Age of the Nandas and Mauryas c12.s17.4

c12.s17.4

Compared to this the Dhauli elephant shows a much more developed sense of form and is artistically far superior to its Sankissa 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 and such sense of dignified movement and linear rhythm have 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, in spite of full reproduction of volume and advanced proof of visualisation appear sapless and lifeless. The loud exhibitionism of pomp and power of the Rampurva or Sārnāth specimens has nothing to compare with the quiet dignity of the Dhauli elephant. With its right front leg slightly tilted and the left back 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 Sārnāth quadripartite is on the other hand an exhibition of imperial pomp, power and authority before the Buddhist monks that had chosen the site of the First Turning of the Wheel as their place for the quiet pursuit of the religion of Śākyamuni. Compared to the Dhauli elephant the Sārnāth quadripartite and its Sāñchī counterpart are bombastic in style.