Download PDF by Albert Grunwedel: Buddhist Art in India

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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Vol. VII, p. 1001. Fergusson and Burgess, Cave Temples, pp. 171-177; Goblet d'Alviella, Ce I'Inde doit a la Grece, pp. 44-48. 2 7 qiie REMAINING MONUMENTS. ; stupas of Man iky a la, Sarnath, Sanchi, and Amaravati: stone railings with gates at Barahat near Ka/ak, 5. SKETCH MAP OF INDIA WITH THE NAMES OF THE PRINCIPAL THE BUDDHIST PEKIOD. SITES OF (Bharhut or Bharaut), M a t h u r a, Gaya, Sanchi, and Amaravati. The second group, the so-called Graeco-Buddhist, or rather, as Fergusson first called it, that of the Gandhara monasteries, GANDHARA, UDAYAGIRI, BARAHAT, GAYA.

12. Epig. , vol. II, p. 314, pi. ii, fig. 6. The aprons that strike one are doubtbe regarded as leaves, and have a noteworthy parallel in the relief in tLe British Museum, Jour. Ind. Art and Industry, vol. VIII (1898), pi. xvii, 1, or sep. , The Jaina relief is also a companion piece to ill. 23. East Asian pi. xv, 1, and p. 16. tradition, which represents the Tiryagyonis as centaurs, proves that the buman-fnced oxen on the Jaina relief indicate the centaurs as representations of the animal kingdom - J"-*in the arose ; less to CONVENTIONAL PLANTS.

3). The broad disi)f the full-blown flower is^employed in all positions as_a_clecoration and, owing to_its resemblance to the w-hgel,is a favourite subject. In contrast with Assyrian art, which cuts the orna- | 3. PA ment through, like wallAT SANCHI. paper, where the wall to be decorated ends, the flower In spite of the lying under the capital in fig. 3 is turned upwards. this of the character preference predominantly picturesque pattern, 1 Originally the wings were only externally attached symbols of speed.

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Buddhist Art in India by Albert Grunwedel


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