Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c78.s2.81

v2.c78.s2.81

Thus these descriptions of Flaura and Fanna illustrate Bāna’s artistic insight. Anatomical knowledge (29) of Bāṇa was also remarkable. He however excells equally in the beauty of the limbs and its opposite ugliness—vide his descriptions of Drāvida Dhārmika, the Śabaras, Bhairavācārya and his disciple. Bāṇa also gives us lakṣaṇas of some demigods (30). Technical descriptions of the animals like the horse and the elephant are of popular knowledge. Bāṇa is quite aware of the tremendous potentialities of pose. 'As an expert in pose Bāṇa knows enough of Aṅgabhaṅga. There is a variety of Aṅgabhaṅga in the limbs of the Vāravilāsinīs surrounding Harṣa. With a definite knowledge of Aṅgas and Pratyaṅgas he gives the names of separate bhaṅgas like the Grīvābhaṅga mentioned by Kālidāsa—one such is the Madhyabhāgabhaṅga (31). A great aesthete conversant with the principles of Nāṭya (dance) Bāṇa informs us of a charming pose—Karaveṇikā (32), in which two women stand with their hands inter-locked.—Sivarāmamūrti.