... arrive at a clear understanding of what is the essential aim, inner turn and motive, spiritual method which differentiate Indian painting first from occidental work and then from the nearer and more kindred art of other countries of Asia. The spirit and motive of Indian painting are in their centre of conception and shaping force of sight identical with the inspiring vision of Indian sculpture. All... the difference in the spiritual value of the achievement, and the unique character of Indian painting, the peculiar appeal of the art of Ajanta springs from the remarkably inward, spiritual and psychic turn which was given to the artistic conception and method by the pervading genius of Indian culture. Indian painting no more than Indian architecture and sculpture could escape from its absorbing motive... example, the portraits of the queens of King Kashyapa at Sigiriya, the historic representation of a Persian embassy or the landing of Vijaya in Ceylon. And we may fairly assume that all along Indian painting both Buddhist and Hindu covered much the same kind of ground as the later Rajput work in a more ample fashion and with a more antique greatness of spirit and was in its ensemble an interpretation ...
... religion, culture and life of the Indian people. The six essential elements described in the Indian shastra of Indian painting can be considered to be something that is common in painting everywhere. But the Indian shastra gives us the evidence of self-consciousness of the Indian painting that was presented since early times. The six limbs of Indian art refer, first, to the distinction of forms, ... This is true even where the subject is not spiritual or religious but secular. Ldvarxya in Indian painting is again a charm and beauty of that which is subtle, of that which is psychic and spiritual. Physical beauty is not the only beauty in the world; this truth is vividly illustrated in the Indian painting. The deeper we travel in the heart and thought, in the soul and in the spirit, the deeper we... reproduced in the image of the outward shapes of the world in which we live. Indeed, there is vividness, naturalness, reality, but it is more than a physical reality. We do not turn to Indian painting in order to study the science of anatomy. We turn to study the reality of the soul, to experience a vivid naturalness of psychic truth. We turn to it to perceive the convincing spirit of the form ...
... religion, culture and life of the Indian people. The six essential elements described in the Indian shastra of Indian painting can be considered to be something that is common in painting everywhere. But the Indian shastra gives us the evidence of self-consciousness of the Indian painting that was presented since early times. The six limbs of Indian art refer, first, to the distinction of forms, ... This is true even where the subject is not spiritual or religious but secular. Ldvanya in Indian painting is again a charm and beauty of that which is subtle, of that which is psychic and spiritual. Physical beauty is not the only beauty in the world; this truth is vividly illustrated in the Indian painting. The deeper we travel in the heart and thought, in the soul and in the spirit, the deeper we... are not reproduced in the image of the outward shapes of the world in which we live. Indeed, there is vividness, naturalness, reality, but it is more than a physical reality. We do not turn to Indian painting in order to Page 480 study the science of anatomy. We turn to study the reality of the soul, to experience a vivid naturalness of psychic truth. We turn to it to perceive the convincing ...
... ed the fact that all these paintings were a natural product of the so called Western Indian style, which in turn was clearly derived from classical Indian painting of the fifth century, thus establishing the essential continuity of Indian painting. Page 80 Let us reflect one moment on this remark: the actions of the human beings in these paintings spring from the natural ... disposition of the mind What does it mean except that the body painted there is nothing but the direct representation of an inner state? Here we are touching upon the unique character of Indian painting and the peculiar appeal of this art, which springs from the remarkably inward, spiritual and psychic turn which was and psychic turn which was given to it by the pervading genius of Indian culture ...
... competence and the seeing critical eye. But everyone who has at all the Indian spirit and feeling, can at least give some account of the main, the central things which constitute for him the appeal of Indian painting, sculpture and architecture. This is all that I shall attempt, for it will be in itself the best defence and justification of Indian culture on its side of aesthetic significance. The criticism... mind in its natural poise finds it almost or quite as difficult really, that is to say, spiritually to understand the arts of Europe, as the ordinary European mind to enter into the spirit of Indian painting and sculpture. I have seen a comparison made between a feminine Indian figure and a Greek Aphrodite which illustrates the difficulty in an extreme form. The critic tells me that the Indian figure... if I can get something at least of the deeper thing I want behind it,—and I find myself turning away from the work of one of the greatest Italian masters to satisfy myself with some "barbaric" Indian painting or statue, some calm unfathomable Buddha, bronze Shiva or eighteen-armed Durga slaying the Asuras. But the cause of my failure is there, that I am seeking for something which was not meant in the ...
... their work?" 35 All discussions on Indian painting must start - and end - with the Ajanta marvels. Even in their ruins they are a silent reminder to us that at one time - two thousand years ago - the whole country must have witnessed a similar splendour of artistic activity. This means a tradition of at least two millenniums, placing Indian painting on a par with Indian architecture and sculpture ...
... attention to Indian work and assigned it a high place in the artistic creation of the East and even the average European writer has been partly compelled to understand that Indian statuary and Indian painting have canons of their own and cannot be judged either by a Hellenistic or a realistic standard. More salutary still, the mind of the educated Indian has received a useful shock and may perhaps now ...
... law and ideal of a great and high ethical and religious spirit in life and aim in their highest intention at the idea of the Divine and the way of the mounting soul in the action of the world. Indian painting, sculpture and architecture did not refuse service to the aesthetic satisfaction and interpretation of the social, civic and individual life of the human being; these things, as all evidences show ...
... builders, the grandeur and the boldness of outline and wealth of colour and minute decorative execution of the Ramayana suggest rather a transcript into literature of the spirit and style of Indian painting... On one side is portrayed an ideal manhood, a divine beauty of virtue and ethical order, a civilisation founded on the Dharma and realising an exaltation of the moral ideal which is presented ...
... India. Their Buddhist images have Indian inspiration: it is only later that they developed their own lines. Modern artists are putting an end to art. Vulgarisation every where! NIRODBARAN: Indian painting is not yet so bad as European. People are not following the leaders of modernism here, Rabindranath Tagore as a painter is not much imitated. Perhaps because of Abanindranath Tagore and Nandalal ...
... Indian languages (c) Great literary masters: a detailed study of one of them. 3. Indian Art: (a) The aim of Indian art (b) An in-depth of one of the schools of Indian painting, dance, drama, sculpture or architecture (c) Folklore and folk dances (d) Indian arts and crafts 4. Indian Philosophy and Science: Page 198 (a) Methods of ...
... builders; the grandeur and the boldness of outline and wealth of colour and minute decorative execution of the R ā m ā yana suggest rather a transcript into literature of the spirit and style of Indian painting. * * * On one side is portrayed an ideal manhood, a divine beauty of virtue and ethical order, a civilisation founded on the Dharma and realising an Page 29 ...
... new forms, preferably with the intellect. This idea of creating new forms is not new to Eastern art. In India this right has already been conceded long ago. You have only to look at authentic Indian painting or sculpture to convince yourself of the truth of what I say. While granting this right they only put one condition: Create "new" forms, but create beauty, create forms with beauty. Many ...
... Aurobindo : No. It does not come from the mental plane; at best it is from the vital mind – or vital mental – that it comes. Page 218 22-6-1924 (An article on Modern Indian Painting by 0. C. Gangooly) Sri Aurobindo : It is very well written and is illuminating. But I don't understand why he says that those who are not acquainted with Indian subjects would not understand ...
... on of a strong and vivid astral dream. The difference between this and the psychic manner of the East will at once appear to anyone who turns to the much less powerful but gracious and subtle Indian painting in the first number. Another article of some interest on "Art and History" by John M. Thorburn gives us much writing in an attractive style Page 626 and some suggestive ideas, but ...
... Indian builders, the grandeur and boldness of outline and wealth of colour and minute decorative execution of the Ramayana suggest rather a transcript into literature of the spirit and style of Indian painting. The epic poet has taken here also as his subject an Itihasa, an ancient tale or legend associated with an old Indian dynasty and filled it in with detail from myth and folklore, but has exalted ...
... in England had published sympathetic appreciations of Indian art and energetic propagandists like Mr. Havell had persevered in their labour, that the European vision is opening to the secret of Indian painting & sculpture. But the art of Japan presented certain outward characteristics on which the European could readily seize. Japanese painting had already begun to make its way into Europe even before ...
... Indian music as you guide in the poetry. SRI AUROBINDO: Why not? When Sahana used to sing, the Mother could detect wrong notes at once. Music is a question of the ear. The Mother doesn't know Indian painting. She paints in oils. So how does she direct the artists here? She is not an architect but she finds mistakes in the plans of a building or in its execution, which Chandulal hasn't seen, and ...
... Coomaraswamy (1877-1947), the renowned Sinhalese art connoisseur and critic, and by Ordhendu Coomar Gangoly (1881-1974) who wrote illuminating articles on Page 49 'modern' Indian painting. Aban Thakur had supporters in his huge ancestral home, Jorasanko. He always acknowledged that his uncle Rabindranath was his chief mentor. He also shared to some extent his uncle's literary gift ...
... On Art - Addresses and Writings Some Extract from Sri Aurobindo's "Significance of Indian Art" I "Indian architecture, painting, sculpture are not only intimately one in inspiration with the Central things in Indian philosophy, religion, yoga, culture,-but a specially intense expression of their significance". II "The great artistic... between great European and great Indian work. " III "The highest business of art is to disclose something of the self, the Infinite, the Divine to the regard of the soul, the self through its expressions, the infinite through its living finite symbols, the Divine through his powers. " IV The first primitive object of art of painting is to illustrate life and Nature... character and emotion and action. This is a common form of aesthetic work in Europe; but in Indian art it is never Page 82 the governing motive. The sensuous appeal is there, but it is refined into one and not the chief element of the richness of a soul of psychic grace and beauty which is for the Indian artist the true beauty, - Lavanya: the dramatic motive is subordinated and made only ...
... religion which he can no longer dismiss as a barbarous superstition. In art I shall not turn to the opinion of the average European who knows nothing of the spirit, meaning or technique of Indian architecture, painting and sculpture. For the first I shall consult some recognised authority like Fergusson; for the others if critics like Mr. Havell are to be dismissed as partisans, I can at least learn something... A Defence of Indian Culture A Defence of Indian Culture A Rationalistic Critic on Indian Culture The Renaissance in India I A Rationalistic Critic on Indian Culture - 1 When we try to appreciate a culture, and when that culture is the one in which we have grown up or from which we draw our governing ideals and are likely from overpartiality to minimise... taken as the type of the characteristic Western or anti-Indian regard on our culture, was certainly not of this character. It is not only that here we have a wholesale and unsparing condemnation, a picture all shade and no light: that is a recommendation, for Mr. Archer's professed object was to challenge the enthusiastic canonisation of Indian culture by its admirers in the character of a devil's advocate ...
... Landscape Paintings 14. Ceramics 15. Sculpture 16. Glass Painting 17. Basholi, Guler-Kangra and Sikh Lepakshi Painting 18. Batik Painting 19. Indian Murals Paintings 20. Indian Folk Paintings 21. Silk Paintings 22. South Indian form of Painting (Thanjavur) 23. Atavahana Paintings (2nd century B .C. to 2nd century A,D.) 24. Kushana School... modem Indian languages; i) Indian authors in English: Rabindranath Tagore and Sri Aurobindo. Class X The curriculum of class X will be devoted to Indian Art. Special reference to: a) Indian concept of Art; illustrations in Poetry, Music, Painting, Architecture and Sculpture; b) Various stages of development in Art, particularly paintings. ... c) Outstanding paintings, right up to Mughal period; d) Indian architecture, temples, palaces, churches, Gurudwaras and others; Mughal architecture in India: Importance of Taj Mahal. Page 244 Class XI a) Systems of Indian Philosophy: Main schools and their fundamental doctrines; b) Indian ethics: outline study of ethics and yoga of Geeta ...
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