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23 results for “Gupta period”
Gupta period terracotta relief fragment depicting a male archer, Pawāyā
<p>This image dates to <em>circa </em>the late fourth century CE (Gupta period). It once decorated the outer wall of a temple at Pawāyā (ancient Padmāvatī), in the Gwalior district of Madhya Pradesh. The fragmented terracotta plaque depicts a male character with matted hair tied in a top-knot. A <em>channavīra</em> (cross belt) is worn across his torso and quivers of arrows are strapped to his back. In one hand he holds a fragmented bow. It is likely that this figure represents either Rāma or Lakṣmaṇa in exile. This image might have been positioned on the lost temple, or on the walls of one of the three terraces belonging to the monumental platform which survives in a severely ruined state. The terracotta plaque fragment was recovered by M.B. Garde who excavated the monument intermittently between 1924 and 1941. The image is displayed at the State Museum of Madhya Pradesh, Bhopal.</p>
Gupta period terracotta plaque with depiction of male head, Pawāyā
<p>This plaque dates to circa the late fourth century CE during the Gupta period. It once decorated the outer wall of a temple at Pawāyā (ancient Padmāvatī), in the Gwalior district of Madhya Pradesh. The panel is one of several depicting male and female busts. These images, which may represent celestial figures, might have been situated on the tower (śikhara) of the lost temple, or on the walls of one of the three terraces belonging to the monumental platform which survives in a severely ruined state. The terracotta panel was recovered by M.B. Garde who excavated the monument intermittently between 1924 and 1941. The panel is displayed at State Museum of Madhya Pradesh, Bhopal.</p>
Gupta period terracotta lunette fragment depicting a male figure in a window, Ahichhatrā
<p>This fragmented lunette is housed in the reserve collection of the State Museum, Allahabad, and originates from Ahichhatrā in the Bareilly district of Uttar Pradesh. The image portrays a man with crimped hair, possibly in the act of conversation with a now lost companion figure. The rushed squiggly line on the border beneath the character might have been a method used to help fix additional clay decoration to the panel - a technique still used by potters today - rather than a crude motif.</p>
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