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This book is a collection of four lectures delivered by Dr. Mot Chandra, Director of the Prince of Wales Museum, Bombay, at the University of Pennsylvania under the auspices of the Committee for the Rabindranath Tagore Lectureship. These lectures are a survey of the history, characteristics and development of Indeian painting from the fith century to about A.D. 1550.
In his first lecture, Dr. Moti Chandra has examined the Ajanta and Bagh frescoes from the technical point of view. He dwells upon the technique, the method of presentation, and the presence of foreign elements, specially Iranian, to support the different schools of thought which place the paintings in different periods. The artists followed the data and conventions laid down in the technical literature of the period. He also gives examples of paintings executed in this period in Afghnistan and Central Asia for a comparative study.
The study of miniature painting on palm-leaf, painted wooden covers and paintings on cloth, roughly dating from the ninth century to the thirteenth century, form the subject of the second lecture. The chief aim of these miniatures is to enhance the magical and sacred character of the boks and their appeal is mainly iconographic. He proves that the fundamental concepts of the Eastern and the Western Indian Schools of painting are strikingly similar, introducing some new naterial in the process.
Dr. Moti Chandra examines from different angles the development of the Western Indian miniature painting from simple iconographic concepts to regular pictorial compositions in his third lecture. The painters no longer confined themselves to painting Jain subjects; Hindu subjects and love poems, too, began to receive equal attention.
The assimilation of Persian motifs in the early fifteenth century, the evolution of mixed styles and new modes of expression are discussed in the last lecture. The process of evolution was slow as the painters, trained in a hieratic tradition, were slow to realize the possibilities of the new modes of expression. However, once assimilated, these elements lost their freshness and became conventional; several new styles of paintingburst forth in the sixteenth century. The treatement of the landscape and a varied richness of colours are the outstanding freatures of the paintings of the period.
The book is profusely illustrated in colour and black-and-white; they formed part of Dr. Moti Chandra's lectures. He discusses each topic with a thoroughness and clarity that is both illuminating and exviting. For students of Indian art and the specialist alike, the present work will be an invaluable addition to the subject.
Condition of the book: Usable; but the pages and cover look old
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