The Himalayas In Indian Art
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The author reveals that this monograph, which represents the Forlong Bequest Lectures given at the School of Oriental Studies, 1924, offers a new approach to the study of Indian art, by way of the Himalayas-certainly the surest and most direct path for arriving at the central ideas of the Indian artist and craftsman. Public interest for the moment is concentrated on Himalayan scientific exploration. The Himalayas offer equal opportunities for artistic research: they have always been the pivot of Indian religious art. The Indian order of architecture, the design of Indian temples, and the symbolism of the principal figures in Indian iconography are all focused on the Himalayas. Since the publication of his Indian Sculpture and Painting in 1908 the literature of Indian art has been constantly growing; the present work is partly a summary, partly a revision, and partly a completion of his previous studies. It presents concisely the leading ideas of the Indian temple builder, sculptor, and painter, and connects the artistic traditions of India with Indian daily life and work. The book is profusely illustrated to delineate the subject in a proper way to make it more interesting.
Ernest Binfield Havell (1861 – 1934), who published under the name E.B. Havell, was an influential English arts administrator, art historian and author of numerous books about Indian art and architecture. He was a member of the Havell family of artists and art educators. He was the principal of the Government School of Art, Calcutta from 1896 to 1905, where, along with Abanindranath Tagore, he developed a style of art and art education based on Indian rather than Western models, which led to the foundation of the Bengal school of art.In India, Havell initially served the Madras School of Art as Superintendent for a decade from 1884. He arrived Calcutta on 5th July 1896 and joined as Superintendent of the Government School of Art, Calcutta next day. In between, he went to England for a year from April 1902 to March 1903. While in England, he published two valuable articles on Indian art in October 1902 and January 1903 issues of a well known art journal of London, The Studio. In January 1906 he left for England on long leave and finally in 1908, he was removed from the post.
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