Indian Sculpture c5.s2.t6.16

c5.s2.t6.16

In the first century B.C. (Sāñcī, South gate) groups of figures had begun to be formed, but they were sprinkled into the density of otherwise inarticulate crowds (Fig. 33). Now, however, the entire linear composition comprises but one group, i.e. that of all the figures taking part in the scene of the relief (see also Sāñcī, West gate, War of the Relics). With as many subordinate groups as there are interests and actions binding the single figures together, the whole is swept by a major movement, which, with its parabolæ,⁸³ leaves open the entire constellation of any scene, futile in its ardour. The perfection of the Veṅgī school, incomplete, however, in its attempt to transcend the limits of the single compositions and of the body, with an intensified awareness of its vitality, has an eternal poignancy.⁸⁴