Mediaeval Temples of the Dakhan c6.34

c6.34

The first thing that strikes one, when examining the image sculpture upon these temples, is the apparent absence of drapery. Its existence is only detected, in most cases, by an odd line here and there crossing the legs at the ankle or the breast. The sculptor was always anxious to display the form, and this would have been excusable, in the case of the female form, if they had been able to delineate the human figure with a tolerable amount of success; but their images are not remarkable for beauty of outline or truthfulness to nature. The limbs are without any indication of muscle, the legs being mere drumsticks. It is true that the Indian does not possess the developed muscle of the European, yet he has enough to be plainly seen in the natural limb of a well-grown healthy individual. The idea of muscular display did not occur to the Indian sculptor even in the portrayal of his heroes and warriors. Their strength and prowess were rather expressed by exaggerated action and size of body compared with surrounding figures; and, in their action, there is much more natural vigour and abandon in the earlier cave images. Female charms were made to centre in great hips and breasts; faces are particularly expressionless. There can be little doubt that women of high caste and good social standing wore less clothing above the waist than they do at present in most parts of India, and this is plainly seen in the wall paintings of the Ajanta Caves, where, beyond jewellery and beads, they are represented with, at most, a very thin diaphanous muslin, only noticed from the pattern of the small spots upon it, which more expressed than hid them. The women who were fully clothed from the neck to the ankles were dancing girls and those of that class, the idea being that, with the better class, there was no shame where there was no sin.