The book Studies in Indian Art is a collection of my papers on the subject of Indian art contributed to various Journals. They cover a wide range of subjects as sculpture, archi tecture, painting. importance as expressing the soul of Indian civilisation. Its value in equal to that of Indian and aesthetics. Indian art has a long history and is a subject of great religion, philosophy and literature, which are all to he tapped as perennial sources for the understanding of Indian art-forms. Indian art inner meaning Up to now it has been usual to approach Indian art from the external point to be studied at two different levels, viz. the external form and the of view, in the objective description of images, statuary, architectural buildings and monumente, That is quite correct and essential as the primary basis of approach. But there in also the other side of the medal, viz. the easteric side which consists in the study of meaning and purpose of art of which the roots lie hidden in Indian religion and philosophy. By looking at these two with equal insight one maybe able to recover the true and full significance of the Indian mind expressed in the creations of art. In the essays assembled here we have given equal emphasis both on the external form and the inner meaning. Indian art consists of many great Schools of local and national character through which the soul of India found its adequate expression, which has been recorded in the religious and classical literature of the country. As such art is vested in a wide terminology found in literature and Silpa texta. We believe in extracting this material with as much care as possible. This is a new approach about which much more needs to be done. This will reveal the truth of Indian art in a more intimate manner. Indian artists were, no doubt, interested in beautiful forms and aesthetic problemsn. They handled a vast and varied repertoire of geometrical, floral, arborial, animal and human forms but their greatest interest or appeal was to the divine figures, a rich pantheon of gods and goddesses who filled the centre of the picture and whose endless glory and great splendour was of real interest to human beings. Nothing affords greater pleasure to the Indian art critic than to feel divine presence of great gods like Rudra-Šiva, and Vishnu, of goddesses like Sri-Lakshmi and Parvati or such divine personages as Buddha and Tirthankara. This calls for a new approach both in the art connoisseur or the sculptor or painter. The papers collected here just make the first attempt to invoke this point of view. In the essays like "The Alphabet of Indian Art Symbolism', 'Lalita-Kala' we have handled the subject with the point of view in which the vista of interest is much extended and various strands of art, religion and philosophy are put together to deepen the springs of aesthetic joy, so far as Indian art is concerned. Indian art is full of hundreds of tepics of an auspicious or symbolic character. The paper on Parnaghaps is one instance of it. The Harieeshda given a list of 108 auspicious signa (Ankfottarabata mänpalika ohikoa) and a standing call comes to the investigator to explore the field much further. Srt-Lakshmi is another fascinating subject. There has been extensive mingling of forme in making of divine and art forms. Sri-Lakshmi, Parpaghata, Padmavana, Diggaja, these several elements became mingled in evolving art-form of a very charming character, The Kalpospikeka or the wish-fulfilling tree of braven Jas a similar appeal and presents a long evolution controlling the decoration of the great Stapas and railings. The Porpaghata waa known as Parpakumbha, Indrakumbha, Somakalaśa, Chandana-Kalasa, Pürņa Virakäthsya, (Dropa-Parva II, 29), Bhadraghata, Mangalaghața. It was from the time of the Bigveda where a girl bearing auspicious pitcher was known as Udakakumbhini well known auspicious symbol (RV. I. 191. 14) same as the Pürpakumbhanari of the Atharvavoda. In religious processions in a standard team of eight auspicious maidens there was one called Pürņakumbhakanyä mentioned in the Valmiki Ramayana (Sundara Kanda) and the Lalitavistara (VII. p. 71). In the paper on the Great Stüpa of Bharhut an explanation is offered for the first time of the auspicious motifs of the land of Uttarakuru and of what gushing reception they received in the decoration of such great Stapas as at Bharhut, Sanchi, Amaravati. This discovery bestows new interest on the study of the making of these monuments. Certainly their embellishment was organised on the basis of folk-beliefs of long standing. In the paper on the Pre-Kushina Art of Mathura the material about the Yaksha in early Indian art and specially at Mathura was brought together for the first time and has its value even today. The Mathura school of sculpture has been my special field and a bunch of 15 papers appertains to the various aspects of the Mathura school. The section of Gupta Art is a class by itself. This was the epoch of Indian aesthetic endeavour and the few articles given here are only by way of a path-finding. The subject is very vast and attractive. The Siva lingam from Nachna Kuthara is a perfect example of the beautiful creation of the Gupta School. The artist appears to have almost illustrated the description of Yogiśvara Siva of the Kumarasambhava of Kalidasa. [3.44-51.]p>
VS Agrawal refers to several notable people and entities, most prominently Dr. Vasudeva Sharan Agrawala (1904-1966), a renowned Indian scholar of ancient culture, literature, and art, celebrated for his contributions to Indology and works like Padmavat Sanjivani Vyakhya
Studies in Indian Art by V.S. Agrawal is a foundational book exploring Indian art through its external forms (sculpture, architecture, painting) and deeper spiritual meanings, linking art to Indian philosophy, religion, and approach to understanding India's literature, offering a comprehensive cultural heritage for academics and enthusiasts alike. The work emphasizes understanding the esoteric side of art, using traditional texts as sources, and covers various facets like decorative art and archaeology.
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