After the decay of Buddhist art, sculpture did not revive till the .Taina period of the eleventh century. whose temples at C;walior, Mount Alm, and Kliajurabo show the existence of a style of exquisite delicacy and profuse richness. Every part of the surface of the temples at Mount Abu, lath within and without, is carved, and the later style of Hindu sculptures finds here its proto type. Horizontal lines are emphasized: decora tire design is given more importance than purely figured compositions. Then and even earlier the art of sculpture received great development in outlying regions, in Kashmir, Tibet, and the French sphere of influence. There probably never existed a style of art in which sculptured ornament was so profuse as in the art of India and its neighbors. A second decadence came with the Mohammedan conquest: decorative design still flourished, but the Moslem dislike for the portrayal of the figure had its effect. Hindu traditions, however, were stronger than the Mo hammedan belief: the recent sculpture of Delhi, Bombay, and ladras is directly derived from the eleventh century style through intermediary stages. Martand and Avantipore in Kashmir, Madura, Ellora. Puri, and Khajuraho contain the foremost works of the old Hindu school. Cole's Catalogue to the Objects of Indian Art in the South Kensington Museum, (London, 1374) gives a good classification of the sculptures, which are also described in Fergusson's works, and in special monographs and volumes. of the
Government surveys and Teports. The three divisions of the Brahman style—Dravidian, Cha lukyan, and Indo-Aryan—all afforded great scope for sculpture by the elaborate plans and colossal proportions of their sacred buildings. The most extensive and magnificent sculptured effects in the Dravidian style are found at the temple of Rameswaram, in the Chalukyan style (with great prevalence of animal and bird friezes) at that of HuiRabid, in the Indo-Aryan (Hindu) at Bluivaneshwar.
The lack of Tsthetie qualities in composition and form, which prevented monumental sculpture from reaching a high level of achievement, was not noticeable in the smaller branches of sculp ture, such as carving in wood, marble, soapstone, and ivory, metal-work, clay figurines, as well as inlaying and enameling. The naturalism and ex quisite detail here appear to advantage. Work in black wood. ebony and sandalwood is still car ried on in many villages. for small objects, and in teakwood for the details of house decoration. Carved ivory is as popular as in China and Japan, both for statuettes and for reliefs of re ligious and genre scenes, hunts, animals, and birds.