The ancient and medieval architecture of India: a study of Indo-Aryan civilisation

GANDHARAN COURT FASHIONS

117

the

same

honest, but

hopeless,

misconceptions. Thereisalso

acurioussuggestion

of modern

commercialism inthe

average

workoftheGandharancraftsmen. Onecaneasily
imaginethem

cryingtheirwares inthe manner ofthe
Western shopkeeper

:

"

Large stock

ofOlympian godsin latest

fashiontosuitevery

taste.

Correct Baktrian images, as

supplied to the Royal

Court," etc.

!

The profound

critical

error which Western writers

have

madeisinsupposing that these newcourt fashions,

imported

fromthe

West,wereanymore inspiringtoIndo-Aryan

artists

at the

beginning of the Christian era than

the "styles" of

architecture,

principlesofanatomyandperspective

nowtaught

in Indian schoolsofart. Asahistoricalchapterin Indianart

theGandharanschoolisonlyinterestingforitsgradualassimila-

tionsof Indianideals. Exceptforafewtechnicalmannerisms,

Indo-Aryanartremained uninfluencedbyit.

Butthe

effectoftheencouragementwhichitgavetoIndian

sculptureandpaintingwasvery

vital. From the

beginningof

the Christian era Indian

sculptors and painters

began to

vie

with others in creating images

showing

the Deity

in

every

aspect,

as symbols ofphilosophic concepts, and to beused as

aidstomeditation.

Thesttlpabecamea shrineinwhichgold,

silver, bronze, or stone

images of

Jain

and Buddhist saints,

of Vishnu or of Siva,were placed. The

dedication of such

iconsasvotive

offeringsbecamethe dutyofdevout

Hindusof

everysect.

Thesameprecautionsweretakenby

theBrahmanicalsects

topreventimage

worshipbeingregarded

asanythingmorethan

a helpandpreparation

forthosewho

wereunabletograspthe

abstruse

conceptionsof

Vedicphilosophy. The

Vedic Rishis

hadsaid

:

"The

vulgar look

for their gods in water;

men of

widerknowledgein

celestialbodies

;

theignorantinwood,clay,

orstone; but

thewisest

menintheUniversal

Self." Similarly

8*