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Physiognomy:
Though impressed with a squarish tendency, the warm
and full faces of the images can better be said as the ovoid one
with slightly pointed delineation of the chin. The highly devastating
erosions have made it quite difficult to ascertain the exact nature
of the facial appearances of these sculptures. But fortunately the
fig 1:2 has provided us with some clues and accordingly, these
sculptures have reflected a sense of blissful serenity in their
appearance primarily with a dreamy pair of eyes along with normally
curve eyebrows and the smiling mouth with small pair of lips. The
necks are modelled with deeply incised lines, referring to a
fundamental physiognomical character of Gupta classicalism.鲁
Again the sculptures are galloped in a concept of animation which
can virtually be observed in the compositions of chests with the
nipples, fleshy abdomen with delicately cared naval and with
beautiful executions of legs. Smooth and resilient torso with narrow
middle, spreading hips, tapering thigh 35 are some of the other
physiognomical features of these sculpture, so to place them in a
close proximity to the Dah Parvatia classicalism. It is also interesting
to observe that those unknown sculptors have successfully injected
a sense of rhythmic movement to the graceful body of these
sculptures with the slightest possible bends at the level of knees.
In this connection the sculptors have also made an unrest attempt
to carve the knees. 36 Along with that the bended legs are being
34. Tomory, E.: A History of Fine Arts in India and the West,
35.
36.
2002,p.193.
Barpujari, H.K. (ed.) : Op-cit, 1990, p.457.
A 9th century feature
Kramrisch, S. : Pala Sena Sculpture, 1929, Rupam, p.125.