Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s2.7

v2.c74.s2.7

Viewing broadly, writers on this branch have classified Hindu sculpture in four different schools, representing four different regions of India. “The first comprises what Mr. V. A. Smith calls the Mathura school. The second school is represented by the sculptures of the early Chalukyas of Badami and also those of Pallavas of Kanchi. All the three groups comprised within these two schools are marked by the same characteristic simplicity and elegance combined with much naturalism. The South Indian Sculptures of a later period corresponding to the re-established dominancy of the Cholas and Pandyas are but the continuation of the Pallava style, and may therefore be canveniently classed with it. The third school of Indian Sculpture is the later Chalukya-Hoysal school, which is distinguished from the other schools by its extremely florid sytle of ornamentation and delicate tracery in details (*e. g.* Chennakesava: stone Belur). In this school convention naturally holds a dominent place; and we notice a striking similarity between figures representing the same subjects, although they may be found in different and distant parts of the country; the same kinds of ornamentation, clothing, head-gear, posture and grouping may be observed in the same subjects in a uniform manner. The fourth school, which resembles closely the third in respect of ornamentation and grouping, is chiefly represented by the sculptures of Bengal, Assam and Orissa. It is at once recognized by the human figures therein possessing round faces, in which are set two oblique eyes, a broad forehead, a pair of thin lips and a small chin.”—Rao.