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The present work documents, characterises and comments on the present condition of the sculptural remains found during the exploration of sites located in Dabhoi taluka of Vadodara district, in Gujarat. Forty sculptures, of various Brahmanical deities and hero stones were found from three sites, namely Sathod, Puda and Nada. The sculptures are made from sandstone and carved in relief. Stylistically, they can be dated to the medieval period ranging from tenth century C.E. to thirteenth century C.E.

Keywords: Dabhoi, Vaghela Brahmanical, Sathodara, Hero stones

The numismatic presence of divinities and deities on Ancient Indian coins has been an interesting and intriguing phenomenon, enjoying a hoary antiquity, at least from 6th Century BCE onwards. The figuration of a dramatic interplay between deities and kings, exhibited on the numismatic medium became artistically and politically prominent during the consecutive regimes of the Indo-Greeks (c. 190-75 BCE) and the Ku???as (c.105-226 CE). It continued further in the Indian subcontinent in the coinage issued by the Imperial Guptas. Among them, Kum?ragupta I significantly utilised the medium of coins to seek divine favour, or gain luminous legitimisation from his mythological namesake - Kum?ra K?rttikeya. This paper seeks to study the political machinations and numismatic renditions that furthered the aims of an ambitious monarch, and delineate the role of K?rttikeya in the numismatic arsenal of Kum?ragupta I. It shall also examine the ramifications of a short-lived numismatic and iconographical experiment.

Keywords: K?rttikeya, Kum?ragupta, coins, peacock, legitimisation

Madhubani art, a traditional Indian art form originating from the Mithila region of Bihar, offers a unique intersection of cultural heritage and environmental conservation. Traditionally practiced by women, this art form uses natural dyes and pigments, often derived from locally available plants and minerals, making it inherently eco-friendly. The themes of Madhubani paintings frequently depict nature, including flora, fauna, and human interactions with the environment, thus reflecting a deep connection between the community and their natural surroundings.The role of Madhubani art in social and ecological conservation is multifaceted. On a social level, it empowers local women by providing them with a source of income and a means to express their cultural identity. The art form has evolved from its ritualistic origins to become a significant economic activity, contributing to the socioeconomic development of the region. Additionally, the collaborative nature of creating Madhubani art fosters community bonds and promotes the transfer of traditional knowledge across generations.Ecologically, Madhubani art serves as a medium for environmental education and awareness. By depicting themes of biodiversity, conservation, and the human-nature relationship, these paintings highlight the importance of preserving natural habitats and species. The use of sustainable materials in creating these artworks further emphasizes the need for eco-friendly practices.Moreover, contemporary Madhubani artists are increasingly addressing pressing environmental issues such as deforestation, climate change, and wildlife protection through their work. By incorporating modern environmental themes, they are expanding the traditional scope of Madhubani art to include advocacy and awareness, thus playing a critical role in ecological conservation efforts.Madhubani art is not only a testament to the rich cultural heritage of the Mithila region but also a powerful tool for social and ecological conservation. Its sustainable practices, community-building aspects, and role in environmental education make it a significant contributor to both cultural preservation and ecological sustainability.

Keywords: Ecological, Social, Conservation, Sustainability, Community

The present article is focused mainly upon a stone image of Avalokite?vara which is inscribed with the so-called Buddhist creed, ye dharm? hetu-prabhav?, etc. This representation aligns with the conventional depictions of Avalokite?vara typically found in Bengal and Bihar. It can be dated to the 10th-11th century CE, during the period of the P?la Empire (8th-12th centuryCE),a period marked by the flourishing of Buddhism in this region. Buddhism in Bengal during this period experienced significant developments influenced by the political, cultural, and social dynamics of the P?la Empire. This period is crucial for understanding the evolution of Buddhist practices and artistic expressions in the region. This image, therefore, possesses a distinctive significance, reflecting the artistic and doctrinal characteristics of the time while also underscoring the unique cultural heritage of Bengal and Bihar within the broader context of Buddhist iconography. Its craftsmanship and inscriptions contribute to our understanding of the religious landscape during the Pala period, highlighting the continuity and evolution of Buddhist practices in the region. This paper is primarily based on field study.

Keywords: Iconography; Epigraphy, Inscription, Buddhist creed, Avalokite?var

Warangal, located in the Indian state of Telangana, has a rich historical heritage and played a vital role in shaping the region’s history. It is the second largest city in Telangana and served as the capital of the Kakatiya dynasty which was established in 1163CE. The monuments left by the Kakatiyas include fortresses, lakes, temples and stone gateways which helped the city to become a popular tourist attraction. The kings of the Kakatiya dynasty ruled the Telugu speaking regions from Warangal as their capital during the period from 1000 to 1323 CE. Early Kakatiya rulers had served as feudatories to the Rashtrakutas and Western Chalukyas for more than two centuries. During the rule of the Ganapathi Deva (1199-1262 CE), Rudrama Devi (1262-1289 CE) and Prathapa Rudra (1289-1323-CE), the kingdom of Kakatiya emerged as a powerful state and there was all-round development. The Kakatiya rulers patronised scholars and artists and promoted literature and fine arts like music, dance, sculpture art and architecture. On the walls of the temples we find depiction of the social life of the people. It is proposed to discuss the historical and heritage sites of Warrangal.

Keywords: Ramappa Temple, Thousand Pillar Temple, Emakshi Temple, Siddeswara Temple, Ramappa Tank, Laknavaram Tank.