The Early History of the Deccan (Parts I–XI) v2.c16.s2.21

v2.c16.s2.21

The figure of Prince Siddhārtha does not possess the perfect anatomical symmetry of a Greek Apollo, yet it has a physical beauty all its own, shown in the broad chest, the well-developed shoulders and arms, and the handsomely set neck and head. The chief attraction of the figure is, however, its religious expression, which has made it perhaps unique among specimens of contemporary art in India and abroad. The half-closed meditative eyes, with the eyebrows slightly stretched upwards in the broad forehead, and the lips closed as if in a divine silence, indicate a majestic indifference to the charms of worldly life on the one hand and a spiritual tranquillity on the other. The high lights on the forehead, nose, and chin heighten the effect of serenity. The dress of the prince is scanty, but the garment covering the lower part of his body is of a rich material, probably of silk, with check patterns worked out in different colours. His princely dignity is asserted by the rich crown set with jewels, the necklet of pearls, the large ear-rings, the wristlets and arm-bands, and above all by a rope of pearls in which the strings have been tastefully intertwined and which is hung round the shoulders and the waist. The long black hair, which is spread in locks behind the shoulders, by the contrast of colour has made the head stand out in relief; and to produce a similar effect the artist has placed dark green dots, close to one another, behind the golden crown, so that a sort of perspective is obtained. Further, to delineate the body in the round the painter has darkened the outline of the drawing, and has also used washes of a deeper colour along the outline in contrast to the colour used for the main part of the body.