Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c6: Chapter I
Indian Sculpture and Painting, Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals c6
- Language
- English
Chapter I
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RELIGIOUS SCHOOLS
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Scope of this section—The existing examples of pictorial art in India—The antiquity of Indian painting—References to picture-painting in Indian literature—The Ajanta cave-paintings and Western influence—The paintings of Sîgiri, in Ceylon—The survival of the traditions of Indian painting in Tibet and China—The symbolism of colour in Indian art—Two painted banners from Tibet—Modern religious painting in India . . . . . . . . 153–179
c6.3
CHAPTER II
c6.4
MOGUL SECULAR ART
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The Mongolian invasion of Western Asia and its effect upon art—Oriental craftsmen as missionaries of civilisation—Their influence in Byzantine and Gothic art—The rise of the Mogul school of painting—Chinese influence in Indian painting—A picture by Shapur, of Khorasan—A wounded lion—Indian miniature painting in the reign of Akbar and Jahangir—Rembrandt and his use of Indian miniature paintings . . . 180–204
c6.6
CHAPTER III
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INDIAN MINIATURE PAINTING
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The miniature paintings of the Mogul school from the sixteenth century down to the present day—Outline-drawing and its relation to calligraphy—Portrait of Ytikad Khan—Prince Murad on the Elephant Iqbal—A portrait of Sa‘di—Painted portraiture—Portrait of Suraj Mal by Nanha—Studies of birds by Mansur—Study of a turkey-cock and Jahangir's commentary—A group of Muhammadans—Mogul painting of the nude figure—A Persian artist taught in Rome—Landscape painting in Mogul art—Night and effects of artificial light—*Genre*—Popular art of the present day—The Indian painters' outlook upon nature—National art culture—Studies of Anglo-Indians by a native artist of the Georgian period—A sound basis for the revival of Indian painting . . . . . 205-234
c6.9
THE FUTURE OF INDIAN ART
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Summary—The psychology of Indian art—Anglo-Indian influence—Art and university education—The social position of Indian artists, past and present—The Taj Mahal and its modern counterpart—Art administration in the present day—Public opinion and modern artistic taste—Ravi Vurma and his art—The artists of New India—Abanindro Nath Tagore and his pupils—A renaissance in Indian painting—The Indian Society of Oriental Art and its work . . . . 235-266
c6.11
APPENDIX
c6.12
THE INDIAN PROCESS OF *FRESCO BUONO* . . . 267-274