[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day](https://indike.org/pramana/ins.art.smith-1911) › c7.42 # A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c7.42 A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c7.42 - **Language:** English ### [c7.42](https://indike.org/pramana/ins.art.smith-1911.c7.42) The judgement of M. Le Bon, that Indian art is distinguished by ‘striking originality’, may, I think, be accepted. Notwithstanding the endless diversity of races, creeds, customs, and languages, India as a whole has a character of her own which is reflected in her art. A peculiar people necessarily produces a peculiar and essentially original art. India, of course, has borrowed many things from abroad during the long course of the ages, but it is a trite observation, easily proved by many instances, that she always so transmutes her borrowings as to make them her own. Such transmutation is equivalent to originality. - [Previous: c7.41](https://indike.org/pramana/ins.art.smith-1911.c7.41) - [Next: c7.43](https://indike.org/pramana/ins.art.smith-1911.c7.43) - [Up: c7](https://indike.org/pramana/ins.art.smith-1911.c7) --- Source: [https://indike.org/pramana/ins.art.smith-1911.c7.42](https://indike.org/pramana/ins.art.smith-1911.c7.42) · Pramāṇa