Mirror: http://tinyurl.com/olk56wz
Indus Script Corpora has been demonstrated to be a catalogum catalogorum of metalwork. This writing, engraving tradition continues in the Indian sprachbund sculptural messages of sites such as Bharhut, Mathura, Besanagara, Kaushambi. Hieroglyphs in rebus-metonymy-layered Meluhha cipher can be identified in the sculptures of stupa, temples and other monuments, thus restating the Art history of Bharatam Janam. The artisans who created the metalwork and related catalogues of Indus Script Corpora continued the tradition by creating hieroglyphs on sculptures conveying messages of metalwork which continued in the historical periods from c. 5th century BCE, evidenced by Begram ivories and Bharhut-Besanagar architectural, art-history marvels.
tāmrapaṭṭī ताम्र-पट्टी, 'copper-city, copper-town': Bharhut भरहुत), Besanagara बेसनगर
The centre-piece of the Bharhut frieze on a coping rail is a fillet flanked by lotus flowers and srivatsa hieroglyph multiplex. The centre-piece is a rectangular piece or plate connected to a thread, not unlike the fillet (with a dotted circle) shown on the foreheads of Priests of Mohenjo-daro metalwork guild. Since the three lotus flowers are: tAmara, the rebus reading of the flowers is: tAmra 'copper'. Nestled within the three lotus design is the tāmrapaṭṭa 'copper plate' fillet. In Indian sprachbund, tāmrapaṭṭa has a cultural connotation signifying the recognition of leadership of a guild, a tradition later applied to the anointing of kings of janapada-s. The wife of a king is referred to as पट्टः-देवी, -महिषी, -राज्ञी the principal queen, i.e. wife of a person who is anointed king with a paTTa. पट्ट [p= 579,2] m. (fr. पत्त्र?) a slab , tablet (for painting or writing upon) MBh.(esp.) a copper plate for inscribing royal grants or orders (cf. ताम्र-) a bandage , ligature , strip , fillet (of cloth , leather &c ) MBh. Sus3r. a frontlet , turban (5 kinds , viz. those of kings , queens , princes , generals , and the प्रसाद-पट्टस् , or turban of honour ; cf. VarBr2S. xlix) , tiara , diadem MBh. Ka1v. Ra1jat. (ifc. f(आ).) पट्टी f. a city , town (cf. निवसन).
(Monier-Williams).पट्टकः 1 A plate of metal used for inscriptions or royal edicts. -2 A bandage. -3 A document; (also n.)
The fillet worn on these statuettes is comparable to the orthography on the Bharhut frieze. It is clearly a tAmrapaTTIka to be worn as a fillet on the forehead. The ends of the thread end up with a small cylindrical band shown at the bottom of the figure below:
In the context of the tāmrapaṭṭī ताम्र-पट्टी, the flanking srivatsa hieroglyph multiplex can be read rebus: aya'fish' rebus: aya, ayas'iron, metal'; xolA'tail' rebus: kolle'blacksmith', kol 'working in iron', kole.l'smithy'. The srivatsa is: aya kole.l'metal smithy'.
That the entire frieze is devoted to cataloguing metalwork is reinforced by the following hieroglyphs shown on adjacent frames: 1. signifying metal ingot (ox-hide type); and 2. blacksmith at work in a smithy
Thus, the frieze hieroglyph multiplex frame sends a clear message: aya kole.l 'metal smithy', tAmra 'lotus' rebus: tAmra 'copper'; tāmrapaṭṭī 'copper-city, copper-town'.
Section of a coping rail. 30.5x122 cm. 2nd cent. BCE Sunga. Bharhut. The Indian sculptural tradition, which began during the Indus Valley period, continued to flourish under the patronage of the early historical dynasties and is closely associated with the development of Buddhism. The major Buddhist monument of the Shunga dynasty was the Bharhut stupa in Madhya Pradesh. Although it did not survive to our time, many sculptural fragments from Bharhut exist in different collections around the world, among which the Indian Museum in Calcutta is the leader. The Cleveland Museum of Art has two sculptures from Bharhut, this section of a stupa's coping rail and a crossbar decorated with a lotus medallion on each side.The winding lotus stalk divides the central portion of the coping into compartments that alternate everyday genre scenes with representation of jewels. The stalk symbolizes a wish-fulfilling creeper (kalpa-lata or kalpa-vrksa), and the jewels are the auspicious symbol of abundance and wealth. The necklace on the left is of particular interest and consists of a large bead with two side pendants. The plain center bead is flanked by two side pendants in the form of triratna (three-jewels), a very popular early Buddhist symbol. The second jewel, on the right, is a regular five-string bead necklace.The genre scenes, from left to right, show a man beside an architectural enclosure trying to catch a small animal climbing the lotus stalk. The second scene shows a man (sadhu or ascetic type, with an elaborate coiffure of matted hair) seated beside a wood hut. He attends a fire at an open hearth, surrounded by the baskets of chapati(s) (bread pancakes) that he is baking. It should be remembered that this early phase of Buddhism, frequently referred to as "anicomic," predates the representations of Buddha in anthropomorphic from and employs the language of various symbols and scenes based on daily life.The frieze below the center section of the coping is decorated with a row of bells suspended from crossed chains--a motif typical of Bharhut. The upper portion of the coping,now missing, was almost certainly decorated with a frieze of a step-merlon pattern alternating with a stylized palm tree--another standard motif on Bharhut copings.The style of sculpture is characteristic of Bharhut: a relatively deep relief, but on oneplane, without graduation in depth. The figures are charmingly naive, wear minimal clothing, and are adorned with heavy jewelry, turbans, or hairdos. Their gestures are somewhat angular yet successfully convey movement. It is obvious that the artist tookgreat delight in their portrayal. CMA 1972.366
Kushan, late 2nd cent. Overall 80cm. Railing pillar. CMA 1971:34 Contemporary to the Gandhara style in the north was the indigenous school of sculpture that flourished in the Ganges Valley known, after its main center, as the Mathura style. It continued earlier Maurya and Shunga traditions but remained under the control of the same Kushana dynasty that was responsible for the Gandhara style.This double-faced corner railing pillar from a Buddhist stupa provides a spectacular example of the Mathura school. It belongs to the category of madhupana (bacchanalian sculptures). Libation scenes such as this, which owe a great deal to Hellenistic influence, were popular in Kushana times.The center portion of the pillar is decorated with two scenes, each showing two young women. The first pair play the pan pipes and the clapper; one of the women in the second pair coquettishly lifts her robe, while the other balances a cup on her head. They seem to be intoxicated and dancing. On the ground is a large vase with two handles of the Hellenistic kantharos type associated with the Greek Dionysos or the Roman Bacchus, the youthful god of wine, appropriate to the libation taking place. Similar vessels of Hellenistic inspiration, including a partially broken rhyton, are also visible on the ground in the first scene. In the upper register are busts of celestial musicians among grapevine foliage, further bacchic connotations. The instruments the celestial musicians play include a lyre (kacchapi), castanets (similar to the modern North Indian manjira), and a triangular harp (trigonus).The base is decorated with two scenes set against a rock background: the first one shows a hunchbacked woman pouring a drink for a corpulent yaksha (nature spirit), and the second one probably illustrates the ogress Jataka (padakusala-manava jataka), who ate her victims. She fell in love with a handsome young brahmin, whom she chose for her husband but kept him imprisoned. Out of this relationship a bodhisattva was born who eventually rescued his father.The most unusual feature of this relief is the obvious blend of Hellenistic elements with indigenous Mathura characteristics. The costumes, the treatment of the drapery, the presence of Hellenistic vessels, and the foreign musical instruments-- not to mention the presence of the grapevine, which was cultivated only along the northern frontiers of India where the climate permitted it--all indicate strong Gandharan influence. Yet the very material of which the pillar is made, red Sikri sandstone, suggests a Mathura atelier as the workshop. Thus, one is inclined to think that it was the work of a Mathura artist familiar with Gandhara style.The unusual mingling of the two traditions can be traced to the classical subject that involves the cult of Dionysos, expressed here by voluptuous Indian bacchantes. Like Dionysos and his entourage, the Indian Kubera with his yakshas and yakshis derived from ancient folklore and essentially represented demigods of all "wet and gleaming" nature: rain, dew, sap, blood, semen, and spirituous liquor. It seems most probable that the Mathura sculptor who executed this work used Gandharan imagery in order to depict more authentically the exotic yaksha paradise far away among the snowy peaks of the northwest where grapevines flourished.
Head of Vishnu, Besnagar. CMA 1969.57 Vedic Hinduism, formulated in India in the second millennium BC, provided the foundations for the Buddhist faith that dominated the early centuries of Indian art. Hinduism regained its prominence again during the medieval period. The Gupta age marks thetime of that transition when Buddhism was still at its height and Hinduism made its spectacular reappearance for the first time.The monumental head seen here provides a magnificent example of the sculpture of this early Hindu revival. The heavy squarishcrown (karandamakuta) with ribbons on the side and a lion's face (simhamukha) in the center of a lotus medallion is typical for the gods Vishnu or Surya. It is not possible to determine which is depicted as nothing from the body of the image survives to provide positive identification. These deities are closely related, however, with Surya being frequently considered an emanation of Vishnu. The hair is rolled up at the back and strings of pearls are twisted around it.While the oval face with almond-shapedeyes, straight nose, and sensuous lips introduces a new Gupta idiom, the head still retains enough Kushana characteristics to allow dating it to the early Gupta period. Furthermore, the relief of Vishnu from cave 6 in Udayagiri in the Vidisa District of Madhya Pradesh, dated by the inscription to AD 401, displays close stylistic relations with this sculpture. The head reportedly came from the Triveni temple at Besnagar situated in the Vidisa District, not far from Udayagiri.The inspiring spiritual expression of the face characterizes Gupta sculpture. It is achieved by the same means evident in the head of Buddha (1963.504) where the subtle smile lightens the face, conveying a feeling of peace and compassion.
Vidisha. 4th cent.
Allahabad Museum, Allahabad Terracotta. Standing male figure wearing a dhoti. His right hand is raised in abhayamudra while in the left there is a spear-like object. Body of one more figure is visible on the right side. He wears a thick necklace.Bhita, Allahabad, Uttar Pradesh. Kaushambi, U.P C.1st-3rd Century CE Kusana 26.5 x 14 x 5.5 cm c. 2nd cent. BCE to 2nd cent. CE?
 Incidents From the Life of the Buddha Allahabad Museum, Allahabad. Gandhara, Kusana C.2nd Century CE
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| Title | Plaque showing the image of standing Suparna |
| Museum Name | National Museum, New Delhi |
| Gallery Name | Archaeology |
| Object Type | Archaeology |
| Main Material | Terracotta |
| Country | India |
| Origin Place | Sirsa area (Haryana) |
| Patron/Dynasty | Gupta |
| Period / Year of Work | 5th century CE |
| Dimensions | Ht. 25 cm Wd. 32.5 cm |
| Brief Description | A large terracotta plaque showing the image of standing Suparna. Her hair is combed backward and tassels of which falls on either sides of the head. There are two circular ringlets on either side of the forehead and in between is a jewel. The eyebrows are marked with curved incised lines, circular protruding eye-balls, two large curved wings emerging from the chest and incised with lines. Navel and vagina are also indicated with deep incised lines . The right side depicts a pillar with rectangular base and top carved with incised lines. The plaque is broken and lost on the top right corner. Rebus readings: eraka 'wing' Rebus: eraka 'moltencast metal'; kola 'woman' Rebus: kol 'working in iron'; kole.l 'smithy'. |
| Title | Fragment of a Railing Post with an Acrobatic Scene |
| Title2 | Fragment of a Railing Post with an Acrobatic Scene |
| Museum Name | Allahabad Museum, Allahabad |
| Gallery Name | Early Sculpture |
| Object Type | Sculpture |
| Main Material | Stone |
| Component Material II | Stone |
| Component Material III | Stone |
| Manufacturing Technique | Chisiling and Carving |
| Main Artist | Not Known |
| Artist's Nationality | Indian |
| Artist's Life Date / Bio Data | Not Known |
| Author | NA |
| Country | India |
| Provenance | Bharhut, Satna, Madhya Pradesh. |
| Origin Place | Bharhut, Satna, Madhya Pradesh. |
| Find Place | Bharhut, Satna, Madhya Pradesh. |
| Scribe | NA |
| Style | Shunga |
| School | NA |
| Patron/Dynasty | Shunga |
| Period / Year of Work | C.2nd century BCE |
| Inscription | An inscription " Pusadataye nagribosa bhibuniye...(Gift) of nun Pusyadatta of Nagarika(?)" engraved towards left side of it. |
| Tribe | NA |
| Costume | NA |
| Culture | NA |
| Dimensions | 120 x 54.5 cm |
| Detailed Description | Although the lower half of the post is missing, enough of the central medallion remains for us to discern a human pyramid, composed of four tiers of men, the topmost figure and the two supporting him being carved outside the medallion. On either side are Yaksa and Yaksi figures on a lotus. Above is a lotus lunate, surmounted by a band of honeysuckle flowers resting on their sides. |
| Brief Description | An acrobatic scene has been carved on the border pillar showing in low relief. Eight people are standing at lowermost side supporting to four people standing over them. These four people are supporting to other two persons in the same manner. There stands a person on top supported by these two people. They all wear the same dress and ornaments. Two human figures are standing on either side of this human hill. The narrative is to get to the over-flowing pot hanging from the railing toraNa: lo 'overflow' rebus: loh 'copper, metal' kaNDa 'pot' rebus: kANDa 'water', thus overflowing water from pot read rebus as: lokhaNDA 'metalware, tools, pots and pans. |
Fragment of a Railing post Allahabad Museum, Allahabad Bharhut, Satna, Madhya Pradesh Shunga C.2nd century BCE 47.5 x 34.5 x 17 cm The lotus plant that fills the lunate consists of a central flower flanked by buds and half-open blossoms, all issuing from a large leaf at the base. A goose is also perched on either side. The band above is decorated with a vine motif.Top of the fragmented pillar showing a wine creeper on upper most part, below which inside a semi-circular panel a complete lotus plant is shown. A goose from either side approaches the flowers. http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-6-179 tAmara 'lotus' rebus: tAmra 'copper'. karandava [ kârandava ] m. kind of duck, goose. rebus: karaḍa ‘hard alloy’ (Marathi)
Fragment of a plaque depicting the bust of a lady holding a pillar with her left hand. She wears a pagree (head dress) on her head. A square pendent of her necklace is seen above her breasts. 6.2 X 4.5 cm.Shunga C.2nd Century BCEKaushambi, Uttar Pradesh Allahabad Museum, Allahabad Moulded terracotta. http://museumsofindia.gov.in/repository/record/alh_ald-AM-TC-K2501-434 Hieroglyph: Ox-hide ingot on the chest: dhALako 'ingot'; tAmra 'lotus' rebus: tAmra 'copper'. Thus tAmra dhALako 'copper ingot' of kola 'woman' rebus: kolle 'blacksmith'
The plaque depicting a female figure wearing a tapering high cap. She clings to a pillar kept on her left side. The lower parts from the waist has been lost. Right hand bent above. Face is damaged. Shunga C.2nd Century BCE Kaushambi, Uttar Pradesh Allahabad Museum, Allahabad Moulded 9.5x5.5 cm. terracotta. http://museumsofindia.gov.in/repository/record/alh_ald-AM-TC-K3260-387
Railing Pillar showing a standing Yaksha figure, who holds a lotus flower in his left hand. Allahabad Museum, Allahabad Kausambi, Uttar Pradesh. Shunga C.2nd century BCE tAmra 'lotus' rebus: tAmra 'copper'. tAmrakara 'coppersmith' tamheṛā ʻ brassfounder ʼ [See glosses of Indian sprachbund annexed]
Railing Pillar, on which a yaksha is shown standing on the back of crocodile. Three mortices are present on the adjoining sides.Allahabad Museum, Allahabad Kausambi, Uttar Pradesh. Shunga C.2nd century BCE. karA 'crocodile' rebus: khAr 'blacksmith'
Railing Pillar showing standing figure of a yaksha holding a garland of beads. His hairs are supported by a fillet to which three leaves are stuck. Allahabad Museum, Allahabad Bhita, Allahabad, Uttar Pradesh.ShungaC.2nd Century BCE 58 x 21 x 14.5 cm (out side pedestal) The figure has a full belly; the lower garment is decorated with small incised circles and is secured around the waist by the two ends of the cloth tied in a knot visible over the left leg. The bracelets consist of two rows of heavy beads, and the Yaksa holds the ends of a triple-stranded necklace in his two upraised hands as though about to wear it around his neck. The earrings are unusual and appear simply to be stalks passed through the earlobes. The head-dress consists of a fillet with three projecting plumes. The face is full, with narrow slanting eyes; the nose is broad, and the lips are thick. The entire physiognomy is reminiscent of the dwarf atlantes on the western gateway of Stupa I at Sanchi and on the southern gateway of Stupa III The lower portion of the pelt is missing but the tenon which held the coping in place is visible. On the sides are two sockets to receive the cross-bars of the railing. The back is plain.
http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-56-4090 The yaksha is displaying a bead necklace. He is an artificer, seller of beads. khoṇḍ, kõda 'young bull-calf' Rebus: kũdār 'turner'. (Signified by the one-horned young bull which is a frequently occurring hieroglyph on Indus Script Corpora).
Railing post with a lotus rhizome. Allahabad Museum. Stone. Bharhut, Madhya Pradesh.Shunga. c. 2nd cent. BCE. 43x58x25 cm. Pillar shows in the middle a lotus flower. A border of palmettes on each bevelled side. A small fragment later joined to it. tAmra 'lotus' Rebus: tAmra 'copper'
| Title | Slab with line carving. |
| Museum Name | Archaeological Survey of India, NagarjunaKonda |
| Gallery Name | Gallery-04 |
| Object Type | Sculpture |
| Main Material | Lime stone |
| Provenance | Nagarjunakonda valley, Guntur district, Andhra pradesh |
| Find Place | Nagarjunakonda valley, Guntur district, Andhra pradesh |
| Style | Nagarjunakonda art. |
| School | Late phase of Amaravathi school |
| Patron/Dynasty | Ikshavakus |
| Period / Year of Work | C. 3rd/4th century CE |
| Dimensions | 31 X 47 X 7 cms |
| Detailed Description | Roughly rectangular slab bearing the out line drawing of a Salabhanjika carved in deep incision, retrieved from excavated Site No.3 The sketch depicts a Salabhanjika with her right arm positioned on the hip and the left holding the branch of a tree. To her left is a maid with either a casket of toiletry (Prasadhana Karanda) or a pitcher of wine. The lintel over the pillar shows a lioness issuing forth from the jaws of a makara having an upturned snout. This snout is held tightly by a mischievous and impish boy. This is an excellent and rare example of a preliminary drawing(hastalekha) executed before the actual carving of a sculpture. |
| Brief Description | Lime Stone - Slab with the outline drawing(sketch) of Salabhanjaka. |
| Title | Seated Kubera |
| Museum Name | National Museum, New Delhi |
| Gallery Name | Archaeology |
| Object Type | Archaeology |
| Main Material | Stone |
| Country | India |
| Origin Place | Ahichchhatra, Distt. Bareilly, Uttar Pradesh |
| Patron/Dynasty | Kushana |
| Period / Year of Work | 2nd Century AD |
| Dimensions | Ht. 95.2 cm. Wd. 45.7 cm. |
| Detailed Description | This image of Kubera was discovered at Ahichchhatra, a site identified with the capital of ancient Panchala. However, stylistically one can assert that it was executed at Mathura. Sculptures of Mathura origin have been found from Taxila in the north - west and Chandraketugarh in the east, suggesting widespread acceptance of Mathura art during this period. Kubera, the god of wealth and prosperity, is the guardian of the North. His bare body is dominated by a voluminous stomach that rests against the left thigh. The corpulent divinity is seated in bhadrasana, on a high but plain pedestal. Both the arms are lost but were originally raised apart and possibly holding a deep bowl (patra), a characteristic feature of the patravahaka yaksha. This theme is reckoned with the one executed at Pitalkhora (Acc. No. 67.195). Over his short dhoti a cloth-girdle is seen running across the left knee. A fold of flesh connects the stomach to the chest, the body barely able to cope with its enormous burden. Between the gently parted lips are seen evenly arranged tooth. This portrait-Eke image bears the majestic quality of the deity of opulence. The treatment of necklace of twisted band of pearls, curled hair locks, bemused eyes and bow-like bushy moustache succeeds in typifying the images as the product of Mathura art. |
| Brief Description | Seated figure of Yaksha, probably Kubera. The god of wealth, seated at ease on a block pedestal. Both arms and right leg are missing, except for the right foot; the ears, nose, lower lip and left foot are damaged. The figure has a rotund belly and stumpy legs. The hair is arranged in curly ringlets all over the head. The eye balls are clearly engraved and the moustache well trimmed. He wears an elaborated garland round the neck with two plaited ends about the left shoulder, in front and at the back. The lower garment with drapery folds is held at the waist by a cord. He also wears a scarf. The row of peeping teeth is suggestive of an indifferent smile. Deep navel. Mottled red sand stone. |
| Title | Yakshi |
| Museum Name | Indian Museum, Kolkata |
| Gallery Name | Archaeology |
| Object Type | Sculpture |
| Main Material | Sand Stone |
| Country | India |
| Provenance | Sanchi, Madhya Pradesh |
| Origin Place | Sanchi, Madhya Pradesh |
| Period / Year of Work | Ca 1st century CE |
| Dimensions | Pedestal: 28x15.2cm.; Top: 50.8x15.2cm. |
| Brief Description | The bracket figure represents a yakshi standing cross legged under a sala tree holding on to the branches with her two hands. She is quite nude with the exception of a very flimsy garment, the margins of which appear below the knees and hips. The sculpture has a tenon above for fitting into another slab and has an expanded flat base, evidently serving the purpose of a pillar. The much greater breadth of the top is due to the branches reaching out over the figure beneath. |
Lime stone. Stupa slab shows Agni-skanda at the bottom. Left side Bodhi tree, right side Dharma chakra, number of chatras on top. Mended.
| Title | Stupa-slab |
| Museum Name | Archaeological Survey of India, NagarjunaKonda |
| Gallery Name | Gallery-02 |
| Object Type | Sculpture |
| Main Material | Lime stone |
| Provenance | Nagarjunakonda valley, Guntur district,Andhra pradesh |
| Find Place | Nagarjunakonda valley , Guntur district, Andhra pradesh |
| Style | Nagarjunakonda art. |
| School | Late phase of Amaravathi school |
| Patron/Dynasty | Ikshavakus |
| Period / Year of Work | C. 3rd/4th century CE |
| Dimensions | 115 X 90 X 15 cm |
| Detailed Description | Slab depicting a stupa without much carvings and belonging to a non-ornamental variety. The central piece shows worship of Buddha in the symbolic form as an agni-stambha (flaming pillar) with tri-ratna at the top, all set in the background of stupa out line. On the left side is depicted a Bodhi-tree flanked by devotees and on the right side is carved dharma- chakra being worshipped. At the extreme ends are executed standing male figures in an attitude of adoration, Multiple ornate type of chhatravali is varved above the harmika. The decoration elements of the ayaka-pata are chipped off/ eroded beyond recognition. |
Tree on railing. Capital of pillar. Besnagar. This is: kuṭhi-dhvaja, signifying 'smelter'. For the rebus readings of hieroglyphs on this capital pillar see: http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html
Sculpture representing a tree (Kalpadruma or wishing tree) from Besnagar, Bhopal State
Photograph by Beglar, Joseph David, 1875
Magical tree, Kalpadruma, Besnagar, Indian Museum, Indian Postal stamp issued in 1978
Kalpavrisha, the Wish fulfilling tree, Indian Museum, Kolkata. Sandstone. Besnagar, Madhya Pradesh, ca. 2nd cent. BCE. 172.5 cm. height. "The sculpture, possibly the capial of a pillar, represents a banyan tree, enclosed by a railing at the base and higher up by a bamboo fencin in the shape of a network. The branches of the tree bear coin purse, a conch shell, a lotus and a vase overflowing with coins."
http://museumsofindia.gov.in/repository/record/im_kol-1795-10377
Fragment of a Makara Capital Allahabad Museum, Allahabad Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga Dimensions: 00105 (1), 00105 (2)
"The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa."
http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-59-3541 This is makara-dhvaja.
| Title | Casing slab showing the adoration of Stupa |
| Museum Name | National Museum, New Delhi |
| Gallery Name | Anthropology |
| Object Type | Archaeology |
| Main Material | Stone |
| Country | India |
| Origin Place | Nagarjunakonda, Distt. Guntur, Andhra Pradesh |
| Patron/Dynasty | Satavahana |
| Period / Year of Work | 2nd Century CE |
| Dimensions | Ht. 150 cm Wd.119 cm. |
| Brief Description | Casing slab showing the adoration of the Stupa by celestial beings fluttering above. The Stupa is presented in all its parts, special by the ayaka pillars, the ayaka platform projections at the cardinal points and the guardian lions of the four gateways. Over the box-shaped harmika on top of the stupa is the umbrella. There are scenes from Buddha's life and the jatakas in panels of the casing slabs suggested in miniature and rows of triratnas, purnaghatas, frieze of lions and undulating flower garlands. The motif of the garland bearers and the garland issuing from the makara mouth is shown on the coping of the rail and right in the centre facing the gateway is a panel suggesting Mandhata, the chakravarti emperor with his seven gems. Lime stone |
| A beautiful shrine made of Ivory and sandalwood depicting the ten avatars of Lord Vishnu. The stupa is a traditional continuum of veneration of ancestors. It is dhatu garbha (dagoba), the earth with the minerals the very raison-d'etre of the lives of Bharatam Janam, 'metalcaster folk'. |
Title | Conch shell |
Museum Name | Archaeological Survey of India, NagarjunaKonda |
Gallery Name | Reserve Collection - 02 |
Object Type | Art object |
Main Material | Shell |
Provenance | Nagarjunakonda valley, Guntur district, Andhra pradesh |
Find Place | N XXIV, Nagarjunakonda valley, Guntur district, Andhra pradesh |
Patron/Dynasty | Ikshvaku period |
Period / Year of Work | C. 3rd/4th century CE |
Inscription | Legend reads "Bhagavato atha bhuja samisa", exterior glaze partly oxidized. |
Dimensions | 23.6 cm x 13.5 cm. |
Detailed Description | Conch shell used as trumpet; largest specimen from Nagarjunakonda, with an inscription which runs as "Bhagavato Athabhujasamisa" in typical Ikshavvaku characters; incised decoration depicts two columns on a terraced pedestal, one of the columns is surmounted by Chakra-capital signifyi9ng the temple of Vishnu; Chakra or wheel is eight-spoked, its circumference decorated with designs very similar to triratna motif; the other column appears to be a flag-staff; a hole is provided at the nether end of the sankha. From Sector N XXIV, Site 29 (Ashtabhujsvamin temple) from the central shrine, Ikshavaku level. |
Brief Description | Inscribed conch with apertures at the vertex and the bottom; eight spokes wheel design with a central hub encased in a cuspidal design mounted over a capitalled pillar design, in parallel juxtaposition an ornate goad, both mounted over a pedestal comprising of four regular rectangular blocks. Legend reads "Bhagavato atha bhuja samisa"; exterior glaze partly oxidized.  The AMICA LIbrary. India, Rajasthan, from the Purana Mahadeva Temple, Harshagui, Sikar The Cleveland Museum of Art 1967.202 Female Tree-Diety with Attendant c. 973 Sculpture-stone 54.6 cm  Nagini. Mathura, Kushan period, 1st cent. - 320 CMA 1968.104 |
| Title | The Bharhut gateway and railings |
| Museum Name | Indian Museum, Kolkata |
| Gallery Name | Archaeology |
| Object Type | Sculpture |
| Main Material | Sand Stone |
| Country | India |
| Provenance | Bharhut, M.P |
| Origin Place | Bharhut, M.P |
| Period / Year of Work | Sunga, C 2nd century BCE |
| Dimensions | Railing ht 274 cm, Gateway ht 685 cm |
| Brief Description | The Gateway and the Railing from Bharhut was brought to the Indian Museum by General Cunningham in 1875. The magnificent Gateway is composed of two pillars. The pillars bear lotus shaped bell capitals crowned by a set of four animals, two lions and two bulls with human face, seated back to back. The capitals support a superstructure of three carved architraves with volute ends, and between the architraves are inserted short uprights to keep them in position. The entire conception of the Railing and the Gateway strongly suggests that they must have been copied from wooden prototypes. The left pillar of the Gateway bears inscription in Brahmi character. There are also a large number of votive inscriptions engraved on the Railing recording short titles of the reliefs (Jatakas etc.) carved on it and the names of the individual donors who provided funds for the construction of the different parts. The Railings and Gateways were profusely decorated with bas-relief, which served a double purpose, namely to beautify the monument and also to inspire a deep religious feeling in the minds of the Buddhist pilgrims. Capital on toraNa: sangin 'mollusc' rebus: sangha 'guild', sanghvi 'pilgrim'. dhammachakka 'wheel of dharma, law'. Thus, dhamma sangha 'dhamma guild temple'. Alternative: vaTTa 'wheel' Ara 'spoke', together vaTThAra 'quarter of town', i.e. guild quarter of town. |
Images as has this shrine were the specialty of ivory carvers of Trivandrum, Kerala, while screen, especially its painted form, that of Mysore artists. Maybe, the artefact is an assimilation of both. The four-armed Matsya, Kurma, Varaha, and Narsimha hold in two of them sankha - conch, and chakra - disc, while the other two are held in abhaya - the gesture of granting freedom from fear, and varada - the gesture of accomplishment. Kalki is also four-armed, though while in two of them he carries the same conch and disc in other two he is carrying sword and shield. Of other four incarnations Vamana holds an umbrella and 'kamandala' - water-pot with handle, Rama, bow and arrow, Balarama, mace and one hand held in abhaya, and Krishna, stick/ flute and conch. Except Vamana who is even without a crown figures of all them have been richly adorned. In iconography, anatomical proportions and aesthetic quality every image is outstanding. Sources: http://museumsofindia.gov.in/repository/record/nat_del-72-251--a--5 National portal and digital repository, Ministry of Culture, Govt. of India http://tinyurl.com/oldj5ko Cleveland Museum of Art Annex: Indian sprachbund metalwork and related hieroglyph glosses Hieroglyph:Lotus: Ta. tāmarai lotus, Nelumbium speciosum; tammi lotus. Ma. tāmara id. Ka. tāmare, tāvare id. Koḍ. ta·vare id. Tu. tāmarè lotus flower, Nymphaea pubescens. Te. tāmara, tammi lotus. Pa. tāmarid. Go. (Ko.) tāmar sp. lotus; ? (SR.) dāmerā flower (Voc. 1705). Kuwi (Su.) tāmel bonḍa lotus bud; (S.) tamberi lotus. / Cf. Skt. tāmarasa- id.(DEDR 3163) Rebus: Copper: Tamba loha: Tamba (nt.) [Sk. tāmra, orig. adj.=dark coloured, leaden; cp. Sk. adj. taŋsra id., to tama] copper ("the dark metal"); usually in combinations, signifying colour of or made of (cp. loha bronze), e. g. lākhātamba (adj.) Th 2, 440 (colour of an ox); ˚akkhin Vv 32 tāmrapaṭṭa m. ʻ copper plate (for inscribing) ʼ Yājñ. [Cf. tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. S.kcch. trāmo, tām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmu, tã̄bu.(CDIAL 5779)paṭṭa పట్టిక (p. 0700) [ paṭṭika ] paṭṭika. [Skt.] n. A plate of metal, a board, a frame, the pieces of wood across a door. పట్టె (p. 0703) [ paṭṭe ] or పట్టియ paṭṭe. [Tel.] n. A spar of wood. Palagaṇḍa [cp. Sk. palagaṇḍa Halāyudha Phalaka [fr. phal=*sphal or *sphaṭ (see phalati), lit. that which is split or cut off (cp. in same meaning "slab"); cp. Sk. sphaṭika rock -- crystal; on Prk. forms see Pischel, Prk. Gr. §206. Ved. phalaka board, phāla ploughshare; Gr. , n. < phalaka. [K. halage] 1. Board, plank; மரப்பலகை. பொற்பலகை யேறி யினிதமர்ந்து (திருவாச. 16, 1). 2. Levelling plank; உழவிற் சமன்படுத்தும் மரம். 3. Gaming table; சூதாட உதவுவதும் கோடுகள் வரையப் பட்டதுமான பலகை. பலகை செம்பொனாக (சீவக. 927). 4. Long shield, buckler; நெடும்பரிசை. (தொல். பொ. 67, உரை, பி-ம், பக். 209). 5. A drum; பறைவகை. வீணை பலகைதித்தி வேணுசுரம் (விறலிவிடு.). 6. Seat on an elephant's back, howdah; யானைமேற்றவிசு. (பிங்.) 7. Tablet, slate; எழுதுபலகை. khār 1 khāra-basta S. Kalyanaraman Sarasvati Research Center June 28, 2015 |