The art and architecture of India - Buddhist, Hindu, Jain (Art Ebook)

CEYLON 369
cords in front of an actual image are selfexplanatory
[295]. Although the use of such a
mechanical device might appear to result in
complete deadness, it must be remembered
that machines like this and the system of proportions
were merely aids which the artist's
particular inspiration and skill was expected to
utilize to the full measure of his technical and
aesthetic capacity.
Common subjects in
the early sculpture at
Anuradhapura are the reliefs of gate guardians (*+-> )
or dvarapalas, usually in the shape of nagas
with nine-headed cobra hoods; their svelte and
elegant proportions again recall the work at
Amaravati [296]. The elaborate jewelled accessories
and conical head-dresses are close to
Gupta representations of Bodhisattvas. These
nagarajis carry jars emblematic of prosperity
and good luck.
The visitor to this ancient capital will find a
characteristic type of threshold-stone placed at
296. Anuradhapura, dvarapala cAs"
the entrances to many of the shrines [297].
Usually called moon stones from their semi- (^37
circular form, these reliefs are extremely
297. Anuradhapura, 'Queen's Pavilion', moon stone