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112
attained anatomical accuracy of ultimate standard. Though, slightly
downward tapering tendency worked over the column (almost) like
legs but, still the flesh in the thigh and the delicate knees have
indirectly referred first, a sense of movement and than to an urnest
endeavour (however of little success), to have a good sense perity
between the two half of the body. 114 Here also a synthesis form of
linear and sinuous movement (specially be realized in the projection
of hand and in the execution of narrow middle) looks to be the
dominant aesthetic feature of the time when probably the Tantric
Sadhana received an overwhelming support from all corners of
the society. All these are some of the physiognomical feature which
are common almost to the all available sculptures at Madan-
Kamdeva. Regarding this sculpture the most important aspect
which attract our attention is the sloping shoulder 115 which
indirectly assigned a period of 11th/12th century for its production.
Section 3:2 Major Female Divinities :
Manifesting a sensuous standard in their stand, the
galleries of the site of museum at Madan-Kamdeva are being pact
with a good number of female deities of divergent iconographical
standard. However, only four of these images have now been
identified by the museum authority (as goddess Uma, Vaikuntha
Vaisnavi, Laksmi and Sarasvati) while other are still waiting to
have a fair deal of response from scholarly world.
In the Hindu philosophy, the female principle or the
female half of the male gods have always been regarded as the
114. Striking contrast between the two half is a 11th century feature
Majumdar, R.C.: Op-cit, 1943, p.543.
115. Sloping shoulder - 11th century feature.