________________
164
The next longer phase of stylistic evolution, at Pakbirra, clearly ushered in a new change, distinguished by a new elegance, poise and composition. The composition sets new models, marked by tense presentation as reflected in the composition of mother and child and the attendant figures. This phase, from its early beginnings, shows a general tendency for elongation and spread out. The early vitality is still visible but in a restrained manner. The sensuousness is somewhat mellowed by the tense emotion and sensitive modelling: while the early heavier compactness, occasionally gives way to spacious composition. In place of stiff angularity which is not pronounced, there appears deep and pronounced curves in the modelling, producing a certain jolt and thrust. However, various elements and traits continue to appear in the modelling of these sculptures now definitely as outward bearings, which could not be taken as aesthetically important for Indian sculptures. Loose flesh, lankiness of legs, rigid postures, squat and dwarf formation, revealed in some images, are those elements which could only indicate some local trend and affiliation. As in the past, Rajgir and Nalanda continued to remain as living source of inspiration during this period. This is, specially, relevant for the refinement in carving and outspread formation. The influences of, or the sharing of elements and aesthetic traits with, the other time-bound centres of Bihar, excepting the region of Seraikella, Singhbhum district, Bihar, gradually diminished by this time on Pakbirra. But the heavier and massive cast of Bihar images had, by this time, undergone a change or not found at all as we proceed further east. At Pakbirra, this heaviness could not be seen in the condensed volume but appears to be dispersed in the outspread bodily formation. This could also be seen in a few monumental figures found at Pakbirra (No. 2, Pl. 9). Inspite of all these traits and variations, there emerged certain basic modulation in carvings marked by deep concave curved and prolonged hip. This feature could also be seen in the Singhbhum sculptures though in heavier cast. Certain other new trends also appeared in this phase, probably from Orissa or central India, which will be described with reference to the context. The rise of the Bhanja Dynasty in Orissa of which the Mayurbhanj was a main centre saw an indigenous development of the Orrissan art and architecture from the 9th-10th Century onwards.68
JAIN JOURNAL
Pakbirra had then found its own way, rather to be called an indigenous trend to achieve the unity in plastic contents and forms in its sculptural art. All the divergences, and variations in the stylistic traits
68 See, among others, Ramaprasad Chanda, Bhanja Dynasty of Mayurbhanj and their Ancient Capital Khiching, Mayurbhanj, 1929.
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
