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While turning our head from Khajoraho to Orissa, it is interesting to observe that like architecture, the sculptures of Madan-Kamdev specially in terms of shape, size, posture have beared much more similarity with the sculptural embellishment of the Orissan temples. Orissan or the Odissy sculptures are best known for their sensuous expression. Without applying any 20. However there are some minor differences regarding the size and elaboration. As for example the head gears at Khajoraho appeared to be more decorative in nature comparing to that of Madan-Kamdev.

308 exaggerated twist, the Orissan sculptors have successfully carved out a sensuous charm for their product, which is more expressive in their female product with heavily laden breast, poisly organized fleshy abdomen, exposed nipple, navel, appealing lips and more appropriately with their seminude status. Similarly here at MadanKamdeva also the sculptors by maintaining almost the same physiognomical standard tried to attained a sensuous charm for their product. In explaining the fact the sculpture of Devi Saraswati in the site museum found to be the most nearer example of Orissan dalliance at Madan-Kamdev. However, despite of its close affinity with the Orissan maiden, still a mark difference is there specially in terms of the smooth accommodation of the curve of the body. In case of Orissa, the bodily curve of the upper part of a female sculpture, while representing a bhanga posture have found due accommodation from the lower half of the body of the sculpture. But at Madan-Kamdev, that accommodation look to be distorted with static appreciation from the lower half of the body of the sculptures. Apart from that, another important feature of the Orissan sculpture is that their arms reaching almost to the knees. This type of elongation though not appeared to be a popular feature for the sculpture of Madan-Kamdev, still there are some product in which the sculptures, knowingly or unknowingly tried to materialized this feature, however without distorting their prime obligation for proportionate representation. The sculpture of Dvarapala (as identified earlier) in the site museum is the best found example of this type of representation here at MadanKamdeva. In this representation, the Dvarapala tried to maintain 21. Tomory, E.: Op-cit, 2002, p. 198.

309 i the balance of his tribhanga posture with elongated arm, where he hankered his hand around the knees. Along with that there is a group of short and stout version of sculpture conserved to the site museum which had reflected the Orissan dalliance with their full and rounded face, short and broad nose and robust limb. Above all, it is the erotic sculptures which revealed a symptomatic closeness between these two centre of plastic activities in their execution. One of the basic peculiarity of the Orissan erotic art is that like in-central and western India, it does not portray maithuna in acrobatic and clumsy poses rather they are more aristocratic in appearances 22 Sharing this view, the erotic art at Madan-Kamdev also refuse to capitalize any sexo-yogic posture in their delineation and similarly as in Orissa, here also the sculptor tried to have an aristocratic mood for their erotic product. However, they tried to attain the same not through their glamarous appearances as one can witnessed in Orissa, but through their sequential demonstration representing life of creamy layer of the society. But the most striking similitude exist between the erotic representations of Madan-Kamdev and Orissa is that both the centre shared the tradition of placing mithuna and maithuna sculpture on the lotus pedestal. However, uptill now at MadanKamdeva, there is only the mithuna sculpture whom being. represented on the heap of lotus pedestal, again with some minor innovation i.e. in the form of making the pedestal out of a lotus creeper. Apart from that, all along the Odissy belt, the erotic sculpture appeared to be more exotic and frank (in size and 22. Desai, D.: Op-cit, 1985, p. 42.

310 appearance) to the spectator, comparing to that of the sculpture available at Madan-Kamdev. Like erotic sculpture, the animalistic representation, particularly the fantastic hybrid monster notably the Gajasimha motif, have shared the essence of commonality. Marked by same sense of dynamism, this motif at Madan-Kamdev however have some regional variation in terms of their composition. Similarly, the presence of Gana and their shape as the weight lifter with squat body, also highten a sense of resemblance between these two aesthetic tradition. However, except the coarse form of Gana, which is nothing but a regional version of indigenous plastic tradition, the other Gana as found in the site museum is the miniature replical formation of Orissa Gana (fig. 9.7). Despite of all these similarities, in reference to Konark, there is striking difference between these two centre of aesthetic activities that while carving a sculpture of any major deities like Surya, the Orissan sculptor often showed preference to their installation only in companiment of his or her accessory deities. In doing this they tried to maintain the balance between the realization of the form as a plastic mass and the extreme delicacy and precision in carving ornamental accessories which enhance the fullness and the sculptural character of the smooth surfaces of the seminude body on which they are strung. This feature is totally unknown to the overall sculptural embellishment of Madan-Kamdev. Thus the discussion can be summerized in the following words that if not all, at least some sculptures at Madan-Kamdev have beared symptomatic semblance with the Orissan tradition of art. 23. 23 Rowland, B. Art and Architecture of India, 1970, p.287.