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 stiipa drum panel with a caitya arch frieze of Buddhas and worshippers in four compartments. Two central compartments each contain the Buddha, standing, haloed and in abhaya and securing the robe with the left hand, the left knee flexed; the abhaya hand of the damaged Buddha is rather large. The surviving oval head with rounded and protruding eyes has

Part of a stiipa drum panel with a caitya arch frieze of Buddhas and worshippers in four compartments. Two central compartments each contain the Buddha, standing, haloed and in abhaya and securing the robe with the left hand, the left knee flexed; the abhaya hand of the damaged Buddha is rather large. The surviving oval head with rounded and protruding eyes has

Part of a corner panel with the vestige of one scene and another, complete, showing the Visit of Indra. The haloed and damaged Buddha, in dhyāna, is seated on grass in a deep recess, with gently curved opening, of a mountain, his hands covered and the robe spread out to lie in a straight edge below them. Beneath, a kneeling elephant, with a cloth on its back, holds in its trunk

Part of a corner panel with the vestige of one scene and another, complete, showing the Visit of Indra. The haloed and damaged Buddha, in dhyāna, is seated on grass in a deep recess, with gently curved opening, of a mountain, his hands covered and the robe spread out to lie in a straight edge below them. Beneath, a kneeling elephant, with a cloth on its back, holds in its trunk

Panel with four inhabited caitya arches above a parapet. Each arch holds a couple of worshippers or spectators: the males wear an uttarīya apparently draped but not looped over the shoulder, a collar, earrings and bracelets, their hair curled and with a chignon; the females wear a sleeved garment and a piece draped over the left shoulder, a necklace, bracelets, earrings, wreath

Panel with four inhabited caitya arches above a parapet. Each arch holds a couple of worshippers or spectators: the males wear an uttarīya apparently draped but not looped over the shoulder, a collar, earrings and bracelets, their hair curled and with a chignon; the females wear a sleeved garment and a piece draped over the left shoulder, a necklace, bracelets, earrings, wreath

A small openwork panel depicting the First Sermon of the Buddha. The seated Buddha is flanked by four listeners and below his throne the dharmacakra and a pair of deer.

A small openwork panel depicting the First Sermon of the Buddha. The seated Buddha is flanked by four listeners and below his throne the dharmacakra and a pair of deer.

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Reliquary casket, cylindrical in shape; made of gold and inset with garnets. The casket tapers slightly towards the rim and lacks a lid. The arcading round the side consists of eight pointed caitya-arches resting on pilasters. Each arch has a plain recessed face and the pilaster capitals consist of a plain fillet above a torus and a fillet. The pilaster shafts have each a recessed oblong panel with an outlined border curved at the top and the base mouldings repeat those of the capitals in a

Part of a false gable panel showing the Great Renunciation among the Women in what was originally the middle compartment and the Great Departure in the scene of trapezoidal outline below. The incomplete upper scene contains a chamber with a couch under a trapezoidal arch flanked by the remains of two arches probably on the

Part of a false gable panel showing the Great Renunciation among the Women in what was originally the middle compartment and the Great Departure in the scene of trapezoidal outline below. The incomplete upper scene contains a chamber with a couch under a trapezoidal arch flanked by the remains of two arches probably on 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

Fragment of a panel showing a musician and dancer, perhaps from a scene of the Bodhisattva in his palace. The dancer wears heavy anklets, multiple bracelets, a collar and earrings, a tunic with a paridhāna round it and a scarf tucked into its girdle; the headdress may be a wreath with a loop of hair. She raises one leg and arm, and her other arm crosses the body to the thigh. The Figures (group of). Dancing woman and drummer. Made of stone (schist).

Fragment of a panel showing a musician and dancer, perhaps from a scene of the Bodhisattva in his palace. The dancer wears heavy anklets, multiple bracelets, a collar and earrings, a tunic with a paridhāna round it and a scarf tucked into its girdle; the headdress may be a wreath with a loop of hair. She raises one leg and arm, and her other arm crosses the body to the thigh. The Figures (group of). Dancing woman and drummer. Made of stone (schist).

Pinterest
Search