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sometime the probationary artist to serve his purpose."
61 These,
have widen the scope for assimilating divergent aesthetic trends
and occasional appearance of probationary coarseness to their
product. Whatever might be the fact, all the three sculptures of
this group can be regarded as the product of 11th/12th century
.A.D. as physiognomy suggest.
Other group of Surya sculptures of this category
comprises of number of Surya icons. But, unfortunately all of them
are now in a highly eroded state of condition and almost all have
lost major parts of their bodies. Under such circumstances, their
analysis appeared to be a difficult task to achieve. But, it is good
to see that they all have a stereotype executions (fig 4.1, 4.2) which
led us to sum up the matter of their analysis only with some basic
characteristic features of these sculptures.
First of all, they all stands in rigid samabhanga
posture. The erect samabhanga posture of sculpture has always
been referred to an impression of irrefutable calmness and
immutability.62 This derivative can better be used here in
presuming the exact appearance of this highly eroded sculpture
that if not to the meditative sentiment, the sculptors at least have
showed their preference in giving a clam and contemplative
appearance to their products. Alongwith that square face of the
image with beautiful delineation of the chin,63 bulging eyes
(wheather the eyes remain open or close is quite difficult to
61. Dutta, M. Op-cit, 1990, p. 74.
62.
63.
Saraswati, S. : Survey of Indian Sculpture, 1975, p. 129.
This feature placed those sculptures in a close proximity of the
Deopani School.
Dutta, M. Op-cit, 1990, pp. 80-81.