Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c4: Contents
Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c4
- Language
- English
Contents
c4.1
PART I
c4.2
SCULPTURE
c4.3
CHAPTER I
c4.4
INTRODUCTORY
c4.5
| | PAGES |
| Indian fine art still unknown to Europe—The archæological view of Indian art . . . . . . | 1—11 |
c4.6
CHAPTER II
c4.7
THE DEGRADATION OF INDIAN ART
c4.8
The condition of art in India since the latter half of the seventeenth century—Aurangzîb—The commencement of British rule and its influence on Indian art—Schools of art in India—The Calcutta Art Gallery—The two great epochs of Indian art . . . 12—22
c4.9
CHAPTER III
c4.10
THE DIVINE IDEAL IN INDIAN ART
c4.11
The essential difference between the art-philosophy of the West and that of the East—The ideals of Greece and of the Italian Renaissance—Analogy between Indian art and Gothic—The Divine ideal in Indian art—The Yogi—Buddha as the Great Yogi—Types of Buddhist sculpture from Bôrôbudûr, Anuradhapura, Sarnath, Tibet, and Nepal, showing the traditions of the Indian Divine ideal from about the sixth century down to the present day—The archæological interpretation of this ideal and the true one—The marks of divinity in images of Buddha—The Gandharan school and its true position in Indian art—Gandharan sculpture compared with debased modern Indian—The Indian ideal compared with modern European sculpture—Date of its evolution . . . . . . 23–50