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Stone sculpture of Shiva: Bansi,Udaipur 8th century
Accession Number 145/66
Buff sand stone life size sculpture of a divine damsel of fertility love and beauty called Yakshi: Varanasi 4th century
Accession Number 55=64/2019
Black stone sculpture of Boddhisatva as young prince with curling shoulder length hair Gandhara(Peshawar) 8th century
Accession Number 11191
Black stone sculpture of “Chaturbhuj Vishnu” with discus mace and rosary. Halo flanked by Brahma and Shiva: Chaksu, Jaipur 10th century
Accession Number 69/11
Stone sculpture of goddess slaying buffalo demon Mahisasur: Abhameri, Dausa 8th century
Accession Number 63/64
Black stone sculpture of Vaman Vishnu,the dwarf Avatar who came to subdue king Bali the victor over earthly and celestial worlds: Sambhar, Jaipur 10th century
Accession Number 3/56/64/11201
Buff sand stone sculpture of Ravana seeking unsuccessfully to lift mount Kailash when denied audience by lord Shiva who placed his toe firmly on earth to counter the powerful demon's attempt to carry away the lord with hi’s abode: Abhaneri, Dausa 10th century
Accession Number 14/59/64
River goddess ganga astride a crocodile portrayed on temple door jamb to purify temple and entering worshippers: Abhaneri Dausa, 10th century
Accession Number 33/76/-13
Black stone sculpture of Jain Tirthankar, muni Suvrat Nath in Kayotsarga mudra attitude of dismissing the body and senses: Narhad Jhunjhunu.
Accession Number 8/66/64
8th Century A.D. stone sculpture of Shiva from Bansi, Udaipur. The ornamental crown is elaborate. The finely hued features and subtle smile are indicative of the high level of artistic and inspirational skill prevalent at the time.
Acc. No. 145/66
4th century A.D. buff sand stone imposing life size standing sculpture of a Yakshi, found on the Ganges river bed near Man Mandir, Varanasi. A Yakshi is a divine damsel associated with fertility, love and beauty, alternatively they are friendly spirits of the woods and mountains.
Accession No. 55=64/2019
Majestic black stone sculpture from Gandhara (Peshawar) of a Boddhisatva, as a young prince with curling shoulder length hair and earrings, well sculpted youthful body adorned by a necklace and other ornaments and a robe draped over the left shoulder tucked into a dhoti. In Buddhist cosmology, Boddhisatvas are sublimely compassionate beings who renounce Nirvana, liberation, until all beings without exception have been liberated.
Accession No. 11191
10th century A.D., Chaksu, Jaipur. Black stone sculpture of Chaturbhuj Vishnu. The hands are holding the discus, mace and a rosary. The fourth hand is missing. His halo is flanked by Brahma and Shiva. Ayudhpurush hold his attributes, the conch and discus and is accompanied by attendants.
Accession No. 69/11
8th century A.D., Abhaneri, Dausa. Stone sculpture of goddess Mahishasur Mardini thrusting trident into the buffalo demon Mahishasur and pressing his emerging human head down with her hand. Pillars flanking her are crowned by typical Kirtimukh engravings of the head of a demon that was forced to consume his whole body except his head. The sculpture is with fine detail down to the fingers in graceful mudras of aggression.
10th century A.D., Sambhar, Jaipur. Black stone sculpture of Vaman Vishnu with rosary and conch-shell flanked by Ayudhpurush (bearers of Vishnu's attributes the conch and discus) and attendants. His dwarf Avatar was undertaken to subdue king Bali who had gained domination over the three worlds depriving the gods of their power and dignity. The dwarf begged the generous king for as much land only as he could cover in three steps, which the unsuspecting king granted. Then the dwarf Avatar assumed cosmic proportions and in two strides covered the heaven and earth, there being no more space for the third step except the proffered head of the humbled Bali. Thus the worlds were released from Bali's domination but respecting his virtue as a man of his word and a righteous king he was allowed dominion over Patala the nether worlds. As the legend goes his request that he be permitted to return each year at the festival of Onam to visit his people was also granted. His return in spirit is celebrated by the people of Kerala at the festival of Onam.
Accession No. 3/56/64/11201
8th century A.D., Abhaneri, Dausa. Buff sand stone sculpture of Ravana attempting unsuccessfully to lift mount Kailash with Shiva and Parvati seated on it. Ravana, great devotee of Shiva, being denied entry to Kailash by doorkeepers, in a rage sought to carry Kailash itself away with him. As Kailash shook, Shiva placed a toe on earth, frustrating his attempts even to shake Kailash any further. Repenting, Ravana began a 1000 years worship of Shiva to appease him (Shiva Purana). A popular theme for sculptures from the 8th to 13th century and found in several places including Kashi Vishvanath, Ellora, Elephanta, Halibid and Belure, Khajuraho etc.
Accession No. 14/59/64
LEFT TEMPLE DOOR JAMB
10th-11th century A.D. stone temple door jamb with three columns containing patterns of flowers, serpent deities and panels of Gandharvas, celestial beings, in erotic postures. The lower portions show the goddess Ganga astride her crocodile vehicle with attendants. According to Brihatsamhita texts, door jambs should invariably depict in the lower portion, river goddesses Ganga or Yamuna with attendants carrying the attributes of the main deity of the temple. The river goddesses purify the temple precincts and the devotees entering to worship by destroying their sins. The remaining portion of the door jamb were to be decorated with patterns of flowers, serpents, pots with sacred coconuts, erotic themes, dwarfs, lions and elephants, lotus and conch-shells.
Accession No. 33/76/13
MUNI SUVRAT NATH
Black stone sculpture from Narhad, Jhunjhunu of Muni Suvrat Nath, 20th Tirthankar (Maker of the River Crossing) of the Jain faith. The emblem appearing on the sculpture to identify him is the tortoise and the Yaksha and Yakshini are Varun and Bahurupini. Each of the 24 Tirthankars has his identifying emblem.
The Tirthankars are the supreme objects of Jain contemplation and represent their ultimate spiritual goal that is Nirvana, liberation beyond the material universe, past heavenly abodes of the gods and goddesses, to a remote transcendent cut-off (Kevala) zone of pure uninflected existence at the ceiling of the universe, where they reside.
Jain scriptures speak of the Tirthanakars' bodies having miraculous beauty and pure fragrance, not subject to disease, devoid of perspiration and all uncleanliness originating from processes of digestion. Their body has the fragrance of water lilies, their blood is white like milk, fresh from a cow, and their flesh is devoid of the smell of flesh.
The Tirthankars are termed both as Vir (heroes) and as Jin (victor) thereby their followers are called Jains. When sculpted standing a Tirthankar is shown in the Kayotsarga Mudra, the attitude of dismissing the body, rigid, erect and immobile, arms held stiffly down, knees straight and toes directly forward, pervaded by a timeless calm in his splendid isolation.
Accession No. 8/66/64
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