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

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480 NOTES
by A. Foucher in L' Iconographie bouddhique de I'Inde
(Paris, 1900).
Researches conducted by Dr Stella Kramrisch in
the preparation of an exhibition of Nepalese art in
Asia House in New York in 1964 have produced the
first
systematic chronological ordering of the sculpture
of this remote Himalayan kingdom. As early as
the fifth century Nepalese stone sculpture was a
provincial echo of Indian art of the pre-Gupta period.
Indigenous Nepalese traits reveal themselves in the
strangely cruel expression of the faces and in the
beauty of surface and detail. Later, both in metal and
stone, Nepalese craftsmen imported and modified the
styles of Hindu reliefs of the seventh century and for
centuries perpetuated the canons of the Pala art of
Bengal (see Stella Kramrisch, The Art of Nepal, The
Asia Society, Inc., New York, 1964).
268. 9. For an illustration, see G. Tucci, Indo-Tibetica,
iv, iii (Rome, 1941), figures 119-20.
10. The Tibetan Buddhists set great store by the rite
of circumambulation, which is believed to store up
merit for the future, rather in the manner of the
granting of Indulgences from Purgatory. It appears
that the separate tiers were identified with Buddhist
virtues so that the ascending pradaksind provided the
pilgrim with a kind of vicarious exposure to the chief
spiritual powers of the Buddha.
269. 1 1 . These same subjects are to be seen in examples
of wall-paintings in Tibetan lamaseries. For illustrations,
see the plates in G. Tucci's Indo-Tibetica,
Rome, 1932-41.
270. 12. See above, p. 25.
13. D. R. Sahni, Catalogue ofthe Museum ofArchaeology
at Sarnath (Calcutta, 19 14), plate xix.
271. 14. Catalogue ofthe Tibetan Collection . . . in the
Newark Museum (Newark, N.J., 1950), 30 ff.
15. S. Kramrisch, 'Pala and Sena Sculpture', Riipam,
Oct. 1929, figure 21.
16. Kramrisch, figure 43.
CHAPTER 17
274. 1 . P. K. Acharya, Mdndsara on Architecture and
Sculpture (London, 1933-4).
2. N. K. Bose, Canons of Orissan Architecture (Calcutta,
1932).
3. Stella Kramrisch, The Hindu Temple (Calcutta,
1946).
275. 4. For a complete account of the systems of
proportion in Hindu architecture, see ibid., 207 ff.
5. Ibid., 208.
6. One of the classical definitions of the nagara
type of temple specifies that these shrines are likenesses
of the chariots Brahma created for the gods to
carry them on their heavenly ways. As the gods are
accommodated in heaven, so are they accommodated
on earth.
276. 7. 'The temple resembling a mountain shines
white' (quoted by Stella Kramrisch, The Hindu
Temple, 123, n. 78).
277. 8. H. Cousens, Chalukya Architecture (Calcutta,
1926), 61.
280. 9. The view illustrated is taken from the porch
roof and shows the opening to an upper shrine that
was a feature of many Jain sanctuaries.
282. 10. The temple is sometimes referred to as the
'Black Pagoda', a title given the monument by the
skippers of the Indiamen who used it as a landmark in
steering for Calcutta.
285. 11. Cf. the panel from Stupa No. 2 at Sanchi
(illustration 33) and the doorway of the Gupta temple
at Deogarh (illustration 163).
12. 'A man embraced by a beloved woman knows
nothing more ofa within or without.' (Brihaddranyaka
Upanishad, iv. 3. 21.) M. R. Anand, Kama Kdla,
Geneva, 1958.
13. The practice of sexual intercourse with a sakti is
permitted certain classes of adepts in yoga. It has been
suggested that an esoteric Magian phase of sun worship,
perhaps originating in the famous temple at
Multan, was followed at Konaraka.
290. 14. Kramrisch, The Hindu Temple, 370.
292. 15. See A.S.I.A.R., 1908-9, plate xli.
16. Idem, plate xl(b).
294. 17. Some idea of their original appearance may
be gathered from the mandapa of the Sas-Bahu temple
at Gwalior.
296. 18. Percy Brown,- Indian Architecture (Buddhist
and Hindu) (Bombay, 1942), 149.
19. Coomaraswamy, History, 112.
299. 20. The term rath means a chariot or a processional
car used to transport the idols of the Hindu gods
on festal days. Its use to designate a type of temple
probably stems from the concept that the sanctuary
was a reproduction of the celestial chariots of the
deities.
21. The famous Lohapasada at Anuradhapura in
Ceylon was a structure of nine storeys, in which the
accommodation of the priesthood was arranged on an
hieratic basis, so that the highest storeys were reserved
for arhats or great sages, and the lower for novices and
those who had acquired higher grades of sanctity.
301. 22. In the usual metaphorical way, the shape of
the leaf of the pipal tree comes to replace the ovoid
contour of the face in earlier periods.
302. 23. H. Zimmer, Myths and Symbols in Indian Art
and Civilization (New York, n.d.), 119.
304. 24. This group is a perfect illustration of the
words of the American sculptor, John Flannagan : 'To
that instrument of the subconscious, the hand of the