Indian Sculpture c5.s2.t6.15

c5.s2.t6.15

The linear composition of the relief panels, too, as a whole, in its preference for parabolic curves (Figs. 49–52), is dynamically open. However filled with figure the relief may appear, it does not solely rely (see Sāñcī) on crowded shapes that have accumulated within a given frame; their multitude is bound together by linear rhythm. This, however, has none of the satisfied recurrence, none of the composed conclusiveness, peculiar to Bhārhut. On the contrary its movement is left open; it just begins only within the given relief field, but transcends it dynamically.