The image titled "Asit Kumar Haldar" features a renowned Indian painter, born on September 10, 1890, in Jorasanko, Calcutta, Bengal Presidency, British India. Haldar was a prominent figure in the Bengal School of Art and a grandnephew of Rabindranath Tagore. His works are significant contributions to the Bengal Renaissance, blending traditional Indian art forms with modernist elements. The current location of this image and his works is featured on the DAG website. Haldar's artistic journey included documenting frescoes at Ajanta and Bagh Caves and serving as an art educator at Shantiniketan from 1911 to 1915.
This image beautifully captures the intricate relationship between the cave architecture and the paintings within the Ajanta Caves. The detailed carvings and frescoes highlight the remarkable craftsmanship that defines this historic site. The juxtaposition of the architectural elements with the artistic illustrations showcases the holistic approach taken by ancient artisans, making Ajanta a marvel of cultural heritage.
The Gupta period, often referred to as the Golden Age of India, is characterized by significant advancements in arts, science, and culture, with numismatic art being one of its notable achievements. The coins from this era, often made of gold and silver, feature intricate designs, inscriptions, and depictions of deities and rulers, reflecting the socio-political environment of the time. This image captures a collection of coins that symbolizes the wealth and artistic excellence of the Gupta Empire, showcasing the high standards of craftsmanship and the importance of coinage in trade and economy during the period.
This 3D model represents the Mansar excavation site, capturing the intricate details of the exposed structures, which include a Buddhist Monastery and various temples. The excavation has unveiled significant findings, including statues and coins, reflecting the rich cultural heritage of the area. This model is a valuable resource for understanding the architectural style and layout of ancient Indian civilizations.
This exquisite sculpture of Buddha from the Ikshvaku period (ca. 225–ca. 320 CE) showcases the transition to iconographic representation in southern India. Crafted from limestone, it stands approximately 76.2 cm tall. The intricate detailing of the robe highlights the mastery of sculptural techniques employed during this period, allowing for a dynamic portrayal of the figure. This piece not only reflects the religious practices of the time but also the artistic advancements made under the patronage of the Ikshvaku dynasty.
The 'Gilt-bronze Buddha with inscription: 'seventh year of yeonga'' is a remarkable artifact from 539, created during the Goguryeo Kingdom period. Discovered in Uiryeong, South Gyeongsang Province, this 16.2 cm high statue is currently housed in the National Museum of Korea as National Treasure 119. The inscription on the halo's back indicates its creation in 539. As the oldest dated Buddhist sculpture found in Korea, it holds significant historical and cultural value. The statue exemplifies early Korean aesthetic influences, blending Chinese Northern Wei styles with distinct Korean elements, marking an important era in Korean Buddhist art.
The "Glass Bottle with Islamic Design Influence" was unearthed from the Intan shipwreck, located between Malaysia and Borneo. It dates back to the Song dynasty, around the 10th century.
The **Sena Runa Sculpture** is an exemplary piece from the Sena dynasty, crafted between 1097-1223 AD. Unearthed in Churain, Dhaka, this artifact beautifully exemplifies the artistic trends perpetuated from the Pala style, albeit with a noted decline in modeling quality. The sculpture showcases a slender, elongated form typical of the late Pala period, adorned with intricate decorative motifs that overwhelm the stone medium. This bronze image of Vishnu, housed in the Indian Museum in Calcutta, is celebrated for its technical precision and sensuous beauty, reflecting the luxurious lifestyle of the Sena court and aristocracy. The back slab of the sculpture is densely packed with subsidiary figures, vegetal motifs, and architectural elements, illustrating the era's exuberant artistic vision. The Sena Runa Sculpture, now a treasured exhibit at the National Museum, Dhaka, stands as a testament to the skill and creativity of Bengali sculptors during a period of artistic transition and cultural opulence.
The image depicts an exquisite artifact from the Satavahana dynasty, specifically a Satavahana Carving. This ancient sculpture was discovered in the renowned Ajanta Caves in India, a significant Buddhist site. The Satavahana period, spanning from the 2nd century BC to the 2nd century AD, is celebrated for its artistic contributions, particularly in stone carvings and sculptures. The carving exemplifies the intricate and symbolic art typical of the Satavahana era, reflecting their cultural and religious influences. Currently, this artifact's detailed description and its historical context can be explored on the Rooftop app platform.
The image titled "Australia returns 900 years old Gujarat statue, old Gujarati statue" features a historic artifact from Gujarat, India, returned by the National Gallery of Australia. This 12th-13th century idol depicts Goddess Durga in the act of slaying the demon Mahishasura, a significant mythological scene known as Mahishasurmardini. The statue, intricately carved, showcases the detailed craftsmanship from the Solanki dynasty era, reflecting the period's artistic and cultural opulence. The return of this artifact, appreciated by Indian High Commissioner Manpreet Vohra, symbolizes a gesture of goodwill and cultural respect between Australia and India.
The book "Sculptural Art of Mansar" presents a detailed exploration of the sculptural remains from excavations at Mansar, emphasizing the remarkable artistry from both the Satavahana and Vakataka periods. This first-of-its-kind collection showcases exceptional sculptures that illuminate the artistic heritage of the ancient capital, Pravarapur, while drawing parallels with the renowned Gupta art style. The imagery reflects the intricate craftsmanship found in rose-colored sandstone, highlighting the unique aesthetic of what can be termed as 'Pravarapur Art' that thrived from the 2nd century B.C. to the 5th century A.D.
The image titled 'Buddha granting protection' is a striking representation of Buddhist art from the Vakataka dynasty, dated to the late 5th century. This brass sculpture, standing at 64.5 cm in height, was found at Phophnar Kala in Madhya Pradesh, India. The inscription suggests it was a gift from Nagachari Vira. The artifact is now housed in the National Museum of India in New Delhi, cataloged as L.565. Its understated simplicity, featuring an umbrella post and cherubs, resonates with the aesthetic of the Ajanta murals from the same period. For more details, visit ResearchGate.
The image depicts a 'Buddha head' from the 5th century AD, attributed to the Gupta period. This exquisite stone artifact was likely found in Sarnath, a significant site in the history of Buddhism. The head features the characteristic tight curls and serene expression associated with Gupta artistry. Currently, this artifact is housed in the British Museum in London. The Gupta period is renowned for its sophisticated art and this Buddha head exemplifies the era's intricate craftsmanship and spiritual significance. For more information, visit the source website at [Flickr](https://www.flickr.com/photos/mukulb/8327157164).
Rama and Varuna, depicted in this artwork, reflect the Vakataka's thematic diversity, blending mythology with artistic finesse.
The image titled "Buddha granting protection" depicts a brass statue from the Phophnar hoard, unearthed at Phophnar Kala in Madhya Pradesh, India. This exquisite piece dates back to the late 5th century, during the Vakataka dynasty. The statue stands at a height of 64.5 cm and is inscribed as the gift of Nagachari Vira. The Buddha is shown in the abhaya-mudra, symbolizing protection, reassurance, and dispelling fear. This magnificent artifact is currently housed in the National Museum of India, New Delhi (L.565). The image embodies the refined aesthetic of the Gupta-Vakataka era, emphasizing simplicity and spiritual grace.
