears
to
have
been
popular
crescent moon also is an attribute of
Nana
(Mukherjee
(C25).
with similar swirls
as
Vijayakshetra
or
western
pass
swelling,
especially the right, and the eyebrows rise
more
top
of
back.
Her
ornaments
include
a ribbon
that keeps
in place
looks like a
crescent
over
down
are
strongly
museum's Durga.
material used
pedestal. He wears a short dhoti and
plain
bracelets.
lower right hand
with
figure's left thigh identifies him
as
Gupta
J
few
modifications.
Here
broken,
neither
head.
This
is
an
given
after
her
of
the
body
and the open, staring
rendered,
are
ornamented
and
the
creature
animal is
usually
worn
much, but the
remarkably similar. Traces of
piece
was
daubed
in
vermilion
powder
until
recent
times.
Si
10
Buddha
Sakyamuni
Si
10
Buddha
Sakyamuni
Uttar
Pradesh,
raised in the
set
off
against
a
of
is
depicted
wanted
to
represent
Red
terra-cotta;
4
in
(10.2
cm)
From
they could
2
19.
Covered
with
a
red
slip,
may
represent
head
in
the
collection
are
13).
The
8
1.269.
1
This
hair is
coiled into
Even
more
distinc-
upper
earlobe,
the
right
having
been
broken.
A
necklace
this head is not known, it very likely is from
Uttar Pradesh
although
modeling
of
the
figure
origin. The plastic qualities of the figure clearly
reflect
like. The
Mathura
but
at least two
with
incised
(Si
20).
three
for
circles,
no
doubt,
represent
small
means
when
shown as
regions,
however,
attributes
(K.
one
of
Vishnu's
incarnation.
Such
depicted as a
Pradesh
or
Lakulisa.
241
secured by neatly
nimbus
century.
for this
absence
(26.6 cm)
and for
may
well
have
ring
the
The
or
part
of
a
narrative
the scene below
Collection
probably
Similar columns
adorned with
held
have
come
from
garland, the god
crowned by a lotus
(S140);
the
conch. The
the club
a
female.
(lildkamala) with her right
arms
lion
face
meditating
Jina.
on his
and
places
more
children
canopy. Four
other boys
are
two
cherubs
flying
in
front
of
stylized
Jina.
more typical of
bronze
seems
to
Kushan
emperors
(Cioa-c),
Revanta's
of
grasps a fruit,
embrace
his
she holds a piece of fruit and rests her arm
on
her
an
master, while Uma's
two sons,
spouse
often
quality
Gupta
period
Markandi
temples
are
monuments
of
Maharashtra.
On
the
contrary,
Siva
head
found
at
Ahichchhatra
(V.
S.
Agrawala
compared with the similarly
(Williams
1982,
fig.
204),
long hair
other
three
Jinas
most certainly
other Neminatha.
this
instance,
however,
it
likely
is
meant
to
represent
the
asoka,
which
in various regions of Madhya Pradesh. Stylistic
parallels may be
the
second
quarter
of
of
vigorous
Paul E.
hairstyle,
distinguish
the
various
Buddha
attached to
Pradesh (Si
village
most sculptures
in the
other
of
sculptures,
however,
she
wears
a
fleeting a
psychological
perceptiveness
one
right
of
the
spear,
I
had
are
obesity,
Schastok
(1985,
such
as
typical
India,
including
and
Madhya
Pradesh.
to
several
(Harle
1974,
figs.
Madhya Pradesh provenance
on a plain base, which is damaged at one corner.
His
adornments
arms
resting on a club and a wheel placed on a
pedestal. The conch is held vertically in the
upper
left
hand,
and
the
round
object
in
one
of
left hip on
thick staff, as
broad
central
panel
additionally
is
adorned
with
two
iotuses.
In
emperors,
Although
his
pedigree
represented
frontally,
holding
peacock, who stands
While the design
this heraldic
central
M.
73.87.
her calf
prominent dewlap,
manner in
reaches
Indus.
321
Gandhara
Art.
Journal
of
the
A
merican
Oriental
Society
103,