As an example more important than the Biharoil Buddha, the Mainamati Buddha appears to be a product of the local craftsman trained under a master-carver from Sarnath atelier. Another great example is the immense standing bronze Buddha from Sultanganj in the Bhagalpur district of Bihar and now in the Birmingham Museum.
Post-Gupta sculpture Seventh-century Bengal saw an increase in the execution of sculptures in her different areas. Besides, in Bihar too, a proliferation of the art in the period is noted. The art of the century is marked by a style that is known as post-Gupta. The characteristic of the style is a further enlivening of the Gupta classical human forms with a more appreciable movement by shedding their volumes and accentuating the contour lines with rhythmic flexion. The countenances are also found to be lit up with sentiments. These qualities are marked in the images of the period in various degrees, but in them a stylistic change, not as much in form as in psyche, is invariably found.
Among the gods, the popularity of Visnu continues, and his images came to light from several districts of Bengal and Bihar. Of the Bengal Visnus belonging to the 7th century reference may be made to one found at Gajol in the Malda district and now in the Malda Museum. In comparison the Visnu from Khiarmahmudpur, Dinajpur district, (fig 6) now in the National Museum of Bangladesh, is far more advanced in concept and execution. The 110 cm high large image, boldly carved with clear outline of form and showing usual weapon symbols, two of which in human forms, gives a feeling of pleasant lyricism with the vanamala or garland of forest flower flowing in harmony around his body. (6 of 16)
Post-Gupta sculpture Seventh-century Bengal saw an increase in the execution of sculptures in her different areas. Besides, in Bihar too, a proliferation of the art in the period is noted. The art of the century is marked by a style that is known as post-Gupta. The characteristic of the style is a further enlivening of the Gupta classical human forms with a more appreciable movement by shedding their volumes and accentuating the contour lines with rhythmic flexion. The countenances are also found to be lit up with sentiments. These qualities are marked in the images of the period in various degrees, but in them a stylistic change, not as much in form as in psyche, is invariably found.
Among the gods, the popularity of Visnu continues, and his images came to light from several districts of Bengal and Bihar. Of the Bengal Visnus belonging to the 7th century reference may be made to one found at Gajol in the Malda district and now in the Malda Museum. In comparison the Visnu from Khiarmahmudpur, Dinajpur district, (fig 6) now in the National Museum of Bangladesh, is far more advanced in concept and execution. The 110 cm high large image, boldly carved with clear outline of form and showing usual weapon symbols, two of which in human forms, gives a feeling of pleasant lyricism with the vanamala or garland of forest flower flowing in harmony around his body. (6 of 16)
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