National Museum
Some Artefacts from the Treasure Trove
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| An earthen pot from Indus Valley civiliza |
One of the oldest
civilization, most advanced, having sewage system, advanced port system etc.
Till date no one has been able to decipher the language
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| Perforated jar |
One of the many utensils found. From the Indus
Valley civilization
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| Terracotta figurines |
Harappan civilization is one of the oldest
civilization. Flourished around the banks of Indus river also known as Indus
Valley civilization. Use of bronze is seen during the era. The language has
still not been deciphered.
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| Pottery & Earthenware - Indus Valley civilization |
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| Figurines- Indus Valley civilization |
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| Grinding Stone - Indus Valley Civilization |
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| Jewellery pieces from Indus Valley Civilization |
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| Terracotta toys |
Harappan civilization or Indus Valley
civilization is considered as bronze age civilization. The toys and other
objects give us an insight into the life of people during that era.
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| A skeleton found in excavation at Rakhigarhi,
Haryana |
The biggest site for Harappan civilization. The
objects placed with this skeleton in the burial indicate Harappan believed in
after life
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| Lakshmi and Narayana |
Hoyasala, 12th century CE, Corner stone of the outside wall of the temple carved in deep relief
showing Lakshmi and Narayana on Garuda. All the figures are profusely ornamented and
wear coronets, ear-rings, necklaces, phalakahara,
armlets, bracelets, anklets, udarabandha and
waist cloth.
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| Buddha. |
Kushana era, 1-3 century CE Gandhara style. Buddha in this era was for the
first time represented in human form. Gandhara style was Influenced by
Greco-Roman style as evident from iconography and costumes.
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| A Gandhara art example |
Kushana era. Unlike the Mathura art style
Gandhara art style was Influenced by Greco-Roman style.
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| Yama |
Rajasthan 10th century CE, Stone This is a figure of Yama carved in
deep relief between two slender columns. He is standing in tribhanga pose. He wears round ear-rings, jewelled
and beaded necklaces, armlets, vanamala,
beaded yajnopavita, anklets and elaborate girdle. Near the
left foot his vahana, buffalo is depicted.
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| Bust of Vajra-tara |
Sarnath, Banaras, 10th century CE, Stone, Bust of Vajra-tara carved in the round
with four heads and eight arms. On the fore-head of the front head a square
diamond shaped mark is depicted. In the head-dress of the principle head are
four-figures of dhyani-buddhas seated in
various attitudes.
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| Buddha |
Nepal, samvat 903 CE, Bronze, Buddha seated cross-legged (Padmasana) on a
lotus sets which is mounted on the lion throne (simhasana), the
letter bearing lotus petal design on three sides. His right hand is hold in
earth touching attitude ( Bhumi-sparsha mudra)
and left placed on the lap. He bears a urna mark on
the forehead and lines on the neck. The hair is arranged in small schematic
spirals with a top- knot (Ushnisha). The back
of the throne bears an inscription of four lines in Devnagari script which is giving the dates of the image
as samvat 903
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| Standing Vishnu |
Gahadavala, Qutub Minar, Delhi, Stone, V.S. 1204 = 1147 AD. Image of four-armed Vishnu standing within a frame, flanked by six
standing figures. In the upper right hand, he holds the sankha, in the lower
right the gada and in the lower left the chakra. He is profusely ornamented and
wears a kirita, vanamala and other ornaments. The lower garment is secured at
the waist by an elaborate girdle having tassels. A sash is tied around the
thighs. Flanking him are seated Brahma and Siva and two Vaishnava devotees. The
decorative prabha-torana, in seven pieces is joined together, is profusely
carved and depicts various forms of Vishnu each within a niche flanked by
standing figures. At the top are shown a Dasavatara panel and eight grahas.
Dark grey stone.
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| Tripurantaka |
Aihole,Mysore, Early western Chalukya, 8th century CE, Stone A Slab carved in bold relief showing Tripurantaka standing
in his chariot in the pose of a warrior. The chariot is being driven by three
faced Brahma with the nandi-dhwaja. He is shooting an
arrow that has pierced the three puras.
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| Panels showing Buddha's life |
Naragjunakonda, Dist. Guntur, Satavahana, 2nd century CE, Stone, This is a large casing slab, divided into three panels which showing
scenes from Buddha's life. The panels are
divided by floral and creeper designs
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| Mother Goddess or one of the Matrikas |
Besnagar, Gwalior, Stone, 6th - 7th century CE, This sculpture is showing a mother and child. The mother is seated on a
throne in European fashion and a child is standing between her legs. She wears
a scarf as a breast band, a waist cloth with the ends tucked in front, a
multi-stringed beaded necklace and anklets. The child is nude with usual
ornaments
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| Manjugosh with other
Buddhist deities |
Nepal 16th Century AD Manjughosha
(meaning "sweet-voiced-one" or "gentle-voiced-one") is a
Buddhist deity depicted as 16-year old Bodhisatva Part of Buddhist pantheon and is also known as
Manjushri
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| Lakshmana disfiguring Surpanaka |
Deogarh temple, Jhansi, Stone Gupta 4th -5th century CE Panel depicting Lakshmana disfiguring
Surpanaka in the presence of Rama and Sita. Both the
brothers wear necklaces, chhamaviras and a
waist cloth.
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| Uma-Maheshvara |
West Bengal, Pala, 10th -11th century CE This is an image of Uma-Maheshvara ,carved
in high relief against a back slab tapering to top, like an arch. Maheshvara is four-armed and seated at ease on a
double-lotus pedestal with the right leg raised and bent. He holds a lotus in
the upper right hand and trident in the upper left. Uma is seated
at ease on his left thigh and holds a mirror in the raised left hand, while her
right arm is around the neck of her consort is embrace. His hair is dressed
high in jata-mukuta fashion. He wears a circular
ear-rings, necklace, armlets, bracelets, anklets and a long yajnopavita composed of two headed strands
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| Parvati head |
Ahichchhatra, Distt. Bareilly, Uttar Pradesh, Gupta, c.450-650 A.D.Terracotta A very charming and delicately modeled terracotta head of Parvati,
presents all the characteristics, which mark the classical idiom of Indian art
that developed during the Gupta period. This unique Parvati head is marked by
the most graceful features, her hair is beautiful arranged in spiral braided
locks, and tied into ornamented dhamilla, decorated with circular floral bands.
Her Swastika marked rounded ear-ring is beautifully carved. The third eye on
the forehead reveals her identity.
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| Ambika |
Eastern India, Pala, 10th century AD, Stone, This is an image of Ambika standing
under a mango tree on a lotus seat. Below near her right leg , a male figure is
standing while on either side, dancing figures are shown. Her vahana , the lion is shown below on the
pedestal. Above her head is carved the figure of a jina with two lotus flowers.
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| Lakshmi |
Chola, South India, 10-12 Century AD, Stone This is an image of Lakshmi seated
on a rectangular pedestal with knees apart. She wears a mukuta, circular ear-rings, necklace and the lower
garment secured with an elaborate girdle at the waist.
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| Surya |
Rajasthan, Gahadavala, 12th century CE, Stone This is an image of standing Surya. He wears
a crown, dhoti, vanamala, long boots and usual
ornaments. He is flanked by a female figure seated in the attitude of shooting
an arrow to dispose the darkness.
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| Durga |
Jhadol Rajasthan , 6th century CE, This is an image of Durga seated on
a lotus supported by two lions. She wears a saree along with a crown, ear-rings
and other ornaments. Maitraka rulers of Vallabhi Gujarat adopted and further developed the Gupta art style. The sculpture are delicately modeled in stone. The kingdom extended in Gujarat and Rajasthan
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| Sculpture from Shunga era |
Simple style depicting Life of Buddha and stories of Jataka tales.
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| Garland Bearer |
Amaravati, Shunga, Stone, 1st-2nd CE This is a marble fragment of frieze, carved with a young man carrying
the garland.
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| Shiva |
Madhya Pradesh, 11 Century CE A stone sculpture showing four-armed Shiva in
between two vertical pillars. A nandi is shown
seated near his left leg with face turned up. He wears usual ornaments.
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| Nataraja |
Pala, Bihar, 11 Century CE This is an image of Nataraja dancing
on nandi with face and tail turned up and standing on
a lotus. Flying gandharvas are shown at the
top on right. On the left dancing Ganesha at the
top, a dancing deity in the centre and a gana at the
bottom is depicted.
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| Marichi |
Pala, Eastern India 13 Century CE A large plaque showing Buddhist goddess Marichi in
high relief, standing in pratyalidha pose
on a double lotus pedestal on a chariot drawn by seven horses; along with two
wheels on either side and driven by a female sitting in front between both the
legs of goddess.
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| Chamunda |
Rajasthan, Pratihara, 11 Century CE A plaque showing ten armed Chamunda dancing
with attendants in high relief. She is dancing on a pedestal, resting on demon
who is lying. She is flanked by number of figures on either side.
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| Standing Surya |
Konarak, Orissa, 13th century AD, Stone, Image of standing Surya complete with pedestal. He wears a profusely ornamented crown, earrings, necklaces yajnopavita, armlets, girdle, uttariya and antariya. He is flanked on either side by two standing male figure holding a sword and a shield, two bearded small standing figures, two ladies holdings flowers and full blown lotuses. A kirtimukha on top with two flaying figures on the extreme ends. Seven horses are shown on the base in front in three rectangular niches, driven by Aruna seated on pedestal with reins in his hands. Chloride stone.
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| Seated Kubera |
Ahichchhatra, Distt. Bareilly, Uttar Pradesh, Kushana, Stone, 2nd Century AD 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.
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| Elephant carrying Buddha's Relics |
Bharhut, Madhya Pradesh, Shunga, 2nd Century BC Panel in two parts showing the elephants carrying the relics of Buddha in caskets. The procession is following a dance party in the front. Red sand stone.
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| Bust of Nataraja |
Nachana Kuthara, Madhya Pradesh, Gupta, 5th Century AD Bust of four-armed Nataraja (front-arms lost) with both the rear arms raised up . He carries the mount on his head which is broken and lost at places. In the raised right hand, he holds a rectangular object while with the left supports the mount. His hair is arranged into jatas and tassels of these fall on the shoulders in front. He wears a crown, armlets and wristlets. Damaged and lost at various places. Buff grey sandstone.
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| Hunter |
Mysore State Hoyasala 12th century CE Stone Sculpture carved in deep relief showing a hunters standing on a plinth under a scrolled arch. She is profusely ornamented with round ear-rings, necklace, phalakahara, armlets, bangles, heavy anklets and finger rings.
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| Rama redeeming Ahilya |
Deogarh temple, Jhansi, Gupta 4th-5th century CE Stone This panel is depicting Rama redeeming Ahilya from the curse. An old ascetic is seated on a raised seat to the extreme right.
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| Ganga |
Ahichchhatra, U.P, Gupta, Terracota, 5th-6th century AD Ganga and Yamuna, the two sacred rivers of northern India came to be represented as goddess at the entrance to many Hindu Temples (on the right and left of the portal respectively, for the purification and enlightenment of devotee) from the time of the Gupta period. In the worship of the river goddess Ganga, the focus is on her purifying and redeeming function associated to the traditional funeral rites. In the Shaivite conception of Ganga's decent to the earth as described in the Gangavatarana legend. King Bhagiratha with his severe penance and austerities caused the Ganga to descend to the earth. Lord Siva was forced to intervene and to have her flow throw his 'Jatas' or deadlocks, before touching the earth. Ganga symbolizes fertility and abundance. She is represented here as a bejeweled, beautiful young goddess, standing on her vehicle (vahana) which is the mythical aquatic creature called makara (crocodile) which symbolizes untamed energy. The Goddess is wearing an upper garments which is a simple piece of cloth-partly covering the breasts (stanotariya), the tight skirt (candataka) clinging to her body and fastened at the waist by a girdle and holding a water pot (kalasa). This life-size image of Ganga hails from a Shaivite temple in Ahichchhatra, Uttar Pradesh. The graceful posture and the relatively modest ornamentation reflect the standard convention of the period. The figure represents the peak of great creativity, technical perfection and refinement of Indian terracotta art in the late 5th century A.D.
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| River Yamuna |
Sculpture in Terracotta, this along with River Ganga were used as doorjambs in temples during Gupta period. Yamuna holds the purifying water pot and is standing on a turtle. She is flanked by attendants. A exquisite piece from late 5th century.
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| Dwarapal |
A door jamb. Dwarapal. A beautiful carved wooden piece. Late medieval era
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| A scene depicting Life of Buddha |
Ayaga Frieze. Depicting scene from Buddha's life and Jataka tales. Ikshavaku 3 century CE. Nagarjunkonda, Andhra Pradesh
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| Ayagapata |
Kushana gallery. 1-3 century CE. Ayagapata is the tablet for offering homage. Jain art from Mathura. This period was a period of immense profusion of visual art. Jaina deities for the first time had human form.
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| Some examples of Mauryan art |
322-185 BCE. Robust forms
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| Buddha. |
Kushana era, 1-3 century CE Gandhara style. Buddha in this era was for the first time represented in human form. Gandhara style was Influenced by Greco-Roman style as evident from iconography and costumes.
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| A panel from Deogarh depicting stories from Mahabharat |
This shows a war scene between Pandava Yudhistra and Kaurva Duryodhana. Gupta era. Golden period of the Indian art - 4-6 century CE.
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| Carving from a cave. |
Shunga period 2nd -1st century B.C.E. The period immediately after the Mauryan period saw simpler art form. Sculptures used mainly to decorate Stupas. This one is from Bharaut in Madhya Pradesh.
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| Railing pillar depicting Asita's visit. |
In the early days of Buddhism, Buddha is worshipped in Aniconism - certain objects are worshipped that didn't show him in human form. Baby Buddha (Siddarth) is depicted symbolically as a pair of footprint on the cloth held by Sage Asita. Satvahana, Amravati Andhra Pradesh
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| Mother and child |
Pala art form. Bengal 11th century Late medieval sculpture collection. Use of dark basalt stone. Exquisite Jewel like carving of God and goddesses.
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| Drunken courtesan |
Kushana, 2nd century CE. Mathura art style. Use of locally available red sandstone. The female figures are sensuous and voluptuous in this style. This is the famous Bacchanalian scene where Vasantsena the famous courtesan is shown drunk and loosing control over her senses.
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| Dancer and Drummer |
Late Medieval sculpture collection. From the kingdom of Hoyasalas. Intricately carved stone sculpture are the specialty of this era
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| Kaliya and Krishna |
Stone Halebidu Hoyasala 12th century CE Corner stone
of the outside wall of a temple, carved in deep relief on two faces.The carving
on the one face depicts Krishna dancing
on the head of a seven-hooded serpent. The second face of the stone shows garuda standing in Anjali-mudra, under
a foliated canopy
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| A Mughal era Surahai |
Made of Jade, gold wire and leaf, glass and Ruby
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| Buddhists iconography |
A lion atop an elephant seated on Dharam chakra. Notice the Dharam chakra on the top of lion too. Doesn't it remind you of National symbol of India. Buddhists gallery
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Buddhists prayer wheel
Alamkara - the jewellery gallery at National Museum New Delhi. More than 250 pieces of jewellery showcasing the history and culture of India can be seen here. On display here are more than 250 pieces from different eras. These pieces tell a history of more than 5000 years, how the people lived and so on. From Harappan civilization to the Mughals and more.
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| Temple Jewellery from Southern India |
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Ekamukha Sivalinga
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Stone Nachana
Kuthera, Madhya Pradesh Gupta 5th Century AD Ekamukha Sivalinga carved on one side of
phallus which is mounted on a high rectangular base. The hair is arranged into
a Jatamukuta tied in the middle. Crescent Moon is shown at the top in front.
His long tassels of hair also fall on the shoulder. Third eye is shown on the
forehead. He wears ear- rings and a necklace. Red Sand stone.
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| Relics of Buddha |
Unearthed in 1898 from Piprawaha district
Siddarth Nagar Uttar Pradesh India. A casket filled with fragments of bones,
ornaments, figures and precious stones. The casket inscription mention relics
of Buddha.
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| Throne of Raja of Banaras |
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| Traditional Indian board games. Chopad or
chausar |
Also known as Pachisi. One of the first games to
be described in Indian ancient texts
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| Traditional Indian board games |
Saanp Seedi is a traditional board game from
India. This one is a very old board but the game is still popular. Similar to
Snakes and ladders
Some Other Artefacts
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| Maurya, Shunga & Satavahana Collection |
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| Maurya, Shunga & Satavahana Collection |
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| Maurya, Shunga & Satavahana Collection |
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| Maurya, Shunga & Satavahana Collection |
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| Gupta Art |
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| Gupta Art |
