The Hindu Temple v2.c11.s6.37

v2.c11.s6.37

Its expression differs in kind and degree in the various sculptures (Pls. XIV, XII, XVI, XVII) not only in their countenance but throughout the whole figure or also the whole group and its parts. The perfection of movement has not everywhere the same serenity (Pl. XX against Pls. XVIII, XIX). Vehement in its resilience it finds its balance in the upper part of the body (Pl. XX) ; in another image the body stiffens in dancing frenzy in a vertical of high tension (Pl. XXI). Emotional overemphasis leads to a tortured expression of some of the figures, to a cramped linear movement (of the fluttering scarves, for example, Pls. XXI, LXIII), to harshness in the contrast of modelled form and the flat ground of the relief (Pl. XI), to a violent antithesis of light and the deepest shadows (Pl. XXI) and to an elimination of modelling (Pl. LIV) in sculptures of a subsequent phase. Starkly assertive, the "I" conceit subjects the 'curves of life', the sinuosities of the vibrant form of Śakti, to impervious accents (Pl. LIV). They lend zest and incisiveness to some of the carvings (Pl. XLII) while in less gifted hands (Pls. XL, LXIII) they deaden Indian sculpture.