The attributes and the details of the figures are indistinct. Time and the fact it is a buried piece show their effect.

The identification as Umamaheshwara is based on Shiva’s gesture of affection towards his consort, right hand reaching out to her chin and left hand caressing her breast, and the general iconography.

The rest of the identification is based on the above premise.

Their children Ganesha and Skanda are attached to the base of the prabhavali. Ganesha’s trademark, the trunk, can just be discerned.

This bronze’s Prabhavali is typical Bengal (West Bengal or Bangladesh) region. Notice the Kalasa and the horizontal crossbar (back view).

Their respective vahanas are on the base. The lower left level has the donor figure. A good way for the donor to ensure the presence in front of the deity is perpetual.

Four deities, two vahanas and one donor. The Vigraha is about 7 cm in height and is a complex piece for its size, This bronze may be dated to the 11th century CE and attributed to the Pala regime. Nalini Kanta Bhattasali, in the book ‘Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum‘, refers to this iconography as Alingana Murthy.

This website has another Umamaheshwara from the Pala period.