In pics: 29 stunning antiquities repatriated to India by Australia

New Delhi, Mar 21: In a historic move 29 antiquities have been repatriated to India by Australia. Prime Minister Narendra Modi also inspected these antiquities.

The antiquities range in six broad categories as per themes - Shiva and his disciples, Worshipping Shakti, Lord Vishnu and his forms, Jain tradition, Portraits and decorative objects.

PM Modi inspects antiquities:

These antiquities come from different time periods, with the earliest dating to 9-10 century CE. These are primarily sculptures and paintings executed in variety of material - sandstone, marble, bronze, brass, paper.

Antiquities represent large geographical region in India

Representing a large geographical region in India, antiquities are from Rajasthan, Gujarat, Madhya Pradesh, Uttar Pradesh, Tamil Nadu, Telangana and West Bengal.

Shiva Bhairava: 9th - 10th century CE Rajasthan Sandstone 82.0cm x 35.0 cm 42820:

In Shaivism, Shiva Bhairava is a fierce manifestation of Shiva, associated with annihilation. In Trika system Bhairava represents Supreme Reality, synonymous to Para Brahman. In Hinduism, Bhairava is also called Dandapani (He who holds the Danda in [His] hand"), as he holds a rod or Danda to punish reprobates, and Swaswa, meaning "whose vehicle is a dog". The idol is seen adorned with a mundmālā, trampling on an āpasmārapurusa, attended by a female attendant, and, is embellished with a serpent-hood crown. Visible ayudhās represent a trident in two hands, damru, in another, skull in one, and serpent in another, etc.

The child-saint Sambandar 12th century CE, Tamil Nadu, Bronze, 55.9cm x 19.0cm 96657:

Sambandar, the popular seventh-century child saint, is one of the muvar, the three principal saints of South India. Legend narrates that after receiving a bowl of milk from Goddess Uma, as is shown by the bowl held in his left hand, the infant Sambandar devoted his life to composing hymns in praise of Lord Shiva; his raised hand points to Shiva's heavenly abode
at Mount Kailash, in the Himalayas. The sculpture displays the saint's childlike quality, while, also empowering him with the maturity and authority of a spiritual leader.

The dancing child-saint Sambandar 12th century CE, Tamil Nadu, Bronze, 66.0cm x 36.0cm 143987:

The child saint Sambandar, one of a group of sixty-three saints who adored Shiva, lived in the seventh century in the south Indian state of Tamil Nadu.

Comprehensive sets of imageries of these saints, known as the Nayanars, are found in all major south Indian temples, where Sambandar has been eternalized for his blissful songs in praise of Shiva.

Sambandar may be identified by the pointing index finger of his right hand upwards toward figures of Shiva and Parvati carved upon the temple tower, who is, in legend, supposed to have given him a gift of milk.

The Saint Chandikesvara 14th century CE, South India, 61.5cm x 22.0cm, 41532

Saint Chandikesvara is shown yielding an axe, standing with folded hands, on a lotus pedestal. He is adorned with a high jata-mukuta, and, is shown bedecked with jewels, wearing a dhoti tied with a girdle at waist. The Figure of Saint Chandikeshvara shows his hands joined together, eyes closed, and a faint smile spread across the face. These subtle emotions show a humble devotion to the servitude of Shiva. Saint Chandikeshvara's axe rests in the crease of his left arm.

Shiva and Parvati:

Circa 1830-40, Kangra, Himachal Pradesh, opaque, watercolour heightened with gold on paper, 24.1 x 17.8 cm, 188111

Dancing Sambandar 14th century CE South India, 56.0cm x 27.0cm 41533:

One of sixty-three saints who were ardent devotees of Lord Shiva, Sambandar was nonchalant to the philosophy or sacred texts. Music and dance were central to his practice of religion in Shiva's honour. Sambandar died at an early age, however, is ascribed with the composition of innumerable hymns. Sambandar
here, is depicted dancing on a lotus, with one leg raised, his right hand pointing towards the heavens, while his left is in gajahasta mudra. The expression on his face is serene and he is shown wearing no clothes, but is adorned with a girdle of bells, a waistband, ankle cuffs and earrings. Adorning a sacred thread, his hair is styled in a jatāmukuta.

Yaksha Bhairava:

Mid 19th century, Jaipur, Rajasthan, gouache, gold, silver, ink and coloured foil on paper 50.5 x 40.0 cm 188113

Durga Mahisasuramardini

Goddess Durga slaying the buffalo demon 12th-13th century CE, Gujarat
Sandstone, 60.0cm x 37.5cm, 55426. Durga Mahisasuramardini is seen holding the Mahisha demon by his hair, with her tongue out, and an aggressive expression throughout her face. She is shown four- armed, holding the sword, shield, and the trident in the remaining three hands. The deity is seen bedecked in jewels, seated on her vehicle, the simha. This sculpture shows very unusual features, variant from the usual attributable features of Durga Mahisasuramardini, possibly a regional variation.

Kali yantra:

Batuk Prasad, early 19th century, Varanasi (Benares), Uttar Pradesh opaque, watercolour on paper 68.0 x 66.5 cm, 188114

Lakshmi Narayana:

The divine couple Lakshmi and Vishnu 10th-11th century CE Rajasthan or Uttar Pradesh Sandstone, 96.5cm x 66.0cm,152676.

This beautiful sculptural frieze displays, the Divine couple, probably Lakshmi Narayana, as central deities, felicitated, by Brahma and Shiva on either side, at
the top of the arch, and Garuda and vidyadharas atop on the arch of the prabhāvali. The male deity (Narayana/ Vishnu) is seen holding śankha and chakra in both hands, and holding the female deity (Lakshmi).

The female deity is seen with a serene expression, holding the Lord and leaning on him. The deities are heavily bedecked in jewels. Attendants and devotees adorn the panel.

Untitled:

'Manorath' portrait of donor and priests before Shri Nathji, Nathdwara, Unknown Artist. Udaipur, Rajasthan opaque, watercolour on paper, 63.0 x 50.0 cm, 193637.

Varaha rescuing the Earth Goddess Circa 1720-1730:

Bikaner, Rajasthan, opaque, watercolour heightened with gold on paper
22.9 x 17.8 cm 188119.

Baby Krishna on a banyan leaf:

Second half of 18th century, Kota, Rajasthan, Opaque, watercolour heightened with gold on paper, 14.0 cm X 14.0 cm 188112.

Shrinathji:

19th century Nathdvara, Rajasthan chromolithograph 30.5 x 22.9 cm, 188109

Krishna and Arjuna:

Early 19th century, Mewar region, Rajasthan opaque, watercolour and gold on paper
13.0 x 17.9 cm 188118.

Arch of a Jain shrine 11th-12th century CE:

Mount Abu region, Rajasthan Marble. This beautifully embellished frieze in marble is prabhāvali of a Jaina Tirthankar. Two Jaina Tirthankara are seen standing on either sides of the panel, topped with two other Tirthankara in dhyāna mudra, seated within a shrine-niche structure, which is further decorated with a circular top showing the chhatri topped with a figure in pranāma mudra, felicitated by two human figures and elephants on either sides. Possibly, the Jaina Tirthankar seated may be identified as Ajitanath, the second Tirthankara.

Seated Jina sculpture:

Mount Abu region, Rajasthan Marble. The Jaina shrine above, may have been the prabhāvali of the Jaina Tirthankar represented in this image. The presence of the symbol of the Jaina deity, elephant, makes it possible that this Jaina deity is Ajitanath, the second Tirthankar, of the present avasarpini (half time cycle) according to Jainism, and was born to King Jitashatru and Queen Vijaya at Ayodhya in the Ikshvaku dynasty.

Vijnaptipatra:

Letter of invitation to Jain monks; picture scroll, 19th century CE, Rajasthan
Opaque pigments, gold and silver on paper [wasli]. This picture scroll or vijnaptipatra painting, comprising of art in opaque pigments, gold and silver, on paper, is a letter of invitation to the Jaina monks, containing pictorial representation, along with a written invitation at the bottom of the scroll.

Maharaja Sir Kishen Pershad Yamin Lala Deen Dayal:

The name below the portrait is that of Lala Deen Dayal & Sons, besides the emblem of State, and Bombay written beside it. Maharaja Sir Kishen Pershad Yamin 1903 is written in cursive to the top right of the painting. Lala Deen Dayal worked as official photographer to the Nizam of Hyderabad during later part of 19th Cen. CE.

Hiralal:

A Gandhi memorial portrait Shah, Shanti C, Circa 1941
Gelatin silver photograph Image. The painting is memorial portrait of Hiralal A. Gandhi, datable to 1941, as mentioned in the painting.

Portrait of a man, Circa 1954

Venus Studio, gelatin silver photograph Image. This portrait painting of a middle aged male is from the Venus Studio, as mentioned in the portrait.

Untitled:

Gujarati family group portrait Guru Das Studio, Gelatin silver photograph Image.

This portrait of a Gujarati family group photo, untitled, is from the Guru Das Studio. Shastiji Amritrai Karunashankar is mentioned at the bottom in Gujarati language.

Unknown portraiture

Portrait of a woman, Udaipur, Rajasthan, gelatin silver photograph.

Portrait of a gentleman

Panna Lal (artist), Circa 1875. Nathdwara, Rajasthan opaque, watercolour on paper

Page from a Ragamala series:

Circa 1720, Malwa region, Madhya Pradesh, India opaque, watercolour and ink on paper.

Young lady with elaborate saree:

Circa 1775, Bundi, Rajasthan, Opaque, watercolour and gold on paper.

Processional standard (Alam) 19th century CE:

Hyderabad, Telangana, India Brass. This piece of art object may be identified with a processional standard that must have been carried by a stand bearer in processions.

Shri Lakshman Chandji before Shri Dursham Ramji:

Early 19th century, Thikana, Rajasthan. Ppaque, watercolour with gold and silver on paper.

Amorous couple:

Circa 1875, Kalighat, Kolkata (Calcutta), West Bengal, opaque and metallic pigment on paper.