The Early History of the Deccan (Parts I–XI) v2.c16.s2.97

v2.c16.s2.97

The third subject (Plate XXXIX *b*) evidently represents an intermediate step, in which the dancer has curved her right leg in front of the left; but only her toes rest on the ground, the heel being raised above it. The gesture made with the fingers is significant and apparently corresponds to the meaning of the steps as part of an artistic pattern. The fourth subject (Plate LXI b) also represents a dancer, whose lower garment has slipped down in dancing, while a mischievous little monkey is pulling at it. The representation may possibly have some mythical reference, but to a layman the subject seems to be unpleasingly erotic, and sculptures demonstrating sexual love are indeed to be seen in great abundance on medieval Brāhmanic temples; in the Great Temple at Pālampet also, described above, there exists a vast array of *maithuna* pairs, most of them in indecent attitudes. Otherwise the lines of the body of this particular dancer are so drawn as to give a rhythmic effect.