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id808947_legendb.sql
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-- phpMyAdmin SQL Dump
-- version 4.7.7
-- https://www.phpmyadmin.net/
--
-- Host: localhost
-- Generation Time: Mar 27, 2018 at 07:24 AM
-- Server version: 10.1.31-MariaDB
-- PHP Version: 7.0.26
SET SQL_MODE = "NO_AUTO_VALUE_ON_ZERO";
SET AUTOCOMMIT = 0;
START TRANSACTION;
SET time_zone = "+00:00";
/*!40101 SET @OLD_CHARACTER_SET_CLIENT=@@CHARACTER_SET_CLIENT */;
/*!40101 SET @OLD_CHARACTER_SET_RESULTS=@@CHARACTER_SET_RESULTS */;
/*!40101 SET @OLD_COLLATION_CONNECTION=@@COLLATION_CONNECTION */;
/*!40101 SET NAMES utf8mb4 */;
--
-- Database: `id808947_legendb`
--
-- --------------------------------------------------------
--
-- Table structure for table `events`
--
CREATE TABLE `events` (
`Id` int(10) NOT NULL,
`Museum_Icon` varchar(50) COLLATE utf8_unicode_ci NOT NULL,
`Event_Name` varchar(50) COLLATE utf8_unicode_ci NOT NULL,
`Date` varchar(50) COLLATE utf8_unicode_ci NOT NULL,
`Description` varchar(500) COLLATE utf8_unicode_ci NOT NULL,
`Link` varchar(100) COLLATE utf8_unicode_ci NOT NULL,
`Image` varchar(50) COLLATE utf8_unicode_ci NOT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8 COLLATE=utf8_unicode_ci;
--
-- Dumping data for table `events`
--
INSERT INTO `events` (`Id`, `Museum_Icon`, `Event_Name`, `Date`, `Description`, `Link`, `Image`) VALUES
(1, 'csmvs.png', ' Shakespeare for All Time ', 'Friday, February 10, 2017, 05:30pm', 'A panel discussion on with, Professor (Dr.) Coomi Vevaina, (Professor, Department of English, Mumbai University), Tim Supple (British theatre director), Vickram Kapadia (Playwright, actor, director) and moderator by Quasar Thakore Padamsee (Indian theatre director)', '', 'shakespeare.jpg'),
(2, 'csmvs.png', 'Bombay To Mumbai- Catalogue Release', 'Wednesday, March 01, 2017, 06:00pm', 'Release of the catalogue of the exhibition, \'Bombay to Mumbai: Door of the East with its Face to the West\', curated by Pauline R. Rohatgi and Pheroza Godrej, held in the CSMVS. The catalogue will be released by Dr. Anne Buddle (Collections Advisor, National Galleries of Scotland).', '', 'bombay.jpg'),
(3, 'bdl.jpg', 'Asymmetrical Objects ', 'Jan 19, 2018 - Mar 28, 2018', '\'Asymmetrical Objects\' refers to the founding principals of the Museum-Nature and Science- which are prevalent now as it was in the 19th century.', '', 'asymmetrical.png'),
(4, 'bdl.jpg', 'Feminine Fables: The Body as Site ', 'Mar 22, 2018 6:00 pm - 7.30 pm ', 'Dr. Geeti Sen is a cultural historian and art critic trained from the universities of Chicago and Calcutta. She is author of seven major books on Indian art and was formerly the Chief Editor of the India International Centre, Delhi. In 2009 she was appointed as Director of the Indian Cultural Centre in Kathmandu, Nepal.\r\nThis study concludes with the concept of Shakti: of finding the energy of the goddess within themselves which has today emboldened women.', '', ''),
(5, 'csmvs.png', 'Gedney in India', 'Thursday, March 09, 2017 - 10:15am', 'William Gedney (1932-1989) is recognised as one of the key figures of American black-and-white street photography. This exhibition brings to light the depth and significance of Gedney’s work for the history of photography in India. It is the first museum presentation dedicated to his India work.', '', 'gedney.jpg'),
(1, 'csmvs.png', ' Shakespeare for All Time ', 'Friday, February 10, 2017, 05:30pm', 'A panel discussion on with, Professor (Dr.) Coomi Vevaina, (Professor, Department of English, Mumbai University), Tim Supple (British theatre director), Vickram Kapadia (Playwright, actor, director) and moderator by Quasar Thakore Padamsee (Indian theatre director)', '', 'shakespeare.jpg'),
(2, 'csmvs.png', 'Bombay To Mumbai- Catalogue Release', 'Wednesday, March 01, 2017, 06:00pm', 'Release of the catalogue of the exhibition, \'Bombay to Mumbai: Door of the East with its Face to the West\', curated by Pauline R. Rohatgi and Pheroza Godrej, held in the CSMVS. The catalogue will be released by Dr. Anne Buddle (Collections Advisor, National Galleries of Scotland).', '', 'bombay.jpg'),
(3, 'bdl.jpg', 'Asymmetrical Objects ', 'Jan 19, 2018 - Mar 28, 2018', '\'Asymmetrical Objects\' refers to the founding principals of the Museum-Nature and Science- which are prevalent now as it was in the 19th century.', '', 'asymmetrical.png'),
(4, 'bdl.jpg', 'Feminine Fables: The Body as Site ', 'Mar 22, 2018 6:00 pm - 7.30 pm ', 'Dr. Geeti Sen is a cultural historian and art critic trained from the universities of Chicago and Calcutta. She is author of seven major books on Indian art and was formerly the Chief Editor of the India International Centre, Delhi. In 2009 she was appointed as Director of the Indian Cultural Centre in Kathmandu, Nepal.\r\nThis study concludes with the concept of Shakti: of finding the energy of the goddess within themselves which has today emboldened women.', '', ''),
(5, 'csmvs.png', 'Gedney in India', 'Thursday, March 09, 2017 - 10:15am', 'William Gedney (1932-1989) is recognised as one of the key figures of American black-and-white street photography. This exhibition brings to light the depth and significance of Gedney’s work for the history of photography in India. It is the first museum presentation dedicated to his India work.', '', 'gedney.jpg');
-- --------------------------------------------------------
--
-- Table structure for table `metadata`
--
CREATE TABLE `metadata` (
`ID` decimal(4,1) DEFAULT NULL,
`Related_Object_ID` int(11) DEFAULT NULL,
`Database_ID` varchar(17) CHARACTER SET utf8 DEFAULT NULL,
`Title` varchar(70) CHARACTER SET utf8 DEFAULT NULL,
`Material` varchar(47) CHARACTER SET utf8 DEFAULT NULL,
`Period` varchar(17) CHARACTER SET utf8 DEFAULT NULL,
`Acquisition_Year` decimal(5,1) DEFAULT NULL,
`Provenance` varchar(29) CHARACTER SET utf8 DEFAULT NULL,
`Short_Description` varchar(145) CHARACTER SET utf8 DEFAULT NULL,
`Long_Description` varchar(2931) CHARACTER SET utf8 DEFAULT NULL,
`Type` varchar(18) CHARACTER SET utf8 DEFAULT NULL,
`Height` decimal(5,2) DEFAULT NULL,
`Width` decimal(5,2) DEFAULT NULL,
`Depth` varchar(10) CHARACTER SET utf8 DEFAULT NULL,
`Weight_gms` decimal(4,1) DEFAULT NULL,
`Collection` varchar(25) CHARACTER SET utf8 DEFAULT NULL,
`Keywords` varchar(96) CHARACTER SET utf8 DEFAULT NULL,
`Religion` varchar(12) CHARACTER SET utf8 DEFAULT NULL,
`Dynasty` varchar(9) CHARACTER SET utf8 DEFAULT NULL,
`Artist` varchar(28) CHARACTER SET utf8 DEFAULT NULL,
`FileName` varchar(30) COLLATE utf8_unicode_ci DEFAULT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8 COLLATE=utf8_unicode_ci;
--
-- Dumping data for table `metadata`
--
INSERT INTO `metadata` (`ID`, `Related_Object_ID`, `Database_ID`, `Title`, `Material`, `Period`, `Acquisition_Year`, `Provenance`, `Short_Description`, `Long_Description`, `Type`, `Height`, `Width`, `Depth`, `Weight_gms`, `Collection`, `Keywords`, `Religion`, `Dynasty`, `Artist`, `FileName`) VALUES
(1.0, NULL, 'TC 56', 'Devotee', 'terracotta', '5th CE', 1920.0, 'Mirpurkhas, Sindh, Pakistan\r\n', 'Sculpture in terracotta of man holding flower', 'This sculpture is the legacy of the famous 19th Century archaeologist Henry Cousens who excavated the site of a stupa at Mirpurkhas, one of the most important and well preserved sites of the Indo-Greek Buddhist settlements. This terracotta was found leaning against the north wall of the central shrine. Curiously, this the only secular image among the large number of religious figures found at the site. The image probably represents a donor disciple who contributed towards the construction of the stupa. \r\nThe modeling is a bit heavy, but the expressive face, particularly the half-closed thoughtful eyes, the sharp arch of the eyebrows and the full lips impart an unusual charm to the figure. Look how the hair arranged with care. The ear ornaments do not match each other: the left earring is larger and has three pearl drops. Possibly this special earring indicates a position of office. (A similar custom in Tibet was prevalent till the 18th Century where high officials in the government wore a special kind of earring in one ear.) The elaborate hairdo also seems to be a mark of an important position in the state administration. \r\nThe devotee’s elegantly-draped striped dhoti (lower garment) has traces of paint. The manner in which he holds the flower is reminiscent of the famous painting, Bodhisattva Padmapani, in cave no. I at Ajanta.', 'sculpture', NULL, NULL, NULL, NULL, 'archaeology', 'sculpture, stupa, terracotta, mirpurkhas, sindh, ajanta, man, flower', 'buddhism', NULL, NULL, 'TC-56.jpg'),
(2.0, NULL, '67-39', 'Maitreya Buddha', 'bronze', '13th CE', 1967.0, 'nepal', 'bronze statue to maitreya (future) buddha', 'This magnificent gilded figure is Maitreya, the Buddha who is to appear in future. It is one of the most outstanding images from Western Nepal.\r\nMaitreya is the embodiment of compassion. Like all Bodhisattvas, he is enlightened and beyond the bondage of the world.\r\nHe is portrayed here wearing a tall mukuta with stupa and adorned with earrings, necklaces, bracelets and other royal ornaments. He stands with eye closed in deep meditation. His smile is benign and beautiful. His left hand holds a kalasha (pitcher) and his right hand is in the vitarka mudra- that of holding a pearl between the thumb and the third finger symbolizing the attainment of knowledge.\r\nBuddhists, wait for Maitreya, the Buddha yet to come.', 'sculpture', 79.00, 20.50, '17.0', NULL, 'himalayan art', 'sculpture, himalayan, nepal, buddha, bronze, pearl, maitreya', 'buddhism', NULL, NULL, 'Maitrya.jpg'),
(3.0, NULL, '22-1125', 'Stattue of Dongfang Shou', 'boxwood', '18-19th CE', 1922.0, 'china', 'Dongfang Shou standing on one leg', 'Holding a branch of peaches in his mouth, an old man is putting on his shoe. The fruit identifies him as Dongfang Shuo, the man who stole the peaches of immortality from the Queen Mother of the West. These peaches that ripened once every 3,000 years were reserved for immortals. Legend has it that Dongfang Shuo stole the peaches on three occasions and became immortal. He is considered a god of longevity by the Chinese. In this unique and finely carved example, he has paused to put on his shoe which he had lost in his haste. To free his hands, he is holding the peach branch between his teeth. ', 'sculpture', NULL, NULL, NULL, NULL, 'chinese art', 'sculpture, chinese, wood, shoe, peaches, tata', 'buddhism', NULL, NULL, 'DongFangShou.jpg'),
(4.0, NULL, '22-4544', 'The Sword of Damocles ', 'oil on canvas', '1804.0', 1922.0, 'france', 'painting of sword hangin over a man', 'The theme of the painting is a variant form of the proverb ‘judge no one happy until his life is over’. It revolves around a sword, a metaphor of never ending threat, and the protagonist, Damocles. \r\nDamocles is a flatterer courtier of Dionysus the Elder of the 4th century B.C. tyrant king of Syracuse. Dionysus asks Damocles whether he would he like to try out Dionysus\' life. Damocles readily agrees. Damocles enjoys everything immensely until he notices a sharp sword hovering over his head that is hanging from the ceiling by a strand of horsehair. This, the tyrant explains to Damocles, is what life as ruler is really like. \r\nRendered in the Neo-Classical style prevalent in the 19th century CE, this history painting shows Damocles reclining on a golden couch, surrounded with luxuries and attractive servants. Above his head is the suspended sword at which he is gazing with apparent horror. \r\nAntoine Dubost was a French artist who studied at the École des Beaux Arts. ‘The Sword of Damocles’ was exhibited in 1804 in an exhibition at the Leicester Square, London. Dubost received a gold medal from Napoleon and the coveted praise of Jacques Louis David, the great master of Neo-Classicism.\r\nThomas Hope, a Dutch and British merchant banker, author, philosopher and art collector, purchased the painting. Hope chopped off some part of the painting along its top and bottom edge in order to accommodate it into a symmetrical hang in his home, altered the position of the sword from perpendicular to diagonal, replaced the horsehair with a knot and, on top of everything, influenced by Dubost’s critics, doubted his ability as an artist of a creation of such a masterly quality and effaced his signature.\r\nIn 2006, the cleaning of the canvas was undertaken by the Museum’s conservation department which uncovered the artist’s signature inscribed on the footstool, partially in Greek: ‘ΔUBOST EΠOIEI’ meaning ‘Dubost made it’ which is now clearly visible. The original sword, which now appears short, is also visible through the overpaint.', 'oil painting', NULL, NULL, NULL, NULL, 'painting', 'oil painting, french, sword, greek, dubost, tata', 'greek', NULL, 'Antoine Dubost', 'Sword Of Damocles.jpg'),
(5.0, NULL, '22-3776', 'Talwar (Sword)', 'steel blade with gold damascene', '17th CE', 1922.0, 'indian', 'sword with parrot head shaped crystal hilt ', 'Swords with hilts of rock crystal or jade were ceremonial gifts in Mughal times as recorded in the Tuzuk-i-Jahangiri, Memoirs of Jahangir. By the 16th century jade and crystal carving reached a high degree of perfection in India. This rock crystal sword hilt has been artistically carved in the totaghati, parrot shape. The naturalistic parrot head has been enhanced by the artist who has studded the eyes and neckband with rubies. The beak is made in gold with red enamel. The lower sides of the hilt have gemstone flowers and leaves. The ricasso is decorated with birds, elephants and tigers amidst floral gold damascene. The blade has watermarks indicating superior quality. ', 'arms', NULL, NULL, NULL, NULL, 'arms', 'arms, armour, sword, parrot, gold, crystal, steel, damascene, tata', NULL, 'mughal', NULL, 'Talwar.jpg'),
(6.0, NULL, '28-5712', 'Sari', 'cotton, jari and ikat', '19th CE', 1928.0, 'indian', 'black sari with gold patterns', 'It is a unique piece of textile made as a ten-yard sari, imaginatively combining the technique of ikat work, jamdani weaving as well as brocading.\r\nIt is a unique piece of textile made as a ten-yard sari, imaginatively combining the technique of ikat work, jamdani weaving as well as brocading.\r\nThe handspun yarn of the warp and weft is first tied and dyed in dark blue to produce vertical and horizontal stripes which form black and white squares on the ground. The large pallu has a beautifully designed intricate geometrical pattern enclosed within the similarly decorated borders. The small dark blue squares are filled with stars woven in jamdani technique in gold. There is a dome-like pattern running across the width at the beginning of the pallu woven also in the jamdani technique in maroon and gold, appearing very close to the Paithani pallu. The border is also in typically paithani coconut pattern in maroon and gold.\r\nAs it is woven by a combination of different techniques, it is difficult to ascertain the exact provenance of this sari. The interlocking technique of Paithan in Maharashtra and the ikat of Andhra Pradesh would suggest the possibility of its production by a master weaver from the Deccan.\r\n', 'textile', NULL, NULL, NULL, NULL, 'textile', 'ikat, maharashtra, cotton, paithan, deccan, textile, sari', NULL, NULL, NULL, 'kanchipuram sari.jpg'),
(7.0, NULL, '2016-16', 'Waistcoat', 'silk brocade', '20th CE', 2016.0, 'indian', 'waistcoat with floral design', 'By the 1930s the women of royal household of Baroda started wearing a sleeveless, richly embellished waistcoat over their blouses known as fituhi. Stitched by resident tailors in Baroda, these special waistcoats were made of brocade, tissue, Chanderi and cotton fabrics. The shape and fit of the coats were exactly right for the wearer making it similar to the fit of a corset; then a fashion in Europe. Maharani Chimnabai II preferred to wear such corset style waistcoat. This waistcoat is from the heirloom textiles of royal Gaekwar family of Baroda.', 'textile', NULL, NULL, NULL, NULL, 'textile', 'gift, baroda, benaras, silk, waistcoat, textile', NULL, NULL, NULL, 'waistcoat.jpg'),
(8.0, NULL, '22-4001', 'Sheild', 'painted rhinoceros hide', '18th CE', 1922.0, 'indian', 'sheild with elephants', 'Shields made of animal hide were light, handy, strong and durable and were preferred to metal shields. The surface of this large rhinoceros hide shield is lacquered in black and painted over it. It depicts four lions attacking black bucks and bulls. The space in between is filled with plants and creepers to indicate a forest. The border of the shield has a delicate creeper design. The shield has four golden knobs fashioned like flowers around a circular flower and creeper design at the centre. Attached to the inside of the shield is a square stuffed cushion. Such large shields are also known as dowry shields. It was customary to carry the bride\'s dowry consisting of jewels, cash, arms and so on, on the concave side of the shield. An embroidered cloth would be placed on the shield under the gifts, or often the concave side of the shield was itself beautifully decorated.\r\nspecially commissioned sari that expresses the feeling of patriotism of its wearer. It has star-shaped buttis woven all over the ground in silver and golden jari. The slogan Vande Mataram is woven in green and maroon resham (silk thread) on the buttis and also all along the border.\r\n\r\nThis revolutionary song was written by Bankim Chandra Chattopadhyay in 1882. It soon became an inspirational slogan for freedom fighters. The song was first sung in a political context by Rabindranath Tagore at the 1896 session of the Indian National Congress. It became a national song of the independent India in 1950.\r\n', 'arms', NULL, NULL, NULL, NULL, 'arms', 'arms, armour, sheild, rhinocerous, hide, elephant, gold, tata', NULL, NULL, NULL, 'Dhal.jpg'),
(9.0, NULL, '22-2316', 'hanging lamp', 'brass', '19th CE', 1922.0, 'indian', 'triangular metal structure with lamps on side', NULL, 'decorative arts', 55.20, 30.80, NULL, NULL, 'himalayan art', 'lamp, himalayan, nepal, ganesha, brass, temple,', 'hinduism', NULL, NULL, '22.2316.jpg'),
(10.0, NULL, '97-2/1', 'akha garo ', 'silk with embroidery', '20th CE', 1997.0, 'gujarat', 'blue sari with white embroidery', 'This sari belonged to the family of poet Ardeshir Khabardaar (1881-1953).\r\nGaro has become an identity for Parsi women. It is worn on special occasions as well as at marriages. Appreciative of Chinese embroidery, Parsi traders bought embroidered silks for their families and placed orders for embroidered sari borders, saris, blouses and pantaloons. The embroidery was worked on a variety of Chinese silks.\r\nOver time, the word garo (from the Gujarati word for a sari) was associated with the Chinese embroidered sari.\r\n', 'textile', NULL, NULL, NULL, NULL, 'textile', 'sari, parsi, blue, surat, white', 'zoroastrian', NULL, NULL, 'Default.jpg'),
(11.0, NULL, '65-11', 'Songtsen Gampo', 'gilt bronze', '16th CE', 1922.0, 'tibet', 'statue of a sitting man', 'King Songtsen Gampo (died Circa 650 A.D.) introduced Buddhism in Tibet. Though he did not claim any supernatural powers, he was deified and worshipped by the people as the incarnation of Chenresik or Avalokiteshvara, the great protector of Tibet. His images began appearing soon after his death. This one is very similar to the huge terracotta images (8th century A.D.) of the king at Potala Palace, Lhasa. It is identified by the depiction of the Dhyani Buddha, Amitabha on his tall pleated headgear, as in the images of Avalokiteshvara. The king seated in Lalitasana while his right hand is raised in Abhayamudra, a gesture of reassurance. The dress and ornaments are similar to those of any royal figure of Tibet. Typical of the male coiffure of Central India. his hair is arranged in two long plaits, which cross each other at the back and fall loose on the shoulders in the front.', 'sculpture', NULL, NULL, NULL, NULL, 'himalayan art', 'king, himalayan, tibet, buddha, buddhism, sculpture, gilt bronxe', 'buddhist', NULL, NULL, '65.jpg'),
(12.0, NULL, '22-1329', 'bowl', 'jade', '17th CE', 1922.0, 'indian', 'whitish coloured bowl woth floral design', 'Jade is a semi-precious stone used to produce exquisite and innumerable works of art. It is hard and glassy with a translucent surface and comes in various shades. The process of jade carving is time consuming and requires a lot of patience.The Mughal jades were well known for their workmanship. These jades received accolades from the Chinese Emperor Chien Lung (1735-1795 A.D.). The emperor notes that the jades from Hindustan are as thin as paper and that only jade carvers from Hindustan are capable of creating such exquisite pieces.', 'decorative arts', NULL, NULL, NULL, NULL, 'decorative art', 'jade, decorative, mughal, flower, chinese', NULL, 'mughal', NULL, 'jade bowl.jpg'),
(13.0, NULL, '84-7/6', 'indian beauty', 'print', '20th CE', 1984.0, 'indian', 'black and white image of a standing lady', 'Black saris are in general worn by women during the festival of Makar Sankranti; black being the colour worn during the cold winter months. The sari shown here is decorated with small circular buttis symbolising the white sugar balls locally called ‘phutana’ eaten at the time of the festival.', 'postcard', NULL, NULL, NULL, NULL, 'print', 'postcard, lady, sari, jewellry, ', NULL, NULL, NULL, 'indian-beauty.jpg'),
(14.0, NULL, '22-3097', 'vithoba', 'bronze', '19th CE', 1922.0, 'south India', 'statue of a god vithoba ', 'Lord Vitthala is considered as an incarnation of Lord Vishnu. Ashadhi Ekadashi is an important day for the people belonging to the Varkari tradition who start on a pilgrimage in groups on foot and reach the Vitthal temple at Pandharpur, Maharashtra, on this day. The Varkaris then collectively assemble to a larger procession and sing devotional songs. This is accompanied by a fair in the vicinity of the temple.', 'sculpture', NULL, NULL, NULL, NULL, 'decorative art', 'vithal, vishnu, sculpture, south India, bronze, tata', 'hinduism', NULL, NULL, 'vithoba.jpg'),
(15.0, NULL, '76-1', 'kaliyamardana', 'bronze', '17th CE', 1976.0, 'south India', 'statue of god krishna dancing on the hood of a snake', 'A serpent named Kaliya arrived in the river Yamuna polluting the water with his poison, thus posing great danger to the people of Vraja. Krishna realising the danger wanted to quell the serpent. Once he went to the banks of the Yamuna and jumped into the water, caught the serpent – King and danced vigorously, placing his foot on his head. He trampled the serpent’s head repeatedly till he fainted. Ultimately, Krishna let him free on request with a condition that he will go back to the sea from where he had originally come. Kaliya at once left Yamuna and went to the sea near Ramanak (probably near Dwarka on the western coast of Saurashtra). There is still a particular area of the sea near Dwarka which is known to be infested with snakes. Presence of so many snakes there has in fact discouraged invaders who wanted to conquer the city for the wealth of its temple, Jagat Mandir. \r\nThe motif is quite popular and used in many decorative objects. However the theme as an independent metal sculpture has been popular only in South India where it originated during the Chola period.\r\n', 'sculpture', 57.00, NULL, NULL, NULL, 'decorative art', 'bronze, krishna, snake, south india, decorative art', 'hinduism', NULL, NULL, 'Kaliyamardan.jpg'),
(16.0, NULL, '89-11/1', 'krishna with mother yashoda', 'bone', '20th CE', 1989.0, 'orissa', 'woman holding baby on her lap', NULL, 'sculpture', 7.60, NULL, NULL, NULL, 'decorative art', 'krishna, bone, mother and child, baby, figurine', 'hinduism', NULL, NULL, 'Default.jpg'),
(17.0, NULL, '66-14', 'vasudeva carrying krishna', 'natural colours on paper', '19th CE', 1966.0, 'nathdvara', 'painting of man carrying a basket with a baby across a river', 'The painting presents a very dramatic narration of this episode. On the left in the prison the guards are shown under the spell, enabling the easy escape of the baby Krishna. Vasudeva and Devaki are worshipping Shrinathji. The artist has chosen to depict the focal point of the story right in the middle of the painting where Vasudeva is carrying the baby Krishna in a basket. Serpent Shesha, the vahana of Vishnu is shown here in both human as well as animal form. On the right the foster mother of Krishna is asleep, unaware of the exchange of the babies. According to the story, Vasudeva exchanged the two babies and took away with him the daughter of Yashoda. After getting the news of the birth of Devaki’s eight child, Kansa rushed to the prison and hurled the child to kill her against a stone. But the child, as Yogamaya slipped from his hands and rose into the air declaring that the one who is destined to kill him is born and safe. Here in the painting, above the river amidst the thunderous clouds the flying figure of Yogamaya can be seen. On the top panel of the painting, incarnations of Vishnu are depicted. Nathdvara school of painting developed in the late 18th century A.D. under the patronage of Pushti Marga. ', 'miniature painting', 34.40, 31.10, NULL, NULL, 'indian miniature painting', 'miniature painting, krishna, nathdvara, snake, river, vishnu, father, rajasthan', 'hinduism', NULL, NULL, '66.14.jpg'),
(18.0, NULL, '18606.0', 'Gupta Dinar of Samudragupta', 'gold', '335-380', NULL, 'central india', 'Obverse- Horse standing to left before the sacrificial post. \r\nBrahmi legend.\r\n Reverse- Queen standing to left holding fly- whisk. \r\nBrahmi lege', 'Coinage, circulated widely across empires, was an ideal medium through which to advertise the bond between rulers and their faith. This approach was employed by the Gupta Kings of northern India as well as by Roman, Byzantine, Sassanian and Aksumite rulers. The visual language of Hinduism was established around 400 CE. This coin shows the horse before a sacrificial post on one side and the queen on the other. The horse is symbolic of the Ashwamedha yajna, a vedic rite of kingship that revived by the Gupta kings to assert themselves as a Brahmanical monarchy', 'coin', NULL, NULL, NULL, NULL, 'numismatics', 'coin, ashwamedha, gold, gupta, samudragupta', 'hinduism', 'Gupta', NULL, 'Default.jpg'),
(19.0, NULL, '2012-349', 'varaha avatar', 'bronze', '19th CE', 2012.0, 'maharashtra', 'boar incarnation of Vishnu', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'folk art', 'varaha, vishnu, boar, inacarnation, dashavatar, maharashtra, novaritis, jucker, gift', 'hinduism', NULL, NULL, '2012.349.jpg'),
(20.0, NULL, '2012-797', 'shiva panchayatan', 'bronze', '19th CE', 2012.0, 'karnataka', 'family of shiva', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'folk art', 'shiva, family, ganesha, kartikeya, parvati, nandi, cow, five, karnataka, novaritis, jucker, gift', 'hinduism', NULL, NULL, '2012.797.jpg'),
(21.0, NULL, '2012-1', 'tribal dancers', 'bronze', '19th CE', 2012.0, 'central india', '7 people dancing few with instruments', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'tribal art', 'triabl, dance, music, instruments, india, novaritis, jucker, gift', NULL, NULL, NULL, '2012.1.jpg'),
(22.0, NULL, '2012-796', 'dancing ganesha', 'bronze', '19th CE', 2012.0, NULL, 'ganesha in dance pose standing over this vehicle mouse', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'folk art', 'ganesha, ganpati, elephant, dance, mouse, novaritis, jucker, gift', 'hinduism', NULL, NULL, '2012.796.jpg'),
(23.0, NULL, '2012-430', 'mukhalinga', 'bronze', '19th CE', 2012.0, NULL, 'head of man, here shiva', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'folk art', 'shiva, man, hindu, phallus, novaritis, jucker, gift', NULL, NULL, NULL, '2012.430.jpg'),
(24.0, NULL, '2012-537', 'panchamukhalinga', 'bronze', '19th CE', 2012.0, NULL, 'small figurine of shiva\'s holy family', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'folk art', 'five, shiva, family, ganesha, kartikeya, parvati, nandi, cow, phallus, novaritis, jucker, gift', 'hinduism', NULL, NULL, '2012.537.jpg'),
(25.0, NULL, '78-69', 'Pichwai of Sharad Purnima – The full moon night', 'painting on cloth', '19th CE', 1978.0, 'rajasthan', 'cloth painting used on full moon night ', 'Sharad Purnima, the full moon in the month of Asoja at the end of monsoon, is celebrated to welcome autumn. Krishna manifested himself in multiple forms to accompany all the gopis who had assembled to play the Rasakrida with him that night.\r\nGenerally the Sharad Purnima pichhwai illustrate the circular dance of Krishna and the gopis; sometimes the episode where Krishna disappreaded in order to lower the pride of the gopis is also illustrated.\r\n', 'painting on cloth', 124.60, 160.00, NULL, NULL, 'decorative art', 'rajasthan, nathdvara, full moon, pichhwai, krishna, cloth,', 'hinduism', NULL, NULL, 'Sharad-Purnima-pichwai.jpg'),
(26.0, NULL, '33-163', 'tray', 'silver', '20th CE', 1933.0, 'europe', 'tray with a scene in the centre and small designs on side', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'silver, perforated, tray, europe, tat', NULL, NULL, NULL, '33.163.jpg'),
(27.0, NULL, '33-552', 'circular ornament', 'jade', '20th CE', 1933.0, 'china', 'ciruclar ornament on a wooden stand', 'perforated design of crane amidst lotus flowers on a wooden stand', 'decorative arts', NULL, NULL, NULL, NULL, 'chinese art', 'jade, decorative, flower, chinese, crane, lotus, wood', NULL, NULL, NULL, '33.552.jpg'),
(28.0, NULL, '33-56', 'woman feeding a parrot', 'oil on canvas', '19th CE', 1933.0, 'german', 'painting of a lady feeding her parrot', NULL, 'oil painting', NULL, NULL, NULL, NULL, 'painting', 'parrot, lady, oil, painting, german, tata', NULL, NULL, 'attributed to Eduard Mark', 'woman feeding a parrot.jpg'),
(29.0, NULL, 'B 126', 'dancing sambandar', 'bronze', '12th CE', NULL, 'tamil nadu', 'statue of a man in dancing pose', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'archeaology', 'sculpture, tamil nadu, bronze, indian, sambandar', 'hinduism', NULL, NULL, 'Default.jpg'),
(30.0, NULL, '63-34', 'Vrikshachari Picchwai', 'Cotton with block printing and tinsel', '18th CE', 1963.0, 'Deccani', 'decorative cloth with 4 ladies ', NULL, 'painting on cloth', 81.00, 73.00, NULL, NULL, 'textile', 'picchwai, block printing, deccan, cotton, tree', 'hinduism', NULL, NULL, '63.34.jpg'),
(31.0, NULL, '69-3', 'Pritha(Back rest of a throne)', 'ivory mounted on wood', '17th CE', 1969.0, 'gujarat', 'curved ivory piece', 'This is the upper portion of the back rest of a Vaishnava preacher’s seat. It is a common practice in India for preachers to sit on low wooden stools with a straight and often carved back.\r\nIn 17th century a style of painting developed around the theme of Krishna and his cowherds. Our panel compares well with this style and despite its rather rough carving, looks charming because of the subject and especially the cows.\r\nThis is the upper portion of the back rest of a Vaishnava preacher’s seat. It is a common practice in India for preachers to sit on low wooden stools with a straight and often carved back.\r\nIn 17th century a style of painting developed around the theme of Krishna and his cowherds. Our panel compares well with this style and despite its rather rough carving, looks charming because of the subject and especially the cows.\r\nThis is the upper portion of the back rest of a Vaishnava preacher’s seat. It is a common practice in India for preachers to sit on low wooden stools with a straight and often carved back.\r\nIn 17th century a style of painting developed around the theme of Krishna and his cowherds. Our panel compares well with this style and despite its This is the upper portion of the back rest of a Vaishnava preacher’s seat. It is a common practice in India for preachers to sit on low wooden stools with a straight and often carved back.\r\nIn 17th century a style of painting developed around the theme of Krishna and his cowherds. Our panel compares well with this style and despite its rather rough carving, looks charming because of the subject and especially the cows.\r\n rough carving, looks charming because of the subject and especially the cows.\r\nThis is the upper portion of the back rest of a Vaishnava preacher’s seat. It is a common practice in India for preachers to sit on low wooden stools with a straight and often carved back.\r\nIn 17th century a style of painting developed around the theme of Krishna and his cowherds. Our panel compares well with this style and despite its rather rough carving, looks charming because of the subject and especially the cows.\r\n', 'decorative arts', 25.00, NULL, NULL, NULL, 'decorative art', 'ivory, decorative, cows, throne', 'hinduism', NULL, NULL, '69.3.jpg'),
(32.0, NULL, '33-19', 'woman feeding poultry', 'oil on canvas', '19-20th CE', 1933.0, 'italian', 'painting of woman feeding poultry', NULL, 'oil painting', NULL, NULL, NULL, NULL, 'painting', 'poultry, woman, house, italian, european, oil painting', NULL, NULL, 'Arnaldo DeLisio', 'woman feeding poultry.jpg'),
(33.0, NULL, '22-4627', 'horses dawing fishing boat', 'oil on canvas', '19th CE', 1922.0, 'british', 'painting with horses and boat', NULL, 'oil painting', NULL, NULL, NULL, NULL, 'painting', 'boats, horses, seaside, british, european, oil painting', NULL, NULL, 'Richard Beaves', '22.4627.jpg'),
(34.0, NULL, '2015-136', 'Shiva as Nataraja', 'porcelain', '21st CE', 2015.0, 'german', 'white sculpture of nataraja', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'shiva, nataraja, dance, porcelain, german,', 'hinduism', NULL, NULL, '2015.136.jpg'),
(35.0, NULL, NULL, 'Nicobar tree shrew', NULL, NULL, NULL, 'indian', NULL, 'endangered species', 'natural history', NULL, NULL, NULL, NULL, 'natural history', 'natural history, animal, taxidermy', NULL, NULL, NULL, 'nicobar tree shrew.jpg'),
(36.0, NULL, NULL, 'wild dog', NULL, NULL, NULL, 'indian', NULL, 'endangered species', 'natural history', NULL, NULL, NULL, NULL, 'natural history', 'natural history, animal, taxidermy', NULL, NULL, NULL, 'wild dog.jpg'),
(37.0, NULL, NULL, 'red panda', NULL, NULL, NULL, 'indian', NULL, 'endangered species', 'natural history', NULL, NULL, NULL, NULL, 'natural history', 'natural history, animal, taxidermy', NULL, NULL, NULL, 'Red Panda.jpg'),
(38.0, NULL, NULL, 'himalayan musk deer', NULL, NULL, NULL, 'indian', NULL, 'endangered species', 'natural history', NULL, NULL, NULL, NULL, 'natural history', 'natural history, animal, taxidermy', NULL, NULL, NULL, 'Himalayan Musk Deer.jpg'),
(39.0, NULL, '1.60416051606e+11', 'reconstructed miniature cart', 'terracotta', 'C 2500 - 1900 BCE', NULL, 'indian', 'miniature cart of harappan period', 'This 4000-4500 year old miniature cart has been reconstructed to look like this, based on other such toys from Harappa. The original elements are the terracotta wheels and the frame of the cart. The axle, draw shaft, yoke and upright elements have been reconstructed in wood', 'harappan', NULL, NULL, NULL, NULL, 'archaeology', 'harappa, toy, cart, reconstructed, miniature', NULL, NULL, NULL, '22.2894.jpg'),
(40.0, NULL, 'L 82-2/72', 'gajalakshmi', 'stilt stone', '9th CE', 1963.0, 'uttar pradesh', 'stone sculpture of goddess', 'goddess gajalakshmi seated on a lotus pedestal in lalitasana. She holds a lotus flower in her hand while the right hand rests in varadamudra. The prabha consists of two female attendants seated on a lotus stalk on either side each holding a kalasa. A pair of elepahnts are bathing tghe deity. \r\nThe elephant is taken as an auspicious sign and Lakshmi represents prosperity.', 'sculpture', 23.70, 10.60, '38.0', NULL, 'archaeology', 'lakshmi, devi, stone, sculpture', 'hinduism', 'pratihara', NULL, 'Gajalakshmi.jpg'),
(41.0, NULL, '58-12', 'flask', 'mother of pearl and brass', '19th CE', 1958.0, 'rajasthan', 'rectangular water flask ', 'the spouted jhari with brass mounts imitates its proto type in leather', 'decorative arts', 24.80, 24.10, NULL, NULL, 'decorative art', 'flask, silver, mother of pearl, decoative art', NULL, NULL, NULL, '58.12.jpg'),
(42.0, NULL, '97-12/11', 'sari', 'silk with gold zari', '19th CE', 1997.0, 'tamil nadu', 'pink and green with gold zari sari', 'The Kanchipuram sari received its name from the old temple town of the same name in Tamil Nadu. The ground of this sari has checkered pattern in gold. It has a characteristic broad border and heavily brocaded pallu with floral creepers, elephants and peacocks', 'textile', NULL, NULL, NULL, NULL, 'textile', 'sari, temple, silk, kanchipuram, tamil nadu, pink, green', NULL, NULL, NULL, 'kanchipuram sari.jpg'),
(43.0, NULL, '96-10/4', 'St. Anne and Virgin Mary', 'ivory', '19th CE', 1996.0, 'goa', 'idol of mother and child reading', NULL, 'decorative arts', 9.50, 4.50, '3.5', NULL, 'decorative art', 'mary, ivory, goa, christian', 'christianity', NULL, NULL, 'Default.jpg'),
(44.0, NULL, 'SI 167', 'Ashokan Edict No. IX', 'basalt', '250 BCE', NULL, 'maharashtra', 'stone inscription', 'This inscription of the Mauryan Emperor Ashoka (reigned 268–232 BC), from the ancient port town of Sopara in Thane near Mumbai is unique. When rulers were trying to consolidate their supremacy through military force, Ashoka tried to unify his subjects by promoting peace and ethical conduct', 'inscription', 60.00, 77.00, '26.0', NULL, 'archaeology', 'ashoka, stone, inscription, buddhism, rituals, sopara, mumbai', 'buddhism', 'maurya', NULL, 'Default.jpg'),
(45.0, NULL, 'B 105', 'bahubali', 'bronze', '800-899 CE', NULL, 'karnataka', 'sculpture of a man with long arms', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'archaeology', 'jainism, bahubali, long arms, bronze, karnataka, vines', 'jainism', NULL, NULL, 'Bahubali.jpg'),
(46.0, NULL, '22-1852', 'Vaishravana Pata', 'painting on cloth', '15th CE', 1922.0, 'tibet', 'cloth painting with kubera in centre', 'The epithet “Lord-Leader of the Yaksha…” mentioned in the inscription at the back denotes Vaishravana (another name of Kubera, the Lord of the Yakshas), corroborated also by iconographic details. \r\nIn the painting Vaishravana is seen seated on a lotus seat in ardhaparyankasana, with left leg bent and right pendant, wearing embroidered dhoti and bare-bodied except for an upavita (sacred garment) covering the shoulders and falling loosely over the arms. This is so unlike Vaishravana’s usual mail-armour and high boots seen in his metal images. The figure has angry expressions; he holds a trident and a mongoose (nakula). His expression is enhanced by his coiffure that resembles flame tips. The figure is framed by pilaster supporting a trefoil arch. \r\nIn the top corners of the pata are two figures in alidha (warrior-like) posture, standing with right leg bent and left outstretched, holding a vajra (thunderbolt) and a cup (vajrapani?). What is enigmatic is that the Vajrapanis are shown wearing characteristics tazig (Persian cloak) and slippers. The red and blue background in the painting has delicate, sensitive floral design, perhaps inspired by the Chinese and Persian silk cloth (zo-og) which was regularly imported into Tibet.\r\nAnother unusual feature is the Buddhist creed “Ye dharma…etc.” The epithet “Lord-Leader of the Yaksha…” mentioned in the inscription at the back denotes Vaishravana (another name of Kubera, the Lord of the Yakshas), corroborated also by iconographic details. \r\nIn the painting Vaishravana is seen seated on a lotus seat in ardhaparyankasana, with left leg bent and right pendant, wearing embroidered dhoti and bare-bodied except for an upavita (sacred garment) covering the shoulders and falling loosely over the arms. This is so unlike Vaishravana’s usual mail-armour and high boots seen in his metal images. The figure has angry expressions; he holds a trident and a mongoose (nakula). His expression is enhanced by his coiffure that resembles flame tips. The figure is framed by pilaster supporting a trefoil arch. \r\nIn the top corners of the pata are two figures in alidha (warrior-like) posture, standing with right leg bent and left outstretched, holding a vajra (thunderbolt) and a cup (vajrapani?). What is enigmatic is that the Vajrapanis are shown wearing characteristics tazig (Persian cloak) and slippers. The red and blue background in the painting has delicate, sensitive floral design, perhaps inspired by the Chinese and Persian silk cloth (zo-og) which was regularly imported into Tibet.\r\nAnother unusual feature is the Buddhist creed “Ye dharma…etc.” inscribed in Newari characters as a bold border around the painting. Possibly the painting was commissioned by a Nepali patron and the inscription was added later.\r\n in Newari characters as a bold border around the painting. Possibly the painting was commissioned by a Nepali patron and the inscription was added ', 'painting on cloth', NULL, NULL, NULL, NULL, 'himalayan art', 'himalayan art, painting on cloth, god, buddhism', 'buddhism', NULL, NULL, '22.1852.jpg'),
(47.0, NULL, '33-3', 'The Bandaged Thumb', 'oil on paper', '20th CE', 1933.0, 'british', 'painting of a crying child with a bandage on her thumb', 'The painting portrays a little girl innocently looking at the onlooker and appears sad as if wept or suffering with some pain. When attention goes at the bandaged thumb, it reveals the reason of her sadness. \r\nThis portrait is painted by a British artist Agnes Clara Tatham. During 1920s, she exhibited a number of works at the Royal Academy.\r\n', 'oil painting', 35.60, 25.40, NULL, NULL, 'painting', 'oil painting, british, crying, thumb, girl, bandage, tata', NULL, NULL, 'Agnes Clara Tatham', 'Default.jpg'),
(48.0, NULL, '33-1658', 'Luncheon box with bottles', 'lacquer, metal', '19th CE', 1933.0, 'japan', 'vertical rectangular box set with bottles used for picnics', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'lunch, sake, laqcuer, boxes, japan, tata', NULL, NULL, NULL, '33.1658_01.jpg'),
(49.0, NULL, '22-3822', 'Barood-dan (Primer)', 'ivory', '17th CE', 1922.0, 'indian', 'gun powder flask in shape of a leaping antelope', 'with the introduction of tufang or muzzle-loaders, a gun-powder flask or primer for firing the gun became a necessity and these were made of a variety of material such as metal, nautilus shell, wood and even ivory. \r\nThe gun powder flask seen here, fashioned in the shape of a leaping antelope, is a superb example especially for the concept it represents. the nobility of the period indulged extensively in hunting this very animal- the antelope. the carver must have been quite sensitive to the animals\' poise during such hunts to have faithfully captured it. But besides the theme it represents, it is interresting that the medium- ivory is used to create an object used in a violent sport despite its beauty', 'decorative arts', 22.70, 3.50, '5.7', NULL, 'arms', 'antelope, ivory, arms, decorative art, gun powder, primer, tata', NULL, 'mughal', NULL, 'barooddan.jpg'),
(50.0, NULL, '78-6/22', 'Rani of Jhansi', 'lithograph', '20th CE', 1978.0, 'maharashtra', 'print of a lady on horse', NULL, 'print', NULL, NULL, NULL, NULL, 'print', 'rani, jhansi, lithograph, print, chitrashala, pune', NULL, NULL, NULL, '78.6-22.jpg'),
(51.0, NULL, '78-6/20', 'Lokmanya Tilak', 'lithograph', '20th CE', 1978.0, 'maharashtra', 'print of an old man with red turban', NULL, 'print', NULL, NULL, NULL, NULL, 'print', 'tilak, bal gangadhar tilak, lokmanya, freedom fighter, lithograph, print, chitrashala, pune', NULL, NULL, NULL, '78.6-20.jpg'),
(52.0, NULL, '78-6/122', 'guru nanak', 'lithograph', '20th CE', 1978.0, 'maharashtra', 'print of 3 men sitting on the ground', NULL, 'print', NULL, NULL, NULL, NULL, 'print', 'guru nanak, disciples, sikh, lithograph, print, chitrashala, pune', 'sikhism', NULL, NULL, '78.6-122.jpg'),
(53.0, NULL, '22-3427', 'a teacher and his girl disciples', 'tempera painting', '17th CE', 1922.0, 'Deccani', 'old man sitting with 3 girls with a large border around', 'On the floor of apaviliion an old maulvi is imparting lessons to his pupils and scribbling on a paper. His two pupils are provided with carpets and masuad, showing them to be of rank, possibly royalty. There are two other girls, apparently of lesser social standing. A duenna and a eunuch are on the sides.\r\nThe background is green with flowering trees. The decoration is called \"carpet pattern\" by Dr. Coomaraswamy and is found only in Hyderabad Mughal art', 'miniature painting', 28.90, 45.00, NULL, NULL, 'indian miniature painting', 'teacher, students, eunuch, duenna, carpet, hyderabad, golconda', NULL, 'deccani', 'School of Abdullah Qutubshah', '22.3427.jpg'),
(54.0, NULL, '96-3/1', 'govardhandhari krishna', 'stone', '18th CE', 1996.0, 'western India', 'sculpture of a man holding up a circular mound with people and animals flanking his side', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'decorative art', 'krishna, stone, govardhan, hill, people, cows, animal, decorative, vishnu', 'hinduism', NULL, NULL, '96.3-1.jpg'),
(55.0, NULL, '22-610', 'lotus shaped basin', 'porcelain with overglaze, polychrome decoration', '1736-95', 1922.0, 'china', 'lotus design bowl on an inverted stand', 'this piece carries a six-character mark, daqing qianlong nianzhi (produced during the Qianlong period of the great Qing dynasty); and another mark jingyuzhui-zhi (made for Jingyu studio)\r\nFencai is the Chinese term for famille rose, a low-fired overglaze enamel whose pink colour is colloidal gold in a high-lead enamel base.', 'decorative arts', 21.60, NULL, '13.7 (dia)', NULL, 'chinese art', 'china, qing, lotus, overglaze, bowl, pink, green, tata', NULL, 'qing', NULL, '22.610.jpg'),
(56.0, NULL, '27-4830', 'copy of a painting from ajanta caves', 'gouache on paper', '20th CE', 1927.0, 'maharashtra', 'painting of three people', NULL, 'painting ', NULL, NULL, NULL, NULL, 'bombay school paintings', 'ajanta, fresco, bombay school, J J, aurangabad,painting, copy', NULL, NULL, 'P R Gharpure', 'Ajanta Painting.jpg'),
(57.0, NULL, '2009-307', 'balwant singh in a tent at nagrota', 'opaque watercolour on paper', '1760 CE', 2009.0, 'Jammu', 'bundled up man sitting inside a tent smoking huqqa with 2 men on either side', NULL, 'miniature painting', 30.30, 20.70, NULL, NULL, 'indian miniature painting', 'balwant singh, nainsukh, jammu, king, khandalavala', NULL, NULL, 'Nainsukh', 'Default.jpg'),
(58.0, NULL, '54-7', 'Janamaz (Prayer Mat)', 'Block printing and painting on cloth', '19th CE', 1954.0, 'Masulipatanam, Andhra Pradesh', 'cloth painting with minarets', 'this 200 year old prayer mat is decorated in the Kalamkari technique of Masulipatam in Andhra Pradesh. The design is block printed, and then the colouring is painted in with a kalam. in Persian, kalam means pen or brush and kari means work. this janamaz is made up of six pieces from a larger textile and stitched together.', 'textile', 80.30, 54.90, NULL, NULL, 'textile', 'prayer, block print, painting on cloth, masulipatanam, islam', 'islam', NULL, NULL, '22.3427.jpg'),
(59.0, NULL, '2015-129', 'The Blue Seascape', 'oil on canvas', '2009.0', 2015.0, 'Mumbai', 'painting of landscape in blue', NULL, 'oil painting', NULL, NULL, NULL, NULL, 'modern painting', 'gift, bequest, oil painting, sabavala', NULL, NULL, 'Jehangir Sabavala', 'blue seascape.jpg'),
(60.0, NULL, '2015-130', 'An unfinished landscape', 'oil on canvas', '2010.0', 2015.0, 'Mumbai', 'incomplete painting', NULL, 'oil painting', NULL, NULL, NULL, NULL, 'modern painting', 'gift, bequest, unfinished, oil painting, sabavala', NULL, NULL, 'Jehangir Sabavala', '22.610.jpg'),
(61.0, NULL, '2017-2', 'pair of earrings', 'basra moti and silver with gilt gold', '20th CE', 2017.0, 'Mumbai', 'pair of long earrings', NULL, 'jewellry', NULL, NULL, NULL, NULL, 'decorative art', 'jewellry, moti, swastika, gift, sabavala', NULL, NULL, NULL, '2017.2.ab.jpg'),
(62.0, NULL, '67-37', 'bazaar gate street', 'tempera on paper', '1947.0', 1967.0, 'Mumbai', 'painting of a street with hoses on either side', NULL, 'painting', NULL, NULL, NULL, NULL, 'bombay school paintings', 'bombay school, painting, raza, modern painting', NULL, NULL, 'Syed Haider Raza', 'Default.jpg'),
(63.0, NULL, '27-4827', 'after fishing', 'tempera on paper', '1926.0', 1927.0, 'Mumbai', 'painting of fisherman', NULL, 'painting', NULL, NULL, NULL, NULL, 'bombay school paintings', 'bombay school, painting, fishing, modern painting', NULL, NULL, 'Keshav Bhavanrao Chudekar', 'Default.jpg'),
(64.0, NULL, '28-4597', 'the triumph of devotion', 'wash on paper', '1926.0', 1928.0, 'Mumbai', 'painting depicting a story from Mahabharat', NULL, 'painting', NULL, NULL, NULL, NULL, 'bombay school paintings', 'bombay school, mahabharat, painting, devotion, krishna, modern painting', 'hinduism', NULL, 'Gunavanta H. Nagarkar', 'triumph of devotion.jpg'),
(65.0, NULL, '79-93/1', 'baluchari sari', 'silk', '20th CE', 1979.0, 'west bengal', 'blue sari with coloured embroidery', 'Baluchar sari is the traditional silk or brocade sari from Bengal which gets its name from the small village of Baluchar near Murshidabad where it originated. The twisted silk warp has heavy silk as weft often in contrast colours. This sari is a typical example of a traditional Baluchar sari. It has a violet ground decorated with diagonal repeats of small kalga patterns in white, cream, dark pink, green, blue and maroon. A broad border runs all around with stylized pink flowers in a continuous meander. The centre of the elaborate pallu has five large kalga or paisley motifs, four of which are woven in pink and maroon silk. The fifth one done only in maroon is what is known as nazarbatu, a motif with some flaw. The Baluchar weavers intentionally allowed a nazarbatu or a flaw in the colour or design, to ward off the evil eye. The design around the central row of kalgas depicts a contemporary scene of a steam engine and train which must have been a novelty at that time. The European passengers wearing tall hats are seated in the two-tiered coach of a train. In between these, some composite animal and human figures also appear. Enakshi Bhavnani also reports a similar sari showing a railway scene in her book ‘Decorative Designs And Craftsmanship of India’.\r\nThough produced in Bengal the composition of the decorative design on the Baluchar sari is typically that of Gujarat. The saris in Bengal emphasise the border decoration while the pallu is generally quite simple. The style of draping a sari in Bengal emphasises the beauty of the border rather than the pallu ends, whereas the pallu is emphasised in the manner Gujarati women drape their saris. A large number of Gujarati merchants had settled near Murshidabad where these saris originated. It is possible that these Gujarati merchants ordered these Baluchar saris for their women which would explain the introduction of a large decorative pallu in this type of sari produced in Bengal.\r\n', 'textile', NULL, NULL, NULL, NULL, 'textile', 'textile, sari, baluchar, bengal, sahib, heirloom', NULL, NULL, NULL, 'Default.jpg'),
(66.0, NULL, '78-17', 'mother and child christ', 'wood', '17th CE', 1978.0, 'goa', 'mother and child standing on clouds', NULL, 'sculpture', NULL, NULL, NULL, NULL, 'decorative art', 'goa, mother, mary, jesus, christ, wood, worship', 'christianity', NULL, NULL, 'Default.jpg'),
(67.0, NULL, '33-637', 'archers', 'bronze', '19th CE', 1933.0, NULL, 'bronze depiction of a story from Ramayana', 'Ram and Laxman being instructed in the art of archery by Vishwamitra', 'sculpture', NULL, NULL, NULL, NULL, 'decorative art', 'ram, lakshman, archery, bronze, ramayana, tata', 'hinduism', NULL, NULL, 'Default.jpg'),
(68.0, NULL, '22-1957', 'interior view of jama masjid', 'painting on ivory', '20th CE', 1922.0, 'delhi', 'painting of mosque', NULL, 'miniature painting', NULL, NULL, NULL, NULL, 'indian miniature painting', 'ivory, decorative, painting, delhi, mosque, mughal', NULL, 'mughal', NULL, 'Default.jpg'),
(69.0, NULL, '22-1815', 'Inro and Netsuke', 'lacquer, ivory', '18-19th CE', 1922.0, 'japan', 'small boxes stacked together and held by cords on aither sides wich ends in a circular piece', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'ivory, lacquer, japan, netsuke, inro, dragons, clouds', NULL, NULL, NULL, 'Default.jpg'),
(70.0, NULL, '22-2985', 'globular lamp', 'brass', '19th CE', 1922.0, 'rajasthan', 'perforated ball with lamp inside', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'decorative art', 'lamp, brass, globe, jaipur, decorative art, tata', NULL, NULL, NULL, 'Default.jpg'),
(71.0, NULL, '59-30', 'mara attacking buddha', 'gouache on paper', '1948.0', 1959.0, 'tibet', 'painting depicting a story from Buddha\'s life', 'Part of copies of 11th century mural paintings in the monastery at Tsaparang, Tibet', 'painting on paper', 77.10, 130.00, NULL, NULL, 'himalayan art', 'buddha, tibet, monastry, copy, gift, mural, attack', 'buddhism', NULL, 'Li Gotami', '22.1957.jpg'),
(72.0, NULL, '78-62', 'pair of cymbals', 'brass', '19th CE', 1978.0, 'nepal', 'pair of cymbals with 3 emblems on it', NULL, 'musical instrument', NULL, NULL, NULL, NULL, 'himalayan art', 'nepal, music, musical instrument, temple, brass, monks', 'buddhism', NULL, NULL, '22.1815.jpg'),
(73.0, NULL, '78-6/148', 'Desha Sevika textile mill label', 'print', '20th CE', 1978.0, 'Mumbai', 'label with a lady in the middle', 'Mahatma Gandhi was against the unfair prices laid on imported textiles. He started the Swadeshi movement which created local industries to support Indians. Soon several Indian industries came up in support of his idea.\r\nThis beautiful poster was created to advertise new textile mills in India and importance of buying Swadeshi goods. \r\nThough khadi became an integral part of the Swadeshi Movement, it did not help much to revive the condition of handloom crafts as the emphasis was on Indian made textiles not the handloom. The Indian mills were efficiently fulfilling the demand of Swadeshi textiles.\r\n', 'print', NULL, NULL, NULL, NULL, 'print', 'print, lady, textile, mill, swadeshi, independence, label', NULL, NULL, NULL, '22.2985.jpg'),
(74.0, NULL, '34-12', 'Garuda to the rescue of Rama\'s forces', 'line drawing', '1750 CE', 1934.0, 'Guler', 'line drawing of a story from Ramayana', NULL, 'miniature painting', NULL, NULL, NULL, NULL, 'indian miniature painting', 'ramayana, garuda, rama, pahari, linedrawing, miniature painting', 'hinduism', NULL, NULL, 'Default.jpg'),
(75.0, NULL, '43-51', 'Azam Shah returning from Bird Shooting', 'painting on cloth', '17th CE', 1943.0, 'Deccani', 'painting showing a procession of a king', NULL, 'painting on cloth', NULL, NULL, NULL, NULL, 'painting on cloth', 'shoot, procession, king, deccan, golconda, painting on cloth', NULL, 'deccani', NULL, 'Default.jpg'),
(76.0, NULL, '33-1660, 1661', 'pair of laarge flagons', 'stoneware', '19th CE', 1933.0, 'german', 'large tumbler with decoration of soldiers', NULL, 'decorative arts', 41.00, NULL, NULL, NULL, 'european', 'flagons, stoneware, german, pair, tata', NULL, NULL, NULL, 'Default.jpg'),
(77.0, NULL, '22-450', 'plate with muthical beast', 'porcelain ', '1573-1620', 1922.0, 'china', 'blue and white plate with mythical beast', 'breathing fire, a qilin appears in a landscape dominated by a single plaintain tree. The cobalt underglaze decoration shows masterful brushwork. The small patches of grass growing between the front legs are characteristic of the Transistional period\r\nThe qilin can bear one or two horns, even though it is called a unicorn in the West. It is a benevolent beast, and it symbolises, among other things , longetivity, grandeur, happiness, a wise adminsitration and illustrious offspring', 'decorative arts', 7.40, NULL, '44.6 (dia)', NULL, 'chinese art', 'unicorn, qilin, plate, blue and white, ming,jianxi, tata', NULL, 'ming', NULL, 'Default.jpg'),
(78.0, NULL, '22-614', 'vase with wooden stand', 'porcelain ', '1875-1907', 1922.0, 'china', 'white vase with flowers and a bird ', NULL, 'decorative arts', 33.70, NULL, '7.8 (dia)', NULL, 'chinese art', 'china, qing, bird, peach, overglaze, tata', NULL, 'qing', NULL, 'Default.jpg'),
(79.0, NULL, '33-211', 'Souvenir spoon', 'Gilt Silver with enamel', '19th CE', 1933.0, 'europe', 'spoon with a picture of house and a figure at the end', 'souvenir spoon showing shakespeare\'s home and his miniature bust is attached at the end', 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'spoon, shakespeare, house, europe, england, bard, tata', NULL, NULL, NULL, '22.614.jpg');
INSERT INTO `metadata` (`ID`, `Related_Object_ID`, `Database_ID`, `Title`, `Material`, `Period`, `Acquisition_Year`, `Provenance`, `Short_Description`, `Long_Description`, `Type`, `Height`, `Width`, `Depth`, `Weight_gms`, `Collection`, `Keywords`, `Religion`, `Dynasty`, `Artist`, `FileName`) VALUES
(80.0, NULL, '33-138', 'Serving bowl', 'Silver gilt', '19th CE', 1933.0, 'europe', 'small sleigh with cupid on top used for serving', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'dish, dining, cupid, sleigh, silver, tata', NULL, NULL, NULL, 'Default.jpg'),
(81.0, NULL, '28-4899', 'flask', 'Silver gilt', '19th CE', 1928.0, 'maharashtra', 'flask with a peacock on its lid', NULL, 'decorative arts', 37.90, NULL, NULL, 942.0, 'decorative art', 'surahi, flask, silver, maharashtra, decorative art, school of art', NULL, NULL, NULL, '58.12.jpg'),
(82.0, NULL, '22-1808', 'Inro and Netsuke', 'lacquer, wood', '19th CE', 1922.0, 'japan', 'small boxes stacked together and held by cords on either sides wich ends in a circular piece', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'netsuke, inro, mask, lacquer, wood, tata', NULL, NULL, 'Kajikawa', 'Default.jpg'),
(83.0, NULL, '22-1800', 'Inro and Netsuke', 'lacquer, mother of pearl, ivory', '19th CE', 1922.0, 'japan', 'small boxes stacked together and held by cords on either sides wich ends in a circular piece', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'netsuke, inro, mother of pearl, dragonfly, ivory, lacquer, wood,', NULL, NULL, 'Somata Zaiku', '22.1808.jpg'),
(84.0, NULL, '22-793', 'tiered incense box', 'lacquer', '20th CE', 1922.0, 'japan', 'four boxes stacked on top of another and decorated with butterflies', NULL, NULL, NULL, NULL, NULL, NULL, 'japanese art', 'perfume, box, lacquer,', NULL, NULL, NULL, 'Default.jpg'),
(85.0, NULL, '33-573', 'flower pot', 'bronze, crystal', '20th CE', 1933.0, 'japan', 'metal vase containing metal leaves and flowers with crystal in the centre', NULL, 'decorative arts', 26.00, 27.50, NULL, NULL, 'japanese art', 'vase, metalwork, bronze, crystal, japanese', NULL, NULL, NULL, '22.793.jpg'),
(86.0, NULL, '2015-156', 'Sarangi', 'Polychrome wood', '20th CE', 2015.0, 'indian', 'musical instrumental', NULL, 'musical instrument', NULL, NULL, NULL, NULL, 'decorative art', 'music, strings, sarangi, wood, ', NULL, NULL, NULL, 'Default.jpg'),
(87.0, NULL, '83-4-11 ABC', 'Navjote coat', 'Velvet with zardozi', '19th CE', 1983.0, 'gujarat', 'heavily decorated coat of a child ', NULL, 'textile', NULL, NULL, NULL, NULL, 'textile', 'parsi, coat, navjoate, zardozi, surat, mumbai, sun, moon,', 'zoroastrian', NULL, NULL, 'Default.jpg'),
(88.0, NULL, '33-574', 'flower pot', 'Steel, crystal', '20th CE', 1933.0, 'japan', 'metal vase containing metal leaves and flowers with crystal in the centre', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'vase, metalwork, silver, crystal, japanese', NULL, NULL, NULL, 'Default.jpg'),
(89.0, NULL, '2015-178', 'Damayanti with Hansa', 'Porcelain', '21st CE', 2015.0, 'Germany', 'woman and a swan standing on a wall', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'swan, porcelain, german, folk tale, woman, sari', NULL, NULL, NULL, 'Default.jpg'),
(90.0, NULL, '22-1205', 'Woman holding a smoking pipe', 'Wood block print on paper', '20th CE', 1922.0, 'japan', 'woman in a kimono holding a pipe', NULL, 'print', NULL, NULL, NULL, NULL, 'japanese art', 'woodblock, japanese, utagawa, geisha, kimono, smoking pipe, japanese print', NULL, NULL, 'Kunisada Utagawa', 'Default.jpg'),
(91.0, NULL, '22-746', 'Box for Uta –Garuta game cards', 'Lacquer ', '20th CE', 1922.0, 'japan', 'rectagular box with drangonflies on it', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'card box, dragonfly, box, lacquer, japanese', NULL, NULL, NULL, 'Default.jpg'),
(92.0, NULL, '22-811', 'Manuscript cabinet', 'Lacquer ', '20th CE', 1922.0, 'japan', 'rectangular box for keeping Sutra manuscripts', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'box, japanese, landscape, lacquer, gold', 'buddhism', NULL, 'nasiji style', '22.746.jpg'),
(93.0, NULL, '22-847', 'Folding Screen', 'Paper and wood ', '20th CE', 1922.0, 'japan', 'miniature folding screen', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'japanese art', 'screen, folding, landcsape, ships, miniature, japanese', NULL, NULL, NULL, 'Default.jpg'),
(94.0, NULL, '33-933', 'Butsudan-Buddhist shrine', 'Lacquer, wood, ivory', '1880.0', 1933.0, 'japan', 'cabinet used as buddhist shrine', NULL, 'decorative arts', 239.00, NULL, NULL, NULL, 'japanese art', 'shrine, ivory, lacquer, wood, buddhist', 'buddhis,', NULL, NULL, 'Butsudan-Buddhist Shrine.jpg'),
(95.0, NULL, '22-6168', 'Kavad', 'Polychrome wood', '20th CE', 1928.0, 'rajasthan', 'painted box with several folds', 'This Kaavad is a 50-60 year old polychrome wood storytelling accessory from Rajasthan. The kaavad storytellers were invited when the patron needed to make a wish, celebrate the birth of a child, recite genealogies, or extol the virtues of forefathers. The images on a kavaad serve as illustrations to the narrations.', NULL, 40.64, 34.92, '19.68', NULL, 'decorative arts', 'story, storytelling, folk, rajasthan, wood, school of art', NULL, NULL, NULL, 'Kavad.jpg'),
(96.0, NULL, '28-4887', 'Necklace', 'Silver with beads', '20th CE', 1928.0, 'Northern India', 'necklace with silver beads on red thread', NULL, 'jewellry', NULL, NULL, NULL, NULL, 'decorative arts', 'jewellry, beads, silver, school of art', NULL, NULL, NULL, 'Default.jpg'),
(97.0, NULL, '2015-185', 'Shiva\'s family', 'Porcelain', '21st CE', 2015.0, 'Germany', 'figurine of shiva\'s family', NULL, 'decorative arts', NULL, NULL, NULL, NULL, 'european', 'shiva, parvati, nandi, ganesha, kartikeya, cow,family', 'hinduism', NULL, NULL, 'Default.jpg'),
(98.0, NULL, NULL, 'Archival photo - Construction of Prince of Wales Museum building', 'photo', '1906.0', 1906.0, 'Mumbai', NULL, NULL, 'photo', NULL, NULL, NULL, NULL, 'archive', 'construction, archive, photo, prince of wales', NULL, NULL, NULL, 'Default.jpg'),
(99.0, NULL, NULL, 'Archival photo – Brahamanical Gallery of Prince of Wales Museum', 'photo', '1927.0', 1927.0, 'Mumbai', NULL, NULL, 'photo', NULL, NULL, NULL, NULL, 'archive', 'brahmanical, gallery, archive, photo, prince of wales', NULL, NULL, NULL, 'Brahmanical gallery.jpg'),
(100.0, NULL, NULL, 'Archival photo – Far East Collection Gallery of Prince of Wales Museum', 'photo', '1927.0', 1927.0, 'Mumbai', NULL, NULL, 'photo', NULL, NULL, NULL, NULL, 'archive', 'far east, gallery, archive, photo, prince of wales', NULL, NULL, NULL, 'Far Eastern Gallery 1927.jpg');
COMMIT;
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