Art of India and Southeast Asia by Hugo. MUNSTERBERG

By Hugo. MUNSTERBERG

The humanities of the lndian subcontinent and of these surrounding lands that fell lower than its inventive impression are center given an unmatched pictorial remedy. the luxurious illustrations and informative textual content of this ebook hold the tale from the earliest facts of civilization at such websites as Mohenjo-Daro and Harappa within the 3rd millennium b.c. to the beautiful items of the Rajput and Pahari faculties of miniature portray of a few hundred years in the past.

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Schist, height 25". d. Collection, Tokyo 34 Boney Head of Buddha, from Gandhara. Schist. d. Archaeological Department of Pakistan, Lahore While the early Buddhist artists used symbols to represent the presence of the Buddha, beginning with the Kushan rule during the era, century of the Christian first Sakyamuni Buddha was depicted human form. This practice probably occurred in the in first Gandhara province of northwestern India, today a part of Pakistan, sical where there had been a marked clas- both from late deriving influence Roman The most notable of these Gandharan icons was that of the Buddha seated in the position of a yogi.

Erected as memorials for at the Buddha, they are among the most all the Buddhist architectural the characteristic of monuments. Although form may change and the name applied structures may differ from place to place to these and period to period, the basic concept of the stupa remains the in all the countries again, as in so much same which embrace Buddhism. Here of Indian art, a profound symbol- ism permeates the entire structure. The base represents the earth, the curved elevation the dome of the sky, the square boxlike shape on top the palace of the thirtythree gods, while the umbrella crowning the whole Buddha who stands for the royal rule of the is supreme over earth, heaven, and the ancient Vedic gods.

Sandstone. C. Eastern gate of Great Stupa at Sanchi. Sandstone, height 34'. c. ; On the panels decorating the pillars and the crossbeams over the gates, there are relief carvings depicting scenes connected with the Buddhist faith. The Buddha himself, however, is never represented. His presence is indicated diamond throne of the Buddha the wheel which stood for his preaching because it was likened to the turning of the Wheel of the Law; the trident symbolizing the Holy Trinity consisting of the Buddha, the Law, and the Buddhist Community; and by religious emblems such as the bodhi tree symbolizing his Enlightenment the ; Sculptured panel showing Buddhist miracle, on gate pillar at Sanchi.

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