Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c5.2

c5.2

The female type in Indian art—Prajnâparamitâ, Saraswati, and Târâ—Durgâ and Kâlî—Barbaric elements in Indian art—Orthodox Hindu teaching differentiated from the Buddhist—Sukracharya and the keynote of Indian art—Hindu aversion to anthropomorphic images—The Hindu conception of the form of God—The superhuman type in Hindu and Buddhist sculpture—Dharmapala and Manjusri—The Trimûrti—Durgâ slaying Mahisha—Indian sculpture and its architectural environment—The sculpture at Elephanta—Siva as Bhairava—The Ellora Caves—Ravana under Kailâsa—Narasinha and Hiranya-kasipu—The apparent rarity of Indian masterpieces—Idealism and naturalism—Bronze figure of Siva as Natesa—Hari-hara—Ganesha—Târanâtha's history of the Indian schools of sculpture and painting—Some of the esoteric causes of the decadence of Indian sculpture—The value of tradition in art . . . . . . . 51–82