Indian Sculpture c5.s2.t6.3

c5.s2.t6.3

Buddhist subject-matter at this phase has changed its importance. Not that symbols as well as actual representations of the Buddha do not occur in plenty. But they do no more than this, for the breathless sway of the compositions does not halt before them. They are just part of it (Figs 47, 50). The scene of Māyā Devī’s dream, for instance, which in Bhārhut had been told so simply but exhaustively with the sleeping queen and the flying elephant, both of about the same size, in a bare room, indicated only by the presence of a narrow bed, a light and drowsy maid attendants, serves now an opportunity of exhibiting an opulent scene where the Buddha-elephant has no room; in one panel the Buddha-elephant in miniature edition is relegated to the border, while in another it is omitted altogether.⁷⁷ Miracles now are true because they are intensified instances of life. Accuracy of narration is not required. Assemblies and festival scenes (Figs. 49–51) are favourites with the school of Veṅgī. But equally significant with any of them is the frieze of the coping stone from Amarāvatī, an issue of the rambling lotus landscape of the Bhārhut type (Figs. 47, 48). There peace had been given the form of vegetative thriving, of an existence where there is room for all and none may feel his importance. Here the ‘lotus stalk’ has swollen to serpentine bulk, its threatening onrush, however, is merely the heavy weight of a twisted garland of many flowers and beads. It almost bursts the thick rings and elaborate plaques that help to clasp it, it almost crushes those who carry it, rush along with it in mad exhilaration and stop still defiantly and exhausted.