Maurya and Shunga Art c7.4

c7.4

Compared to this the Dhauli elephant shows a much more developed sense of form and is artistically far superior than its Sāṅkāśya cousin. Indeed such plastic presentation of bulky volume, such feeling for living flesh rendered with remarkable realism, such knowledge of the physiognomical form of the subject treated, such sense of dignified movement and linear rhythm has no parallel in Mauryan animal sculptures. Compared to this even the Rampurva lion or the Sārnāth quadripartite with their tight and coagulated treatment of the veins and muscles shown in meaningless tension and inspite of full reproduction of volume and advanced proof of visualisation, appear lifeless. The loud exhibitionism of pomp and power of the Rampurva or Sarnath specimens has nothing to compare with the quiet dignity of the Dhauli elephant. With its right front leg slightly tilted and the left bent straight in short angle exhibiting a slight forward motion, and with its heavy trunk flowing rhythmically in a delightful curve it walks majestically out of a deep ravine as it were. It indeed symbolises His Imperial Majesty King Aśoka presenting himself with quiet dignity before the people of Kaliṅga. The Sarnath quadripartite is on the other hand an exhibition of imperial pomp, power and authority before the Buddhist monks of Sarnath who had chosen the site of the “First Turning of the Wheel” as their place for quiet pursuit of the religion of Śākyamuni. Compared to the Dhauli elephant the Sarnath quadripartite and its Sanchi counterpart are bombastic in style and motive.