Indian Sculpture c5.s1.t3.14

c5.s1.t3.14

In the reliefs of Bhārhut, and to a large extent of Bodhgayā, etc., a markedly linear and rhythmical tendency keeps in check the extent to which over-secting and foreshortening are being made use of. No rhythmical discipline, however, of this kind coerces the freedom of movement nor the volume of the figures in Sāñcī (Figs. 33, 34).