Indian Sculpture c5.s3.t1.12

c5.s3.t1.12

The human figure prevails in scenes and images, to the almost complete exclusion of floral and plant motifs, as has been the case already in Mathurā and Veṅgī from the first century A.D. There is scope for trees as accompaniment for Vṛkṣakās (tree-goddesses), etc., but otherwise all vegetation is relegated to the borders,88 where the lotus-scroll, now partly still, with its original meaning mostly, however, as a flowing, curling and flaming device (Bādāmī), is treated in a manner that for the first time has been made use of in Amarāvatī and Mathurā.89 Cut obliquely, its rambling stalk ramifies into scrolls that turn point-like upon themselves.