By Al Hansen
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The terribly wealthy number of the Hermitage comprises consultant works of the major masters of ecu paintings, from 1500 to the current day.
Catalog of an exhibition of a similar identify held on the Whitney Museum of yankee paintings, Dec. nine, 1981-Feb. 7, 1982, and for that reason on the San Francisco Museum of contemporary artwork. Works via Peter Voulkos, John Mason, Kenneth cost, Robert Arneson, David Gilhooly, and Richard Shaw
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Also, the elongated lotus-shaped eyes and sharp outlines of the lips suggest a linearity that postdates the fifth-century style but resembles some figures from Sarnath ascribed to the sixth century,106 anticipating the style of the seventh-century Nalanda stuccoes. Thus it is most appropriate to ascribe the sculptures of the Maniyar Math to the sixth century. The stucco sculptures show a new style in Eastern India modeled on imagery from the region of Sarnath and replacing the older forms derived from the Kusana school of Mathura.
Between each of the projections were three niches flush with the cylinder, of which only seven were preserved when the monument was excavated. The three on the southwest side contained images of serpent deities, or Nagas; those on the southeast side contained two Nagas and a Nag! (Plate 20). The one remaining on the northeast side contained a lihga decorated with a garland; all others were destroyed, probably when the wall across the northern side was constructed. The serpent imagery of the Maniyar Math stuccoes is surely of local inspiration and can be traced to a cult of considerable antiquity at Rajgir.
Moreover, the bronzes of a single hoard rarely span any great length of time. At such places in Though some of these may be late Kusana products, most are from early Gupta times. And to the south of the river, in Gaya District, the Ekanamsa Trio (Plates 8-10) from Devangarh, where no earlier remains are known, seems to have been made during the fourth century. C. but apparently not during Kusana times, shows some of the most distinctively Gupta features, and is devoid of the provinciality that characterizes other Magadhan sculptures of this century.