| Specifications |
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Publisher: Gyan Publishing House, New Delhi |
| Author Phanindra Nath Bose | |
| Language: English | |
| Pages: 115 | |
| Cover: HARDCOVER | |
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9.00x6.00 inch |
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Weight 330 gm |
| Edition: 2025 | |
| ISBN: 9789371697620 | |
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HBV722 |
| Delivery and Return Policies |
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Usually ships in 4 days |
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Returns and Exchanges accepted within 7 days |
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Free Delivery |
By Dr. James H. Cousins, D. Litt.
In this treatise on the canons of Indian art and the æsthetical principles on which they were founded, Professor Bose adds to the debt of gratitude, already considerable, which students of human culture owe him for his painstaking researches in regions not ordinarily accessible, and for making them available to the general reader.
It is true that all authentic creative art springs from inner impulses beyond the touch of tradition. But it is equally true that the moment suchan impulse is put into expression, it is inevitably connected with matters of method, materials and environment which pass along from artist to artist and from age to age certain distinctive qualities that make their own history of racial and national peculiarity of art-expression. Geographical and climatic conditions impart certain continuing elements. Political circumstances introduce modifications. But behind external circumstances, and working through them, is the fundamental conception as to the nature of the universe and the relation of humanity to that universe which produces the general attitude to life and art. Where a cultural tradition has not suffered, a complete break, such as Egypt, Greece and Italy have suffered, but is continuous, as in the case of India, the lapse of time puts little or no psychological distance between past and present. The thougts and feelings that moved the ancients to creative expression are potent in the moderns. Time brings its elaborations and sophistications, in externals, but leaves the foundations of inner life unmoved.
There is, therefore, a double value in a work such as that which Professor Bose has here undertaken. To scientific scholarship it presents gifts of facts and a guide to more. To artists and lovers of art it opens doors to an understanding of impulses and ideas which have moved vaguely within them; and brings a realisation of the truth that the creative artists of to-day in India are not merely heirs to a cultural estate that was established in a distant golden age and passes with increasing thinness from generation to generation, but that they are themselves, as were their progenitors, direct and immediate participators in an eternal creative activity which only asks the same devotion, discipline and high purpose as it found in the artists of the past in order to attain the same glorious results in the present.
I have tried, in the following pages, to set forth the Indian point of view of the Indian Art, which has a long history be-hind it. It is a happy sign that the art-critics, both Indisu and European, are nowadays paying more attention to India Esthetics. In India, we have artcritics like Dr. A. N. Tagore, Mr. O. C. Ganguly, Dr. A. Coomarswami Mr. B. K. Sarkar and others. The principles of Indian Silpasāstra as expounded by Indian acaryas, have, however, received scanty attention. I have gathered together those principles in this book.
My thanks are due to Pandit Nitavinod Goswami and Sj: A. Chalamaya for their valuable suggestions.
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