L'art greco-bouddhique du Gandhara: etude sur les origines de l'influence classique dans l'art bouddhique de l'Inde et de l'Extreme-Orient v1.c9: Table des matières
L'art gréco-bouddhique du Gandhâra: étude sur les origines de l'influence classique dans l'art bouddhique de l'Inde et de l'Extrême-Orient v1.c9
- Language
- French
Table des matières
v1.c9.1
INTRODUCTION.
v1.c9.2
§ I. ESQUISSE GÉOGRAPHIQUE . . . . . 3 Les témoignages, p. 4. — Les noms sanskrits, p. 8. — Les noms modernes, p. 10.
v1.c9.3
§ II. LES FOUILLES DU GANDHÂRA . . . . . 13 Les fouilles officielles, p. 16.
v1.c9.4
§ III. COLLECTIONS ET RECUEILS . . . . . 23 Musée de Calcutta, p. 24. — Musée de Lahore, p. 26. — Autres collections indiennes, p. 27. — Collections anglaises, p. 28. — Collections continentales, p. 29. — Recueils, p. 30.
v1.c9.5
§ IV. CRITIQUE DES DOCUMENTS . . . . . 32 Leur origine, p. 32. — Leur valeur documentaire, p. 35. — Leur «mise en place», p. 36.
v1.c9.6
§ V. ÉTAT DE LA QUESTION . . . . . 37 Le style, p. 38. — La date, p. 40. — L'interprétation, p. 42.
v1.c9.7
§ I. NATURE ET DESTINATION DU STÛPA . . . . . 47 Est-ce un monument funèbre? p. 47. — Est-ce un édifice religieux? p. 52. — Conciliation des deux théories, p. 54.
v1.c9.8
§ II. LA FORME DU STÛPA . . . . . 62 Les stûpa «ancien modèle», p. 65. — Les stûpa «transition», p. 72. — Les stûpa de style moderne, p. 76.
v1.c9.9
PREMIÈRE PARTIE.
v1.c9.10
LES ÉDIFICES.
v1.c9.11
CHAPITRE PREMIER.
v1.c9.12
LE STÛPA.
v1.c9.13
Dimensions et matériaux, p. 81. — La structure intérieure des stûpa, p. 85. — L'érection d'un stûpa d'après les textes, p. 94.
v1.c9.14
CHAPITRE II.
v1.c9.15
LE VIHÂRA.
v1.c9.16
§ I. LA TECHNIQUE DU VIHÂRA . . . . . 101 L'appareil des murs, p. 101. — Les portes et fenêtres, p. 105. — Voûtes et plafonds, p. 114.
v1.c9.17
§ II. LE VIHÂRA À TOIT COURBE . . . . . 120 Le double dôme, p. 122. — L'origine du vihâra à toit courbe, p. 125. — L'arche trifoliée, p. 129.
v1.c9.18
§ III. LE VIHÂRA À TOIT ANGULEUX . . . . . 139 Le temple kaçmîri, p. 139.
v1.c9.19
CHAPITRE III.
v1.c9.20
DÉVELOPPEMENT ET DÉCORATION DU SANGHÂRÂMA.
v1.c9.21
§ I. LES SANGHÂRÂMA DES PLAINES . . . . . 148 Les trois modes de groupement, p. 153.
v1.c9.22
§ II. LES SANGHÂRÂMA DES COLLINES . . . . . 158 Les types simples, p. 159. — Le développement des logis et des communs, p. 166. — Le développement des lieux saints, p. 172.
v1.c9.23
§ III. LA DÉCORATION DU SANGHÂRÂMA . . . . . 177 La décoration du stûpa, p. 180. — La décoration du vihâra, p. 188. — Usage décoratif de la chaux, p. 192.
v1.c9.24
§ I. LES ÉLÉMENTS INDIENS OU INDIANISÉS . . . . . 206 Les motifs animés, p. 210. — La flore ornementale, p. 218. — Les motifs d'architecture, p. 222.
v1.c9.25
DEUXIÈME PARTIE.
v1.c9.26
LES BAS-RELIEFS.
v1.c9.27
CHAPITRE IV.
v1.c9.28
LES MOTIFS DÉCORATIFS.
v1.c9.29
The *fraternities* of the Middle Ages, which were so numerous and so varied in their objects, were not all of the same origin. Some were religious, some social, some charitable, and some industrial. The religious guilds, or *gilds*, as they were often called, were associations of laymen for the purpose of performing religious duties, such as the maintenance of a chaplain, the celebration of masses, or the support of a hospital. The social guilds were formed for the purpose of mutual aid and good fellowship, and often included in their objects the relief of the poor, the sick, and the aged. The charitable guilds were established for the purpose of supporting hospitals, almshouses, and other institutions of mercy. The industrial guilds, or *craft guilds*, were associations of men engaged in the same trade or industry, and were formed for the purpose of regulating the trade, protecting the interests of the members, and maintaining the quality of their work.
v1.c9.30
The craft guilds, which became so powerful in the later Middle Ages, were the successors of the earlier *collegia* of the Roman Empire. The *collegia* were associations of artisans and tradesmen, which were recognized by the state and had a legal existence. When the Roman Empire fell, these associations were largely destroyed, but the idea of association for mutual protection and the regulation of trade survived. In the early Middle Ages, the *gilds* began to reappear, and by the twelfth century they were firmly established in many of the cities of Europe.
v1.c9.31
The craft guilds were organized on a democratic basis, and every member had a voice in the management of the guild's affairs. The officers were elected by the members, and the rules and regulations were made by the guild as a whole. The guilds had the power to fix prices, to regulate the hours of labor, and to determine the conditions of apprenticeship. They also had the power to punish members who violated the rules, and to expel those who were guilty of serious offenses. The guilds were thus a powerful force in the economic life of the Middle Ages, and they played an important part in the development of the modern industrial system.
v1.c9.32
The decline of the craft guilds began in the sixteenth century, when the rise of the factory system and the growth of international trade made it difficult for the small, local guilds to compete with the larger and more efficient industrial organizations. The guilds were also weakened by the growth of the power of the state, which began to regulate trade and industry directly, and by the rise of the capitalist class, which sought to break the power of the guilds and to establish a system of free competition. By the end of the eighteenth century, the craft guilds had largely disappeared, but their influence lived on in the trade unions and other labor organizations of the modern world.
v1.c9.33
The *fraternities* of the Middle Ages, which were so numerous and so varied in their objects, were not all of the same origin. Some were religious, some social, some charitable, and some industrial. The religious guilds, or *gilds*, as they were often called, were associations of laymen for the purpose of performing religious duties, such as the maintenance of a chaplain, the celebration of masses, or the support of a hospital. The social guilds were formed for the purpose of mutual aid and good fellowship, and often included in their objects the relief of the poor, the sick, and the aged. The charitable guilds were established for the purpose of supporting hospitals, almshouses, and other institutions of mercy. The industrial guilds, or *craft guilds*, were associations of men engaged in the same trade or industry, and were formed for the purpose of regulating the trade, protecting the interests of the members, and maintaining the quality of their work.
v1.c9.34
The craft guilds, which became so powerful in the later Middle Ages, were the successors of the earlier *collegia* of the Roman Empire. The *collegia* were associations of artisans and tradesmen, which were recognized by the state and had a legal existence. When the Roman Empire fell, these associations were largely destroyed, but the idea of association for mutual protection and the regulation of trade survived. In the early Middle Ages, the *gilds* began to reappear, and by the twelfth century they were firmly established in many of the cities of Europe.
v1.c9.35
The craft guilds were organized on a democratic basis, and every member had a voice in the management of the guild's affairs. The officers were elected by the members, and the rules and regulations were made by the guild as a whole. The guilds had the power to fix prices, to regulate the hours of labor, and to determine the conditions of apprenticeship. They also had the power to punish members who violated the rules, and to expel those who were guilty of serious offenses. The guilds were thus a powerful force in the economic life of the Middle Ages, and they played an important part in the development of the modern industrial system.
v1.c9.36
The decline of the craft guilds began in the sixteenth century, when the rise of the factory system and the growth of international trade made it difficult for the small, local guilds to compete with the larger and more efficient industrial organizations. The guilds were also weakened by the growth of the power of the state, which began to regulate trade and industry directly, and by the rise of the capitalist class, which sought to break the power of the guilds and to establish a system of free competition. By the end of the eighteenth century, the craft guilds had largely disappeared, but their influence lived on in the trade unions and other labor organizations of the modern world.