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Wooden architectural fragment (panel) from the Kashmir Smast Cave. This decorated beam element, in the shape of a trefoil arch, depicts a dancing ascetic - perhaps Śiva - accompanied by musicians. The central figure is shown in the traditional 'tribhanga' pose, with the body bent in three different directions: 1) head and neck, 2) trunk and 3) legs. The small dentils at the

Wooden architectural fragment (panel) from the Kashmir Smast Cave. This decorated beam element, in the shape of a trefoil arch, depicts a dancing ascetic - perhaps Śiva - accompanied by musicians. The central figure is shown in the traditional 'tribhanga' pose, with the body bent in three different directions: 1) head and neck, 2) trunk and 3) legs. The small dentils at the

Part of a panel with a caitya arch frieze of seated monks in two compartments. Each compartment contains a monk in dhyāna, his hands covered, his robe with grooves for drapery folds and his head turned in the opposite direction to that of his neighbour. The almost pointed arches are moulded and with volutes, and inverted buds below touch the ground. The

Part of a panel with a caitya arch frieze of seated monks in two compartments. Each compartment contains a monk in dhyāna, his hands covered, his robe with grooves for drapery folds and his head turned in the opposite direction to that of his neighbour. The almost pointed arches are moulded and with volutes, and inverted buds below touch the ground. The

Panel with tapering sides, perhaps sliced from part of a false gable element, showing the Buddha with a prostrate humped bull and other figures. The Buddha, turning to his left, occupies the centre of the panel, his overrobe covering both shoulders with a high and prominent neckline and perhaps also secured in the right hand. He holds it up before the chest, the fingers curved

Panel with tapering sides, perhaps sliced from part of a false gable element, showing the Buddha with a prostrate humped bull and other figures. The Buddha, turning to his left, occupies the centre of the panel, his overrobe covering both shoulders with a high and prominent neckline and perhaps also secured in the right hand. He holds it up before the chest, the fingers curved

Panel with a caitya arch frieze of seated monks in two compartments like on BM 1880.202.

Panel with a caitya arch frieze of seated monks in two compartments like on BM 1880.202.

Panel showing perhaps a theme from a Trojan cycle. Almost in the centre of the space beside the doorway a horse stands on a rectangular platform with, on the outer side, two densely and irregularly spoked wheels; the horse's head, badly damaged in front, reaches almost to the top of the panel and looks slightly outwards towards the viewer. The body shows some modelling;

Panel showing perhaps a theme from a Trojan cycle. Almost in the centre of the space beside the doorway a horse stands on a rectangular platform with, on the outer side, two densely and irregularly spoked wheels; the horse's head, badly damaged in front, reaches almost to the top of the panel and looks slightly outwards towards the viewer. The body shows some modelling;

Part of a panel with a caitya arch frieze now of one compart ment containing an amorino. The standing and naked amorino, walking to his left, hands joined, has wavy hair under a chignon; his genitals are indicated and his hips and legs are plump. The pointed arch is moulded and with sawtooth enrichment, volutes and pendent grapes. On the right of the column is a

Part of a panel with a caitya arch frieze now of one compart ment containing an amorino. The standing and naked amorino, walking to his left, hands joined, has wavy hair under a chignon; his genitals are indicated and his hips and legs are plump. The pointed arch is moulded and with sawtooth enrichment, volutes and pendent grapes. On the right of the column is a

Part of a corner panel showing worshippers. A monk, face lost, his right arm wrapped in his robe, his left arm pendent, stands beside a male in a crested turban, hands joined, wearing a paridhāna, an uttarīya in the narrow mode, a collar, necklace and earrings. Above the monk a damaged half-length figure with a collar joins his hands. All are probably turned towards the lost Buddha

Part of a corner panel showing worshippers. A monk, face lost, his right arm wrapped in his robe, his left arm pendent, stands beside a male in a crested turban, hands joined, wearing a paridhāna, an uttarīya in the narrow mode, a collar, necklace and earrings. Above the monk a damaged half-length figure with a collar joins his hands. All are probably turned towards the lost Buddha

Panel showing the Buddha flanked by seated figures. Beneath three leafy branches the Buddha is seated in abhaya on a rectangular seat with a simple plinth, three four-petalled rosettes on its face and what looks like a high grass cushion. The robe shows dense folds, mainly in ridges, and below the loop in the Buddha's raised left hand gathered drapery spreads down to the seat.

Panel showing the Buddha flanked by seated figures. Beneath three leafy branches the Buddha is seated in abhaya on a rectangular seat with a simple plinth, three four-petalled rosettes on its face and what looks like a high grass cushion. The robe shows dense folds, mainly in ridges, and below the loop in the Buddha's raised left hand gathered drapery spreads down to the seat.

Part of a panel with a caitya arch frieze of amorini in three compartments. Each compartment contains a very worn amorino striding right or left, in two cases with one arm extended and the other on the hip, in the remaining case with hands joined.

Part of a panel with a caitya arch frieze of amorini in three compartments. Each compartment contains a very worn amorino striding right or left, in two cases with one arm extended and the other on the hip, in the remaining case with hands joined.

Part of a panel with a caitya arch frieze of the Buddha and amorini in four compartments. The damaged Buddha in dhyāna is flanked on both sides by standing amorini, hands joined and striding, almost in profile, towards him; the end compartment on the right is almost lost. To the left is a single compartment with a similar amorino, more in three-quarter view and

Part of a panel with a caitya arch frieze of the Buddha and amorini in four compartments. The damaged Buddha in dhyāna is flanked on both sides by standing amorini, hands joined and striding, almost in profile, towards him; the end compartment on the right is almost lost. To the left is a single compartment with a similar amorino, more in three-quarter view and

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