About the Book
"History of Indian and Indonesian Art" is a comprehensive side examining traditions of both India and study Indonesia. Authored by leading art historians, the book provides a detailed exploration of the rich cultural heritage and artistic expressions of these regions. It delves into various aspects of Indian and Indonesian art, including architecture, sculpture, painting, and decorative arts, tracing their evolution through different periods and dynasties. The book offers insights into the socio-cultural influences, religious beliefs, and historical contexts that shaped artistic developments in both countries. Through detailed analysis and scholarly interpretation, it highlights the unique characteristics, stylistic variations, and aesthetic sensibilities of Indian and Indonesian art forms. With numerous illustrations, photographs, and diagrams, the book enhances the reader's understanding and appreciation of the diverse artistic traditions of India and Indonesia, making it an invaluable resource for students, scholars, and art enthusiasts interested in the cultural heritage of these regions.
About the Author
Ananda K. Coomaraswamy (1877-1947) was a pioneering figure in the field of Indian art history and philosophy. Born in Sri Lanka and educated in England, he made significant contributions to the understanding and appreciation of Indian art and culture. Coomaraswamy's works delved into various aspects of Indian art, architecture, symbolism, and aesthetics, emphasizing the spiritual and philosophical underpinnings of artistic expression. His writings, which spanned topics such as Hinduism, Buddhism, and traditional craftsmanship, helped bridge the gap between Eastern and Western perspectives on art. Coomaraswamy's profound insights continue to inspire scholars, artists, and enthusiasts worldwide, leaving an enduring legacy in the study of Indian art and philosophy.
Preface
Like all students of Indian art, I am deeply indebted to the Archaeological Survey of India. The work of this organisation in the time of Cunningham, and in more recent years under the guidance of Sir John Marshall, provides in the Memoirs and Reports an indispensable source of information, of which the recent sensational discoveries in Sind are only the latest example. In the present work the following illustrations are reproduced by permission
from photographs taken by the Survey: Nos. 1-6, 11-19,22,28,40, 58-60,65-67. 69, 693, 72, 73, 81-84, 89, 90, 102-105, 137, 138, 155-158, 163-168, 171, 176, 186, 199, 203-203, 218, 226, 233, 235, 248, 251, 257, 311-314. To the Archaeological Survey of Gwalior I am indebted for Nos. 178, 183; the Archaeological Survey of Kashmir, Nos. 232; the Archaeological Survey of Ceylon, No. 184; the Direction des Arts Cambodians, Phnoth Peň, Nos. 324, 323, 333, 364; the Oudheidkundige Dienst in Java for Nos. 345-48, 352, 355. 319-362, 366, 380; and to the Publicity Department of the Great Indian Pen-insular Railway for Nos. 35, 234. The following are from photographs by the Lucknow Museum, Nos. 71, 74-79, 86, 222, 223; Rajshahi Museum, No. 227; Indian Museum, Calcutta, No. 47; Colombo Museum, Nos, 289, 290, 296; Victoria and Albert Museum, London, Nr. 382; Birmingham Museum and Art Gallery, No. 160; Manchester Museum, No. 133; British Museum, No. 88; Field Museum, Chicago, No. 95; Detroit Institute of Arts, No. 91; Metropolitan Museum of Art, New York, No. 259; Fogg Art Museum, No. 335; University Museum, Philadelphia, Nos. 80, 224, 225, 272; Cleveland Museum of Art, No. 338; Museum of Fine Arts, Boston, Nos. 23, 57, 70, 85, 93, 94, 96-98, 109, 114, 121, 122, 125, 126, 131, 159, 228, 230, 242, 244, 246, 255a and b, 258, 260, 261, 264, 266, 270, 271, 276-278, 280, 281, 297-299, 322, 336, 337, 365, 368-370, 392-395, 397-400. I have to thank Mr. W. F. Barden for No. 328; Mrs. W. E. Briggs for No. 326; M. G. Coedès for No. 323; Mr. Davis Ewing, Nos. 288, 327, 331; M. Victor Goloubew for Nos. 181, 182, 195, 198; Mr. H. Gravely for Nos. 197, 256; Mr. S. Hadaway for No. 234; the Hon. G. Kemp for Nos. 305-307; Mr. H. Kevorkian for No. 229; Mr. Thornton Oakley for No. 262; M. H. Parmentier for Nos. 341, 342; Pandit Rai Bahadur Radha Krishna for Nos. 20, 21, 92; Dr Denman Ross for Nos. 200, 201, 208, 240, 316, 317; Herm R. Samson for Nos. 319, 321; Mr. H. L. H. Shuttleworth, for No. 273; Mr. D. V. Thompson, Jr. for No. 196; and Messrs. Yamanaka. for No. 87. Messrs. Johnston and Hoffmann have kindly permitted the use of their photos reproduced in figures 9, 11, 24-27, 32-34, 36, 53, 61, 148, 152, 153, 179, 180, 185, 188, 194, 202, 214-216, 219-221, 237, 253, 279, 282, 302-304; and the Lux Photo Studio, Garoet, Java of No. 317 The following are from the Lodia Office and old India Museum negs -116, 139, 140-147.134.174.174.177. The following are from my own Deg 197-19320200811, 213, 747,449, 410, No. 201 is by Messrs, Plate, Colombo ₩ 268, 260, 291, 292-294, 300, 309.311. tives: No. 19. 10ータジュタイ-16, 63, 64, 76, 149, 151, 161, 169.173.173.306, 167, 371373-376,178,379,381,385――191。 196. The sources of a few others, taken from published works, are mentioned in
the descriptions of the Plates. proofs and revising the index. I am very grateful to Miss Mary Fairbank for her assistance in reading the fint proof to Dr. Hermann Goets in Berlin both for his translation and final revision, to Dr. Wilhelm Olbrich in Leipzig for reading all intermediate Attention may be called to some special features of the present volume.
The latest available information regarding Indo-Sumerian finds is embodied; the early architecture as represented in reliefs and on coins has been rather fully illustrated: the origin of the Buddha image is discussed in some detail: a synthetic survey of Farther Indian and Indonesian arts is for the first time attempted. Space did not permit a treatment of Musalman art in India, and works dealing exclusively with this phase of Indian art are omitted from the Bibliography. The Bibliography and references in the footnotes, though not exhaustive, will provide a sufficient guide to the student. It may be remarked that the author has personally visited, often on several occasions, most of the sites and museums referred to.
The usually accepted International scheme of transliteration has been followed: specifically indicated in Sanskrit words and names. In the case of a few Indian but the quantity of the vowels and e, always long in Sanskrit, has not been the scientific transliteration is retained. Some words, c. g. yaksa, rakeba will be met place names, such as "Lucknow", properly Lakhnau, the accepted rather than place names I have not always been able to secure an adequate transliteration. with both in Sanskrit and in Pali forms. In the case of Farther Indian and Indonesian
laces regards pronunciation, it may be remarked that the vowels should be pronounced as in Italian; it is important to remember that a (short) should be pronounced like a in America, never like a in man. C should be pronounced like co. in church, & and a like sb in ship. In the case of kb, gh &c., the aspirate should be distinctly heard. H is like Ch in loch; the sound of kb and go in Persian words such as Mughal is somewhat similar. Most of the other consonants may be
pronounced approximately as in English.
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