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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Additional info for Buddhist Art in India
Not Indian, and has perhaps a remote connexion with the representations of Silenus that have been found at Mathura. 3 Although the framework of the figure is in the Perso-Indian style, at any and the corresponding equestrian figures represent nations, regarded as living far away in the North-west. foreign The whole series of these figures those mounted on goats, on dromedaries, on lions present a distinct contrast to the Hindus rate this The mythical-geographical conceptions on riding on elephants.
6 the sacred texts testify in extravagant terms to the buildings He is said to have had 84,000 stupas king's zeal for the faith. erected in different parts of his wide realm and to have gifted his whole kingdom to Buddha's followers several times, receiving it ; ; from them again. But the most striking O witnesses to his zeal for Buddha's doctrines These documents, which are unique among the are his edicts. inscriptions of antiquity, relate that Piyadasi, the king "beloved of the gods," interested himself in the faith and its professors, that he endeavoured to establish the sacred tradition, that he had roads, wells, and hospitals made for the use of all living creatures.
With the omission of the figure elements Jaina buildings, in turn, became the models for the trellis and stone filigree work of the Muhammadans in their buildings at Ahmadabad and elsewhere see then, that belongs to a different chapter of Indian art. early Indian sculpture had an auxiliary in an ancient, indigenous, and deeply rooted branch of art though, it is true it was only in the hands of an artizan class. When working in stone began it was We : INFLUENCE OF WOOD-CARVING. in modelling, but an obstacle in the way of development.