CENTER FOR ART AND ARCHAEOLOGY

Subject: Photo source: Ruling Princes and Chiefs of India, Bombay: Times of India Press,1930, pp. 70. Tonk's nawabs were descended from the Pindari leader Amir Khan, who agreed to abandon his pillaging in 1817 in return for English guarantees of some of his conquests. Tonk included three separate districts in Central India and three in Rajputana. [Nawab Muhammed Ibrahim Ali Khan]

Subject: Mahratta Rulers from Dewas S.B., Gwalior, Indore, Baroda, Dewas J.B., Phaltan, Kolhapur, Jath, and Surguna [Stamps from States in Central India and the Deccan]

Subject: Left to right, Top: Baoni, Junagadh, Sardargarh, Balasinor; Center: Manavadar, Radhanpur; Bottom: Kurwai, Jaora, Pathari, Palanpur; Pathans ruled many states in Central India (Baoni, Jaora, Kurwai, Pathari, etc.) and Western India (Balasinor, Junagadh, Manavadar, Palanpur, Radhanpur, Sardargarh, etc.) [Pathan-Ruled States ]

Subject: View of Benares Ghats (Copied from the book by George, Viscount Valentin, Voyages & Travels to India (1809), drawing by Henry Salt.)

Subject: Panakhila Daba. A panakhila daba is used for storing betel leaves. Betel leaves are commonly used in India as a stimulant, an antiseptic, and a breath-freshener.

Subject: Warp (Korea Silk). Korean Silk is imported to India from Korea and mainly used for warp since it has better strength than wild silk. This object has been procured from Bhagamunda Tasar Rearers Cooperative Society (TRCS) Ltd.

Subject: Jnanasabandar, dancing: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Jnanasambandar heads the list of Devaram singers, his poems on several hundred Shiva temples form the first three books of the sacred Saiva hymns. According to the legend, child Jnanasambandar was once left on the bank by his father. When the father returned, he found the child playing contentedly with a golden cup while trickles of milk ran down his chin, he questioned the source of the cup. By way of answer, the child raised his hand and pointed towards the sky where Uma-Mahesvara appeared to bless both the father and the child. Subsequently the father carried the child on his shoulders from temple to temple with Sambandar singing. Most Saiva temples possess metal images of four Saiva saints-Appar, Sambandar, Sundarar and Manikkavachakar and among these; it is Sambandar who is invariably shown as a child, either standing or dancing. In this image, Sambandar is dancing, one leg lifted, the left arm extended and the right arm pointing up, the image referring to his joyous dance after drinking Parvati?s milk. This is the back view of the sculpted image. This is the back view of the image.

Subject: Saadi''s Bustan (Copy of persian Shirazi), copy (?) made in india 17th c? at Alwar

Subject: Natural Dyed Palas Silk Fabric. Natural dyes are colorants derived from plants, invertebrates, or minerals. The mordant and fabric type affects the dye adherence, fastness properties and shades. The Palas tree is commonly found all over India and the palas flower that is bright reddish yellow in color is used for dye. This object was procured from Secretary, Mahalaxmi WCS Ltd.

Subject: Palas Flower (Mahalaxmi WCS). Natural dyes are colorants derived from plants, invertebrates, or minerals. The mordant and fabric type affects the dye adherence, fastness properties and shades. The Palas tree is commonly found all over India and the palas flower that is bright reddish yellow in color is used for dye. This object has been procured from Boyanika (Odisha State Handloom Weavers Cooperative Society Ltd).

Subject: The origin of music from a fabulous bird of India which has seven holes in its beak.

Subject: Jnanasabandar, dancing: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Jnanasambandar heads the list of Devaram singers, his poems on several hundred Shiva temples form the first three books of the sacred Saiva hymns. According to the legend, child Jnanasambandar was once left on the bank by his father. When the father returned, he found the child playing contentedly with a golden cup while trickles of milk ran down his chin, he questioned the source of the cup. By way of answer, the child raised his hand and pointed towards the sky where Uma-Mahesvara appeared to bless both the father and the child. Subsequently the father carried the child on his shoulders from temple to temple with Sambandar singing. Most Saiva temples possess metal images of four Saiva saints-Appar, Sambandar, Sundarar and Manikkavachakar and among these; it is Sambandar who is invariably shown as a child, either standing or dancing. In this image, Sambandar is dancing, one leg lifted, the left arm extended and the right arm pointing up, the image referring to his joyous dance after drinking Parvati?s milk. This is the back view of the sculpted image. This is the back view of the image.

Subject: Shivaji, Published by Times of India Press, Bombay, Maharashtra.

Subject: 8 coins (English and Dutch East India Company coins)

Subject: Imitating 11th c. votive tablet from India with Buddha at the Moment of Victory at the Temple at Bodhgaya, Votive Plaque

Subject: Candikesvara: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Candikesvara, born as Vicharasarman, was an ardent devotee of Lord Shiva when he was a boy. Each day as he tended his cows, he would use some of the milk for ritual lustration of a mud linga that he worshipped devoutly. Candikesvara's father reproached Candikesvara for the misuse of the milk and in anger kicked the mud linga. Candikesvara lashed out with his cowherd staff which miraculously turned into Shiva's sacred axe, felling his father to the ground. This spur of the moment reaction pleased Shiva immensely and he made Candikesvara the principal guardian of Shiva's properties. During the Chola period, Candikesvara acquired a new role as guardian and supervisor of Shiva temples. As Chola monarchs started to convert, a supervising agent was needed to ensure the sanctity of the shrine. Therefore an image of Candikesvara as divine supervisor was placed within the grounds of the Shiva temple. Additionally the Chola rulers perhaps identified themselves with the devotee. Candikesvara shrines are very popular in South India.

Subject: Court fee stamps of this small state in the Western India States Agency were issued in the name of the Political Agents F. DeR. Hancock and W.M.P. Wood. In such small states, the political agents exercised administrative and judicial powers and the thakurs or chiefs had limited powers. The chief of Maliya's powers were limited to suits of Rs. 10,000 rupees and criminal sentences to three years and fines of Rs. 5,000. [Two Stamps ]

Subject: West Facade, Corner of West Mandapa and porch: Stone bridge erected on the ocean between India and Sri Lanka

Subject: Natural Dyed Palas Silk fabric/than-24mtrs. Natural dyes are colorants derived from plants, invertebrates, or minerals. The mordant and fabric type affects the dye adherence, fastness properties and shades. The Palas tree is commonly found all over India and the palas flower that is bright reddish yellow in color is used for dye.

Subject: A danseuse performing kurathi dance (a traditional folk-dance from Southern India and popular among classical dancers).

Subject: Warp (Korea Silk). Korean Silk is imported to India from Korea and mainly used for warp since it has better strength than wild silk. This object has been procured from Bhagamunda Tasar Rearers Cooperative Society (TRCS) Ltd.

Subject: Buddha seated: In South India, the Buddhist and Jain faiths were quite vital in the Chola period. Buddhist monasteries attracted donations of individual images of the Buddha and Buddhist deities. The early arrival of Buddhism in south India is evident from the ancient Buddhist monastic sites that dot Godavari and Krishna basins of the Andhra region as well as literary sources. However with the upsurge of Shaiva nayanmars and the Vaishnava alvars, the power of Buddhists greatly reduced. Buddhism received new impetus during the eleventh century partly because of the arrival of a colony of Buddhists from the kingdom of Shrivijaya in Indonesia. This is a seated figure of Buddha in dhyani-mudra (contemplation gesture). The robes cover only one shoulder.

Subject: Jnanasabandar, dancing: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Jnanasambandar heads the list of Devaram singers, his poems on several hundred Shiva temples form the first three books of the sacred Saiva hymns. According to the legend, child Jnanasambandar was once left on the bank by his father. When the father returned, he found the child playing contentedly with a golden cup while trickles of milk ran down his chin, he questioned the source of the cup. By way of answer, the child raised his hand and pointed towards the sky where Uma-Mahesvara appeared to bless both the father and the child. Subsequently the father carried the child on his shoulders from temple to temple with Sambandar singing. Most Saiva temples possess metal images of four Saiva saints-Appar, Sambandar, Sundarar and Manikkavachakar and among these; it is Sambandar who is invariably shown as a child, either standing or dancing. In this image, Sambandar is dancing, one leg lifted, the left arm extended and the right arm pointing up, the image referring to his joyous dance after drinking Parvati?s milk. This is the back view of the sculpted image.

Subject: Candikesvara: An interesting facet of Hinduism on the Tamil-speaking region of south India is the emphasis given to the worship of sixty-three Shaiva saints called nayanmars. The Shaiva saints who lived between the sixth and ninth centuries, were part of a community of holy persons who travelled together across the Tamil countryside, stopping to sing the glories of the deity enshrines at each temple. Through the hymns of the saints, the figure of the distant godhead was humanized. Candikesvara, born as Vicharasarman, was an ardent devotee of Lord Shiva when he was a boy. Each day as he tended his cows, he would use some of the milk for ritual lustration of a mud linga that he worshipped devoutly. Candikesvara's father reproached Candikesvara for the misuse of the milk and in anger kicked the mud linga. Candikesvara lashed out with his cowherd staff which miraculously turned into Shiva?s sacred axe, felling his father to the ground. This spur of the moment reaction pleased Shiva immensely and he made Candikesvara the principal guardian of Shiva?s properties. During the Chola period, Candikesvara acquired a new role as guardian and supervisor of Shiva temples. As Chola monarchs started to convert, a supervising agent was needed to ensure the sanctity of the shrine. Therefore an image of Candikesvara as divine supervisor was placed within the grounds of the Shiva temple. Additionally the Chola rulers perhaps identified themselves with the devotee. The saint is shown seated on a horizontal base in the lalitasana posture. His right hand holds an axe.