________________
Holy Abu
Yashoda having on her lap a child which may be either the son Krshna or the daughter Chhinnanasă. From the swing tied to the tree, Shri Krshna tries to jump out. An elephant stands nearby whom Kṛṣhna is beating with his fists. In the same panel, Krshna is shown as uprooting two trees with both the hands.
120
(b) The relief on the opposite or western panel shows a king sitting under a chhatra, on a simhasana, and attended by guards and warders. Besides stables of horses and elephants, the king's palace etc. are also carved. 1
(18) Bhāva No. 18 shows a figure of goddess Ambikā in the first bay in front of ceiling No. 1. The figure is mutilated. On each side of the goddess is a tree against the stem of which stand a shravaka or shravika with
1 The stepped pyramidal roofs of the two storeyed building, (to the left of the gateway) with a figure looking out of the window in each storey and an open pavilion on the ground floor, one separate roof of the pavilion and one of the second storey of the building may be noted. To the right of the building is a gate, consisting of two massive towers (aṭṭālaka) and capped by barrel-vaulted roofs. Two garlands with heads and tassels hanging between the two roofs decorate the gateway. One of the wings of the door of the gateway is pushed open by a figure who, in the words of Dr. Stella Kramrisch, "seems to stand for ever. This figure in the half open door is a device which the medieval craftsmen from Gujarat to Orissa apply by itself, or else they insert it into compositions. "
The relief is typical of the art-style of the age, in sculpture as well as painting. "Painted angularity of limbs, or else concave curves (of legs of standing males or horses) thin the plastic context, and bring about a linear composition as clear as possible." Vide, Dr. Stella Kramrisch, Indian Sculpture, pp. 186-87-Translator,
