Los Angeles County Museum of Art
The Los Angeles County Museum of Art is an art museum located on Wilshire Boulevard in the Miracle Mile vicinity of Los Angeles. LACMA is on Museum Row, adjacent to the La Brea Tar Pits. LACMA is the largest art museum in the western United States, it attracts nearly a million visitors annually. It holds more than 150,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features concert series; the Los Angeles County Museum of Art was established as a museum in 1961. Prior to this, LACMA was part of the Los Angeles Museum of History and Art, founded in 1910 in Exposition Park near the University of Southern California. Howard F. Ahmanson, Sr. Anna Bing Arnold and Bart Lytton were the first principal patrons of the museum. Ahmanson made the lead donation of $2 million, convincing the museum board that sufficient funds could be raised to establish the new museum. In 1965 the museum moved to a new Wilshire Boulevard complex as an independent, art-focused institution, the largest new museum to be built in the United States after the National Gallery of Art.
The museum, built in a style similar to Lincoln Center and the Los Angeles Music Center, consisted of three buildings: the Ahmanson Building, the Bing Center, the Lytton Gallery. The board selected LA architect William Pereira over the directors' recommendation of Ludwig Mies van der Rohe for the buildings. According to a 1965 Los Angeles Times story, the total cost of the three buildings was $11.5 million. Construction began in 1963, was undertaken by the Del E. Webb Corporation. Construction was completed in early 1965. At the time, the Los Angeles Music Center and LACMA were concurrent large civic projects which vied for attention and donors in Los Angeles; when the museum opened, the buildings were surrounded by reflecting pools, but they were filled in and covered over when tar from the adjacent La Brea Tar Pits began seeping in. Money poured into LACMA during the boom years of the 1980s, a $209 million in private donations during director Earl Powell's tenure. To house its growing collections of modern and contemporary art and to provide more space for exhibitions, the museum hired the architectural firm of Hardy Holzman Pfeiffer Associates to design its $35.3-million, 115,000-square-foot Robert O. Anderson Building for 20th-century art, which opened in 1986.
In the far-reaching expansion, museum-goers henceforth entered through the new roofed central court, nearly an acre of space bounded by the museum's four buildings. The museum's Pavilion for Japanese Art, designed by maverick architect Bruce Goff, opened in 1988, as did the B. Gerald Cantor Sculpture Garden of Rodin bronzes. In 1999, the Hancock Park Improvement Project was complete, the LACMA-adjacent park was inaugurated with a free public celebration; the $10-million renovation replaced dead trees and bare earth with picnic facilities, viewing sites for the La Brea tar pits and a 150-seat red granite amphitheater designed by artist Jackie Ferrara. In 1994, LACMA purchased the adjacent former May Company department store building, an impressive example of streamline moderne architecture designed by Albert C. Martin Sr. LACMA West increased the museum's size by 30 percent when the building opened in 1998. In 2004 LACMA's Board of Trustees unanimously approved a plan for LACMA's transformation by architect Rem Koolhaas, who had proposed razing all the current buildings and constructing an new single, tent-topped structure, estimated to cost $200 million to $300 million.
Kohlhaas edged out French architect Jean Nouvel, who would have added a major building while renovating the older facilities. The list of candidates had narrowed to five in May 2001: Koolhaas, Steven Holl, Daniel Libeskind and Thom Mayne. However, the project soon stalled. In 2004 LACMA's Board of Trustees unanimously approved plans to transform the museum, led by architect Renzo Piano; the planned transformation consisted of three phases. Phase I started in 2004 and was completed in February 2008; the renovations required demolishing the parking structure on Ogden Avenue and with it LACMA-commissioned graffiti art by street artists Margaret Kilgallen and Barry McGee. The entry pavilion is a key point in architect Renzo Piano's plan to unify LACMA's sprawling confusing layout of buildings; the BP Grand Entrance and the adjacent Broad Contemporary Art Museum comprise the $191 million first phase of the three-part expansion and renovation campaign. BCAM is named for Edy Broad, who gave $60 million to LACMA's campaign.
BCAM opened on February 2008, adding 58,000 square feet of exhibition space to the museum. In 2010 the Lynda and Stewart Resnick Exhibition Pavilion opened to the public, providing the largest purpose-built lit, open-plan museum space in the world; the second phase was intended to turn the May building into new offices and galleries, designed by SPF Architects. As proposed, it would have had flexible gallery space, education space, administrative offices, a new restaurant, a gift shop and a bookstore, as well as study centers for the museum's departments of costume and textiles and prints and drawings, a roof sculpture garden with two works by James Turrell. However, construction of this phase was halted in November 2010. Phase two and three were never completed. In October 2011, LACMA entered into an agreement with the Academy of Motion Picture Arts and Sciences under which the Academ
Art is a diverse range of human activities in creating visual, auditory or performing artifacts, expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, the aesthetic dissemination of art; the three classical branches of art are painting and architecture. Music, film and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of the arts; until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts. Though the definition of what constitutes art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency and creation.
The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. In the perspective of the history of art, artistic works have existed for as long as humankind: from early pre-historic art to contemporary art. One early sense of the definition of art is related to the older Latin meaning, which translates to "skill" or "craft," as associated with words such as "artisan." English words derived from this meaning include artifact, artifice, medical arts, military arts. However, there are many other colloquial uses of all with some relation to its etymology. Over time, philosophers like Plato, Aristotle and Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, is not rational, he speaks approvingly of this, other forms of divine madness in the Phaedrus, yet in the Republic wants to outlaw Homer's great poetic art, laughter as well.
In Ion, Socrates gives no hint of the disapproval of Homer. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted. With regards to the literary art and the musical arts, Aristotle considered epic poetry, comedy, dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, poetry with language; the forms differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.
The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer work of art. Within this latter sense, the word art may refer to several things: a study of a creative skill, a process of using the creative skill, a product of the creative skill, or the audience's experience with the creative skill; the creative arts are a collection of disciplines which produce artworks that are compelled by a personal drive and convey a message, mood, or symbolism for the perceiver to interpret. Art is something that stimulates an individual's thoughts, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.
If the skill is being used in a common or practical way, people will consider it a craft instead of art. If the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand and design are sometimes considered applied art; some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However fine art has goals beyond pure creativity and self-expression; the purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art. The purpose may be nonexistent; the nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exp
Mumbai is the capital city of the Indian state of Maharashtra. As of 2011 it is the most populous city in India with an estimated city proper population of 12.4 million. The larger Mumbai Metropolitan Region is the second most populous metropolitan area in India, with a population of 21.3 million as of 2016. Mumbai has a deep natural harbour. In 2008, Mumbai was named an alpha world city, it is the wealthiest city in India, has the highest number of millionaires and billionaires among all cities in India. Mumbai is home to three UNESCO World Heritage Sites: the Elephanta Caves, Chhatrapati Shivaji Maharaj Terminus, the city's distinctive ensemble of Victorian and Art Deco buildings; the seven islands that constitute Mumbai were home to communities of Koli people, who originated in Gujarat in prehistoric times. For centuries, the islands were under the control of successive indigenous empires before being ceded to the Portuguese Empire and subsequently to the East India Company when in 1661 Charles II of England married Catherine of Braganza and as part of her dowry Charles received the ports of Tangier and Seven Islands of Bombay.
During the mid-18th century, Bombay was reshaped by the Hornby Vellard project, which undertook reclamation of the area between the seven islands from the sea. Along with construction of major roads and railways, the reclamation project, completed in 1845, transformed Bombay into a major seaport on the Arabian Sea. Bombay in the 19th century was characterised by educational development. During the early 20th century it became a strong base for the Indian independence movement. Upon India's independence in 1947 the city was incorporated into Bombay State. In 1960, following the Samyukta Maharashtra Movement, a new state of Maharashtra was created with Bombay as the capital. Mumbai is the financial and entertainment capital of India, it is one of the world's top ten centres of commerce in terms of global financial flow, generating 6.16% of India's GDP and accounting for 25% of industrial output, 70% of maritime trade in India, 70% of capital transactions to India's economy. The city houses important financial institutions such as the Reserve Bank of India, the Bombay Stock Exchange, the National Stock Exchange of India, the SEBI and the corporate headquarters of numerous Indian companies and multinational corporations.
It is home to some of India's premier scientific and nuclear institutes like Bhabha Atomic Research Centre, Nuclear Power Corporation of India, Indian Rare Earths, Tata Institute of Fundamental Research, Atomic Energy Regulatory Board, Atomic Energy Commission of India, the Department of Atomic Energy. The city houses India's Hindi and Marathi cinema industries. Mumbai's business opportunities, as well as its potential to offer a higher standard of living, attract migrants from all over India, making the city a melting pot of many communities and cultures; the name Mumbai is derived from Mumbā or Mahā-Ambā—the name of the patron goddess Mumbadevi of the native Koli community— and ā'ī meaning "mother" in the Marathi language, the mother tongue of the Koli people and the official language of Maharashtra. The Koli people originated in Kathiawad and Central Gujarat, according to some sources they brought their goddess Mumba with them from Kathiawad, where she is still worshipped. However, other sources disagree.
The oldest known names for the city are Galajunkja. In 1508, Portuguese writer Gaspar Correia used the name "Bombaim" in his Lendas da Índia; this name originated as the Galician-Portuguese phrase bom baim, meaning "good little bay", Bombaim is still used in Portuguese. In 1516, Portuguese explorer Duarte Barbosa used the name Tana-Maiambu: Tana appears to refer to the adjoining town of Thane and Maiambu to Mumbadevi. Other variations recorded in the 16th and the 17th centuries include: Mombayn, Bombain, Monbaym, Mombaym, Bombaiim, Boon Bay, Bon Bahia. After the English gained possession of the city in the 17th century, the Portuguese name was anglicised as Bombay. Ali Muhammad Khan, imperial dewan or revenue minister of the Gujarat province, in the Mirat-i Ahmedi referred to the city as Manbai; the French traveller Louis Rousselet who visited in 1863 and 1868 tells us in his book L’Inde des Rajahs: "Etymologists have wrongly derived this name from the Portuguese Bôa Bahia, or, not knowing that the tutelar goddess of this island has been, from remote antiquity, Bomba, or Mamba Dévi, that she still... possesses a temple".
By the late 20th century, the city was referred to as Mumbai or Mambai in Marathi, Gujarati and Sindhi, as Bambai in Hindi. The Government of India changed the English name to Mumbai in November 1995; this came at the insistence of the Marathi nationalist Shiv Sena party, which had just won the Maharashtra state elections, mirrored similar name changes across the country and in Maharashtra. According to Slate magazine, "they argued that'Bombay' was a corrupted English version of'Mumbai' and an unwanted legacy of British colonial rule." Slate said "The push to rename Bombay was part of a larger movement to strengthen Marathi identity in the Maharashtra region." While the city is still referred to as Bombay by some of its residents and by Indians from other regions, mention of the ci
The Achaemenid Empire called the First Persian Empire, was an empire based in Western Asia founded by Cyrus the Great. Ranging at its greatest extent from the Balkans and Eastern Europe proper in the west to the Indus Valley in the east, it was larger than any previous empire in history, spanning 5.5 million square kilometers. Incorporating various peoples of different origins and faiths, it is notable for its successful model of a centralised, bureaucratic administration, for building infrastructure such as road systems and a postal system, the use of an official language across its territories, the development of civil services and a large professional army; the empire's successes inspired similar systems in empires. By the 7th century BC, the Persians had settled in the south-western portion of the Iranian Plateau in the region of Persis, which came to be their heartland. From this region, Cyrus the Great advanced to defeat the Medes and the Neo-Babylonian Empire, establishing the Achaemenid Empire.
Alexander the Great, an avid admirer of Cyrus the Great, conquered most of the empire by 330 BC. Upon Alexander's death, most of the empire's former territory came under the rule of the Ptolemaic Kingdom and Seleucid Empire, in addition to other minor territories which gained independence at that time; the Iranian elites of the central plateau reclaimed power by the second century BC under the Parthian Empire. The Achaemenid Empire is noted in Western history as the antagonist of the Greek city-states during the Greco-Persian Wars and for the emancipation of the Jewish exiles in Babylon; the historical mark of the empire went far beyond its territorial and military influences and included cultural, social and religious influences as well. Despite the lasting conflict between the two states, many Athenians adopted Achaemenid customs in their daily lives in a reciprocal cultural exchange, some being employed by or allied to the Persian kings; the impact of Cyrus's edict is mentioned in Judeo-Christian texts, the empire was instrumental in the spread of Zoroastrianism as far east as China.
The empire set the tone for the politics and history of Iran. The term Achaemenid means "of the family of the Achaemenis/Achaemenes". Achaemenes was himself a minor seventh-century ruler of the Anshan in southwestern Iran, a vassal of Assyria. Astronomical year numbering Dates are approximate, consult particular article for details The Persian nation contains a number of tribes as listed here....: the Pasargadae and Maspii, upon which all the other tribes are dependent. Of these, the Pasargadae are the most distinguished. Other tribes are the Panthialaei, Germanii, all of which are attached to the soil, the remainder -the Dai, Dropici, being nomadic; the Achaemenid Empire was created by nomadic Persians. The name "Persia" is a Greek and Latin pronunciation of the native word referring to the country of the people originating from Persis; the Persians were an Iranian people who arrived in what is today Iran c. 1000 BC and settled a region including north-western Iran, the Zagros Mountains and Persis alongside the native Elamites.
For a number of centuries they fell under the domination of the Neo-Assyrian Empire, based in northern Mesopotamia. The Persians were nomadic pastoralists in the western Iranian Plateau and by 850 BC were calling themselves the Parsa and their shifting territory Parsua, for the most part localized around Persis; the Achaemenid Empire was not the first Iranian empire, as the Medes, another group of Iranian peoples, established a short-lived empire and played a major role in the overthrow of the Assyrian. The Achaemenids were rulers of the Elamite city of Anshan near the modern city of Marvdasht. There are conflicting accounts of the identities of the earliest Kings of Anshan. According to the Cyrus Cylinder the kings of Anshan were Teispes, Cyrus I, Cambyses I and Cyrus II known as Cyrus the Great, who created the empire. In Herodotus' Histories, he writes that Cyrus the Great was the son of Cambyses I and Mandane of Media, the daughter of Astyages, the king of the Median Empire. Cyrus revolted against the Median Empire in 553 BC, in 550 BC succeeded in defeating the Medes, capturing Astyages and taking the Median capital city of Ecbatana.
Once in control of Ecbatana, Cyrus styled himself as the successor to Astyages and assumed control of the entire empire. By inheriting Astyages' empire, he inherited the territorial conflicts the Medes had had with both Lydia and the Neo-Babylonian Empire. King Croesus of Lydia sought to take advantage of the new international situation by advancing into what had been Median territory in Asia Minor. Cyrus led a counterattack which not only fought off Croesus' armies, but led to the capture of Sardis and the fall of the Lydian Kingdom in 546 BC. Cyrus placed Pactyes in charge of collecting tribute in Lydia and left, but once Cyrus had left Pactyes instigated a rebellion against Cyrus. Cyrus sent the Median general Mazares to deal with the rebellion, Pactyes was captured. Mazares, aft
Pre-Columbian art refers to the visual arts of indigenous peoples of the Caribbean, North and South Americas until the late 15th and early 16th centuries, the time period marked by Christopher Columbus' arrival in the Americas. Pre-Columbian art thrived throughout the Americas from at least 13,000 BCE to the European conquests, sometimes continued for a time afterwards. Many Pre-Columbian cultures did not have writing systems, so visual art expressed cosmologies, world views and philosophy of these cultures, as well as serving as mnemonic devices. During the period before and after European exploration and conquest of the Americas, indigenous native cultures produced a wide variety of visual arts, including painting on textiles, hides and cave surfaces, bodies faces, architectural features including interior murals, wood panels, other available surfaces. For many of these cultures, the visual arts went beyond physical appearance and served as active extensions of their owners and indices of the divine.
Artisans of the Ancient Americas drew upon a wide range of materials, creating objects that included the meanings held to be inherent to the materials. These cultures derived value from the physical qualities, rather than the imagery, of artworks, prizing aural and tactile features, the quality of workmanship, the rarity of materials. Various works of art have been discovered large distances from their location of production, indicating that many Pre-Columbian civilizations collected items from other cultures or previous cultures. Moreover, many societies used raw materials not available in the geographic location in which they were situated, suggesting difficulty of acquisition as a source of value. Many of the perishable surfaces, such as woven textiles have not been preserved, but Precolumbian painting on ceramics and rocks have survived more frequently; the Mesoamerican cultures are divided into three periods: Pre-classic Classic Post-classic. The Pre-classic period was dominated by the developed Olmec civilization, which flourished around 1200–400 BCE.
The Olmecs produced jade figurines, created heavy-featured, colossal heads, up to 2 meters high, that still stand mysteriously in the landscape. The Mesoamerican tradition of building large ceremonial centres appears to have begun under the Olmecs. During the Classic period the dominant Civilization was the Maya. Maya royalty commissioned artwork that commemorated their achievements and secured their place in time. Scenes depicting various rituals and historical events are embedded with hieroglyphic text to enable the viewer to identify the important figures and places instead of relying upon physical features that could be forgotten over time; the interpretation of the actions represented in the artwork goes hand in hand with understanding the decorative text, woven into the picture. Unlocking this hieroglyphic text is vital as it removes anonymity and mystery from the scenes and reveals detailed records of those who held power throughout the timeline of the civilization. Like the Mississippian peoples of North America such as the Choctaw and Natchez, the Maya organized themselves into large, agricultural communities.
They practised their own forms of hieroglyphic writing and advanced astronomy. Mayan art focuses on rain and fertility, expressing these images in relief and surface decoration, as well as some sculpture. Glyphs and stylized figures were used to decorate architecture such as the pyramid temple of Chichén Itzá. Murals dating from about 750 CE were discovered when the city of Bonampak was excavated in 1946; the Post-classic period was dominated by the Toltecs who made colossal, block-like sculptures such as those employed as free-standing columns at Tula, Mexico. The Mixtecs developed a style of painting known as Mixtec-Puebla, as seen in their murals and codices, in which all available space is covered by flat figures in geometric designs; the Aztec culture in Mexico produced some expressive examples of Aztec art, such as the decorated skulls of captives and stone sculpture, of which Tlazolteotl, a goddess in childbirth, is a good example. In the Andean region of South America, the Chavín civilization flourished from around 1000 BCE to 300 BCE.
The Chavín produced small-scale pottery human in shape but with animal features such as bird feet, reptilian eyes, or feline fangs. Representations of jaguar are a common theme in Chavín art; the Chavin culture is noted for the spectacular murals and carvings found its main religious site of Chavín de Huantar. Contemporary with the Chavin was the Paracas culture of the southern coast of Peru, most noted today for their elaborate textiles; these amazing productions, some of which could measure ninety feet long, were used for as burial wraps for Paracas mummy bundles. Paracas art was influenced by the Chavín cult, the two styles share many common motifs. On the south coast, the Paracas were succeeded by a flowering of artistic production around the Nazca river valley; the Nazca period is divided into eight ceramic phases, each one depicting abstract animal and human motifs. These period range from Phase 1, beginning around 200 CE, to Phase 8, which declined in the middle of the eighth century; the Nasca people are most famous for the Nazca Lines, though they are regarded as making some of the most beautiful polychrome ceramics in the Andes
National Museum, New Delhi
The National Museum in New Delhi known as the National Museum of India, is one of the largest museums in India. Established in 1949, it holds variety of articles ranging from pre-historic era to modern works of art, it functions under the Ministry of Government of India. The museum is situated on the corner of Maulana Azad Road; the blue–print of the National Museum had been prepared by the Gwyer Committee set up by the Government of India in 1946. The museum has around 200,000 works of art, both of Indian and foreign origin, covering over 5,000 years, it houses the National Museum Institute of History of Arts and Museology on the first floor, established in 1983 and now is a Deemed University since 1989, runs Masters and Doctoral level courses in History of Art and Museology. The roots of the National Museum begin with an exhibition of Indian art and artefacts at the Royal Academy in London in the winter of 1947-48. At the end of the London exhibition, the exhibition curators had decided to display the same collection intact in India before returning the artefacts to their individual museums.
The Indian exhibition was shown at the Rashtrapati Bhawan in 1949, was so successful that it led to the decision to form a permanent National Museum. On 15 August 1949, the National Museum was formally inaugurated by the Governor-General of India, Chakravarti Rajagopalachari. At that time, it was decided that until a permanent home could be found for the collection, it would continue to be housed at the Rashtrapati Bhawan; the cornerstone of the present museum building was laid by Jawaharlal Nehru, the Prime Minister of India, on 12 May 1955, the building formally opened to the public on 18 December 1960. Today, the museum is funded by the Ministry of Culture and Ministry of Tourism. Presently, there are several departments in the National Museum. Pre-History Archaeology Archaeology Manuscripts Numismatics & Epigraphy Paintings Arms & Armour Decorative Arts Central Asian Antiquities Pre-Columbian Art Jewellery Anthropology Education Public Relations Publication Conservation DisplayThe collections of the National Museum covers nearly all the departments.
It represents all disciplines of art: Archaeology, Armour, Decorative Arts, Manuscripts and Tanjore Paintings, Numismatics, Central Asian Antiquities, Pre-Columbian American and Western Art Collections. The museum has in its possession over 200,000 works of art, of both Indian and foreign origin, covering more than 5,000 years of the rich cultural heritage of different parts of the world, its rich holdings of various creative traditions and disciplines which represents a unity amidst diversity, an unmatched blend of the past with the present and strong perspective for the future, brings history to life. The National Museum building has two floors, it has a rotunda. The museum has various artefacts from the Harappan Civilization known as Indus Valley Civilization or Indo- Saraswati; the whole collection of this gallery represents the advanced technology and sophisticated lifestyle of the Harappan people. Most of the objects on display are permanent loans from the Archaeological Survey of India.
Most famous among the objects are the Priest Head, the Dancing Girl made in Bronze and belongs to the early Harappan period, Skeleton excavated from Rakhigarhi in Haryana, Terracotta images of Mother Goddess and Clay Pottery. Apart from these the gallery has Sculptures in Bronzes & Terracotta, Bone Objects, Steatite, Semi-Precious Stones, Painted Pottery and Jewellery items. Many seals have been discovered during numerous excavations; these seals were used for trading purposes. These seals depict bulls, unicorns, crocodiles, unknown symbols. On one of the seal, there is the depiction of Pasupati The gallery presents the vibrancy of human civilization in India at par with the contemporary civilizations of Mesopotamia and China. Among the artefacts, the most significant is the Dancing Girl, a 4.5 inch bronze statue. It was discovered from Mohenjodaro; the name Dancing Girl was coined by Sir John Marshall. It is made by the Lost Wax Method; the Chola bronzes and the Dhokra castings are still made this way.
The gallery has objects from the 4th century BCE to the 1st century BCE. It has objects spanning three major dynasties. Objects in the gallery have Greek influence characterized by the mirror like finishing; the gallery houses fragments of railings from various ancient Stupas that are carved on with episodes from Buddha's Life. A major object is the one showing Sage Asita's visit to baby Siddharta and the Bharhut railings that depicts the story related to the Relics associated with Buddha by the sage Drona. A typical feature of the period to which objects in the gallery belongs to is that the sculpture do not depict Buddha in the physical form, he is always shown using symbols like the Dharmachakra, the Bodhi tree, empty throne, etc. This gallery has art objects from the Kushan period; the major school of arts were the Mathura School of Art. The Gandhara school had huge influence of Greek Iconography and the themes were Buddhist. Most prominent among the objects is the Standing Buddha, made in Grey schist stone in Gandhara School of Arts and it belongs to the 2nd century CE.
This period was the first time. The Mathura school of arts had primary themes of Buddhism and Brahmanism while the Gandhara Arts were of Buddhist themes. Other sculptures i