Language: English 
Pages: 130(B & W Illus : 5, Figure Illus: 34)\nPreface 
The City of BENARES has long been known to Europe as the principle seat of Hindoo learning and superstition, and as the stronghold of the Brahminical faith in modern times. Its extent and importance have been magnified in all ages, and its wonders depicted in colors far too vivid to be correct. But it has always possessed enough of real attraction to the curious in Indian manners and literature, and deservedly, therefore, occupies a prominent place in the relations of Indian Travellers. Amongst others of less note, the descriptions of TAVERNIER and HEBER will long continue to be read with interest:-the former, as a lively picture of Benaresw in 1668, before the prostration of its temples by AURUNGZEBE, and while there yet remained some vestiges of the splendor of its idolatries; the latter, as introducing the reader, in the amiable prelate's agreeable and instructive manner, to Benares, as it appeared to him on his visit in 1825. 
The pencil, though not entirely idle, has hitherto done little to bring the Holy City to the notice of Europe. Sketches of the place, as viewed from the river, are indeed to be found in he volumes both of HEBER and LORD VALENTIA; but they are executed with little either of minuteness or fidelity. A fine drawing of Dusaswumedh Ghat is also to be met with in the magnificent Oriental Portfolio of DANIELL: but these detached views convey to the European reader a very faint idea of the town and its population,-certainly not enough to satisfy curiosity regarding a place which exhibits a larger remnant of the external characteristics of Hindoo taste and habits, than is to be met with in any other Eastern city within the pale of British dominion. 
The specimens here presented to the public have no pretension to vie with the works

Benares Illustrated

History

James Prinsep

Asia

Vishwavidyalaya Prakashan Varanasi

Language: English Pages: 288 (B &amp; W Illus: 165,) About the Book:Indian art has a long history and is a subject of great importance as expressing the soul of Indian civilisation. Its value is equal to that of Indian religion, philosophy and literature, which are all to be tapped as perennial sources for the understanding of Indian art-forms. Indian art is to be studied at two different levels, viz. the external form and the inner meaning. Up to now it has been usual to approach Indian art from the external point of view, i.e. the objective description of images, statuary, architectural buildings and monuments. That is quite correct and essential as the primary basis of approach. But there is also the other side of the medal, viz. the esoteric 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 may be able to recover the true and full significance of the Indian mind as expressed in the creations of art. Indian artists were, no doubt, interested in beautiful forms and aesthetic problems. They handled a vast and varied repertoire of geometrical, floral, arboreal, 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-Siva, 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.

Studies in Indian Art

Arts & Photography

V. S. AGRAWAL

History & Criticism

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