Indian Sculpture c5.s2.t6.13

c5.s2.t6.13

Hitherto the movements of the single figures were contained within the appearance and extent of the figure. Now, however, and nowhere in such degree as in the reliefs from Amarāvatī, the rhythmical, i.e. compositional or dynamic, movement of each figure seems to transcend its bodily movement. The compositional movement of an upraised arm, for instance, does not end at the tips of the fingers. On the contrary, surging along the legs and passing across a powerful body, with mighty chest and vigorous shoulders, the movement is thrown forth from there across the arms and beyond the physical reach of the figure (Figs. 52, 51, etc.).