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The Doiyang Dhansiri Valley civilization of Ancient period along with its unique art forms has great potential in academic history. In the context of Ancient Assam, only the kingdom of Pragjyotisha or Kamrupa bordering North Bengal, Tibet and Hills of Northern Assam had gained proper attention for years. In recent terms, the region of Doiyang Dhansiri civilization between parts of Assam and Nagaland border had came into limelight. Sprouted in the alluvial tracts of the Doiyang and Dhansiri river basins this civilization has unique essence of art yet to be studied. The archaeological sources, i.e. - inscriptions, monuments and sculptures of various medium (wood, stone, terracotta) portray an enrich art collection with salient features. Amides those sculptural remains hold special importance due to their religious, aesthetic and representational values. An inquisitive insight of insane craftsmanship and iconography along with societal values reflects through these art forms. Under the influence of Classical Gupta Art, the stone art of Doiyang Dhansiri Valley adopted fusion of various social elements and regional trends. These influences are evident in the structural features of sculptures, including wide open eyes, lack of spiritual expression, round faces, thick lips and stout bodies. According to H. N. Dutta, sculptures of around 600 AD to 900 AD exhibit distinct characters. This early phase of art movement began at Duborani making the tradition popular as Regional School of Duboroni Art. Scholars like M. N. Dutta traced the origins of these early art forms to Deopani. Since 900 AD, this regional school of art went out existence under the shadow of the East India School of Medieval Art (EISMA). This new style was marked by innovations, particularly in the carving of Kirttimukha and the facial treatment of some anthropomorphic sculptures.