The Hindu Temple v2.c11.s1.63

v2.c11.s1.63

²³ The above remarks on 'divyadṛṣṭi' and the way in which the eyes are shown in sculpture when giving form to divinities refer only to this special and widely represented branch of Indian art. In painting however the scope was great for showing the fleeting glances and facial expressions following all possible physiognomic reactions to psychological experiences and states. This can be seen in Ajaṇṭā, Bādāmi, Bāgh, etc. and read in the 'Viṣṇudharmottara', III. XXXVII; and in detail also in the 'Samarāṅgaṇasūtradhāra', LXXXII, dealing with 'Rasadṛṣṭilakṣaṇam'. In the next chapter of this compendium which deals with the "64 Hastas" the position and movement of the hands and fingers are described and related to those of the face and its parts and of the head.