Specimens of the Art of Gupta Period
The former collapsed, during the earthquake of 1897, revealing
the doorframe of the older structure, which belongs to the
Pataliputra School. The doorframe belongs to the Gupta period
because of its use of:
(1) Trefoil medallions in Chaitya windows on the lintel.
(2) The use of the figures of river goddesses on the lower
parts of the jambs.
(3) The false recessed angles of the lintel.
(4) The flying figure in high relief in the centre of the
lower part of the lintel.
(5) The particularly expressive figures of 'Ganas' on the
arms of the cruciform bracket capitals of the pilasters.
This beautiful lintel is one of the best specimens of its
class of the Gupta period. The carving ran the jambs are
continued overhead in four out of the five bands. The lower
part of the jambs consists of single panels, in very high
relief against which are the figures of the river goddesses
with female attendants on each side. The river goddesses
exceed the limits of the panel but the attendant figurines
have been kept well within bounds.
The Exquisite Sculptures
The ruins have revealed some of the best sculptural specimens.
Among them is the ceiling slab, which bears the carving
of an embossed lotus or "Visva Padma". The second
vessel of the Visva Padma bears in relief the figure of
a Vidyadhara holding a scarf or a necklace with both hands
and hovering in the sky as if to make obeisance to the deity
below.
His legs are so arranged as to be symmetrical with the
circular course of the seed-vessel, a feature generally
met with in Gupta and Pala sculptures of Bengal. While the
facial type is local, the decorative and anatomical details
of the Vidyadhara recall late Gupta and Pala features. A
high crown known as "Kirita-Mukuta" with a frontal
coronet adorns his head, perforated "Patra-Kundala"
are seen in the ears while his under-garment reaching the
ankles has an elegant central tassel.
Another frieze shows a royal archer shooting a deer couple
when in coition. According to T. N. Ramachandran, the scene
seems to represent the Mahabharata story of Pandu, the father
of Pandavas, who was cursed to die with his sexual desires
ungratified as a result of his having shot a deer couple
(really a sage and his wife in the guise of deer) in coition.
A more interesting and complicated dancing figure of the
time is recovered from the ruins. Here is shown a 'Sikhara'
of foliage with 'Amalaka' and lotus-bud finial flanked by
a Gods and Goddesses both dancing with their legs resting
on elephants in turn supported by lotuses. Both the Gods
and Goddesses have four hands holding bow, arrow, rosary
and sword (staff) and with perforated Patra-Kundala in the
ears and a Kirti-Mukuta on the head with a frontal tiara.
The temple walls were generally decorated with sculptures
depicting various scenes from the Epics and the social and
domestic life led by the people of that particular period.
These sculptures give one some glimpse of the contemporary
life of the people.
