About the Book
This book attempts to study the Indo-Iranian art. It throws light on the comparative study of Ancient Indian and Iranian art. It also shows the cultural link between the Pre-Aryan Iran and Pre-Aryan India by comparing the Vedas with the Avesta. It also clear that through all the ages and changes the whole art of Ancient India and Iran has been strongly reminiscent of the character, forms and colours. This book is divided into six chapters including conclusive remarks. Towards the end there are appendices i.e., Appendix I and Appendix II which survey the Ancient Indian Art and Compares their contents with those of the Iranian Art. This work substantially represents the doctoral thesis which has been approved for the award of Ph.D the degree to the author. Dr. Sabir Hussain Khan has examined the comparative study mainly on the basis of the standard English translation to reconstruct a detailed picture of art of Ancient India and Iran. Though the focus is primarily on Indo-Iranian art during change of dynasties. Iconography and painting also has been noticed. Photographs are also given at the end. Briefly I hope this book will add to our understanding of a rather less familiar Iranian Art.
About the Author
Dr. Sabir Hussain Khan born in the Saran District of Bihar. He obtained his M.A. (Ancient Indian History & Archaeology, Patna University, Patna) degree and thereafter he passed the examination for the degree of Ph.D from Patna University in the year 2007. His field of interest is social history of Ancient India and countries other than India. He was awarded Junior Research Fellowship of the ICHR (Delhi) from 2005 to 2007. Currently he is engaged in preparing a number of research papers. His several articles including "Indian & Iranian Ornament During Ancient Period", "Calligraphy of Iran" etc. He has also keen interest in archaeological sites of India.
Acknowledgment
I wish to express my gratitude to all those who helped me in the presentations of the book. First, I would like to thank my guide Dr. Nisha Verma (Reader, Department of Ancient Indian History & Archaeology, Patna University, Patna) who took every pain to guide me in the framing of the book and collecting the materials. She gave me all the necessary assistance. She always encouraged me in my designing and writing the book. I do not have any proper word to express my deep sense of gratitude to Dr. Arun Kumar Singh (Prof & Head of the Department of Ancient Indian History & Archaeol-ogy, Patna University, Patna) who providing me all possible and valuable help through-out the period of work. In preparation of this book I am heartly indebted to my respected teacher and scholar of repute Dr. S.S. Sahai (Ex. Reader, Ancient Indian History culture and Archaeology, Town post-Graduate College, Purvanchal University) who in spite of his own busy sched-ules invinced great interest and gave top priority to its early completion. I am also greatly indebted to Dr. Shatrughne Saran Singh (Prof. Ancient Indian History & Archaeology, Patna University) for his interest and valuable suggestions which were of tremendous help. I am also thankful to the faculty members and staff of the Department of Ancient Indian History & Archaeology, Dr. J.D. Mishra, Dr. Navin Kumar, Dr. B.K. Jamuar, Dr. D.P. Kamal, Dr. Md. Sayeed Alam, Dr. Dilip Kumar, Dr. Navin Kumar Arya, Dr. Badar Ara, Dr. R.K. Jha, Dr. G. Jaiswal, Dr. Jai Hind Pandit, Dr. Kanchan Sinha, Sri Lalan Kuamr Prasad, Sri. D.P. Yadav, Sri. Vinod Kumar for their help and encouragement during my work. I would be failing in my duties if I fail to thank the "Indian Council of Historical Research (ICHR)" New Delhi for the monetary support it extended during my research work. I have special word of thanks for the staff members of the "Indian Council of Historical research (ICHR)" New Delhi vho showed their interest and believed in my potentiality to complete my work.
Introduction
This chapter is a humble attempt to present a comparative study of ancient Indian art and ancient Iranian art. On the whole, formal elements in Indian art represent purely mental attitudes. This makes it largely introspective. The idea, as in Yoga, is to do away with all distracting influences and fugitive emotions. This makes environment in Indian art secondary. The main concern of Indian iconography, even when it adopts certain features in ornaments, costumes, etc. from contemporary life, is religious and metaphysical. The question of environment in Indian art needs to be viewed in the context of the idea of Sadrishya in Hindu aesthetics, which does not imply naturalism, verisimilitude, illustration or illusion in any superficial sense. What really matters is Pramana, "creation of truth", which means "ideal proportion". According to Hindu aesthetics, particularly during medieval period, art is essentially conventional, for it is only by convention that nature can be made intelligible, and only by signs and symbols that communication is made possible. That is why symbols play such a crucial role in Indian art. Convention in this view has no derogatory implication as in the case of decadent art. It boils down to a set of formulae evolved to express the true meaning of the objects that artists paint or sculpt. Methods of responding space in art will always respond more or less to contemporary habits of vision, and this is all that is required for art. Perspective is nothing, but the means, employed to convey to the spectator, the idea of 3-dimensional space, and among the different kinds of perspective, which art has made use of in different ages, the one claiming to be "scientific" has no particular advantage from the aesthetic point of view. Very often Indian artists make representation of nature in their work purely symbolical.
Send as free online greeting card
Email a Friend
Visual Search
Manage Wishlist