South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources c4: Introduction
South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources c4
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Introduction
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The interest which has been recently evinced in the study of Indian Art in its aesthetic aspects has led to a closer enquiry and researches into the various indigenous Schools of Artists which have flourished from time to time in the Indian Continent—researches which have resulted in the discovery of clearly differentiated groups or Schools of Sculpture each characterized by qualities which represent aesthetic experiences of a novel character and yet related to one another by that idealism of form and conception which undoubtedly constitutes India’s contribution to the Art of the world.
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Specimens of old Indian sculpture have survived in ancient temples and shrines in a bewildering variety which still await systematic study.
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The author who is the Honorary Secretary of our Society has himself previously touched upon the subject of "Dravidian Sculpture" (*Modern Review*, January 1912) and "South Indian Portrait-sculpture (*Ibid*, January 1915). He now follows it up with the present work in which he has collected materials for the study of South Indian Bronzes and has made for the first time a survey of this branch of the wide-spreading Indian aesthetic field. His study of Shaivite sculpture is based on original sources, namely three Sanskrit manuscripts dealing with the Sculptors’ canons—*Kasyapiya*, *Agastiya*, and *Bramhiya* which are still unpublished and have not been utilised by any previous writer.
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According to the plan which the author has followed in dealing with the subject-matter he has refrained from commenting on the merits of individual work, but has rather attempted to understand the conditions and the atmosphere in which these works have been produced. In the descriptive notes to the plates are appended for each *icon* the texts from the sculptor's handbooks which are authorities for the identification of the subject-matter of each conception. The texts have thus afforded invaluable materials for the study of South Indian iconography which is, as yet, an uninvestigated field. For, after Ziegenbalg (*Genealogy of the South Indian Gods*, Madras, 1869) no serious attempt has been made to survey or study the South Indian Pantheon. The Government of Madras has instructed the Assistant Superintendent for Epigraphy to prepare a hand-book on the "Iconography of Southern India." This publication will no doubt fulfil a long-felt want. In the *Annales du Musee Guimet, Archeologie du Sud de l'Inde, Iconographie*, tome II has recently been published. Mr. T. Gopinath Rao of Travancore is also publishing a treatise on the same subject. In the examples dealt with in the present volume are included the splendid masterpieces discovered in Polonnaruwa, Ceylon. The author is of opinion that these interesting figures must be regarded as essentially South Indian in their conception and origin and can hardly be classed with the works of Sinhalese craftsmen. On the other hand, he has excluded the pre-historic bronzes discovered at Tinnevelly as in their character and origin, they are, according to his view, unrelated to the great School of Shaivite Sculpture, to which "South Indian Bronzes" as now understood specially relate, and therefore do not come within the scope of the present monograph.
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It has been the fashion amongst European art-critics to decry the merits of Brahmanical Sculpture on the ground of the alleged monstrosities of the Hindu *pauranic* conceptions, which, it has been said, are incapable of artistic treatment. The examples collected in this volume will, it is hoped, help to dispel such misconceptions and to refute the unjust criticisms which they have engendered, and will further a juster appreciation of the fact that Indian Sculpture is not a freak of Asiatic barbarism, but is a worthy representative of a school of æsthetic performance as logical, articulate and highly developed as those of any country in Europe, ancient or modern.
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Notwithstanding the rising interest in Indian Art to which I have referred this field of labour is still calling for workers. The subject is one in which the co-operation of both Indian and European students is necessary. As Mr. Gangoly, however, complains, too many of his countrymen still display an indifference to the magnificent achievements of their ancestors. The greater then will be the welcome which will be extended to an original work such as this the execution of which has been prompted by a genuine love and true appreciation of the art of this country and which has been carried out with such knowledge and sympathy.
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JOHN G. WOODROFFE.
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CALCUTTA, 24th January, 1915.
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the Roman world, and the most important events of the reign of Antoninus Pius, are related by his biographer, and the reader will not be sorry to find them here in a more concise form. The reign of Antoninus Pius is marked by the rare advantage of furnishing very few materials for history; which is only another mode of saying that its happiness was complete. During the twenty-three years of his administration, the Roman empire was governed by the same invariable maxims of justice and peace. The natives of a vast extent of country were protected by the same laws, and enjoyed the same privileges. The frontiers were defended by the same legions, and the same spirit of moderation and equity prevailed in the councils of the emperor. The death of Antoninus was lamented as a public calamity; and the memory of his virtues was preserved by the gratitude of his subjects, and the imitation of his successor.
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The reign of Marcus Aurelius Antoninus, which followed, was a period of great activity and of great events. The empire was attacked on all sides by the barbarians, and the emperor was obliged to spend the greater part of his life in the camp. He was a man of a mild and philosophical temper, and he would have preferred the quiet of the study to the tumult of the field. But he was a prince of a high sense of duty, and he did not shrink from the task which was imposed upon him. He defended the frontiers with vigour, and he defeated the enemies of Rome in many a hard-fought battle. His death was a loss to the empire, and it was felt by all classes of his subjects. He was the last of the good emperors, and with him the golden age of the Roman empire may be said to have terminated.
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The character of the Roman government, under the Antonines, was that of a mild and paternal despotism. The emperor was the source of all power, and his will was the law of the land. But he was restrained by the influence of the senate, and by the force of public opinion. The senate was still a body of great dignity and importance, and its members were the principal officers of the state. The emperor was careful to consult them on all matters of importance, and he was always ready to listen to their advice. The public opinion was also a powerful check upon the actions of the emperor. The people of Rome were still a proud and independent race, and they were not afraid to express their dissatisfaction with the measures of the government. The emperor was aware of this, and he was always careful to avoid any act that would be likely to give offence to the people.
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The administration of justice was one of the most important duties of the emperor. He was the supreme judge of the empire, and he was always ready to hear the complaints of his subjects. He was assisted by a council of jurists, who were the most learned men of the age. The laws were administered with impartiality, and the rights of the citizens were protected. The taxes were moderate, and they were collected with fairness. The public works were carried on with vigour, and the cities of the empire were adorned with magnificent buildings. The trade and commerce of the empire were encouraged, and the people were prosperous and happy. The Roman empire, under the Antonines, was a model of good government, and it was the envy of the world.