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purposeless in the Gaņa-figures, is enhanced into energetic speed in the onrush of the Gandharva-figures. The transition from the static squareness of the Maurya figures to linear vitality is marked here as well as in Bharhut. But there the movement is of a hesitating grace and reverential, whereas here it is not only variegated in speed and expressions, but is altogether more intense, untouched almost by any scruples of the religious mind. The craftsmanship is medicore. 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 scarye 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 Bharbut in favour of an all-round smoothness of limbs. 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 Bharhut figures, unconcerned about his presence. enacted their parts, intensely absorbed by them and 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 also they turn their faces in full front-view towards him. Yet, inspite of forcefulness and agitation, the work in the Manchapuri cave—the earliest in so far as artistic activities are concerned, with its halting and economical way as far as spacing and description goes belongs 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 Mahābodhi and Sānchi) and destined to become more and more emphasized in the work of the other caves.
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