History of Orissa from the Earliest Times to the British Period v2.c47.130

v2.c47.130

The same characteristics are to be observed in the images of the Sun God still *in situ* in one of the niches of the *Vimāna* of Konarak. Two of them are of the ordinary type of standing images of the Sun with two hands, while the third is a special image on horse-back. The position of the first two is stiff and stilted. The Bengal images of the 12th century are far superior to those. Even the Belur and Arsikere images of the 13th century are infinitely superior to these two figures in idealistic expression and execution. The canons nowhere lay down in the rules that the Sun God should be made to stand stiff as a martinet, and variations have been used in other schools of art, such as the Chandella school of Khajuraho-Mahoba and the fine Paramāra specimens of the temples at Kukḍesvar and Nemawar, both of which still remain to be studied. In the attendant figures the artist has attempted to introduce some grace by making them *bhaṅga*. But the general effect is mean on account of the overcrowding of the back slab. Inspite of a decidedly better treatment of the expression on the face and the proportion of the torso, the trefoil arch of the back slab seems to press down over the head of the god and the *Kīrttimukha* on the top of the trefoil had to be compressed within a very short space. With the exception of the figures of the horses there is very little to remind one of the glories of the ancient plastic art of the country. The image reproduced by Cohn, in which the figure of Aruṇa is not damaged, is certainly better modelled than the other, as with the exception of the central horse others are carved side-ways. There is an attempt to depict a smile on the face of the first image and grave serenity on that of the first in which two additional kneeling figures are to be found in the sides of the god. The third image is very rare from the point of view of iconography, as it shows the Sun God riding on the back of a horse. Of course, it can be recognised by the boots on his legs. The action of the horse and the proportions of the figure of the God are natural, but the general want of sense of proportion of the Konarak artist is shown by the want of proportion between the horse and its rider.