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Jaina Art of Orissa
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double line border. The petals of the outer row are all well developed and laid side by side and not overlapping each other, as is natural. In some instances, however, the overlapping is well shown. In others the petals instead of issuing in straight lines from the centre, are whirled in a manner which is not natural. Between the points of outer row of petals are shown the tops of other and outer whirls. The petals of the inner row are also laid side by side but they are slender. The disc is distinct in some cases showing the seed-holes, in other it is covered by small petals.
The West-Asian motifs like honey-suckles, merlons, winged and enigmatic figures which had an all India distribution during this period indicates the cultural diffusion through art motifs.
Domestic life is depicted through male and female constumes containing clothes, decorative ornaments, coiffures with extremely varied pattern and distinctly ingeneous character. Many objects of indoor and outdoor life have been depicted whose design and decoration reflect the contemporary art tradition. A number of symbols pertaining to Jaina pantheon have also decorated the crest of the door arches.
The individual sculptures, decorative bands and the broad friezes, that are met with here are not the results of first attempt at this remote place, but formed a part of a regular school of art, crude, though they be, envincing much technical knowledge and sufficient mastery to give shape to life and feeling. The faces are shown in bas relief in every position in full or in three-quarters and half profiles. The poses of the figures are easy and natural, their movement vivacious and elastic and emotions like agony, pleasure, fear, determination, mental tension, etc. tolerably well expressed. Vigorous action, delineated in every limb surpasses the lack of finish and the fineness in chiselling of the sculptures. The composition is fairly coherent and effective, the different figures bear relationship with one another. The reliefs have matured into depth displaying a considerable plasticity of form and naturalism of modelling. Slender figures of men, and women are marked by a suavity of outline. Long ages of neglect and decay have defaced the figures as we now see them but still it is not difficult to perceive that their conception and execution, their grouping and disposition, their drapery ard ornaments were such as only men theoretically and practically familiar with sculptures for a long time could execute.29
A flowing linear rhythm, although hesitating in some instances seem to actuate the majority of the figures at Udayagiri and Khandagiri hills. The lotus creeper meanders along the length in endless waves linking the figures in a continuous pattern within the archbands. Each single figure and composition including the entire pattern became animated, thereby. A rhythmical movement, permeating all through integrates and balances every object and composition into one unified organism. The rectangular reliefs in outline, emphasises closely packed compositions with schematic rows of harsh figures parallel to the lines of the frame. The rarrative reliefs, within rectangular friezes are also freed from
29. R.L. Mitra, The Antiquities of Orissa, Vol. II, p. 81,
