A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c19.4

c19.4

In this chapter a few pages will be devoted to the art of calligraphy as displayed in coinage, to the rare figure types on coins and gems, and to the exceptional attempts at stone sculpture in the round or in high relief. They will be followed by a condensed account of the leading forms of Musalman architectural decoration arranged under the heads of Calligraphy and Decorative Reliefs, Lattices, Inlay and Mosaic, and Enamelled Tiles. No attempt will be made to follow the Muhammadan decorator in his treatment of minor objects of luxury, which is essentially the same as that of architectural ornament. Even in his floral designs the tendency of the Muslim artist is in favour of a formal, over-symmetrical conventionalism, calculated to harmonize with his favourite geometrical patterns. Akbar's taste inclined to a more interesting naturalism, as displayed in the exquisite ornament on his cenotaph executed a few years after his death, and designed in his spirit. The small number of works selected for description and reproduction will, it is hoped, be sufficient to enable the reader to form a fair judgement of the general character of Indo-Muhammadan decoration in its various forms, and to appreciate the high excellence of that decoration within the limits prescribed by religion and usage. The art of painting, in the exercise of which greater liberty was assumed, will be discussed at considerable length in the concluding chapter. The student will thus have at his disposal a summary review of the whole field of Indo-Muhammadan art subject to the limitations imposed by the plan of this book.