Art of India. Vincent Arthur SmithЧитать онлайн книгу.
tradition has come into being which may rightly be designated medieval. The art of the great cave-temples gives place to the art of the temple-cities of Bhubaneswar and Khajuraho, where the literary tradition crystallizes into the iconographical forms of the sastras.
In the south an imposing architecture is found to survive up to the end of the seventeenth century, and the art of casting in bronze produces great works of art, few of which can, however, be dated in the last century. It is necessary to discriminate, and to acknowledge decadence and poor craftsmanship. Having taken its place among the arts of the world, Indian art belongs to the world. The future of art in India is another matter, chiefly concerning educationalists.
Traditions have died and the symbols that embodied them have died with them, but regret for the out-worn creed is ineffectual. New traditions and new symbols are surely in the making. Proteus and Triton have become empty names, but the sea remains. Nothing is lost but a dream, or rather the means of expressing a dream.
Indian religious history must be unfolded against a background of primitive conflict and superstition. The Vedas, in spite of their antiquity, cannot be accepted as the sole source of religious thought in India, or as anything but a critical and highly selective representation of this unvoiced and necessarily formless background. This relationship between Hinduism and the primitive, between the formulated philosophy of the schools and the worship and propitiation born of the vague fears and desires of masses, is present throughout the history of India, both religious and political. The Atharva Veda was not known to the early Buddhist writers but its practices and beliefs cannot be separated from the more altruistic and poetical polytheism of the less popular, more orthodox (but not more ancient) collections. In the same way the powers and manifestations of the puranas and epics are not necessarily modern because they do not appear in the Veda; in a sense they are more ancient, being native to the soil. Vedic thaumaturgy and theosophy were never the faith of India. The countless mother goddesses and village guardians of the South lie closer to the real heart of Indian religion, a numberless pantheon, superficially identified with Hinduism but radically distinct and unchanged.
Khajuraho Group of Monuments (detail of the Vishvanath Temple with amatory sculptures), 1020, Chandella Dynasty. Sandstone. Khajuraho, Madhya Pradesh.
Among these lesser gods that keep their place on the fringes of the orthodox are to be found spirits of the earth and of the mountain; the Four Guardians Gods of the Quarters with Vessavana-Kuvera at their head; Gandharvas, heavenly musicians; Nagas, the snake-people who have their world beneath the waters of streams, but who sometimes are identified with the tree spirits; and Garudas, half men, half birds who are the deadly foes of the Nagas. These diminished godlings must be regarded as the last remnant of a whole host of forgotten powers, once mighty and to be placated, each in its own place. Strange beings of another sphere, they could not wholly be passed over either by Hindu or Buddhist. Vessavana-Kuvera appears on one of the pillars of the Bharhut railing, as does also Sirima Devata (goddess of fortune). The latter also received acknowledgement at the hands of the compilers of the Satapatha Brahmana who were forced to invent a legend to account for her existence. In the Taittiriya Upanishad she is again fitly mentioned in company with the moon and the sun and the earth. At Sanchi, she is to be recognized exactly as she is still represented in painted and gilt marble at Jaipur, seated upon lotus, lustrated by two elephants.
The Maha-samaya Sutta describes a gathering of all the great gods to pay reverence to the Buddha in the Great Forest at Kapilavatthu. Dhatarattha, king of the East, Virulhaka, king of the South, Virupakkha, king of the West, and Kuvera, king of the North arrive with their Yaksha host and all their vassals. The Nagas come from Nabhasa, Vesali, Tacchaka, and Yamuna, among them Eravana. Their enemies, the twice-born Garudas, too, are there and also the Asuras, dwellers in the ocean. Fire, Earth, Air, and Water are present, and the Vedic gods, and lastly the powers of Mara (demon of temptation) who bids creation rejoice at his own defeat at the Buddha’s hands.
Another list of the same description, but possibly earlier, is to be found in the Atanatiya. Both lists are, patently, the outcome of a priestly attempt to bring these hundred and one strange spirits and godlings within the sphere of Buddhist teaching, by representing them as gathered in hosts at the Buddha’s feet. The group of Yakshas, Yakshinis, and Devatas carved upon the stone pillars of the stupa railing at Bharhut fulfil exactly the same function. They are manifestly earth-born and possess something of the delicate beauty of all forest creatures. They seem beneficent enough, but their manifestation here is admittedly chosen to serve Buddhist ends. Like all primitive powers, they are exacting in their demands and when neglected or provoked their anger is implacable and cruel. They are adorned with earthly jewels to represent the treasures they have in their gift, but are to be more closely identified with the trees under which they stand and the forest flowers they hold.
This cult of trees and tree spirits has a long history. In the sculptures of the early period (2nd-1st century B. C. E.) the Buddhas are represented only by symbols, among which are their distinctive trees. Gautama attained enlightenment seated beneath the Asvattha or pipal tree. In the Atharvaveda it is said that the gods of the third heaven are seated under the Asvattha and it may also be the ‘tree with fair foliage’ of the Rigveda under which Yama and the blessed are said to pass their time. In the Upanishads, the tree spirits have definitely materialized. They, like all things, are subject to rebirth. If the spirit leaves, the tree withers and dies, but the spirit is immortal. In the Jatakas, these tree spirits play a great part, being worshipped with perfumes, flowers, and food. They dwell in many kinds of trees but the banyan seems most popular. The scarlet-flowered silk-cotton tree and the sal tree as well as the pipal retain their sanctity today. The goddess of the sal is worshipped as giver of rain by the Oraons of Chota Nagpur, and in South Mirzapur the Korwas place the shrine of Dharti Mata under its branches. In the Jatakas more than once animal and even human sacrifices are spoken of in connexion with tree worship. Today the slaughter of roosters and goats is added to the more usual offering of flowers and sweetmeats, in extreme cases of propitiation.
The character and functions of these deities correspond closely to those of the mother goddesses of Southern India. Among these are Mariamma, goddess of smallpox, Kaliamma, of beasts and forest demons, Huliamma, a tiger goddess, Ghantalamma, who wears bells, and Mamillamma, she who sits beneath the mango tree.
However, it is usually made plain that these are but different names for the one great goddess. In Hindu hands, this female pantheon appears as the Ashta Sakti or eight female powers. But a more primitive group is that of the Sapta Kannigais or seven virgins, tutelary deities of temple tanks. In Mysore, too, a similar group of seven sister goddesses, vaguely identified with the Shivait mythology is found. However, they and all the mother goddesses are distinguished from the true gods of Hinduism by the fact that they are acknowledged to be local in their influence, warding off or inflicting calamities of various kinds, but strictly limited in their sphere of action. Still more limited are the powers of temple tanks, trees, and groves which periodically are alternately propitiated and exorcised, but are, as a whole, unsubstantial in personality and short lived.
It is against this complex background of creed and culture that Indian philosophy and Indian art, and all things Indian, must be viewed. Here lies philosophy, the origin of the lovely treatment of flower and fruit at the hands of Indian sculptors and painters, and also of the imagination that kindled their vision and gave such dynamic power to their designs.
Indian philosophy begins with Vedic speculations, or rather questionings as to existence and the creation. The unformulated philosophy of the Upanishads sprang from these and from it the pantheistic Vedanta system was evolved. As a foil to this existed from early times the atheistic Sankhya system, upon the reasoning of which Buddhism and Jainism were founded. At the root of everything lies adrishta (the unseen), that is, the acceptance of metensomatosis and a cycle of existences (samsara) modified only by action (karma). At the root is ignorance, avidya. From ignorance comes desire, which leads to action, so the wheel revolves within the wheel. The Vedanta doctrine derived from the Upanishads taught the absolute identity of the individual soul with the spirit of the universe ‘That is the Eternal in which space is woven and which is interwoven with it… There is no other seer, no other hearer, no other thinker, no other knower…’ ‘From this identification