The figurines have big eyes, prominent nose, slit mouth and incised lines to mark hair. They are either red or of smoky colours and are made of fine levigated clay. The ears are separately made with heavy lump of clay shaped like ears with pendent and applied over it. The left one is missing. Roundish face is worn out, however, it carries a dignified expression. There are big circular earring and a flat band of a necklace. It belongs to the third century B.C. Such figures from North-India are dated in pre-Mauryan period by Coomarswamy, Zimmer, and Rowland. The other handsome figure from Tilaurākoṭ also represents the bust of a female. The face is ovalish and bicornate headdress up to the shoulder is shown on it. The figure wears heavy earrings and triple flat band necklace, and, nose, eyes, mouth and nostril are indicated by incised lines and puncture. Rijal dates these two figurines pre-Mauryan period. However, style and technique of the figure undoubtedly place it in the Mauryan period. The latter figurine is illustrated in the text published by Rissho University Japan. Suṅga Figurines  The Mauryan and the Suṅga art do not appear to have any relation with each other so far as stone sculptures are concerned. However, in terracotta art there appears to be some relationships between the two. There was a sudden increase in the manufacture of terracotta art due to an important change in the technique and tradition of its production. Modeling was given up during this period. It was replaced by the mould technique, which was extensively used for the depiction of a variety of subjects. This change of technique was probably due to heavy demand for terracotta art in contemporary society. Stone was a hard and scarce material. So, it was not a convenient medium for mass production. It was not available in plenty in most regions. Due to its dexterous quality, it could not be easily converted into figurines or plaques. However, it was easy to display sensitive features of body in clay by subtle modeling. The plaques were produced from a single mould, and are, therefore, entirely flat without any decoration at the back. Some are produced in low flattened relief, while others come out with the background in fairly high relief. Some plaques are provided with holes at the top for hanging on the wall.