Indian Sculpture c5.s3.t1.66

c5.s3.t1.66

A synthesis of the fabric of classical Indian sculpture would not be complete without a discussion of the part played in it by vegetative motifs and abstract devices. It has already been pointed out (p. 54) that motifs of vegetation have more or less withdrawn from the figured scenes; they are separated from them and relegated to borders or to panels exclusively replete with them. The latter may be seen in the Dhāmek stūpa (sixth century)¹¹⁷ of Sārnāth, endowed with all the rich resoruces of Gupta craftsmanship (Fig. 107). The round modelling of stalk, etc., according to early classical tradition, and the oblique cut of the scroll as it appeared in Mathurā and Amarāvatī combine. But their prolific and vital wealth are set next to other panels, neatly kept apart within their own confines. There is, however, no vegetative exuberance there. Purely geometrical patterns, all based on the svastika motif, in endless repetitions and manifold combinations, fill the given space in patterns of light and darkness, like woven fabrics, cut with flat and angular surfaces into the stone. Such purely abstract motifs had been rare hitherto. Bhārhut contains only one roundel¹¹⁸ filled in similar fashion, and in Gandhāra the ‘chessboard pattern,’ etc., had further opportunities. Apart from these sparse instances, however, the purely geometrical device found but little response within classical Indian art (plinth of monastery, No. II, Nālandā,¹¹⁹ and svastika reliefs from Bādāmī).¹²⁰ The reason for this lies in tendencies that determine Indian art in the centuries to come; the ornamentation of the Dhāmek stūpa is partly a survival of ancient motifs (see Mohenjo-Daro for vegetative rhythm as well as svastika motif)¹²¹ and partly a precursor of a northernisation of Indian art. This inaugurates ‘mediæval sculpture.’