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Books > Art and Architecture > The Transformation of Nature in Art
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The Transformation of Nature in Art
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The Transformation of Nature in Art
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About the Book:

 

This is an unabridged reissue of a basic work upon Asiatic art principles first issued by Harvard University Press in 1934. Written with all the author's enormous erudition in art history, aesthetics oriental languages, philosophy and religion, it analyses the community of theory behind medieval European and Asiatic art. The author demonstrates that both differ radically from post-Renaissance European art because of a basic philosophic orientation on the part of the medieval and Indian artist. For both "art is religion, religion art, not related but the same."

To isolate a general theory of art, the author examines Indian and Chinese treatises on aesthetic theory and art manuals. He then examines the medieval European aesthetic in terms of the 14th century German mystic Meister Eckhart, whose genius enabled him to subsume and concentrate the spiritual being of Europe at its highest tension.

Further chapters investigate, through Indian texts, the psychology of the Indian viewer of art, while a medieval Hindu encyclopedia is analyzed for iconographic instruction. Aesthetic texts explains the oriental theory of ideal representation the nature of painting, the use of perspective and spatial relations, while the origin and use of images in India are described in a final provocative chapter.

This is a book not only for the orient list, the art historian, the philosopher, but also for the artist who realizes, with Dante, that "Who paints a figure, if he cannot be it, cannot draw it."

 

About the Author:

 

Ananda Kentish Coomaraswamy, the greatest among the Indian Art-historians, was born in Colombo on August 22, 1877. After graduating from the University of London, he became the Director of the Mineralogical Survey of Ceylon. Between 1906, and 1917, when he joined as the Curator of Indian art in the Boston Museum he was busy lecturing on Indian art and formed societies for the study of Indian art. In 1938, he became the Chairman of National Committee for India's Freedom. His contributions on Indian philosophy, religion, art and iconography, painting and literature are of the greatest importance as were his contributions on music, science and Islamic art. He died on September 9, 1947.

 

Contents

I.The Theory of Art in Asia1
II.Meister Eckhart's View of Art59
III.Reactions to Art in India97
IV.Aesthetic of the Sukranitisara111
V.Paroksa119
VI.Abhasa139
VII.Origin and Use of Images in India153
Notes171
Sanskrit Glossary215
List of Chinese Characters231
Bibliogrpahy235

Sample Pages











The Transformation of Nature in Art

Item Code:
IDD846
Cover:
Hardcover
Edition:
2014
ISBN:
978-81-215-0325-9
Language:
English
Size:
8.8" X 5.8"
Pages:
245
Other Details:
Weight of book 449 gms
Price:
$30.00   Shipping Free
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About the Book:

 

This is an unabridged reissue of a basic work upon Asiatic art principles first issued by Harvard University Press in 1934. Written with all the author's enormous erudition in art history, aesthetics oriental languages, philosophy and religion, it analyses the community of theory behind medieval European and Asiatic art. The author demonstrates that both differ radically from post-Renaissance European art because of a basic philosophic orientation on the part of the medieval and Indian artist. For both "art is religion, religion art, not related but the same."

To isolate a general theory of art, the author examines Indian and Chinese treatises on aesthetic theory and art manuals. He then examines the medieval European aesthetic in terms of the 14th century German mystic Meister Eckhart, whose genius enabled him to subsume and concentrate the spiritual being of Europe at its highest tension.

Further chapters investigate, through Indian texts, the psychology of the Indian viewer of art, while a medieval Hindu encyclopedia is analyzed for iconographic instruction. Aesthetic texts explains the oriental theory of ideal representation the nature of painting, the use of perspective and spatial relations, while the origin and use of images in India are described in a final provocative chapter.

This is a book not only for the orient list, the art historian, the philosopher, but also for the artist who realizes, with Dante, that "Who paints a figure, if he cannot be it, cannot draw it."

 

About the Author:

 

Ananda Kentish Coomaraswamy, the greatest among the Indian Art-historians, was born in Colombo on August 22, 1877. After graduating from the University of London, he became the Director of the Mineralogical Survey of Ceylon. Between 1906, and 1917, when he joined as the Curator of Indian art in the Boston Museum he was busy lecturing on Indian art and formed societies for the study of Indian art. In 1938, he became the Chairman of National Committee for India's Freedom. His contributions on Indian philosophy, religion, art and iconography, painting and literature are of the greatest importance as were his contributions on music, science and Islamic art. He died on September 9, 1947.

 

Contents

I.The Theory of Art in Asia1
II.Meister Eckhart's View of Art59
III.Reactions to Art in India97
IV.Aesthetic of the Sukranitisara111
V.Paroksa119
VI.Abhasa139
VII.Origin and Use of Images in India153
Notes171
Sanskrit Glossary215
List of Chinese Characters231
Bibliogrpahy235

Sample Pages











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  • Coomaraswamy is the greatest aesthete since Aristotle. Anyone who wants to understand beauty and truth etc. must read TONIA and THE CHRISTIAN AND ORIENTAL PHILOSOPHY OF ART, at least.
    by F. Armstrong Green on 6th Jun 2011
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