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MAURYA ART IN KALINGA
221 To quote N. R. Ray, the Dhauli elephant shows a much developed sense of form and is artistically far superior to its Sāńkasya cousin. Indeed, such plastic presentation of bulky volume, such feeling for living flesh rendered with remarkable realism, such knowledge of the physiognomical form of the subject treated, such sense of dignified movement and linear rhythm has no parallel in Mauryan animal sculptures. Compared to this, even the Rampurva Lion or the Sarnath quadripartite, with their tight and coagulated treatment of the reins and muscles, shown in meaningless tension, and inspite of full reproduction of volume and advanced proof of visualisation, appear lifeless. The loud exhibition of pomp and power of the Rampurva or the Sarnath specimens has nothing to compare with the quiet dignity of the Dhauli elephant. With its right front leg slightly tilted and the left one bent straight in short angle, exhibiting a slight forward motion and with its heavy trunk flowing rhythmically in a delightful curve, it walks majestically out of a deep ravine as it were. It indeed symbolises His Imperial Majesty King Emperor Asoka Maurya presenting himself with quiet dignity before the people of Kalinga.
The Dhauli elephant, and perhaps the Rampurva Bull, seem to belong to a somewhat different æsthetic vision and outlook, perhaps to a different art tradition other than that of the lions. True indeed, in so far as feeling for volume and its reproduction are concerned, they belong to the same fully developed stage of art as that of the crowning lions and there is nothing archaic and primitive about them, but it is equally true that there is nothing conventional about them as well, and the plastic sense and method of treatment are altogether different.
1. MSA, p. 36.
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