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विस्तृत सन्दर्भ श्री टी० एन० रामचन्द्रन् के लेख का मूलपाठ HARAPPA AND JAINISM
T.N. RAMACHANDRAN The most monumental products of the Indus Civilization are stone sculptures. 13 pieces of statuary, including two well-known and much discussed stone statuettes from Harappa have so far come to light. Three of them represent animals. Five represent stereotyped squatting God. The two statuettes from Harappa have revolutionized existing notins about ancient Indian Art. Both the statuettes, of less than 4" in height, are male torsos exhibiting a sensitiveness and a modelling that was both firm and resilient. In both there are socket holes in the neck and shoulders for the attachment of heads and arms made in separate pieces. In one of the statuettes under discussion the body is represented as a volume modelled by an unrestrained life-force pressing from within, activating every particle of the surface. It is in the throes of a subtle and rumbling movement emanating from the core of the body. The figure which appears to be modelled from within, is actually at rest, yet brims with movement. The figure is so full of strength that it appears to grow in stature as well, but actually it is tiny, being 3"-3'4" high only. The massive torso unfolds life that has mysteriously crept into the forms, keeping it all alert though seemingly at rest like the gyration of a top. In short, the statuette records unconsciously the inner movement of life within the plastic walls of its body. As such it is a sculpture of “modelled mass.” This physical type continues through the ages as the veritable standard in Indian Art for divinities in whom the force of creative activity held under control (जितेन्द्रिय) is to be shown, as for example, in the Jinas or Tīrthankaras or deities deep in penance or meditation.
The other statuette, also from Harappa, represents the nimble figure of a dancer whose gliding curves and emphasized planes are inter-twined as it were in space in the endless function of following the movement of the dance. The volume of the figure is not only evenly distributed round its axis but also well balanced in the intersection of the planes all within the very space created by its body movements. The body's external movements are so well expressed that they govern the unit of space and volume in which the torso exists. In other words, it is a sculpture of lines and planes curved into space. This and the other static statuette already described represent two characteristic modes of Indian sculpture, the one
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