The Early History of the Deccan (Parts I–XI) v2.c16.s2.72

v2.c16.s2.72

At Koṇḍāṇe the art, as represented in Plates IV-V, is of a primitive type, comprising only leaping and whirling such as is to be seen in the dances of primitive tribes in India and its borderlands to this day. The four episodes carved at Koṇḍāṇe however exhibit a considerably developed art in which reciprocity and balance are admirably maintained, both in the graceful movements of the limbs of the performers and in the attractive display of their emotional gestures. In subject (*a*) there are three artistes, the man being in the middle, with two women, one on each side of him. The swing and movement suggested by the bodies of the male dancer and the woman on his left are in happy consonance with their hints of amorous dalliance; the man stretches out his arm to caress the chin of the woman with his hand, while she has coquettishly lowered hers to finger the fringe of his girdle. The other arm of this woman is gracefully moulded with the hand on the hip. The bent knees of both figures suggest movement, as if they are dancing—perhaps taking alternate steps forward and backward like a swinging pendulum. The third artiste in this panel, to the left of the male figure, is also dancing but seems to be executing a figure of her own. She is, however, evidently a part of the group of three since she has her hand on the bow-string of the male dancer. She may have been taking short steps forward and backward, or moving in a semi-circle while keeping her hold on the bow-string and thus her connexion with the other two in the dance.