e-Yantra Virtual Museum
"Built by Students, For Students"
Kubera
The artefact is a 2nd-century CE statue of Kubera, the Hindu god of wealth, currently part of the collection at the National Museum, Delhi. Kubera, initially mentioned in Vedic literature as the chief of spirits of darkness and lord of thieves, is venerated in Puranic and Epic literature as the god of wealth and guardian of the North. The statue, attributed to the Mathura school of art, depicts Kubera with a round belly, seated in bhadrasana (Butterfly pose), adorned with a thick pearl necklace, and sporting a bow-like mustache. This style was widespread, with finds from Taxila to Chandraketugarh.
This artefact is an 11th-century CE bronze idol of Ardhanarishwara, currently part of the collection at the Government Museum, Chennai. Excavated in Thiruvengaad, the idol is attributed to the Chola Dynasty. Ardhanarishwara, embodying combined duality, developed during the Puranic period, depicting Shiva on the right and Parvati on the left. This three-armed idol shows Shiva with a jatamukuta, crescent moon, Yajnopavitam, serpent girdle, and short garment. Parvati’s side has a karandamukuta, kundala, elaborate ornaments, and a draped garment. One arm holds an axe, another rests (often on Nandi), and the left arm is positioned to hold something.
Students: Varunika V, Adarsh Madan School: Chennai Public School Edition: 4
Sheshashayi Vishnu
This artefact is a 7th-century CE ceiling slab depicting Vishnu in his Sheshashayi form, part of the collection at the Chhatrapati Shivaji Maharaj Vastu Sangrahalay. Vishnu, the only deity allowed to be depicted reclining, is shown resting on the primordial serpent Adisesha. The sculpture shows Vishnu with one hand supporting his head, adorned with a Kirita Mukuta, Yajnopavitam, armlets, bracelets, and a coin necklace. His weapons, the chakra and gada, lie near his right hand, and the shankha is near his left. Shridevi, Bhudevi, and Garuda are also depicted, with mutilated figures of Madhu and Kaitabha above, bordered by floral scrolls.
The artefact is a 2nd-century CE coping stone from a stupa in Amaravati, Guntur District, Andhra Pradesh, currently housed at Chhatrapati Shivaji Maharaj Vastu Sangrahalay, Mumbai. It depicts a lotus flower in full bloom, a recurring motif in Buddhist art symbolizing enlightenment and purity. The lotus, often used as pillar capitals, pedestals, seats, and medallions in Buddhist architecture, represents the Buddha’s enlightenment, as described in the Dona Sutta of the Anguttara Nikaya. This coping stone reflects the lotus motif’s association with spiritual perfection and its extensive use in Buddhist stupas.
Students: Anishka Patel School: Navy Children’s School, Mumbai Edition: 4
Chunda Sculpture
The artefact is an 11th-century CE sculpture of the four-armed Chunda, a Buddhist deity, currently part of the collection at the National Museum, Delhi. The sculpture depicts Chunda seated in padmasana, with two hands holding a bowl, one holding a lotus flower, and the fourth holding a rosary.
Students: Aayush Goel School: D.A.V Public School, Ballabgarh Edition: 4
Prabhavali Fragment
Originating from a Jain temple at Sopara, it is now housed at the Centre for Extra Mural Studies, University of Mumbai. A Prabhavali, or Prabhavalaya, is an ornate arch depicting legends and veneration of deities. This fragment shows male figurines in Namaskar Mudra, a partially broken elephant likely offering a garland, and a pair of male and female figures holding garlands. Prabhavalis exemplify exceptional craftsmanship and the rich diversity of Indian art and architecture.
Students: Anush Bapat, Riddhiman Singh, Savitendra Datt Tripathi School: Navy Children’s School Edition: 4
Mutoscope
The Mutoscope, invented by Herman Casler in 1895, is an early motion picture device akin to a flipbook, using a series of cards flipped by a hand crank to create moving images. Popular in arcades across Europe and the US around 1900, the electrically lit Mutoscope displayed short reels, each dedicated to a single subject. Although replaced by 35mm films and later television, it produced about 4,000 titles and 100,000 reels, marking a significant milestone in cinematic history. Ishaan Bhalerao presented a Mutoscope from the National Museum of Indian Cinema’s collection.
Students: Ishaan Bhalerao School: Home Schooled Edition: 4
Ayyanar deity statue
The artefacts presented are replicas of two terracotta figurines: one depicting a horse and the other a fierce being, both significant in the Ayyanar worship tradition. These items are part of the collection at the Sanskriti Museum of Indian Terracotta, Delhi. Ayyanar, a village guardian deity in Southern India since the 3rd century CE, is often depicted holding a crooked stick, seated with a meditation band around his knee, and accompanied by a fierce demon. Terracotta horses, like those offered to Ayyanar, are crafted ceremoniously by potter-priests, reflecting the rich artistic traditions of southern India.
Students: Suraj Gola School: Vidya School Gurugram Edition: 4
Bhairava Statue
The artefact is an 18th-century Bhairava sculpture currently housed at the Dogra Art Museum, Jammu. Bhairava, associated with Shiva since the Puranic period, is depicted as a fierce deity with four arms, a flabby belly, round yellow eyes, tusks, wide nostrils, and adorned with a garland of skulls. He wears ornaments including snake ornaments and an elephant skin garment, and carries weapons. This sculpture, part of a larger structure where a substantial portion of Bhairava is lost, represents his role as a form of Shiva’s destructive aspect (Samhara Murti) and his significance in Hindu theology and the Trika system of Shaivism, symbolizing Divine Consciousness.
Students: Kashvi School: GD Goenka Public School, Jammu Edition: 4
Vrishanana Yogini
The artefact presented by Team The Antiquitarians from Mayoor School, Noida, is a sculpture of the Vrishanana Yogini, dating back to the 10th-11th century CE. Originally part of the Lokhari Temple in Uttar Pradesh, this sculpture is one of a group of 20 Yogini sculptures. Vrishanana Yogini is depicted as a beautiful woman adorned with jewelry, with the head of a buffalo. She is seated in Lalitasana on a swan, her vahana, holding a club in her right hand and a bilva fruit in her left. After its removal from the Lokhari Temple in the late 1980s, this sculpture was repatriated by the Embassy of India, Paris, in 2013 and has been on display at the National Museum, Delhi, since then.
This artefact is being presented by the team Swordsmen from Royal Academy. Their chosen object is an ancestral sword, previously owned by Sangay Tenzin a remarkable figure in the history of Bhutan. Sword in cultures across the world hold a very significant place. They present a very important phase in the evolution of weaponry. Swords evolved as weapons from the initial handled stone tools, to metal blades that were used for multiple purposes. Swords or Patangs found origin in the bronze age and continued to evolve through the iron Age. Even after swords were replaced by firearms, they continued to be markers of social status, honour, bravery and courage. They continue to be a vital part of cultural and traditional celebrations to remind the local people of their rich heritage.
Students: Amir Rai, Shyine Kundareaka, Sonam Jamtsho, Tsheyang Palki Tshewang School: The Royal Academy, Bhutan Edition: 3
Veiled Rebecca
This artifact is presented by team Techno Krats from Delhi Public School. Their chosen artifact is the famed Veiled Rebecca housed in the Salar Jung Museum in Hyderabad. Acquired by Saral Jung I in 1876 during his visit to Rome, the Veiled Rebecca considered to one of the finest works by sculptor GB Benzoni. It is an excellent example of the neoclassical style of art. The neoclassical style of art emerged in 1760s and reached the zenith of its development in the 1780s and 1790s. In its subject matter, the aesthetic of the neo classical art was reflective of the Greek and Roman art in antiquity invoking harmony, clarity, restraint, universality and idealism.
Students: Shrey Suhaas Koganti, Ahil Sai, Namish Chopra, Eshika Pallapotu School: Delhi Public School Mahendra Hills, Secunderabad Edition: 3
Marapachi Bommai
This artifact has been presented by Moshikathara Nagrajan of the Laurel Senior Secondary School.
The artifact is a representation of the Marapachi Bommai. Marapachi Bommai, literally meaning wooden dolls, are figurines made specifically of red sandal wood or silk – cotton wood. The Marapachi Bommai figurines play an integral role during the nine day celebrations of Dussehra known as Golu or Kolu in the Southern states of India. The Golus or Kolus also refer to pyramidical set up of decorations that resemble and correspond to the tiers of the Dravidian gopurams and their alignment to cardinal directions. The Marapachi Bommai are said to represent the man and woman of the household. Some notable examples of Golu dolls are Tanjore dolls from Tamil Nadu, Kondapalli dolls from Andra Pradesh, Chennapattna dolls from Karnataka. As a tradition, Marapachi Bommai find their way from mother to daughter to begin the latter's initiation in the Bommai Kolu arrangement.
This artifact is presented by Karma Tsechi, Jigme Tobgyal Jitsun Dolkar and Mon Limbu of the Royal Academy. The artifact chosen by the team is a pair of ancestral Tsho Lham – Traditional Bhutanese Boots.
As humans knowingly or unknowingly ,we leave traces of our existence even with our simplest acts. These acts are often reflective of our distinctive ways of life, beliefs and the culture. Our attires in specific are significant markers of not only the geographic conditions which they are made of but also of beliefs values and cultural patterns of a community. Apart from their basic functionality, parts of attires form a very important part of any communities tangible heritage One such aspect of attire in the Bhutanese tradition are the Tsho Lham.. Originally made from silk cloth – later leather, Tsho Lham are boots worn by men during festive seasons. These pairs of booth were often decorated with embroidery and were also markers of the social status of the wearer.
Students: Karma Tshechi, Jigme Tobgyal, Jitsun Dolkar, Mon Limbu School: The Royal Academy, Bhutan Edition: 3
Chhu Zing (Urn)
The next artifact is being presented by team Artful Explorers from the Royal Academy. The team’s chosen artifact is a Chhu Zing, a traditional water storage pot. Tangible heritage of a community as mentioned before, is vital to the story of any community. Such heritage makes an excellent source to study the past. Study of heritage via such ancestral artifacts is useful in understanding the evolution in the day to day life. Chhu Zing literally translates to a traditional water storage pot. These pots served a vital role in water storage in the absence of present day water storage tanks. During such a time, Chhu Zing like the one portrayed were owned only by those belonging to wealthy families.
Students: Sonam Lakhi Dema, Somwang Tshering Palden, Yonten Thai, Chencho Tshering Chokgyal School: The Royal Academy, Bhutan Edition: 3
Bhaale Sultan Saheed Smarak
The next artifact is the Shaheed Bhaale Sultan Smarak located in Amethi. The Artifact is being presented by Surbhi Agrawal from Aditya Birla Public School. In the 200 year colonial rule of the British over India, the Revolt of 1857 proved to the very first struggle for freedom. This struggle while was orchestrated by individual acts of uprising against the British Authority. The Shaheed Bhaale Sultan Smarak stands to mark the location on one such revolt. The Smarak marks the armed conflict between soldiers conferred the title of Bhale Sultans ( the Lords of the Spear) and the British General Franks leading to the defeat of the Bhale Sultani soldiers.
Students: Surbhi Agrawal School: Aditya Birla Public School, Jagdishpur Edition: 3
Lord of Mortality Mask
The next artifact is the lord of Mortality Mask presented by the team WENVU from the Royal Academy.
A very well-known aspect of Bhutanese culture is the vibrant celebrations that are a part of their religious and spiritual practices. A very important part of these celebrations is the usage of intricately made facial masks. These masks represent a different deity, character or spirit. Usage of these masks for the purposes of the Chham dances is said to invoke the blessings and powers associated with these deities. The mask presented by the team is that of the Lord of Death, who guides departed souls towards their destined realms. The mask is usually adorned with an ornate headdress bearing symbols of cosmic significance. The lord of Immortality mask accurately presents the amalgamation of religious and spiritual thought with the rich artistic tradition of Bhutan.
Students: Tsheyang Lhaki Dolma, Pema Yangki, Yeewong Yangchen Lhamo, Kusum Choden Lhendup School: The Royal Academy, Bhutan Edition: 3
95 year old Ganesh Statue
This artifact is being presented by Aadya Garg from Modern School. Within the Hindu / Brahminic pantheon, Ganesha has been given the status of the deity Worshipped before any other. He is worshipped as the harbinger of new auspicious beginnings and for being the remover of obstacles. Idols of Ganesha find a place in almost every household and depict a great variety not only in form but also in material. This particular idol of Ganesha is made of Ashta Dhatu, literally meaning eight metals – Gold, Silver, Zinc, Copper, Tin, Mercury and Iron. Pancha dhatu has been a part of the traditional metallurgy in India due to the positive attributes attached to usage of specific metals in making of idols.
Students: Aadya Garg School: Modern School, New Delhi Edition: 3
Vajra
The presentation of this Vajra is the work of team fantastic Four from the Royal Academy. The religion and philosophy of Hinduism/ Brahmanism and Buddhism over their years of co-existence in the Indian subcontinent has led to both these ideologies influencing one another. This influence can be seen in case of certain common attributes of deities, in representation of art and iconography. One such element that finds place in both Buddhist and Hindu/ Brahminic art is the depiction of the Vajra. The Vajra consists of a central shaft and has symmetrical prongs on both sides. This weapon was in Hinduism wielded by Indra the king of Gods while in Buddhist tradition finds a very prominent place in the Vajrayana school of Buddhism.
Students: Thinley Wangdi, Rigzen Choden, Thinley Phuntsho, Tshelthrim Dolkar School: The Royal Academy, Bhutan Edition: 3
Stone Charriot- The Jewel of Hampi
The Stone Chariot is a 16th Century temple Dedicated to Garuda, the vahana of Lord Vishnu. It is built inside the Vijaya Vitthala Temple dedicated to the Lord Vitthala form of Vishnu. The Stone Chariot is inspired by the Sun Chariot at Konarak in Odisha which King Krishnadevaraya saw when he was at war with Gajapratapraya, the ruler of Odisha. The temple in its architecture is a marvel and finds mention among the three famous stone chariots in India including the one in Konark and the other in Mahabalipuram.
Students: SAIANISH VM School: Indian Public School, Kolar Edition: 3
Horn (container) Ara Palang
The next artifact is presented by team Timeless Echo of the Royal Academy.
Bhutan is known for its rich cultural heritage and the vibrant nature of its traditions. A very integral part of Bhutanese artistic heritage is taken up by its various handicrafts. One such is the Palang or Ara Palang traditional container made to hold locally brewed alcohol in Bhutan. The palang usually made out of bamboo, wood or horn. The usage of the Palang in within the Bhutanese culture extends beyond its usage in religious rituals and traditions. The Palang and its usage act as a symbol of social solidarity, camaraderie and generosity.
Students: Dawa Nangsel Seldon, Sonam Pema Yangchen, Sonam P Choki, Sherab Lhamo School: The Royal Academy, Bhutan Edition: 3
A small carving of Buddha Statue
This artefact is a presentation by Team Code Red of the Delhi Public School. The artifact Chosen by the group is a small statue of the Shakyamuni Gautama Buddha. The Buddha’s life and teachings are the foundation upon which Buddhism as a way of life spread within and Beyond the Indian Subcontinent. In the form of the ideology of Buddhism, The Shakyamuni preached the Four Noble Truths and the practice of the Eight Fold Path. The icon of Buddha for the purposes of worship first emerged during the Kushana rule around the late 1st – early 2nd century BCE before which the Buddha was worshiped via symbols representing him. Later this depiction of the Buddha in his human form found expression via the Gandhara, Mathura and Amaravati styles of art.
Students: Sowrya Konakanchi, Sraddha Konakanchi, Kevin Emannuel, P Sai Grushnesh Reddy School: Delhi Public School Mahendra Hills, Secunderabad Edition: 3
Adhokomuda Mouldings
Someshwara Temple is located in the heart of the Kolar region and is one of the famous temples in this town. It was built by the Cholas who ruled this region in the 11th century and were then dethroned by the Chalukyas. The temple was later expanded by the Vijayanagara Empire and is a fine example of the Vijayanagara style of architecture. The carvings on the inner pillars of the temple have an international influences of European, Chinese & Thai style of architecture.
Students: Sai Anish VM School: Baldwin School Kolar, Karnataka Edition: 2
Kamal Basti
Kamal Basti is one of the oldest Basti (Jain temple) in Belgaum, dating as far as 1000 AD. It is located
in The Belgaum Fort, which is in Belgaum, a city in Karnataka. It is a large temple with a hall at the start, a meditation room, and a room where the lord is kept. The whole basti is in the middle of a beautiful garden. It is one of the main tourist attractions in Belgaum.
The name Kamal Basti is derived from the appearance of the temple as a lotus with 72 petals. Each petal consists of the name of the 24 Tirthankaras, for each period, carved on them. Today the monument has become a monumental structure, representing the chalukya style of architecture.
Students: Vineet Bhojannavar School: St Mira's High School, Belagavi, Karnataka Edition: 2
Brahma of Goa
The statue of Brahma is located in North Goa, Valpoi, in the interior of the Sattari taluka near the village of Nargagao in the temple of Brahma Karmali. The figure is chiseled black stone and originates in the Kadamba era (12th century). It is decorated with many details, stands tall, and is bearded with Kadamba-style designs.
Brhama's four heads can be seen in this sculpture, the four heads facing all four directions symbolise that he has created the entire universe.
Indian copper-plate grants, initially issued by ruling kings from the third century CE onwards and increasingly by private individuals as time passed, are very specific documents, as they are kept by the grant beneficiaries as title-deeds. They are usually treated as inscriptions due to them being made of such hard material.
Students: Angelyn Vijay, Jadon Pierre, Chris Michael Pereira School: Madras Christian College Public Schools, Chennai, Tamil Nadu Edition: 2
Pillars of Vasantha Mantapa
Bhoga Nandeeshwara Temple Complex is a Hindu temple situated in Nandi village, Karnataka, and is devoted to the Lord Shiva.
The Vasantha Mandapa of the Uma Maheshwari temple, present in the temple complex, is bounded by four stone curved pillars each of which have a divine couple curved on them Shiva and Parvati, Brahma and Saraswathi, Vishnu and Lakshmi and Agni Deva and Swaha Devi. The pillars and walls are covered with complex carvings of Hoysala style.
Students: Sai Prapti Joshi School: National Academy for Learning, Bengaluru, Karnataka Edition: 2
Jaggannath Tekri Stupa
Unravelling the invigorating tales of Buddhism through the medium of a piece from the remains
of the pillar in jagannath tekri stupa. The present location of this artifact is in the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya and can be traced back to the Satavahana empire, and is owned by the government of India.
Students: Anshumaan Das, Srusty Laxmikantha Kamath, Anika Gairola, Chris Seby School: Navy Children School, Mumbai, Maharashtra Edition: 2
IXth Ashokan Edict
This important piece of history originates from Sopara (Ancient Shurparaka) which was an important port city in Maharashtra. Sopara (Now Nalasopara) is about 47km north of Mumbai. This particular edict is a testimony to a mission assigned to Dhammarakshita (missionary) to spread Buddhism and peace in the western part of his kingdom. The language used in this edict is Mauryan Brahmi.
Students: Raja Singh Kumar School: Navy Children School, Mumbai, Maharashtra Edition: 2
Laxmi Narayana
This is an idol of God Vishnu and Goddess Laxmi which was built by Kadambas of Goa who ruled Goa from the 10th to 14th century A.D , Goddess Laxmi seated on the left lap of god Vishnu. This sculpture is present in the Kamala Narayana Temple which was built around the 12th century A.D., located in Degaon, 5 km from kittur in the district of Belagavi of North Karnataka, India. It was built by Kamaladevi, the queen of Kadamba king Sivachitta Peramadi in the middle of the 12th Century A.D. The chief Architect was Tippoja. This sculpture has beautiful carvings, which show the Kadamba style of Architecture.
Students: Niharika Gajanan Sanu School: M V Herwadkar English Medium School, Belagavi, Karnataka Edition: 2
Residency
Built-in 1800, the Lucknow Residency was the home of the British High Commissioner during the British colonial period in Lucknow, the capital of what was then the area of Awadh. This colony was attacked in the mutiny of 1857 and suffered greatly. Today it lies in ruins but is a major tourist attraction and a rejoice for history lovers.
In Hinduism, Harihara is a symbolic representation of unity. Harihara is a deity who isa fusion form of the two supreme gods- Lord Vishnu and Lord Shiva. It is believed that Shankaranarayana or Harihara is formed in an attempt to unite the followers of Vishnu and Shiva who followed divergent ideologies.
Students: Remy Chauhan School: Navy Children School, Mumbai, Maharashtra Edition: 2
Brahma Vishnu & Ganesh Mukut and Dagger
The mukut (crown) and the dagger are artifacts that can trace the hertiage of Aarav Malik's family. They are used as part of the wedding ceremony in which the groom wears the mukut (crown) on his forehead and the dagger is carried by the groom, an action foreshadowing the danger faced by the groom during the wedding procession, in earlier times.
Students: Aarav Malik School: Salwan Public School, New Delhi Edition: 2
Ninth Ashokan Edict
The IXth Ashokan Edict was created by emperor Ashoka the ruler of The Mauryan Empire. The artifact was created around 250 BCE. The dimensions of the artifact are 60 x 77 x 26 cm. It is made out of Basalt rock.
The following is an extract from the edict translated into English, " These types of ceremonies can be performed by all means, but bear little fruit. What does bear fruit, however, is the ceremony of Dhamma."
Students: Ishaan Singhania School: VIBGYOR High School Malad, Mumbai, Maharashtra Edition: 2
Chaturmukha Linga
The Chaturmukha linga is a type of mukhalinga, (mukha meanign face, linga meaning phallus) as it was carved to show Shiva's faces rather than a simplified phallic form. The faces represent the five aspects of Shiva, the Hindu deity associated with linga worship: Vamadeva, Tatpurusha, Aghora, Sadyojata and Isana.
The city of Tanjore is famous for its traditional toy making artisans.
The "Tanjavur Gundusatti Bommai" translating to Tanjore Roundpot Rocking Doll are usually made as a king and queen, symbolising all the dynasties that called Tanjavur thier home.
These dolls are made of terracotta or paper & clay, and painited over with bright colours. This art form has been prevalent in the city since the early 19th century during the reign of King Saraboji.
Students: Adithya Suresh, Jaideep Veeramani, Rajesh Anbanantham, Mohammed Anas N Najibudeen School: Laurel Senior Secondary School, Tamil Nadu Edition: 2
Ahilyabai Holkar Bust
Ahilya, daughter of the Village Head, Mankoji Shinde, from a young age was given education in a time where the education of a girl child was not considered important.
At a young age she was induced into royality simply by winning the heart of the Holkar King, She later went on to rule the Kingdom of Malwa after tragedies took both her husband and only son.
During her reign the kingdom flourished, trade grew, farmers were happy at the same time, art, music & literature blossomed.
Students: Aishwarya Dhoot School: Sri Sathya Sai Vidya Vihar, Indore, Madhya Pradesh Edition: 2