A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c9.s2.39

c9.s2.39

The large alto-rilievo images of minor deities on the pillars vary much in quality. Some, as for instance the image of Sirimā (Cunningham, Pl. XXIII, 1), are ill designed, with the attenuated waist and exaggerated hips which disfigure so many Indian sculptures. Others are thoroughly natural, life-like representations of women, admirably modelled, skilfully executed, and pleasing but for the ugly snub-nosed faces, apparently representing people like Tibetans. The statue of Chukalokā (Cunningham, Pl. XXIII, 3), not reproduced, is specially interesting as the earliest extant example of the 'Woman and Tree' motive, common in Alexandrian art and a great favourite in India, which will be discussed in Chapter XI. One of the best statues is that of the Yakshī Sudarsanā (Fig. 44), which exhibits a good knowledge of the human form and marked skill in the modelling of the hips in a difficult position. Mr. Havell observes that the technique is that of a wood-carver.¹