Maurya and Shunga Art c6.9.3

c6.9.3

in the change of its form from square to round, of its appearance from plain to decorated surface beginning with low and culminating in bold and high relief work in various motifs and designs, and in the attempt for increasing harmonisation of the abacus with the bell-shaped capital below and the crowning animal above, a discerning eye can clearly trace the stages of the progressive evolution of an architectonic form existing by itself. This becomes further evident when one compares the entire ensemble formed by the crowning animal, the abacus and the capital as we see it in various stages from the Basarh-Bakhira example through Sāṅkāśya and Rampurva to Sarnath. Beginning from disjointed and ununified parts of unequal proportions and a broken linear rhythm at Basarh-Bakhira it steadily marches towards integration of the component parts into one whole until it reaches its perfection at Sarnath where the parts are clear, distinct and well-defined, well-proportioned and singularly evenly balanced and yet forming one integrated whole and maintaining a linear rhythm through out, so much so that the crowning elements on the shaft contribute the most positive character that gives the Maurya columns the independent effect of complete monumental works.