Resource Type: still image / Repository: American Institute of Indian Studies, Center for Art and Archaeology, Gurugram, Haryana, India - UCLA Library Digital Collections Search Results

Yudhisthira and Krishna

Description:: The illustration from the Razma Namah manuscript shows Yudhisthira and Krishna. Yudhisthira is the eldest of the five Pandava brothers and the rightful heir to the throne of the Kuru kingdom, while Krishna is an avatar of the god Vishnu and a friend and advisor to the Pandavas.
Resource Type:: still image
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Yellow Narcissus and butterfly

Description:: The illustration shows a yellow narcissus flower and a butterfly.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Yamantaka detail

Description:: The illustration shows a detail from Yamantaka mandala. Yamantaka mandala is a visual representation of the Buddhist deity Yamantaka, who is also known as the conqueror of death. In Buddhist iconography, a mandala is a complex diagram that symbolizes the universe and serves as a means of meditation and visualization for practitioners. The Yamantaka mandala specifically represents the enlightened mind of Yamantaka and is used as a tool to help practitioners attain liberation from the cycle of death and rebirth.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Worship of Shivalinga

Description:: The illustration shows worship of a Shivalinga which is the aniconic representation of the Hindu god Shiva. This was a popular theme in the 18th century painting.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

White-breasted Kingfisher

Description:: The illustration shows a white-breasted Kingfisher. The background of the painting has been painted in peori (deep yellow) which was unusual for Mughal Jahangir period, but its presence indicates the desire to experiment with colours and techniques. The peori has probably been used to signify the intensity of Indian sunlight.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding procession preparing to leave Ayodhya

Description:: This is folio 130 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows the wedding procession preparing to leave Ayodhya.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding procession preparing to leave Ayodhya

Description:: This is folio 128 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows the wedding procession preparing to leave Ayodhya.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding procession preparing to leave Ayodhya

Description:: This is folio 129 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows the wedding procession preparing to leave Ayodhya.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 138 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 141 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 139 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 140 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 137 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding of Rama and Sita

Description:: This is folio 136 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows wedding of Rama and Sita.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wedding ceremony of Rama and Sita

Description:: The illustration shows the wedding ceremony of Rama and Sita.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Water sports of Neminatha with Krishna and wives

Description:: According to the Kalpasutra text, Neminatha grew as a boy along with Balrama and Krishna in Mathura. Once Krishna and his wives invited Neminatha to the lake. Krishna is carrying a flame or an aarti lamp, a symbol of worship. The female figures on each side are Krishna's wives.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

War between demons and monkeys

Description:: This is folio 25 from the Lankakanda chapter of the Ramcharit Manas manuscript. The illustration shows demons making a raid on the monkeys in the evening; Hanumana and Angada rushing towards demons; Rama shooting an Agnivana to make light (center right); Malyavana dissuading Ravana from war (top left).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Wandering sadhu

Description:: The illustration shows a wandering ascetic (sadhu).
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vishvamitra, Rama and Lakshmana at Janakapuri

Description:: This is folio 94 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vishvamitra, Rama and Lakshmana reaching Janakapuri.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vishnu teaches Narada a lesson

Description:: This is folio 60 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Narada bidding farewell to Vishnu (bottom); Vishnu creates a dream city to teach Narada a lesson for boasting (top).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vishnu's message from heaven (akasavani)

Description:: This is folio 82 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Shiva and others hearing Vishnu's message from heaven (akashvani) promising incarnation in Suryavamsi family at Ayodhya.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vigil on the sixth night after jina's birth

Description:: The illustration shows four women holding vigil. The completion of the sixth day after the birth of a prince who is to become a jina is celebrated by remaining awake through the night. One of the four women is Queen Trisala and the other three are noblewomen who are holding an offering or a gift.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vigil on the sixth night after jina's birth

Description:: The illustration shows four women holding vigil. The completion of the sixth day after the birth of a prince who is to become a jina is celebrated by remaining awake through the night. One of the four women is Queen Trisala and the other three are noblewomen who are holding an offering or a gift.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasundhara

Description:: This illustration shows Vasudhara who is a female bodhisattva. ‘Vasu’ translates to bounty and ‘dhara’ translates to flowing and the goddess represents of wealth, prosperity, and abundance.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha with Rama; Kausalya with Sita

Description:: This is folio 122 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha with Rama in a gathering (top); Kausalya addressing Sita (center right); Janaka praising Sita (bottom left).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha with Rama; Janaka arriving

Description:: This is folio 117 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha with Rama (top left); people saluting Rama (top right); Rama going forward to receive Janaka (left); Janaka arriving with his train (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha seated; the trio; Janaka with Sita; Bharata with Shatrughna

Description:: This is folio 123 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha seated (left top); the trio on right; Janaka preaching to Sita (right center); Bharata with Shatrughna (bottom left).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha and Rama; Sita and the Queens; Bharata and Shatrughna

Description:: This is folio 107 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha talking to Rama (top right); Sita sitting with the Queens (center); Bharata and Shatrughna (left center).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha and Rama; all bathing in Mandakini

Description:: This is folio 106 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha talking to Rama (top); all bathing in Mandakini; Kiratas offering fruit etc. (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vasishtha addressing Rama; Bharata and Rama

Description:: This is folio 111 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Vasishtha addressing Rama (top right); Bharata speaking to Rama (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vanarsena; Angada before Rama

Description:: This is folio 21 from the Lankakanda chapter of the Ramcharit Manas manuscript. The illustration shows Ravana in his court (top); Vanarsena being divided into four groups; Angada before Rama (bottom right).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Valmiki recommending Citrakuta as a suitable residence

Description:: This is folio 57 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Valmiki recommending Citrakuta as a suitable residence.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vajravidarini

Description:: This illustration shows Vajravidarini who is a semi-wrathful form of Vajrapani, a bodhisattva in Mahayana Buddhism.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vajravaraha mandala

Description:: Vajravaraha mandala is a sacred diagram used in Vajrayana Buddhism for the practice of meditation and visualization. The mandala represents the divine abode of the deity Vajravaraha, who is a wrathful manifestation of the bodhisattva Avalokitesvara. Vajravaraha is depicted as a boar-headed deity with a fierce expression.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vajrasattara

Description:: This illustration shows Vajrasattva who is a bodhisattva in Vajrayana Buddhism and represents the purification of negative actions and negative states of mind. Vajrasattva is often visualized with a serene expression and holding a vajra (diamond scepter) and a bell, symbolizing the union of method and wisdom.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vairocana

Description:: This illustration shows Vairocana that translates to 'Illuminator' and is considered to be the original of the five Transcendent Buddhas in Mahayana Buddhism, and particularly in Vajrayana (Tantric) Buddhism. He is identified by his hands held in bodhyagri mudra, an esoteric gesture denoting the zenith of the universe.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Vairocana

Description:: This illustration shows Vairocana that translates to 'Illuminator' and is considered to be the original of the five Transcendent Buddhas in Mahayana Buddhism, and particularly in Vajrayana (Tantric) Buddhism. In Vairocana's iconography, he is often depicted with a third eye in the center of his forehead, which symbolizes his omniscience and his ability to see the true nature of reality.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Uttara Tricakra Guhyakali

Description:: The illustration shows Uttara Tricakra Guhyakali who is a goddess in Hindu and Tantric traditions. She is a specific aspect of Kali and her mantra and yantra are used in meditation and ritual practices.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Uttara Maha Guhyakali

Description:: The illustration shows Uttara Maha Guhyakali who is a deity in Hinduism who is worshipped as one of the forms of the goddess Kali. She is considered a powerful and fierce manifestation of the goddess, associated with protection and destruction. She is often depicted with multiple arms, holding weapons such as a sword, a trident, and a noose. She is also sometimes depicted riding a lion or a tiger, which represents her ferocity and power.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Uttaradasa Chakra Guhyakali

Description:: The illustration shows Uttaradasa Chakra Guhyakali who is a form of the goddess Kali, who is revered in Hinduism as the divine feminine energy and the goddess of time, change, and destruction.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Usnisavijaya

Description:: This illustration shows Usnisavijaya who is one of the emanations of Vairocana. She is a female bodhisattva with three faces and eight arms and is propitiated in order to extend one’s life, especially in order to practice the dharma.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Urdhamnaya, Purvamnaya, Daksinamnaya

Description:: The illustration shows Urdhamnaya (left) that refers to the upward-pointing direction and is associated with deity Ishana; Purvamnaya (center) refers to the eastern direction, which is associated with the deity Indra and Daksinamnaya (right) refers to the southern direction, which is associated with the deity Yama, the god of death and justice.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Unmattabhairava Varahi Sakti, Kapalisa Bhairava Indrani Sakti

Description:: The illustration shows Unmattabhairava Varahi Sakti (left) - Unmattabhairava is a fierce form of Lord Shiva and Varahi is a form of the Hindu goddess Shakti. Unmattabhairava Varahi Sakti is a combination of these two deities and Kapalisa Bhairava Indrani Sakti (right) - Kapalisa Bhairava is a form of the Hindu god Shiva, often depicted with a skull in his hand. Indrani Sakti, on the other hand, is a form of the Hindu goddess Shakti, associated with Indra, the king of the gods.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Unidentified figure

Description:: The illustration shows a figure from Astasahasrika Prajnaparamita.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Ugrayogini, Harisankara

Description:: The illustration shows Ugrayogini (left) and Harisankara (right).
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Ugra Tara mandala

Description:: The illustration shows Ugra Tara mandala. Ugra Tara Mandala is a symbolic representation of the goddess Ugra Tara, a wrathful form of the Buddhist goddess Tara. The mandala is a sacred geometric diagram used in tantric Buddhist practices as a tool for visualization and meditation.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Udiana Marichi

Description:: The illustration shows Udana Marici who is one of the forms of Marici who is one of the various emanations of Vairocana.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tyrant's house on fire

Description:: The illustration shows the story of a tyrant's house on fire.
Date:: September 1988
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Two pigeons

Description:: The illustration shows the story of two pigeons.
Date:: September 1988
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Two forms of Mahakali

Description:: The illustration shows the two forms of Mahakali. Mahakali is believed to have two forms - Dakshina Kali and Smashana Kali.
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Turkish guardian

Description:: The illustration shows a Turkish guardsman. The guard is dressed in Turkish fashion. Turkish guardsmen and gunners were frequently employed at Deccani courts.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas relating Rama's story in a congregation

Description:: This is folio from the Uttarakanda chapter of the Ramcharit Manas manuscript showing Tulsidas relating Rama's story in a congregation (centre).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas relating Rama's story in a congregation

Description:: This is folio 75 from the Uttarakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas relating Rama's story in a congregation (top) verses in praise of Rama.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas reciting Ramcharit Manas

Description:: This is folio 156 from the Balakanda chapter of the Ramcharit Manas manuscript. This page of text shows Tulsidas reciting Ramcharit Manas.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas reciting Ramayana in the audience

Description:: This is folio 29b from the Sundarakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas reciting Ramayana in the audience.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas reciting Ramayana

Description:: This is folio 31 from the Aranyakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas reciting Ramayana.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas reciting Ramayana

Description:: This is folio 15 from the Kishkindhakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas reciting Ramayana in an audience.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas reciting Ramayana

Description:: This is folio 68 from the Lankakanda chapter of the Ramcharit Manas manuscript. The illustration shows couplets praising Rama; Tulsidas reciting Ramayana (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas paying homage

Description:: This is folio 1b from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas paying homage to Rama, Sita, Valmiki, his guru and Hanumana (from top to bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tulsidas hearing Rama's story

Description:: This is folio 17 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Tulsidas hearing Rama's story that has been compared to the divine cow Kamadhenu, to great serpents which eat away fear; Ramayana is like Mandakini river, and the mind is Citrakuta where Rama, Lakshmana and Sita reside.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisuddhi Paramaguru, Paramastaguru, Paramacaryaguru

Description:: The illustration shows Trisuddhi Paramaguru (left), Paramastaguru (center) and Paramacaryaguru (right).
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisarana

Description:: This illustration shows Trisarana, which in Sanskrit means the “three refuges” in which Buddhists seek refuge from the sufferings of samskara: the Buddha, the Dharma, and the Sangha. Trisarana can be considered a deity as it is a symbol of the protective and supportive power of the Buddhist path and teachings.
Date:: November 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala's joy at conception of Mahavira

Description:: The illustration shows Queen Trisala relieved after she felt movement of the baby inside her womb. The joyous bedecked queen is looking into a mirror held in the hand of a handmaiden. Trisala has also resumed her throne in the grand palace suggested by the stool and an elaborate cusped arch.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala in her sleeping chamber

Description:: The illustrations shows Queen Trisala in her sleeping chamber with an attendant.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala in her chamber

Description:: The illustration shows Queen Trisala in her chamber with an attendant cooling her with a fly-whisk (chauri).
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala feeling sorrow

Description:: The illustration shows Trisala in grief when she did not experience any movement of the embryo growing inside her. Trisala's grief is represented with her glance downwards and her right hand touching her mouth.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala dreaming

Description:: The illustration shows Trisala, the mother of jina Mahavira, dreaming. According to Jain tradition, Trisala had a series of fourteen auspicious dreams during the pregnancy which foretold the birth of a great soul who would become a Tirthankara. These symbols are: 1) elephant; 2) bull; 3) lion; 4) Goddess Shri; 5) garlands of flowers; 6) full moon; 7) the sun; 8) a large flag atop a golden pole; 9) full pot; 10) a lake; 11) Milky Ocean with fish; 12) a celestial palace; 13) a heap of jewels; 14) flames.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala dreaming

Description:: The illustration shows Trisala, the mother of Mahavira dreaming. According to Jain tradition, Trisala had a series of fourteen auspicious dreams during the pregnancy which foretold the birth of a great soul who would become a Tirthankara.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trisala and Siddhartha conversing

Description:: The illustration shows Trisala relating her dream to King Siddhartha.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tripura, Urddha sakti

Description:: The illustration shows Tripura (left), one of the ten Mahavidyas or "Great Wisdoms" believed to be the embodiment of the divine feminine energy, and is associated with the power of creation and transformation and Urddha sakti (right).
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trio on its way; people paying homage to Rama

Description:: This is folio 53 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows the trio on its way (top); people gathering to see Rama and paying homage (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trimurti or trinity of Brahma, Vishnu, Mahesha

Description:: This is folio 1a from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows Brahma, Vishnu, Mahesha.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Trikanandadeva, Dhanesanandadeva

Description:: The illustration shows Trikanandadeva (left) and Dhanesanandadeva (right).
Date:: April 1966
Resource Type:: still image
Photographer:: Dayasaran
Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Tragic end of an infidel wife

Description:: The illustration shows the story of the tragic end of an infidel wife.
Date:: April 1988
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Toilet scene

Description:: The illustration shows a toilet scene. King Siddhartha is being massaged and bathed as he sits in cross-legged position. An attendant combs his hair at the same time.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Toilet scene

Description:: The illustration shows a toilet scene. An attendant is combing King Siddhartha's, father of the jina Mahavira's, hair. The king had to be adorned "like a grant-wishing tree" to prepare to tell his wife Trisala the interpretation of her dreams.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Three types of listeners

Description:: This is folio 21 from the Balakanda chapter of the Ramcharit Manas manuscript. The illustration shows comparison of three types of listeners to village, town and city.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

Thread ceremony

Description:: The illustration shows the thread ceremony of Aniruddha Chandra of Kangra.
Date:: December 1968
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

The trio in Sage Sutikshana's ashrama

Description:: This is folio 8 from the Aranyakanda chapter of the Ramcharit Manas manuscript. The illustration shows the trio in Sage Sutikshana's ashrama (top); Sutikshana dancing with joy and embracing Rama (center); Sutikshana leading Rama to Agastya's ashrama.
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

The trio in Citrakuta

Description:: This is folio 58 from the Ayodhyakanda chapter of the Ramcharit Manas manuscript. The illustration shows the trio in Citrakuta, gods coming to see Rama, Bhilas bringing offerings to Rama (top); gods building a hut for Rama (center right); Rama visiting sages (bottom).
Date:: December 1977
Resource Type:: still image
Photographer:: Dharmpal Nanda
Collection:: AIIS Center for Art & Archaeology Negatives & Slides

The attainment of perfect knowledge (gautama gyana)

Description:: The illustration shows the attainment of perfect knowledge (gautama gyana) by Indrabhuti, one of Mahavira's disciple. Indrabhuti carries a cloth face mask over his right shoulder (muhapatti) to avoid inhaling small living organisms, has a small broom to sweep away living things, and holds a rosary (mala). He is seated on a throne which has a lotus in front of it to signify his enlightenment.
Date:: December 1966
Resource Type:: still image
Photographer:: Dayasaran
Collection:: AIIS Center for Art & Archaeology Negatives & Slides