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# Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c8.40

Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c8.40

- **Language:** English

### [c8.40](https://indike.org/pramana/ins.art.havell-1908.c8.40)

The figure called Sudarsanâ Yakshini (Plate XXVIII.) is one of the best of a series of semi-divine beings which appear as guardians at the four entrances, on the upright supports of the rail. The two most obvious points to be noticed in it are, first, that the technique is entirely that of a wood-carver; and, second, that the treatment is frankly naturalistic. There is no attempt to idealise: no indication of the abnormally narrow waist, or of the complete suppression of the muscular details which are characteristic of all later Indian sculpture. Here we have "the shoulders loaded with broad chains, the arms and legs covered with metal rings, and the body encircled with richly linked girdles," which, according to Professor Grünwedel, prevented Indian sculptors from producing an anatomically correct form. Yet the principal anatomical facts are remarkably well given, especially the modelling of the torso and the difficult movement of the hips. In fact, it is very astonishing that in this, one of the earliest monuments of Indian art, we find such a high degree of technical achievement, and such a careful study of anatomy.

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## Linked texts (1)

- [Bharhut](https://indike.org/pramana/inp.site.bharhut)

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Source: [https://indike.org/pramana/ins.art.havell-1908.c8.40](https://indike.org/pramana/ins.art.havell-1908.c8.40) · Pramāṇa
