A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c22: Addenda

A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c22

Language: English

Addenda

c22.1

Page 25. ‘According to the old Brāhmaṇas of Ayodhyā, there was no place in the whole of Orissa so rich in ancient monuments, temples, and images, except it be Bhuvaneçvara. In fact, ruins of more than 100 temples are still found strewn all over the place’ (*Arch. Survey of Mayūrabhanja*, vol. i, text, p. 87).

c22.2

Page 84. A very early Jain statue of Pārśvanātha from Kośāli (*Arch. Survey of Mayūrabhanja*, vol. i, Introd., p. xliii, Fig. 20).

c22.3

Pages 184, 190–8. The Archaeological Survey of Mayūrabhanja, the largest and most northerly of the Orissan tributary states, throws much light on the history of the Orissan school of sculpture. The illustrations represent many works of considerable artistic merit.

c22.4

Buddhist remains are numerous, and proof is given that Buddhism in a corrupt form survives to the present day (Nagendranāth Vasu, M.R.A.S., *Arch. Survey of Mayūrabhanja*, vol. i, thick 8vo, published by the Mayūrabhanja State; preface dated 1 January, 1911; received in October).

c22.5

Page 264. ‘The beautiful and artistic images of this place [Manināgeśvara] bear a remarkable similarity with the ancient images of Hindu gods and goddesses discovered in Java. It is not improbable that the artists of Kaliṅga went from here to Java to make these images’ (*Arch. Survey of Mayūrabhanja*, vol. i, text, p. 107, Figs. 7, &c.).

c22.6

Pages 302, 306. Examples of mediaeval Hindu painting exist in Bengal and Orissa; e. g. portraits of two religious reformers at Gopivallabhapur in Midnapur District (*Arch. Survey of Mayūrabhanja*, vol. i, Introd., p. ciii, Fig. 55); wall-paintings at Haripur (ibid., text, p. 25); water-colour portrait of Chaitanya, ‘a rare specimen of art,’ preserved at Kunjaghāṭā Rājabātī near Murshīdābād (ibid., text, p. 35. This picture, painted between A. D. 1512 and 1533, is reproduced in colours as frontispiece to Dinesh Chandra Sen, *History of Bengali Language and Literature*, thick 8vo, 1911, published by the University of Calcutta. This learned work was received in October).

c22.7

Page 316. The Lahore Museum has lately acquired at a cost of Rs. 3090 a set of twelve Tibetan banners, including one which represents the Wheel of Life, and others illustrating various scenes from Buddhist legend, which may be compared with the Gandhāra sculptures. The best, ‘a real masterpiece,’ is a figure of Padmasambhava, who converted Tibet to Buddhism (*Ann. Progr. Rep. Supert. of Hindu and Buddhist Monuments, N. Circle*, 1910–11).

c22.8

Page 326. The Archaeological Department has lately acquired in Kāngrā 220 pictures of historical and mythical subjects showing great artistic skill, of which most are deposited in the Lahore Museum. A few specimens are kept in the Delhi Museum (ibid.).

c22.9

Page 366. A remarkable and life-like portrait image of the Bengālī religious reformer, Chaitanya, made of *nīm* wood, is preserved with two other images at a hut in Pratāpapur (*Arch. Survey of Mayūrabhanja*, vol. i, Introd., p. c, Fig. 54, text, pp. 32, 35).