Oxford readings in Indian art:
The world of art is complex and challenging in general; in India it is even more so because the documentation here is truly thin, and whatever exists is so widely scattered that it becomes a task in itself to locate it. This book address both these issues and brings together in one volume a remarkab...
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New Delhi, India
Oxford University Press
2018
|
| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The world of art is complex and challenging in general; in India it is even more so because the documentation here is truly thin, and whatever exists is so widely scattered that it becomes a task in itself to locate it. This book address both these issues and brings together in one volume a remarkable body of material consisting not of speculations or theories but of original, primary sources. The voices one 'hears' in these excerpts are true and authentic, and if there are any speculations or interpretations, they come from texts or persons directly involved in the making or the understanding of the art of India. Sages speak here, in these pages, of the inter-relationships between the arts, practitioners record measurements of units of time and space, iconographers lay down rules and practices, artists record their experiences and patrons their delights. Information gathered from colophons is documented; excerpts are taken from memoirs and contemporary histories; the work of early writers on the arts is presented. Slowly, as one dips into these sources, one can hear the past speak, and the arts of India that have been lost to history come alive |
| Beschreibung: | xix, 536 Seiten 25 cm |
| ISBN: | 0199469423 9780199469420 |
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| 520 | 3 | |a The world of art is complex and challenging in general; in India it is even more so because the documentation here is truly thin, and whatever exists is so widely scattered that it becomes a task in itself to locate it. This book address both these issues and brings together in one volume a remarkable body of material consisting not of speculations or theories but of original, primary sources. The voices one 'hears' in these excerpts are true and authentic, and if there are any speculations or interpretations, they come from texts or persons directly involved in the making or the understanding of the art of India. Sages speak here, in these pages, of the inter-relationships between the arts, practitioners record measurements of units of time and space, iconographers lay down rules and practices, artists record their experiences and patrons their delights. Information gathered from colophons is documented; excerpts are taken from memoirs and contemporary histories; the work of early writers on the arts is presented. Slowly, as one dips into these sources, one can hear the past speak, and the arts of India that have been lost to history come alive | |
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Datensatz im Suchindex
| _version_ | 1804178559439208448 |
|---|---|
| adam_text | CONTENTS
ACKNOWLEDGEMENTS XV
INTRODUCTION XVII
PART I EARLY TEXTUAL REFERENCES TO ART
1. THE HYMN OF CREATION , FROM THE RIG-VEDA 3
2. REFERENCES TO THE PHYSICAL ATTRIBUTES OF DEITIES IN THE RIG-VEDA 5
3. SILPAS OR HYMNS FOR PRODUCING ART 6
4. AN IMAGE OF A WOMAN MADE OUT OF GOLD BY THE BODHISATTVA IN
THE KUSA-JATAKA 7
5. REFERENCES TO THE BODHISATTVA S INHERENT SKILL IN ARCHITECTURE, AND
THE
ACT OF DECORATING BUILDINGS, FROM THE MAHA-UMMAGA JATAKA 9
6. BHARATA S IDENTIFICATION OF A SCULPTURE OF HIS FATHER, THROUGH ITS
LAKSHANAS 11
7. MENTION OF CRAFTSMEN AND ARTISANS IN THE DESCRIPTION OF THE CROWD
THAT
WELCOMES THE BUDDHA TO KAPILAVASTU 15
8. A LIST OF SIXTY-FOUR ARTS FROM YASHODHARA S COMMENTARY ON THE
KAMASUTRA OF VATSYAYANA 17
9. SIXTY-FOUR KALAS FROM THE SHAIVATANTRA 21
10. THE ART OF PAINTING AND THE ARTIST USED AS METAPHORS IN THE
CONTEXT OF BUDDHA S TEACHINGS 22
U. SEPARATED FROM SHAKUNTALA, KING DUSHYANTA COMMISSIONS HER
PORTRAIT TO EASE HIS PAIN 24
12. THE BIRTH OF PAINTING AS THE HEAVENLY APSARA URVASHI 27
VI CONTENTS
13. THE INTERRELATIONSHIP OF THE MAIN BRANCHES OF THE ARTS, ELUCIDATED
BY MARKANDEYA IN THE CHITRASUTRA 29
14. THE DIVINE ORIGINS OF CHITRA, AS EXPOUNDED BY BRAHMA 31
15. THE BODHISATTVA S ACCOMPLISHMENT IN THE ARTS 33
16. A PAINTER FOOLS EVERYONE BY PAINTING A LIFE-LIKE IMAGE OF HIS
OWN CORPSE IN A TOCHARIAN JATAKA 35
17. A REFERENCE TO THE CELEBRATED PAINTER MANI IN THE PERSIAN EPIC 38
18. A KING AND HIS FRIEND ATTEMPT TO GUESS THE IDENTITY OF A WOMAN
THROUGH HER ATTRIBUTES AS PAINTED IN THE MURALS IN THE PALACE 41
19. THE STRIKING REALISM OF A QUEEN S PORTRAIT RAISES SUSPICION IN THE
MIND OF THE PATRON KING 45
20. A PRINCESS IDENTIFIES HER BELOVED, ONLY ENCOUNTERED IN A DREAM,
FROM A PAINTING MADE BY HER FRIEND 47
21. A PAINTED PEACOCK FEATHER IS MISTAKEN FOR A REAL ONE BY A KING 49
22. A PRINCE FALLS IN LOVE WITH A BEAUTIFUL STONE STATUE OF A WOMAN 50
23. A STORY OF THE ORIGIN OF THE ARTS, IN THE JAIN CONTEXT 52
24. A COMPETITION BETWEEN THE ARTISTS OF TURKEY AND CHINA 53
25. THE EMPEROR OF CHINA IS HELPED BY HIS MINISTER S SKILL
IN THE ART OF PAINTING 56
26. DIFFERENT ARTISANS DRAWN ON THE PLAYING CARDS SPECIFICALLY DESIGNED
FOR AKBAR, AS DESCRIBED BY ABU L FAZL 61
27. A PORTRAIT OF THE PRINCESS OF CHINA CAUSES ALL MEN TO FALL IN LOVE
WITH HER 63
28. THE UNITING OF SEPARATED LOVERS AS A THEME IN PAINTINGS 65
PART II ICONS AND THEIR MEASUREMENTS
1. FORMS OF THE IMAGES OF DIFFERENT DEVAS: RAMA, VARAHA,
NARASIMHA, SHIVA, AND OTHERS 69
2. CHARACTERISTICS OF THE IMAGE OF VASUDEVA AND OTHER GODS:
ICONOGRAPHY AND MEASUREMENTS 71
3. PASSAGES RELATING TO VARIETIES OF LINGAS AND BENEFITS FROM THEIR
WORSHIP 74
4. MEASUREMENTS OF THE FIVE KINDS OF MEN FROM THE CHITRASUTRA 76
5. SHIVA REVEALS HIS MANY FORMS, IN THE TANTRIC TEXT SHIVA RAHASYA 78
CONTENTS VII
6. DIFFERENT TEMPLE STRUCTURES LISTED AND EXPLAINED BY VARAHA MIHIRA 81
7. THE NECESSARY QUALIFICATIONS OF ARCHITECTS, AND THE SYSTEM OF
MEASUREMENT TO BE FOLLOWED, AS EXPOUNDED IN THE MANASARA 83
8. THE MANASARA S INSTRUCTIONS ON THE CHISELLING OF THE EYES OF
IDOLS TO PREPARE THEM FOR WORSHIP 87
9. DESCRIPTION ON THE MAKING OF THE IMAGES OF THE BUDDHA 92
10. PRESCRIPTIONS CONCERNING THE MAKING OF IMAGES, ETC., AS GIVEN
IN THE SUKRANITISARA 94
11. SVARUPAS OF DIVERSE HINDU DEITIES, AND SOME MEASUREMENTS 96
12. DIRECTIONS FROM THE SARIPUTRA ON THE MAKING OF THE IMAGES OF THE
BUDDHA 98
13. BUDDHA S OWN RECOMMENDATIONS ABOUT HOW IMAGES OF HIS SHOULD
BE MADE: MEASUREMENTS AND OTHER DETAILS 101
14. ICONOGRAPHIC DETAILS FOR THE IMAGES OF BODHISATRVA AVALOKITESVARA,
AS WELL AS HINDU DEITY GANESHA, FROM THE SADHANAMALA 105
15. THE FOURTEEN DREAMS OF TRISHALA, AS DESCRIBED IN THE KALPA SUTRA 107
16. PRESCRIPTIONS FOR THE IMAGES OF JAIN DEITIES 111
PART III AESTHETIC THEORY
1. THE EIGHT RASAS EXPLAINED 117
2. THE LAWS OF DANCE : EXPRESSIONS, GESTURES, GLANCES, HAND POSITIONS,
ETC. 127
3. AESTHETIC EXPERIENCE AS ANNOTATED IN ABHINAVAGUPTA S COMMENTARY ON
THE NATYASHASTRA 134
4. AN APPROACH TO AESTHETICS THROUGH A COMBINED STUDY OF RHETORIC
AND DRAMA 137
5. THE SIX FUNDAMENTAL RULES OF PAINTING ELUCIDATED 139
PART IV ARTS IN PRACTICE AND AS OBSERVED
V. A DESCRIPTION OF MATERIALS AND METHODS OF MAKING IMAGES 143
2. RECIPES FOR LEPAS OR PLASTERS TO BE USED FOR CONSTRUCTION AND REPAIR
145
3. THE GUIDE TO THE LOST WAX TECHNIQUE USED TO CAST IDOLS 147
4. A SUMMARY OF THE CONTENTS OF THE MAYAMATAM 149
VIII CONTENTS
5. THE METHOD OF PLASTERING WALLS IN PREPARATION FOR PAINTING 151
6. RULES FOR THE CORRECT TECHNIQUE OF PAINTING 154
7. THE EPISTLE OF MAULANA SULTAN ALI 157
8. DETAILED DESCRIPTION OF THE NETRA MANGALYA, OR THE CEREMONY OF
EYE OPENING OF A SACRED IMAGE 162
9. A CHAPTER ON PRATIMA LAKSHANA*THE CHARACTERISTICS OF
(SACRED) IMAGES*GUIDES SCULPTORS ON MATERIALS AND METHODS 168
10. REFERENCE TO THE ORISSAN ARTIST S PROCESS AS IT WAS IN EIGHTEENTH
CENTURY 171
11. TWO OFFICIAL DOCUMENTS ON THE PRODUCTION OF PAPER AT DAULATABAD 172
12. THE PROCESS FOR OBTAINING PEORI YELLOW PIGMENT 174
13. METHODS OF EXTRACTING DYES EXPLAINED 176
14. DOCUMENTATION OF THE PROCESS OF MAKING PAPER 179
15. A LIST OF BOTANICAL SOURCES OF COLOURED PIGMENTS, USED FOR MAKING
DYES 181
16. PROCEDURE FOR MAKING SIALKOTI PAPER 184
17. FAXIAN S DESCRIPTION OF THE CHARIOT PROCESSION OF BUDDHA
AT PATALIPUTRA 186
18. XUANZANG S ACCOUNT OF STUPAS AND IMAGES OF BUDDHA IN GANDHARA 188
19. ALBERUNI S OBSERVATIONS ON THE MATERIALS USED FOR WRITING AND
PAINTING IN INDIA 190
20. DOMINGO PAES DESCRIBES THE VIJAYANAGARA EMPIRE 193
21. OPULENCE OF THE KINGDOM OF VIJAYANAGARA AS OBSERVED BY FERNAO NUNIZ
196
22. AN EARLY DESCRIPTION OF THE ELEPHANTA CAVES 198
23. TARANATH S RECORD OF THE HISTORY OF SOME ACCOMPLISHED INDIAN ARTISTS
200
24. AN EXTRACT FROM A LETTER BY THE DUTCH PAINTER CORNELIS CLAEZ DE HEDA
202
25. WILLIAM FINCH OBSERVES THE FRESCOES ON THE WALLS OF ROYAL
BUILDINGS AT LAHORE AND AGRA 203
26. JESUIT PRIESTS PRESENT A PAINTING OF THE MADONNA AT THE COURT OF
AKBAR 206
27. AKBAR S VISIT TO A JESUIT CHAPEL IN AGRA, AS RECORDED BY MONSERRATE
211
28. JOHANNES DE LAET S ESTIMATION OF THE WEALTH OF THE MUGHAL MONARCHS
213
29. THOMAS ROE S ENCOUNTERS WITH JAHANGIR, AND THE MUGHAL EMPEROR S
INTEREST IN WESTERN ART 215
CONTENTS IX
30. FRANCOIS BERNIER S LETTER DESCRIBING THE ART OF PAINTING AS
PRACTISED IN DIFFERENT CITIES OF MUGHAL INDIA 217
31. TAVERNIER S DETAILED DESCRIPTION OF THE MUGHAL PEACOCK THRONE 219
32. TRAVELOGUE OF THEVENOT AS HE TRAVELLED THROUGH DIFFERENT
PARTS OF INDIA, OBSERVING THE ARTS AND MONUMENTS 221
33. FORBES S APPRECIATION OF THE ART AT ELEPHANTA AND ELLORA 225
34. THE ARTIST WILLIAM HODGES S THOUGHTS AND OBSERVANCES ON
INDIAN ARCHITECTURE 227
35. THE PROCESS OF PRODUCTION OF PAPER AT HURRY HAL AS WITNESSED
BY EDWARD MOOR 229
36. A DESCRIPTION OF THE TEMPLES AT BAROLLI 231
37. REFERENCES TO THE ART OF PAINTING UNDER THE KANGRA RULER SANSAR
CHAND FROM WILLIAM MOORCROFT S CORRESPONDENCE AND JOURNALS 234
38. FRESCOES AT MANDI DESCRIBED BY VIGNE 236
39. DETAILS OF THE FRESCOES IN THE PALACE AT WAZIRABAD 238
40. REFERENCES TO MURALS FROM THE JOURNALS OF WILLIAM BARR 240
41. LEOPOLD VON ORLICH S ENCOUNTER WITH THE COURT PAINTER OF
MAHARAJA SHER SINGH 242
42. REFERENCE TO A LOCAL ARTIST, IN THE LETTERS OF EMILY EDEN 243
43. PAINTINGS OF KANGRA AND CHAMBA OBSERVED AND DESCRIBED BY AN
AUSTRIAN SOLDIER AND TRAVELLER 244
PART V ARTISTS AND PATRONS
1. DETAILS OF ARTISTS AND ARTISANS IN THE ACCOUNTS OF THE PADMAKESARA
TEMPLE AT KONARAKA, FROM THE TIME OF ITS CONSTRUCTION 251
2. A LETTER OF THE FAMED PERSIAN PAINTER BIHZAD 255
3. A ROYAL WARRANT APPOINTING BIHZAD AS THE HEAD OF THE
ROYAL LIBRARY OF SHAH ESMA IL 257
4. REFERENCE TO ARTISTS FROM THE ACCOUNT OF HUMAYUN S REIGN, IN THE
WORDS OF HIS CHRONICLER BAYAZID BIYAT 259
5. ABU L FAZL S ACCOUNT OF THE ARTS OF WRITING AND PAINTING AS
PRACTISED DURING THE REIGN OF AKBAR 261
X CONTENTS
6. BADAUNI S REFERENCE TO TWO ARTISTS FROM THE IMPERIAL ATELIER OF AKBAR
268
7. A SELECTION OF REFERENCES COLLECTED FROM DIFFERENT LITERARY SOURCES
ON
THE MAKING OF THE HAMZA NAMA UNDER THE PATRONAGE OF AKBAR 270
8. MIR MUSAWIR S PETITION 274
9. THE PAINTER KESHAVADAS S PETITION 275
10. A REFERENCE TO FARRUKH HUSAIN, A PAINTER AT THE COURT OF IBRAHIM II
ADIL SHAHI OF BIJAPUR 276
11. REFERENCES TO THE ART OF PAINTING IN THE AUTOBIOGRAPHY OF THE
MUGHAL EMPEROR JAHANGIR 277
12. JAHANGIR S INTEREST IN PORTRAITURE AS RECORDED BY THE SCHOLAR
MUTRIBI 280
13. REFERENCE TO MAHARAJA RANJIT SINGH S PATRONAGE OF PAINTING 282
14. INSTRUCTIONS SENT BY POLIER TO HIS INDIAN ARTIST MEHRCHAND 284
15. CATALOGUES MAINTAINED BY THE STATE OF BIKANER: RECORD OF
THE CONTRIBUTION OF INDIVIDUAL ARTISTS TO THE
COMMISSIONED MANUSCRIPTS 287
16. PAINTER SHIBA S LETTER TO HIS PATRON, THE MAHARAJA OF KANGRA 289
17. ENTRIES MADE IN PILGRIMS REGISTERS AT HARIDWAR BY MEMBERS
OF AN ARTIST FAMILY 291
18. PETITIONS WRITTEN BY ARTISTS, ADDRESSED TO THEIR PATRONS 293
19. DETAILS OF THE CONSTRUCTION OF A TEMPLE COMMISSIONED BY THE
MAHARANI OF MARWAR: DETAILS ON THE ARTISANS AND LABOURERS 296
20. RECORDS RELATING TO THE CRAFTSMEN EMPLOYED BY THE
JAGANNATH TEMPLE AT PURI 298
21. DONATIONS BY ARTISANS AND CRAFTSMEN RECORDED IN INSCRIPTIONS
AT THE SANCHI STUPA 303
22. TWO INSCRIPTIONS FROM THE BHARHUT STUPA RECORD THE DONATIONS
MADE BY A STONE WORKER AND A SCULPTOR 304
23. DONATION BY AN ARTISAN TO A STUPA AT JAGGAYAPETA IN THE ANDHRA
REGION 305
24. VOTIVE INSCRIPTIONS FROM THE AMRAVATI STUPA 306
25. RECORD OF THE DONATIONS RECEIVED IN THE KANHERI CAVES
OF MAHARASHTRA 307
26. THE MIGRATION OF A GUILD OF WEAVERS FROM GUJARAT TO
MADHYA PRADESH RECORDED IN AN INSCRIPTION 308
CONTENTS XI
27. A BRIEF INSCRIPTION FROM AJANTA CONTAINING THE NAME OF AN
ARTIST APPRENTICE 312
28. EXTRACTS FROM AN INSCRIPTION RECORDING THE EMPLOYMENT OF DIFFERENT
ARTISTS AND CRAFTSMEN AT THE RAJARAJESHWARA TEMPLE IN TANJAVUR 313
29. DEOPARA STONE INSCRIPTION SIGNED BY THE SCULPTOR 315
30. INSCRIPTIONS FROM A HOYSALA TEMPLE AT BELUR RECORD THE
NAMES OF THE SCULPTORS 316
31. AN ENGRAVER S SIGNATURE IN AN INSCRIPTION FROM SILIMPUR, WEST BENGAL
319
32. NAMES OF ARTISANS, STONE CUTTERS, AND LABOURERS DOCUMENTED IN
INSCRIPTIONS FOUND AT RADHANPUR, GUJARAT 320
33. THE COLOPHON OF AN EARLY KALPASUTRA MANUSCRIPT 322
34. THE COLOPHON OF A FIFTEENTH-CENTURY VASANTA-VILASA SCROLL 323
35. IMPORTANT INFORMATION EXTRACTED FROM THE COLOPHON OF A
MANUSCRIPT FROM JAUNPUR 324
36. INSCRIPTIONS IN THE HANDS OF AKBAR, JAHANGIR, AND SHAH JAHAN
ON AN ALBUM OF PERSIAN POETRY 325
37. A DETAILED COLOPHON OF A DEVI MAHATMYA MANUSCRIPT FROM THE
PAHARI REGION 328
38. NAME OF THE SCRIBE RECORDED IN THE COLOPHON OF A
DEVAL RANI KHIZR KHAN MANUSCRIPT 329
39. COLOPHON OF AN ILLUSTRATED ANWAR-I-SUHAILLI MANUSCRIPT 330
40. THE DETAILED COLOPHON OF A RAMAYANA MANUSCRIPT COMMISSIONED
BY THE KHAN-I-KHANAN ABDUL RAHIM 331
41. NAMES OF ARTISTS, PLACE, AND DATE OF CREATION, FROM THE
COLOPHON OF A RAGAMALA SERIES FROM 1591 CE 333
42. A COLOPHON FROM A MANUSCRIPT OF THE ANWAR-I-SUHAILLI, COMPLETED AT
LAHORE 334
43. THE COLOPHON OF A LAVISHLY ILLUMINATED MANUSCRIPT OF THE
KHAMSAH OF AMIR KHUSRAU 335
44. THE COLOPHON OF A NAFAHAT AL-UNS WRITTEN BY ABDUL RAHIM
DURING THE REIGN OF AKBAR, AT AGRA 336
45. AN INSCRIPTION BY JAHANGIR IN AN ILLUSTRATED RAMAYANA
MANUSCRIPT OF THE IMPERIAL MUGHAL LIBRARY 337
46. THE COLOPHON FROM A BUSTAN MANUSCRIPT WRITTEN AT AGRA 338
XII CONTENTS
47. THE COLOPHON FROM AN ILLUSTRATED VIJNAPTIPATRA SCROLL 339
48. THE COLOPHON FROM A RAGAMALA SERIES 341
49. THE COLOPHON FROM A GULISTAN MANUSCRIPT, WRITTEN BY RUKNUDDIN
MAS UD, A POET AND PHYSICIAN OF THE MUGHAL COURT 342
50. THE COLOPHON OF A RAGAMALA MANUSCRIPT ILLUSTRATED BY THE EMINENT
MEWAR PAINTER SAHIBDIN 343
51. THREE SECTIONAL COLOPHONS FROM A MANUSCRIPT CONTAINING
THREE DIFFERENT TEXTS 344
52. THE COLOPHON OF A BASHOLI RASAMANJARI SERIES FROM 1695 CE 346
53. AN INSCRIPTION FROM A PAINTING OF LAKSHMI-NARAYAN FROM
THE REIGN OF KARAN SINGH OF BIKANER 347
54. THE COLOPHON OF A RAGAMALA MANUSCRIPT PAINTED AT AMBER IN 1709 CE
348
55. THREE COLOPHONS FROM MANUSCRIPTS PRODUCED DURING THE
REIGN OF MAHARANA SANGRAM SINGH OF MEWAR 349
56. DIFFERENT INTERPRETATIONS AND TRANSLATIONS OF THE COLOPHON OF A
PAHARI GITA-COVINDA SERIES, ATTRIBUTED TO THE ARTIST MANAKU 350
57. THE COLOPHON OF A MADHU-MALATI MANUSCRIPT FROM KULU 352
58. THE COLOPHON OF A SERIES OF RAMAYANA DRAWINGS, WRITTEN BY THE
PANDIT WHO COLLABORATED WITH THE ARTIST 353
PART VI EARLY ART HISTORICAL WRITINGS
(THE EXCERPTS THAT APPEAR IN THIS PART ARE TAKEN FROM THE FOLLOWING
WORKS)
1. RAM RAZ, AN ESSAY ON THE ARCHITECTURE OF THE HINDUS 357
2. B.H. BADEN-POWELL, HANDBOOK OF THE MANUFACTURES
AND ARTS OF THE PUNJAB 359
3. GEORGE CM. BIRDWOOD, THE INDUSTRIAL ARTS OF INDIA 363
4. ALEXANDER CUNNINGHAM, BOOK OF INDIAN ERAS 365
5. T.H. HENDLEY, MEMORIALS OFTHEJEYPORE EXHIBITION 1883 369
6. THE PARABLE OF INDIAN ART 373
7. T.N. MUKHARJI, ART-MANUFACTURES OF INDIA 377
8. ALBERT GRUNWEDEL, BUDDHIST ART IN INDIA 380
CONTENTS XIII
9. EDMUND W. SMITH, WALL PAINTINGS RECENTLY
FOUND IN THE KHWABGAH FATHPUR SIKRI, NEAR AGRA 383
10. GEORGE WATT, INDIAN ART AT DELHI 1903 390
11. J.L. KIPLING, THE BEAST AND MAN IN INDIA 392
12. A.K. COOMARASWAMY, THE INDIAN CRAFTSMAN 396
13. J. PH. VOGEL, CATALOGUE OF THE BHURI SINGH MUSEUM
AT CHAMBA 400
14. JAMES FERGUSSON, HISTORY OF INDIAN AND
EASTERN ARCHITECTURE 403
15. CHRISTIANA J. HERRINGHAM, THE FRESCOS OF AJANTA 406
16. DEFECTS IN INDIAN ART WARE 410
17. FESTIVAL OF EMPIRE AND IMPERIAL EXHIBITION 415
18. A.K. COOMARASWAMY, THE MODERN SCHOOL
OF INDIAN PAINTING 418
19. E.V. HAVELL, THE IDEALS OF INDIAN ART 422
20. A.K. COOMARASWAMY, THE EIGHT NAYIKAS 424
21. T.A. GOPINATH RAO, ELEMENTS OF HINDU ICONOGRAPHY 427
22. ABANINDRANATH TAGORE, SOME NOTES ON
INDIAN ARTISTIC ANATOMY 430
23. THE EDITOR, NOTE ON PREVIOUS COPYINGS OF THE FRESCOES 432
24. LAURENCE BINYON, THE PLACE OF AJANTA PAINTINGS
IN EASTERN ART 434
25. GEORGE CM. BIRDWOOD, SVA 436
26. A.K. COOMARASWAMY, RAJPUT PAINTING 438
27. A.K. COOMARASWAMY, THE DANCE OF SHIVA 443
28. JOHN MARSHALL, A GUIDE TO TAXILA 451
29. M. AUGUSTE RODIN, THE DANCE OF SHIVA 456
30. LAURENCE BINYON, THE COURT PAINTERS
OF THE GRAND MOGULS 459
31. L.D. SWAMIKANNU PILLAI, AN INDIAN EPHEMERIS
AD
700 TO
AD
1799 462
XIV CONTENTS
32. RABINDRANATH TAGORE, THE CREATIVE IDEAL 465
33. PERCY BROWN, INDIAN PAINTING UNDER THE MUGHALS,
AD
1550 (0
AD
1750 470
34. A.K. COOMARASWAMY, CATALOGUE OF THE INDIAN
COLLECTIONS IN THE MUSEUM OF FINE ARTS, BOSTON 480
35. ERNST KUHNEL AND HERMAN GOETZ, INDIAN BOOK PAINTING 484
36. N.C. MEHTA, STUDIES IN INDIAN PAINTING 490
37. IVAN STCHOUKINE, LA PEINTURE INDIENNE A I EPOQUE
DES GRANDS MOGHOLS 493
38. VINCENT A. SMITH, A HISTORY OF FINE ART IN
INDIA AND CEYLON 496
39. J.C. FRENCH, HIMALAYAN ART 499
40. MUHAMMAD SANA-ULLAH, NOTES AND ANALYSES 509
41. HEINRICH ZIMMER, SOME ASPECTS OF TIME IN INDIAN ART 514
42. E.J.H. MACKAY, FURTHER EXCAVATIONS AT MOHENJO-DARO 516
43. STELLA KRAMRISCH, THE HINDU TEMPLE 524
BIBLIOGRAPHY 529
ABOUT THE EDITOR 537
|
| any_adam_object | 1 |
| author2 | Goswamy, Brijinder N. 1933- |
| author2_role | edt |
| author2_variant | b n g bn bng |
| author_GND | (DE-588)115533567 |
| author_facet | Goswamy, Brijinder N. 1933- |
| building | Verbundindex |
| bvnumber | BV044962057 |
| ctrlnum | (OCoLC)1036208650 (DE-599)BVBBV044962057 |
| edition | First edition |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)4135952-5 Quelle gnd-content |
| genre_facet | Aufsatzsammlung Quelle |
| geographic | Indien (DE-588)4026722-2 gnd |
| geographic_facet | Indien |
| id | DE-604.BV044962057 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T08:05:54Z |
| institution | BVB |
| isbn | 0199469423 9780199469420 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030354590 |
| oclc_num | 1036208650 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xix, 536 Seiten 25 cm |
| publishDate | 2018 |
| publishDateSearch | 2018 |
| publishDateSort | 2018 |
| publisher | Oxford University Press |
| record_format | marc |
| spelling | Oxford readings in Indian art edited by B.N. Goswamy ; with Vrinda Agrawal Readings in Indian art First edition New Delhi, India Oxford University Press 2018 xix, 536 Seiten 25 cm txt rdacontent n rdamedia nc rdacarrier The world of art is complex and challenging in general; in India it is even more so because the documentation here is truly thin, and whatever exists is so widely scattered that it becomes a task in itself to locate it. This book address both these issues and brings together in one volume a remarkable body of material consisting not of speculations or theories but of original, primary sources. The voices one 'hears' in these excerpts are true and authentic, and if there are any speculations or interpretations, they come from texts or persons directly involved in the making or the understanding of the art of India. Sages speak here, in these pages, of the inter-relationships between the arts, practitioners record measurements of units of time and space, iconographers lay down rules and practices, artists record their experiences and patrons their delights. Information gathered from colophons is documented; excerpts are taken from memoirs and contemporary histories; the work of early writers on the arts is presented. Slowly, as one dips into these sources, one can hear the past speak, and the arts of India that have been lost to history come alive Geschichte gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Indien (DE-588)4026722-2 gnd rswk-swf Art, Indic / History Art, Indic History (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)4135952-5 Quelle gnd-content Indien (DE-588)4026722-2 g Kunst (DE-588)4114333-4 s Geschichte z DE-604 Goswamy, Brijinder N. 1933- (DE-588)115533567 edt SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030354590&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Oxford readings in Indian art Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4026722-2 (DE-588)4143413-4 (DE-588)4135952-5 |
| title | Oxford readings in Indian art |
| title_alt | Readings in Indian art |
| title_auth | Oxford readings in Indian art |
| title_exact_search | Oxford readings in Indian art |
| title_full | Oxford readings in Indian art edited by B.N. Goswamy ; with Vrinda Agrawal |
| title_fullStr | Oxford readings in Indian art edited by B.N. Goswamy ; with Vrinda Agrawal |
| title_full_unstemmed | Oxford readings in Indian art edited by B.N. Goswamy ; with Vrinda Agrawal |
| title_short | Oxford readings in Indian art |
| title_sort | oxford readings in indian art |
| topic | Kunst (DE-588)4114333-4 gnd |
| topic_facet | Kunst Indien Aufsatzsammlung Quelle |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030354590&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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