This figure is delicately modelled and finely detailed. It stands on an upturned lotus flower in the centre of a rectangular base. Towards the rear of the base are two prongs of approximately 40mm which point upwards from the side edges.
This complex image consists of a plinth on which a collection of figures stand before a decorated, arched frame. The plinth is heavy in relation to the slight figures, and is damaged in the centre, where there is a hole approximately 20mm/30mm.
This sword/ dagger hilt consists of a curving piece of copper, which widens into the head of a ram. The head is a naturalistic representation, with curling horns, eyes carved in detail and realistic facial contours.
While the hole in the ring is circular, the ring itself appears to be ovoid due to extensions for the bird's head and tail. The tail stretches out approximately 20mm, smooth and curved on top but incised and stained beneath.
This figure leans to her left, right leg straight, left leg bent, with toes curling upwards. Two of her four hands are open, the front right reaching down, palm open, the front left held open, fingers pointing upwards before her emaciated chest.
This image retains an illuminated gold floral boarder, enlarged in a second, outer boarder. It depicts Qazi with a long white beard, in a simple white robe and turban. He is lying asleep on a red and green carpet beyond a bed of flowers.
Rendered in relatively thick colour, this scene shows a nobleman, fanned by a servant with a peacock feather fan, listening to two musicians kneeling before him. The nobleman sits cross-legged on a throne, propped against a large gold cushion decorated with red flowers.
An 'amir' (officer), with a flowing moustache, sits against a cushion smoking a spherical bidri 'huqqa'. He is dressed in a flowered 'jama' with a gold turban and sash, and rests his left arm upon his shield, which bears the device of a golden sun.
The base of this anthropomorphic axe is raised in the centre and curves inwards at the sides, resulting in a tapering, slightly turned up point to the left and right (interpreted as legs). The top of the axe is an arch and this is the point at which the metal is thickest.
This female figurine is characterised by stylised arms, ending in points at the elbow, a large, protruding bottom, headdress and decoration with small, scored discs of clay. Lines define the waist, legs and pubic area (the feet are missing) while discs denote the breasts.
This figure, like no. 408, has short pointed arms, large hips and bottom and is similarly decorated. The material is a lighter, orange terracotta however, and it has suffered more damage. The feet, head and tip of the figure's right arm are missing.
The Buddha sits in the lotus position, his right foot over his left. His right hand rests on his knee, fingers pointing down and palm open. In his left hand he holds the hem of his robe, which is v-necked and gathered around his arms and knees. He wears a band around his neck.
This figure of Maitreya is elegantly slender and his facial features are finely carved. He stands with his left foot slightly before the right, with his right palm open to display the mark of the discus - a circle crossed with a horizontal line.
This painting, executed in thick, bright colour, is bordered in red and has a thin strip of blue sky across the top in which are wispy white clouds. The four varied trees and four figures stand against a flat yellow background.
The raja is shown in early middle age with a small moustache, prominent side-burns, a sharply hooked nose and a majestic double chin. He takes a flower from the hand of the woman who faces him, while behind him a second woman stands holding a peacock-feather fan.
The Persian blue background and wide gold border of this painting are clear evidence of Persian influence. However the gold border is not in the graceful Persian "arabesque", but in a more formal Deccani style with rows of stiff flowers.