Maurya and Shunga Art c14.6

c14.6

The Barhut artist seems to delight in the handling of the human figure; the joy of a new discovery seems to urge them on to interpret human figures in as many positions and attitudes as they could visually perceive of. In Barhut the attempt is yet full of effort; the single parts of the body are shown clearly and distinctly in a most exhaustive manner and they are not always even linked integrally into a rhythmical whole. In Bodhgaya the single parts reach an integration; clarity and exhaustiveness remain, but the body moves more freely and it becomes a living entity. The surface of the body, the contour of the figures become charged with life which is to say that the surface is modelled in detail and in a subtle manner so that the intention is not just to define the body but to suggest that it is warm blood and soft flesh as well. This is clearly evident, plus a sensuousness, in that almost coquettishly elegant figure of the woman being helped to climb a tree. Indeed, technically as well as from the point of view of visual perception Bodhgaya is a step forward from Barhut. Reliefs are less crowded, all non-essentials being left out. The medley of forms of the Ajātaśatru pillar of Barhut has given place to order, brevity and clearness, and the figures have all been brought out clearly and exhaustively. The conflict between the surface and the three dimensional extension has dissolved to a considerable extent, and the direction is now more towards the depth; figures are now shown in fuller roundity and parallel to the ground. The heaviness of form still persists but it has already shed its static weight and masked stolidity.