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JAIN JOURNAL
The image of Rsabhanatha (No. 38, Pl. 31) shows the broad unity with the other images of this group, but in a subdued scale, in respect of soft and delicate modelling, slenderness of legs and thinner feet. The image, as a whole, is not only a thinner and slender variety of the same sensuous style but also shows a slight change in modelling. The hip curve stretches right up to the side curves of the chest giving a new tone to the modulation of modelling and the sensuousness. The curve in the abdomen with a thin roll of flesh, the soft and delicate modelling, the slenderness in the leg demonstrate a further change in the bodily forms from heavy type to slender and light variety though the stature remains, short and under-developed.
This group also shows a flabby and distended form, a new variety of weighty physical type as evidenced in the figure of Candraprabha (No. 40, Pl. 33). The figure appears to have a flabby body with a thick unabsorbed mass of flesh on the upper part of the body to give a loose and soft texture. The heavy upper part of the body stands on the gradually tapering slender legs of erect posture. The short necked big size head accentuates the downdard weight. As to that, the image is stylistically, close to the Paharpur variety of flabby and weighty forms. The sharp cutting of the eye-socket, the deep cut below the eye-brows, the staunted form, the lack of spreading in the body limbs all these features show an affinity with that of Bihar images of the post-Gupta period. 63
The intervening phase is represented by a group of four sculptures viz., the Dvi-tirthika image (No. 29,Pl. 22), the standing Mahavira image on a pañca-ratha pedestal (No.32, Pl. 24) and the two images of Tutelary Couples (No. 8 & 3, Pl. 12 & 10) of the Jain pantheon. This phase is distinguished by the definite change in form producing a tendency towards tension and sensitivity in modelling coupled with a vacillation, as well for embracing the new aesthetic ideals for the mystic abstraction. The spiritual content is not always coordinated with the formal change. There is a perceptible lack of spontaneity and refinement in the execution. The proportion of forms has not yet been established in relation to the change. As a result this formal variation, in this changed situation may be explained, as the search for newer ideals. Though the downward stance has disappeared, the formal weight is still to be perceived. The images appear to be stunted in growth ; while, deep curves forming concave planes appear and produce tension in one or two images. The spreading of limbs which was noticeable in the forms of Ambika and seated Parsvanatha in the first group, is not visible in this group of images.
Cf., Ibid., pls. 18, 47, 52, 70, 147.
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