Old Bramhi Inscriptions In Udaygiri And Khandagiri

SR No.: 020516
Original Sutra Author: N/A
Author: Benimadhab Barua
Publisher: University of Calcutta
Publication Year: 1929
Total Pages: 354
Language: English
Classification: Book_English
File Size: 15 MB

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NOTES
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as it is done here. The way in which the movement is enhanced from the “ kneeling" bent right leg of the flying figure to the raised and outstretched left in order to culminate in the graceful diagonal of the ends of the scarve is contrasted with the playful hovering of the gaņas with their enlarged, rounded and inarticulate limbs. Altogether the anatomy of the figures is more suppressed even than in Barhut in favour of an all-round smoothness of limbs, which may be seen in the treatment especially of the forelegs of the elephant, as also in the way in which the drapery is arranged into serpent-body-like “ folds " and streamers. This plasticity of limbs is subservient to an easy flow of movements. It gains in liveliness by addressing itself directly to the spectator. Whereas the Barhut figures, unconcerned about his presence, enacted their parts, intensely absorbed by them or by their own existence ; the figures of superhuman beings, of men and animals alike, address the spectator in three-quarter profile, so to say, or else they turn their faces in full front-view towards him. Yet in spite of forcefulness and agitation, the work on the Mañcapuri cave, with its halting and economical way as far as spacing and description go, is on one level with the work of Barhut. The features last mentioned belong to the diapason of Indian sculpture in the second century B.C.; whereas the direct emotional appeal, liveliness of gesture, and smoothness of limbs belong to a somewhat later period and are fully developed in the first century B.C. (cf. the relief in Mahabodhi and Sanchi) and destined to become more and more emphasized in the work of the other caves.
Although undated and without inscriptions, the reliefs of the AnantaGumphã on the Khaņdagiri, of the Râni Gam phà, of the Jaya-Vijaya and Ganesa-Gumphā in Udayagiri are further documents for the potentialities and the successive stages of early Orissan sculpture. If the Mañcapuri reliefs are somewhat posterior to Barhut, the friezes and tympanon fillings of the Ananta-Gumphā appear to be subsequent to the early portion of the Mabābodhi railing reliefs.
The Sūrya-reliefs, bere as there, apart from the similarity of subjectmatter and composition, betray in either case a further step taken in the direction indicated in Barhut as well as in the Mañcapuri reliefs.
Freedom from the shackles of the static cubic form adhered to in the Maurya period had been reached partly and gained in Barhut in a painstaking and careful process, whereas this selfsame freedom was reached in the Mañcapuri reliefs with bolder vigour and impetuousness. This freedom, once gained in all the reliefs of the 2nd century B.C. and