What do you think?
Rate this book
Indian Sculpture: Ancient, Classical and Mediaeval
The book surveys the structure of Indian sculpture in its relevant aspects. The underlying and essential qualities are viewed in their permanency throughout the special conditions that the single monuments imply. Their outward connections, geographical and chronological, are seen to resolve themselves into ethical problems and those of the artistic process itself.
While stylistical investigations are the basis of this book, Indian sculpture is dealt with as conditioned by the Indian craftsman. His consciousness makes him known to himself as a part of nature and his work is the form of this 'naturalism'. Its degree and aspects vary according to the levels of his consciousness.
While stylistical investigations are the basis of this book, Indian sculpture is dealt with as conditioned by the Indian craftsman. His consciousness makes him known to himself as a part of nature and his work is the form of this 'naturalism'. Its degree and aspects vary according to the levels of his consciousness.
300 pages, Hardcover
First published March 1, 2013
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 1 of 1 review
October 6, 2020
This book, originally published in 1933, is a monograph that contains seeds of a gamut of research papers within it. Dedicated to the doyen of modern education Sir Ashutosh Mukhopadhyay, it tries to draw the broad contour of Indian Sculpture as known at that time.
The book contains the following chapters~
I. Ancient Indian Sculpture (c. 3000 BC to 3rd Century BC):
2)
1. Sculpture of the Indus Valley
2. Mauryan Sculpture
II. Classical Sculpture (c. 200 BC to AD 800):
1) Foundations
2) Early Maturity
3) Transubstantiation
A. Inflexion
B. Fulfilment
III. Medieval Sculpture (c. AD 800 to 13th Century in North and 18th Century in South India)
IV. Essential Qualities
V. Explanation of 50 Black and White Plates, followed by Notes, Bibliography, Index and the said plates.
It goes without saying that the work has become rather dated by now. Concentrating upon the highlighted sculptures of that time, it misses almost all the major remains of Bengali sculptural style. While vigorously generalising the styles prevailing in the Deccan, it omits discussion on Ellora, Hampi and numerous other sites which are considered as jewels of Indian sculpture.
Nevertheless the book remains an essential read because of three reasons. These are~
Firstly, it unambiguously identifies the Sindhu-Saraswati Civilisation as the source of all indigenous art-styles that had evolved throughout the sub-continent.
Secondly, it clearly distinguishes Indian sculptural style from some of the other major styles (notably Egyptian ang Greco-Roman) in terms of the philosophy of the sculptor rather than available materials or diktats.
Thirdly, with the detailed description of the plates, the readers get exposed to exquisite details regarding the subject and its time.
Recommended.
The book contains the following chapters~
I. Ancient Indian Sculpture (c. 3000 BC to 3rd Century BC):
2)
1. Sculpture of the Indus Valley
2. Mauryan Sculpture
II. Classical Sculpture (c. 200 BC to AD 800):
1) Foundations
2) Early Maturity
3) Transubstantiation
A. Inflexion
B. Fulfilment
III. Medieval Sculpture (c. AD 800 to 13th Century in North and 18th Century in South India)
IV. Essential Qualities
V. Explanation of 50 Black and White Plates, followed by Notes, Bibliography, Index and the said plates.
It goes without saying that the work has become rather dated by now. Concentrating upon the highlighted sculptures of that time, it misses almost all the major remains of Bengali sculptural style. While vigorously generalising the styles prevailing in the Deccan, it omits discussion on Ellora, Hampi and numerous other sites which are considered as jewels of Indian sculpture.
Nevertheless the book remains an essential read because of three reasons. These are~
Firstly, it unambiguously identifies the Sindhu-Saraswati Civilisation as the source of all indigenous art-styles that had evolved throughout the sub-continent.
Secondly, it clearly distinguishes Indian sculptural style from some of the other major styles (notably Egyptian ang Greco-Roman) in terms of the philosophy of the sculptor rather than available materials or diktats.
Thirdly, with the detailed description of the plates, the readers get exposed to exquisite details regarding the subject and its time.
Recommended.
Displaying 1 - 1 of 1 review