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By Albert Grunwedel

Проф. А. Грюнведелю принадлежит честь первой попытки дать систематический обзор одного из главных отделов индийского искусства – буддийского. Книга эта уже в первом издании обратила на себя внимание специалистов, и второе, несколько дополненное и исправленное издание, ещё больше укрепило за проф. Грюнведелем право считаться одним из лучших знатоков искусства Индии.

Конечно, со времени выхода книги в ориенталистике уже наработан большой материал и опубликовано большое количество специализированных исследований по тем или иным отделам индийского искусства, получены новые данные археологии и т.д., и многие положения, отмеченные в исследовании А. Грюнведеля, могут уже считаться устаревшими и спорными. Однако, книга несомненно станет интересна всем, кто интересуется культурным наследием буддизма в Индии, как представляющая одну из значительных вех развития западной науки о Востоке.

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A. S. Seng. and Growse, Mathura, 3 Herodotus, Chinese, conf. Hirth, Fremde Einfliisse in d. Chin. Kunst, 1. vol. V, pp. 517, 567; Arch. Sur. 2nd. , 2d. ed. p. 156. lib. iii, c. 116; lib. iv, c. 13, vol. I, pp. 242-44; THE DWARF FORMS. DEMON-TYPE. DRAPERY. 35 causes the heads to appear disproportionately large, so that, in the case of accessory personages especially, the whole figure has someIn this thing childish and dwarfish about it (conf. fig. ). way real dwarfs appear, which are presumably connected with antique pigmy question, which types (conf.

1 In Persian mj-th, Iiidra is the demon opposed to the Ameshaspend Asha-Vahi#ta. Darmsteter, Zandavesta (Sao. Eks. of the East, vol. IV), vol. II, p. Ixxii, or in Ann. Mus. , torn. Ill, pp. xliv, xlv. B. BRAHMA. all MARA. DEVAPUTTRAS. SRI. 39 Mahabrahma, Brahma Sahampati or Pitamaha, is the greatest Devas. Though vastly inferior to Buddha, he rules the second the Trailokya regions which is beyond the the Brahma heaven, Kamadevalokas. He called of of Rupavachara, symbol of has, as a sovereignty, a silver chhattra (Pali, chhatta)^ Mararaja, the third of these Devas, is variously named Vasavattimara, Namuchi, Papiyan, Kamadhaturaja, Krishna, Pisuna, &c.

Lib. iii, c. 116; lib. iv, c. 13, vol. I, pp. 242-44; THE DWARF FORMS. DEMON-TYPE. DRAPERY. 35 causes the heads to appear disproportionately large, so that, in the case of accessory personages especially, the whole figure has someIn this thing childish and dwarfish about it (conf. fig. ). way real dwarfs appear, which are presumably connected with antique pigmy question, which types (conf. fig. 11). This demands much preliminary in- vestigation, cannot here be discussed in detail. Still it may be said that they represent the basis of the thick-set, dwarfish type of demon that appears later and extends into Lamaist It seems not to be without purpose that the dwarf capital appears on the west gateway at Sancht, since the architrave represents the attack of the demons on the Bodhi-tree.

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Buddhist Art in India by Albert Grunwedel


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