Buddhist Art in India by Albert Grunwedel

By Albert Grunwedel

Проф. А. Грюнведелю принадлежит честь первой попытки дать систематический обзор одного из главных отделов индийского искусства – буддийского. Книга эта уже в первом издании обратила на себя внимание специалистов, и второе, несколько дополненное и исправленное издание, ещё больше укрепило за проф. Грюнведелем право считаться одним из лучших знатоков искусства Индии.

Конечно, со времени выхода книги в ориенталистике уже наработан большой материал и опубликовано большое количество специализированных исследований по тем или иным отделам индийского искусства, получены новые данные археологии и т.д., и многие положения, отмеченные в исследовании А. Грюнведеля, могут уже считаться устаревшими и спорными. Однако, книга несомненно станет интересна всем, кто интересуется культурным наследием буддизма в Индии, как представляющая одну из значительных вех развития западной науки о Востоке.

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Ktr\an,aiwydor\ha) about his waist ; and is usually represented in a drawn by four (or seven) horses, and attended by two females. Examples of this divinity occur on a pillar of the old rail at Gaya, in the early cave at Bhaja, and in the Ananta cave at Udayagiri. 3 With these we terminate the types of chariot national gods represented as human beings so far as they come under our consideration. ie. PILLAR FIGURE FROM For the sculptors of that age it was more BARAHAT DESCRIBED IN B INSCRIPTION AS THE difficult to represent " the other mythological .....

15, note 2; Goblet conf, also G, Biihler, Epig. Ind. } THE DIFFERENT CLASSES OF MONUMENTS. 2O accommodation to the ornamental design is noteworthy. "The Hindu sculptor does not care for purely geometrical designs, and so we frequently find creepers with aquatic birds, &c... jjThe two outer sides of the east gateway at Sanchi are a good example of this. While on the left side the design is carried out as geometrically as is permitted in Indian art, the Birds flit about among the creeper on the right side is full of life.

Manifest the rudest misconceptions. The on the sculptures of the older period are seen clothed in the loin-cloth only, but their ornaments and head-dresses are all the more rich. The long loin-cloth, reaching to the ankles, since the sculptor is sometimes treated as transparent, and is then indicated by representing lacked the means of expressing his idea the figure without covering, yet so that the edge of a garment is The upper part of visible over the ankles and between the legs. the uncovered this light kind of dress is still to be is women body always : Tree and Serp.

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