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aivyonghen, 46 waist bengel etc found as usual almost to the all
bodies of the sculpture at Madan-Kamdeva.
At the first sight the image appear to be nude, but
this is a mere illusion, a small ridge at the neck (there is the
slightest possibility that the ridge being used to represent Upagriva)
has made an indication to the existence of a diaphanous garment
clinging to the body like a wet sheet. This is a technique to enhance
the sensuous charm of the figure. This feature can safely be
regarded as an inspiration of highly sophisticated Sarnath idiom.
Similarly, a small but sensible mark between the two legs as well
as some minor scalloped edges around the waist, have specifically
referred to the use of an Indian form of dhoti tied with a Katisutra
to clad the lower half of the body.
Physiognomy and its analysis be an indispensable part
for any sculptural study. On one hand, it offers an opportunity to
realise the aesthetic sense of any sculptor, at the same time it has
suggested some clues in affixing the chronological slot to any plastic
product. Thus, the fully modelled image with bulging appearance
in its stance is frankly reminiscent of classical volume. The fleshy
rounded face of the image with a slightly pointed delineation of
the chin have appreciated a shape of a betal leaf to it. The corroded
nature of the image (as incase of other sculpture) has created a
complicacy in ascertaining the condition of the eyes that whether
it remain open or close, still the persisting bulginess symbolized
an 'unsophisticated almost native' trend to work in its produce.
The eyebrows are sharp and simple in nature. 47 At the same time
aivyonghen - an Indianised form of Iranian waist gridle
Srivastava, V.C.: Sun Worship in Ancient India, 1972, p.310.
A 10th century feature -
46.
j
47.
Bandopadhyay, B. Op-cit, 1981, p.32.