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

Recommendations

Info

35© THE HINDU RENAISSANCE•Certainly, one of the most individual styles toevolve in Rajasthan was the mode that flourishedin the late eighteenth century at the court ofKishangarh. The rulers of this state were devotedto the cult of Krishna, and a local artist,perhaps Nihal Chand of Delhi, invented apeculiarly personal type of beauty to representthe immortal lovers Krishna and Radha [281].The facial types, with their wildly attenuatedeyes and soaring brows, are a suave Manneristexaggeration of the Jaipur formula. They have afragile elegance and a wan, neurasthenic refinementthat are like an echo of the beauty ofIkhnaton's queen.281. Krishna and Radha from Kishangarh.Cambridge, Mass., private collectionwell as politically, Kotah was an extension ofthe State of Bundi. The Bundi painters of theeighteenth century had evolved a style of harshsimplification, in which episodes from the huntwere isolated as they had been a thousand yearsearlier in the famous scenes of the chase inSasanian metalwork. Something of the samesort, with an admixture of Mogul realism,appears in the Kotah miniatures representingthe rulers indulging their passion for shootinglions and tigers [282]. The painting illustrated,with its precise and isolated forms placed in akind of luxuriant undersea landscape, might atfirst remind us, as W. G. Archer has noted, ofRousseau's jungles, palpitant with symbols oferotic anticipation. 9 The ardour of the Kotahpaintings is not, however, the passion of love,but the reckless ardour of the chase and its fulfilmentin the slaying of the quarry. Althoughcertain details, such as the characterization ofthe hunters, suggest the realism of Mogul art,this naturalism does not extend to the strangefungiform rocks and the trees, like ornaments incoral or jade, more reminiscent of Persian thanIndian tradition. Kotah painting has a naivedirectness of narration and a simple ornamentalbeauty which may have been directed to theThe style of Rajasthani painting whichflowered in Kotah State in the late eighteenthcentury under the patronage of Rajah UmedSingh (1771-1819) reveals how, artistically astaste of the childlike ruler who sponsored it.What was in many ways the most enchantingchapter of Rajput painting unfolded in themany small courts that had their seats in thesecluded valleys of the Punjab Hills. Nominallyunder Mogul suzerainty, the rulers of theseisolated principalities were able to cultivatetheir political and artistic tastes in relativesecurity during the eighteenth and nineteenthcenturies. There is no evidence for the existenceof any earlier traditions in the Pahari centresbefore the emergence of these court schools ofminiature painting.Basohli was the earliest of the schools ofpainting in the Punjab Hills and provides atransition from the Rajasthani style to theelegantly refined manner which became the
282. Rajah Guman shooting Tigers from Kotah.London, Victoria and Albert Museum
Page 1:
The Pelican History of Art!The Art
Page 5:
THE PELICAN HISTOR Y OF ARTJoint Ed
Page 8 and 9:
Penguin Books Ltd, Harmondsworth, M
Page 10 and 11:
This edition is based on the first
Page 12 and 13:
CONTENTSPart Four :The Golden Age a
Page 14 and 15:
10PRONUNCIATION OF INDIAN WORDSSans
Page 16 and 17:
12 ' GLOSSARYin number, from the pa
Page 18:
'4 GLOSSARYSathsdra. The unending c
Page 21 and 22:
R1 'BflctnaUKashgar#Ki^ ShorchuoTu^
Page 23:
THE ART AXD ARCHITECTURE OT IXDIA
Page 26 and 27:
22 PREHISTORIC AND EPIC PERIODS•S
Page 28 and 29:
*4 PREHISTORIC AND EPIC PERIODScont
Page 30 and 31:
26 PREHISTORIC AND EPIC PERIODS•c
Page 32 and 33:
28 PREHISTORIC AND EPIC PERIODS•'
Page 35 and 36:
CHAPTER 2i'<\\3THE PROTO-HISTORIC P
Page 37 and 38:
33i. Mohenjo-daroSumer and Babylon.
Page 39 and 40:
THE INDUS VALLEY CIVILIZATION 35The
Page 41 and 42:
THE INDUS VALLEY CIVILIZATION 37pla
Page 43 and 44:
THE INDUS VALLEY CIVILIZATION 39The
Page 45 and 46:
THE INDUS VALLEY CIVILIZATIONmariti
Page 47 and 48:
.CHAPTER 3v^>THE EPIC PERIOD:VEDIC
Page 49 and 50:
VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 51:
VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 54 and 55:
PREHISTORIC50•AND EPIC PERIODSby
Page 56 and 57:
52 PREHISTORIC AND EPIC PERIODS•i
Page 58 and 59:
PREHISTORIC54"AND EPIC PERIODS- the
Page 60 and 61:
;56 PREHISTORIC AND EPIC PERIODS•
Page 62 and 63:
58 PREHISTORIC AND EPIC PERIODSof a
Page 64 and 65:
60 THE EARLY CLASSIC PERIODS•yaks
Page 66 and 67:
1 6. Pataliputra, Maurya Palace17.
Page 68 and 69:
*4 THE EARLY CLASSIC PERIODSrooms o
Page 70 and 71:
%»';**$;?»'imtie 4. V ?*«]£***
Page 72 and 73:
20. Lion capital from Sarnath. *>>S
Page 74 and 75:
THE EARLY CLASSIC PERIODSwestern fr
Page 76 and 77:
72 THE EARLY CLASSIC PERIODS•devi
Page 78 and 79:
25. Yaksha from Patna.Calcutta, Ind
Page 81 and 82:
CHAPTER 6i ^c\ \»THE SUNGA PERIOD
Page 83 and 84:
THE SUNGA PERIOD 79mortal body of t
Page 85 and 86:
*29. Yakshi (Chulakoka Devata) from
Page 87 and 88:
THE SUNGA PERIOD 83more than the su
Page 89 and 90:
THE SUNGA PERIOD 8532. Sanchi, Stup
Page 92 and 93:
THE88•EARLY CLASSIC PERIODSSanchi
Page 94 and 95:
goTHE EARLY CLASSIC PERIODSevery at
Page 96 and 97:
92 THE EARLY CLASSIC PERIODSsculpto
Page 99 and 100:
CHAPTER 7 & 6<\\\*\THE EARLY ANDHRA
Page 101 and 102:
THE EARLY ANDHRA PERIOD 97represent
Page 103 and 104:
. . (these) . . . imagesTHE EARLY A
Page 105 and 106:
THE EARLY ANDHRA PERIODIOI46. Sanch
Page 107 and 108:
47- Sanchi, east gate^The Conversio
Page 109 and 110:
THE EARLY ANDHRA PERIOD 05)A »' I
Page 111 and 112:
:io 7ment in nature, hostile or fri
Page 114 and 115:
** 3^*^i*M H56. Ivory plaquefrom Be
Page 117 and 118:
CHAPTER 81116^THE ROCK-CUT SANCTUAR
Page 119 and 120:
EARLY BUDDHIST ROCK-CUT SANCTUARIES
Page 121 and 122:
62. Karli, chaitya-hall,
Page 123:
:EARLY BUDDHIST ROCK-CUT SANCTUARIE
Page 126 and 127:
ROMANO-INDIAN122•ARThad forced Al
Page 128 and 129:
.124 ROMANO-INDIAN ARTAlthough coin
Page 130 and 131:
ROMANO-INDIAN;126•ARTmerlon crene
Page 132 and 133:
ROMANO-INDIAN.128 •ARTbe dated in
Page 134 and 135:
130 ROMANO-INDIAN ART•Japan. 16 I
Page 136 and 137:
ROMANO-INDIAN132•ARTsame as had b
Page 138 and 139:
ROMANO-INDIAN134'ARTfigures emergin
Page 140 and 141:
136 ROMANO-INDIAN ART•archaeology
Page 142 and 143:
138 ROMANO-INDIAN ART•one time su
Page 144 and 145:
8i. AH Masjid stupa, Khyber Pass
Page 146 and 147:
ROMANO-INDIAN142•ARTfrom the mini
Page 148 and 149:
144 ROMANO-INDIAN ART'None of these
Page 150 and 151:
146 ROMANO-INDIAN ART•89. Gold am
Page 152 and 153:
148 ROMANO-INDIAN ART•94. Pancika
Page 154:
ROMANO-INDIANIsO •ART95. Wima Kad
Page 157 and 158:
ART UNDER THE KUSHANS: MATHURA 153t
Page 159 and 160:
%(\\A
Page 161 and 162:
ART UNDER THE KISHANS: MATHIRAgjffl
Page 163 and 164:
ART UNDER THE KUSHANS: MATHURA 59re
Page 165 and 166:
successors, was uncovered a great t
Page 167 and 168:
ART UNDER THE KUSHANS: MATHURA 63En
Page 169 and 170:
;CHAPTER I I(,joltf jfAFGHANISTAN:
Page 171 and 172:
i io. Wntinous' from Hadda. (uParis
Page 173 and 174:
1 12. Head of Devata from near Pesh
Page 175 and 176:
AFGHANISTANIT'War. The monasteries
Page 177 and 178:
AFGHANISTAN 173*$ w116. Bamivan, la
Page 179 and 180:
1 19. Bamiyan, painting of sun godo
Page 181 and 182:
AFGHANISTAN 177the entire scheme wa
Page 183 and 184:
AFGHANISTAN [79Bamiyan is like the
Page 185 and 186:
124- Bodhisattva from Fondukistan.K
Page 189 and 190:
CHAPTER 12BUDDHIST ART IN TURKESTAN
Page 191 and 192:
BUDDHIST ART IN TURKESTAN [87of thi
Page 193 and 194:
i8 9129. Buddhist relief from Tumsh
Page 195 and 196:
BUDDHIST ART IN TURKESTAN I9 ]sanct
Page 197 and 198:
133- Two divinities from Kizil.Berl
Page 199 and 200:
134 Buddha from Bezeklik.Berlin, Mu
Page 201 and 202:
BUDDHIST ART IN TURKESTAN 197The ru
Page 203 and 204:
CHAPTER 13THE ART OF KASHMIRsW?The
Page 205 and 206:
Iiiisiiiiiiiiil m m1riitiiiiiiiiUni
Page 207 and 208:
.THE ART OF KASHMIR 203On each of t
Page 209:
THE ART OF KASHMIRHadda. The heads
Page 212 and 213:
;208 THE GOLDEN AGE AND END OF BUDD
Page 214 and 215:
THE210•GOLDEN AGE AND END OF BUDD
Page 216 and 217:
212 THE GOLDEN AGE AND END OF BUDDH
Page 218 and 219:
THE214'GOLDEN AGE AND END OF BUDDHI
Page 220 and 221:
THE2l6•GOLDEN AGE AND END OF BUDD
Page 222 and 223:
2l8THE GOLDEN AGE AND END OF BUDDHI
Page 224 and 225:
THE220•GOLDEN AGE AND END OF BUDD
Page 226 and 227:
Page 228 and 229:
THE224"GOLDEN AGE AND END OF BUDDHI
Page 230 and 231:
163. Deogarh, Vishnu temple, doorwa
Page 232 and 233:
Page 234 and 235:
Page 236 and 237:
Page 238 and 239:
234172. Buddha preaching the First
Page 240 and 241:
174- Scenes from the Life of Buddha
Page 242 and 243:
Page 244 and 245:
Page 246 and 247:
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
m**ii*\**i*mmnit,m*i*n*******h*m**m
Page 265 and 266:
26lthe fifth and sixth centuries; i
Page 267 and 268:
INDIA, NEPAL, AND TIBET 263vincial
Page 269 and 270:
INDIA, NEPAL, AND TIBET 265in the i
Page 271 and 272:
INDIA, NEPAL, AND TIBET 267203. Tar
Page 273 and 274:
269206. Banner of Avalokitesvara fr
Page 275:
INDIA, NEPAL, AND TIBET 271royalty.
Page 278 and 279:
THE274'HINDU RENAISSANCEof types of
Page 280 and 281:
THE276•HINDU RENAISSANCEsources m
Page 282 and 283:
2 7 8 THE HINDU RENAISSANCEin each
Page 284 and 285:
280 THE HINDU RENAISSANCE•convex
Page 286 and 287:
:282 THE HINDU RENAISSANCE•masonr
Page 288 and 289:
219. Konaraka, Surya temple,detail
Page 290 and 291:
22i. Konaraka, Surya temple, Surya
Page 292 and 293:
222. Khajuraho, Kandariya Mahadeo t
Page 294 and 295:
;290 THE HINDU RENAISSANCE•toweri
Page 296 and 297:
292 THE HINDU RENAISSANCE•or kala
Page 298 and 299:
294^anaoooo^rz^rczcr^Ssoo^^gy:226.
Page 300 and 301:
. . but296 THE HINDU RENAISSANCE•
Page 302 and 303: 298 THE HINDU RENAISSANCE•-A231.
Page 304 and 305: 300 THE HINDU RENAISSANCEhas been r
Page 306: ;302/Here is an art inspired by the
Page 309 and 310: THE PERIOD OF THE HINDU DYNASTIES 3
Page 313 and 314: o 5 10241. Ellura, Kailasanath temp
Page 315 and 316: 243- Ellura, Kailasanath temple,Rav
Page 319 and 320: 247- Tanjore, Rajrajesvara temple
Page 323 and 324: THE PERIOD OF THE HINDU DYNASTIESIG
Page 325 and 326: 251. -Madura, Great TempleThese imm
Page 331 and 332: CHAPTERISOUTH INDIAN BRONZESThe ear
Page 333 and 334: faSOUTH INDIAN BRONZES 329257. Bron
Page 335 and 336: 260. Bronze Nataraja from Polonnaru
Page 337 and 338: SOUTH INDIAN BRONZES 333in Hindu sa
Page 339 and 340: 3UUIM lfNUlAIN BKUINitSSSbNot a sin
Page 341: 269. Andhra textile from the Kalaha
Page 345 and 346: CHAPTER 19PAINTING OF THE PERIOD OF
Page 347 and 348: WALL-PAINTINGS AND MINIATURES 343Ma
Page 349 and 350: WALL-PAINTINGS AND MINIATURES 345Th
Page 351 and 352: 279- Krishna and his Beloved in the
Page 356 and 357: THE352•HINDU RENAISSANCE_e^r AA\^
Page 358 and 359: 354 THE HINDU RENAISSANCE'Krishna.
Page 360 and 361: I286. The Night of Storm from Garwh
Page 363 and 364: PART SIXINDIAN ART IN CEYLON AND SO
Page 365 and 366: 361288. Anuradhapura, Thuparama dag
Page 367 and 368: CEYLON 363>originally covered with
Page 369 and 370: zqz. Bronze Buddha from Dong DiHano
Page 371 and 372: 294- Anuradhapura, seated BuddhaI *
Page 373 and 374: CEYLON 369cords in front of an actu
Page 375 and 376: CEYLON•371by a sort of urna on th
Page 377 and 378: CEYLON•373301. Polonnaruwa, Parak
Page 379 and 380: CEYLON•375in spite of its great s
Page 381 and 382: \ob. Polonnaruwa, Wata-da-ge*>*
Page 383 and 384: CEYLON •379The exterior of this l
Page 385 and 386: J8i311. Bronze Sundaramurtiswami fr
Page 387: CEYLON •383Singhalese ivories, ev
Page 390 and 391: 386 CEYLON AND SOUTH-EAST ASIA•an
Page 392 and 393: 388 CEYLON AND SOUTH-EAST ASIA•sc
Page 394 and 395: 390320. Harihara from Prasat Andet.
Page 396 and 397: CEYLON392•AND SOUTH-EAST ASIAwarf
Page 398 and 399: 323. Angkor, Yasodharapura and Angk
Page 400 and 401: CEYLON396'AND SOUTH-EAST ASIAThis e
Page 402 and 403: 329. Angkor Wat
Page 404 and 405:
33i- Angkor Wat
Page 406 and 407:
402 CEYLON AND SOUTH-EAST ASIA•em
Page 408 and 409:
404 CEYLON AND SOUTH-EAST ASIAWhen
Page 410 and 411:
CEYLON406•AND SOUTH-EAST ASIAarch
Page 412 and 413:
408 CEYLON AND SOUTH-EAST ASIA•re
Page 414 and 415:
410 CEYLON AND SOUTH-EAST ASIAof th
Page 416 and 417:
412 CEYLON AND SOUTH-EAST ASIA•pa
Page 418 and 419:
. *346. Angkor Thorn, Neak Pean" 'Z
Page 420 and 421:
-CEYLON14l6 •AND SOUTH-EAST ASIAt
Page 422 and 423:
4l8 CEYLON AND SOUTH-EAST ASIA•th
Page 424 and 425:
420 CEYLON AND SOUTH-EAST ASIAdebac
Page 427 and 428:
CHAPTER 22ART AND ARCHITECTURE IN S
Page 429 and 430:
•SIAM 425more often than not too
Page 431 and 432:
•SIAM 427One of the great masterp
Page 433 and 434:
361. Head of Buddha from SiamBoston
Page 435 and 436:
SI AM •43:and later a Burmese sty
Page 437 and 438:
SIAM 433Lamp'un, erected by the Mon
Page 439 and 440:
435elaborately carved barge-boards
Page 441:
37i- Pottery amphora from Lopburi.B
Page 444 and 445:
544© CEYLON AND SOUTH-EAST ASIAthe
Page 446 and 447:
442 CEYLON AND SOUTH-EAST ASIA•te
Page 448 and 449:
CEYLON444*AND SOUTH-EAST ASIAMuseum
Page 450 and 451:
446 CEYLON AND SOUTH-EAST ASIAmask-
Page 452 and 453:
CEYLONthe448•AND SOUTH-EAST ASIAK
Page 454 and 455:
450 CEYLON AND SOUTH-EAST ASIAof gr
Page 456 and 457:
CEYLON452•AND SOUTH-EAST ASIA385.
Page 458 and 459:
CEYLON454'AND SOUTH-EAST ASIAto the
Page 460 and 461:
456 CEYLON AND SOUTH-EAST ASIAin th
Page 462 and 463:
CEYLON458•AND SOUTH-EAST ASIAfrom
Page 464 and 465:
CEYLON:.460•AND SOUTH-EAST ASIAha
Page 466 and 467:
CEYLON462•AND SOUTH-EAST ASIAKhme
Page 468 and 469:
CEYLON464•AND SOUTH-EAST ASIAof t
Page 470 and 471:
CEYLON:466•AND SOUTH-EAST ASIAnot
Page 473 and 474:
NOTESBold numbers indicate page ref
Page 475 and 476:
47isentient beings'. (See Ramaprasa
Page 477 and 478:
473capital" so often found in moder
Page 479 and 480:
47513. It has been suggested that t
Page 481 and 482:
477172. 1 6. We have already seen h
Page 483 and 484:
479237- 6. In the life of Hsiian-ts
Page 485 and 486:
4 8isculptor, there exists an image
Page 487 and 488:
4«3Singhalese scholars the moon st
Page 489 and 490:
4»543i- 3- H. G. Quaritch Wales, T
Page 491 and 492:
The4 8 7Frederic, L. L'Inde, Ses Te
Page 493 and 494:
4 8 9barthouxj. Les Fouilles de Had
Page 495 and 496:
49iGROSLIER, B. P. Angkor: Hommes e
Page 497 and 498:
493LIST OF ILLUSTRATIONSThe locatio
Page 499 and 500:
;I:):)- s89. Gold amulet boxes from
Page 501 and 502:
):-. e_- r.- -. _:- -\ rr :):&-"xrn
Page 503 and 504:
499298. Anuradhapura, Isurumuniya V
Page 505 and 506:
:INDEXNames and other matters in th
Page 507 and 508:
503Buddha, 53 ff., 77-9, 88-9, 47i(
Page 509 and 510:
505Guru, 52Gwalior, 227, 239, 240,
Page 511 and 512:
507London, India Office Library, 34
Page 513 and 514:
1509Peshawar, Archaeological Museum
Page 515 and 516:
5iiSudhana, 455Sukhodaya, 436Suk'ot
Page 520:
-The Pelican History of ArtISBN 14
show all

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

Create successful ePaper yourself

Delete template?

Save as template?