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This paper presents a study of three small terracotta plaques in the Gandhara Collection of the Lahore Museum - each with a different scene in low relief and each being a cast from a single-mould. The scenes depicted are purely classical in theme and Hellenistic in form and execution. No such scene has so far been found from any other site in Gandhara. According to the available information in the record of the Lahore Museum, these plaques were procured about 96 years ago from some unknown site in the Peshawar Valley and were deposited in the Lahore Museum. For a long time, they remained hidden from the eyes of curators until 2006 when they were identified with those briefly described, but not illustrated, by Sir John Marshall in 1922. They are being studied here in some detail for the first time. The technique of making these hand-pressed casts is the subject of this article together with making such tiny moulds and the role of their casts as travelling models of art work. Attempt is also made to show what other comparable objects can be identified with examples available in Gandhara or within its cultural peripheries as having been copied from such mobile prototypes. [ABSTRACT FROM AUTHOR]

Present abstract is about two rare large size paintings, each possibly forming a front and back cover of a bookbinding belonging to Early Qajar Period or, what is more probable, a pair of portrait paintings of two Qajar Emperors used as a wall hanging side by side. These paintings are at present in a private collection in Lahore. Both are of the same format and size each measure 44.5 x 30 cm. One of the folios (Painting I) contains a portrait of the founder of the Qajar dynasty i.e. Sultan Fateh Ali Shah (1797 - 1834) along with some of his family members including two crown-wearing ladies. The second folio or Painting II shows the portrait figure of his nephew and successor Qajar Sultan Muhammad Shah (1834-1848). Like predecessors, this King is also shown surrounded by a group of people - all male-either his courtiers or family members. Both the kings are identifiable with their names inscribed each in the form of tughra set inside a medallion with outlines in relief. Although the name of the artist is not known but there is no doubt that both have been rendered by one and the same artist. The paintings have been rendered on a base of thick cardboard with rounded corners. The actual paintings are done in a mixed media of plaster or gypsum (gesso) mixed with oil colors and finally varnished/lacquered. The colors are dusky and dark due to the application of varnish. Back side of both paintings are plain but painted in brick-red color and varnished/lacquered. These paintings are definitely made in a technique that, though introduced during late Safavid Period, was popularized during the Zand period (1779 - 1797) and early Qajar Period (1797 - 1848). On stylistic grounds, both these paintings are datable between 1797 to 1848. Apparently, these are examples of book-binding of early Qajar Period which was famous, among other things, for painted and tooled book-bindings prepared on papier mache, plaster base or gesso work, painted in oil colors and varnished/lacquered. But this is not sure. Alternately, these can be regarded as a pair of portrait paintings of two kings, painted with an identical frame but meant for hanging side by side in a royal room or court as was the custom of the Qajar court. In any case, for us, importance of these folios lies in the fact that Qajar paintings, like the two under study, to the best of my knowledge, have surfaced for the first time in any collection - public or private - in Pakistan. The Qajar Paintings have their origin in the later days of the Safavid art but flourished during the cultural shock of Europeanization and a counter movement of resistance for the survival and revival of indigenous elements in art and culture of Iran - a dualism which still continues in present day Iran. [ABSTRACT FROM AUTHOR]