History of Indian and Indonesian Art c5: Preface
History of Indian and Indonesian Art c5
- Language
- English
Preface
c5.1
Like all students of Indian art, I am deeply indebted to the Archaeological Survey of India. The work of this organisation in the time of Cunnigham, and in more recent years under the guidance of Sir John Marshall, provides in the Memoirs and Reports an indispensible source of information, of which the recent sensational discoveries in Sind are only the latest example.
c5.2
In the present work the following illustrations are reproduced by permission from photographs taken by the Survey: Nos. 1—6, 12—19, 22, 28, 40, 58—60, 65—67, 69, 69a, 72, 73, 81—84, 89, 90, 102—105, 137, 138, 155—158, 163—168, 171, 176, 186, 199, 203—205, 218, 226, 233, 235, 248, 251, 257, 311—314. To the Archaeological Survey of Gwāliar I am indebted for Nos. 178, 183; the Archaeological Survey of Kashmir, Nos. 232; the Archaeological Survey of Ceylon, No. 184; the Direction des Arts Cambodgiens, Phnom Peñ, Nos. 324, 325, 333, 364; the Oudheidkundige Dienst in Java for Nos. 345—48, 352, 355, 359—362, 366, 380; and to the Publicity Department of the Great Indian Peninsular Railway for Nos. 35, 254. The following are from photographs by the Lucknow Museum, Nos. 71, 74—79, 86, 222, 223; Rājshāhi Museum, No. 227; Indian Museum, Calcutta, No. 47; Colombo Museum, Nos. 289, 290, 296; Victoria and Albert Museum, London, Nr. 382; Birmingham Museum and Art Gallery, No. 160; Manchester Museum, No. 133; British Museum, No. 98; Field Museum, Chicago, No. 95; Detroit Institute of Arts, No. 91; Metropolitan Museum of Art, New York, No. 259; Fogg Art Museum, No. 335; University Museum, Philadelphia, Nos. 80, 224, 225, 272; Cleveland Museum of Art, No. 338; Museum of Fine Arts, Boston, Nos. 23, 57, 70, 85, 93, 94, 96—98, 109, 114, 121, 122, 125, 126, 131, 159, 228, 230, 242, 244, 246, 255a and b, 258, 260, 261, 264, 266, 270, 271, 276—278, 280, 281, 297—299, 322, 336, 337, 365, 368—370, 392—395, 397—400. I have to thank Mr. W. F. Barden for No. 328; Mrs. W. E. Briggs for No. 326; M. G. Coedès for No. 323; Mr. Davis Ewing, Nos. 288, 327, 331; M. Victor Goloubew for Nos. 181, 182, 195, 198; Mr. H. Gravelly for Nos. 197, 256; Mr. S. Hadaway for No. 234; the Hon. G. Kemp for Nos. 305—307; Mr. H. Kevorkian for No. 229; Mr. Thornton Oakley for No. 262; M. H. Parmentier for Nos. 341, 342; Paṇḍit Rai Bahadur Radha Krishna for Nos. 20, 21, 92; Dr Denman Ross for Nos. 200, 201, 208, 240, 316, 317; Herrn R. Samson for Nos. 319, 321; Mr. H. L. H. Shuttleworth, for No. 273; Mr. D. V. Thompson, Jr. for No. 196; and Messrs. Yamanaka. for No. 87. Messrs. Johnston and Hoffmann have kindly permitted the use of their photos reproduced in figures 9, 11, 24—27, 32—34, 36, 53, 61, 148, 152, 153, 179, 180, 185, 188, 194, 202, 214—216, 219—221, 237, 253, 279, 282, 302—304; and the Lux Photo Studio, Garoet, Java, of No. 357. The following are from the India Office and old India Museum negatives (the latter now stored by the Archaeological Survey in India): Nos. 8, 10, 30, 37—39, 41—46, 48, 49, 135—136, 139, 140—147, 154, 172, 174, 177, 187, 191—193, 208, 209, 211, 213, 247, 249, 250. No. 203 is by Messrs. Platê, Colombo; No. 286 by Messrs. Skeen and Co, Kandy. The following are from my own negatives: Nos. 29, 50—52, 54—56, 63, 64, 76, 149, 151, 161, 169, 173, 175, 207, 238, 239, 241, 243, 252, 263, 267, 268, 269, 291, 292—294, 300, 309, 329, 330, 334, 339, 340, 354, 363, 367, 371, 373—376, 378, 379, 381, 383—396. The sources of a few others, taken from published works, are mentioned in the descriptions of the Plates.
c5.3
I am very grateful to Miss Mary Fairbank for her assistance in reading the first proof, to Dr. Hermann Goetz in Berlin both for his translation and a final revision, to Dr. Wilhelm Olbrich in Leipzig for reading all intermediate proofs and revising the index.
c5.4
Attention may be called to some special features of the present volume. The latest available information regarding Indo-Sumerian finds is embodied; the early architecture as represented in reliefs and on coins has been rather fully illustrated; the origin of the Buddha image is discussed in some detail; a synthetic survey of Farther Indian and Indonesian arts is for the first time attempted. Space did not permit a treatment of Musalmān art in India, and works dealing exclusively with this phase of Indian art are omitted from the Bibliography. The Bibliography and references in the footnotes, though not exhaustive, will provide a sufficient guide to the student. It may be remarked that the author has personally visited, often on several occasions, most of the sites and museums referred to.
c5.5
The usually accepted International scheme of transliteration has been followed; but the quantity of the vowels *o* and *e*, always long in Sanskrit, has not been specifically indicated in Sanskrit words and names. In the case of a few Indian names, such as “Lucknow”, properly Lakhnau, the accepted rather than the scientific transliteration is retained. Some words, e. g. *yakṣa*, *yakkha* will be met with both in Sanskrit and in Pāli forms. In the case of Farther Indian and Indonesian names I have not always been able to secure an adequate transliteration.
c5.6
As regards pronunciation, it may be remarked that the vowels should be pronounced as in Italian; it is important to remember that *a* (short) should be pronounced like *a* in *America*, never like *a* in *man*. *C* should be pronounced like *ch* in *church*, *ś* and *ṣ* like *sh* in *ship*. In the case of *kh*, *gh* &c., the aspirate should be distinctly heard. Ḥ is like *ch* in *loch*; the sound of *kh* and *gh* in Persian words such as *Mughal* is somewhat similar. Most of the other consonants may be pronounced approximately as in English.
c5.7
Museum of Fine Arts, Boston, May 15, 1926
c5.8
*Ananda K. Coomaraswamy*