Indian Sculpture c5.s1.t7.14

c5.s1.t7.14

In equal measure, with an increasing freedom of physical movement, the surface of the body awakens also. The Sārnāth fragment (Fig. 11) had already anticipated this, but there was little scope for this quality in the second century B.C. Now, however, with bolder movements and prouder carriage, the surface of the stone is modelled in detail and with subtle gradations, so as to give a suggestion of soft, warm flesh. (Fig. 19, the man with the basket, for instance.) Sensuousness is tempered and supported by the lyrical measure of linear movements. To this stage approximately belong also, besides part of the Bodhgayā railing, the carved railings from Patna, Sārnāth, and fragments from Mathurā⁴⁷ (Fig. 40).