A Pala Dynasty standing figure of The Goddess Tara
Nalanda, Bihar, India
H cm. 100
# Tara: In Hinduism, the goddess Tara (Bengali:দেবী তারা মা )(Sanskrit: Tārā, Devanagari: तारा) meaning “rescuer” (in feminine gender) is the second of the Dasa (ten) Mahavidyas or “Great Wisdom [goddesses]”, Tantric manifestations of Mahadevi, Kali, or Parvati. As the star is seen as a beautiful but perpetually self-combusting thing, so Tara is perceived at core as the absolute, unquenchable hunger that propels all life.
# Schist is a medium-grade metamorphic rock with medium to large grains of mica flakes in a preferred orientation (nearby mica flakes are roughly parallel).
#The Pāla Empire was an Indian imperial power, during the Classical period of India, that existed from 750–1174 CE. It was ruled by a Buddhistdynasty from Bengal in the eastern region of the Indian subcontinent, all the rulers bearing names ending with the suffix Pala (Modern Bengali:পাল pāl), which means protector.
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Working in wood, Demetz uses this material to highlight both the harmony and conflicts that exist between man and nature
Parthian reclining figure of a woman, alabaster, 2nd-1st c. bce
Setareh, Esther, Aphrodite, Venus = both the morning and evening star, the dual goddess of love and war ..
Date: ca. 6th century
India (Madhya Pradesh)
Lajja Gauri is shown in a birthing posture but does not display the swollen belly of one about to give birth, which suggests that the image is of sexual fecundity. The lotus flower in place of her head makes this association with fertility explicit. This expression of the concept of the female body as the embodiment of life-affirming forces is perhaps the most extreme in Indian iconography. At her left is a diminutive kneeling figure, undoubtedly the donor. This miniature sculpture was reportedly found in the Seoni district of Madhya Pradesh, central India. Such imagery is rare and confined to the first millennium in central India and the Deccan.
The Metropolitan Museum of Art