Archaeology Magazine - March 1951 - 60

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NOTICES

ClassicalIndian Sculpture,by Chintamoni Kar. vi, 38 pages, 64 plates. Alec
Tiranti, London 1950 6s.
Fortunatelyfor those lookingfor general information on Indian art the most
recentbook of the Chaptersin Art series
deals with Indian sculpture from the
Maurya through the Gupta periods.
The eighty-six illustrations were selected "chiefly because of their sculptural qualities" and were well chosen
from such rich collectionsas those from
Bharut in the Indian Museum, Calcutta; Mathura in the Lucknow Museum; the British Museum'sLate Andra
Amaravati; and the Victoria and Albert's Gandhara sculptures. Many of
these are often seen, but a few lesser
known works of considerable merit
wereincluded,such as the ascetic'shead
in the Gordon Collection,England, and
the standing bronze Buddha of the Birmingham Museum.
In the historical background the author explains the lack of accurate dates
and points of disagreement.He intends
to straddle the fence, but the position
is rarely sufficiently comfortable to
maintain. Despite his statement (page
1) that ". . . this Irido-Sumerian art
does not seem to have any links with
that of the later period of the so-called
Vedic time," one of the interesting features of the conservativearts of India
is the continuityof such motives as the
mother goddess,the multi-armed figure,
the sacred animal, and the anatomical
structure of the human image from prehistoric times into historic times. They
are at least revivals,if they did not exist
in someway during the interveningcenturies. Mr. Kar places his faith in local
craftsmen,rarely missesan opportunity
to point out West Asian influences,and
in connectionwith Gandhara art says,
"It is impossibleto classify the periods
of progress and decline of this school,
since few sculptures bear any helpful
inscriptions or a marked differencein
style" (page 17). Convincingattempts
on this subject have been made. In true
Indian scholarly tradition the effectsof
this school on subsequent art in India
are minimized.
The general iconographicalinformation so essential for the understanding
of Indian art is clear and concise.The
Descriptive Notes accompanying the
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BOOKS

plates explain the subject matter adequately in most cases; occasionallythey
are tantalizingly brief. Short descriptions of the sculptures are not always
well expressed, as the listless stucco
head (62) in the Victoria and Albert
Museumis called "an excellentexample
of vivacious youth."
The spirit of Buddhismis responsible
for the developmentand formation of
Indian sculpture between 300 B.c. and
500 A.D.,the period covered by this
book; it is regretted that the title is
ClassicalIndian Sculpture.This term is
explained,but many styles occur in the
evolutionof sculpture during these centuries (including the classical Gandhara); some flourish simultaneously.
Within these styles works of varying
degreesof quality are describedin such
incompatibleterms as "archaic," ^decadent," "Graeco-Roman," "idealized,"
"Hellenistic,"and "classical."This academic and ambiguousword need not be
used to confuseIndian art also.
J. Edward Kidder, Jr.
Washington University

monly employed long, before 350 B.c.,
the fish plates according to Robinson
going back to 500 b.c.
Except for a brief introduction reviewing the work at Olynthus, the volume is given over entirelyto a catalogue
description, and illustrations of the
vases. There is always a questionin the
publication of excavations as to how
much material should be included in
the description of objects and how
many illustrations of fairly well known
types of finds should be presented.The
volumes on Olynthus have been lavish
and the present one is no exception.
This necessarilyincreases the price of
the book. On the other hand, with the
publication of tremendous numbers of
vessels of common ware, Robinson is
able to trace for the first time the
changes in shape in the first half of the
fourth century.
Special mention might be made
among the rich red-figured vases of
the three Olynthian red-figuredpainters
to whom Robinson ascribessome new
finds; of the fine lebes gamikos described on pages 107-109; and of the
Excavations at Olynthus, Part XIII. red-figuredlid of a lecanis describedon
Vasesfound in 1934and 1938,by David pages 119-121.The lebes gamikos was
M. Robinson, xix, 463 pages, frontis- published in Olynthus VIII, page 95,
piece, 267 plates. The Johns Hopkins but at that time was incorrectlyrestored
Press, Baltimore 1950 (The Johns Hop- with the base above. On the lid of the
kins University Studies in Archaeology, lecanis are representationsof an orienNo. 38) $25.00
tal head, leopards and eagle griffins.
This thirteenth volume of the great Robinson takes the occasion to sumseries on Olynthus, Robinson speaks marize the development of griffins in
of as a supplement to Part V in which Mediterranean art. He concludes that
were published the vases found in the vases with griffin sceneswere exported
first two campaigns.It is rather difficult from Athens to widely scattered reto think of so large and important a gions.
I cite the griffin more as an example
volume as being a supplement to anything, but one may say that Parts V and of Robinson's method than for his
XIII together give a most impressive conclusion. With a command of bibaccount of the vases from Olynthus. In liographyrarely excelled,Robinson inthe present volume, of course, Robintroduces a tremendous amount of comson is able to refer back to the early parative material. One may add that
seasons and so present his conclusions he publishes with most commendatory
for the vases as a whole as well as the speed. The combination of the two
new material. The evidence certainly increases enormously the value of the
becomesstronger that the mass of ma- amazing finds of Olynthus. The speed
terial from Olynthus belongs to the of publication and the breadth of
period before 350 B.c.The vases belong the field necessarilymean that not all
to definitecontemporaneousgroups and phases are equally investigated since
with the new material it is very difficult the author naturally stresses what esindeed not to believethat fluted vases, pecially interests him. Probably some
vases with molded reliefs, and fish of his conclusionswill eventually have
plates were not only known but com- to be modified. I know the difficulty
ARCHAEOLOGY

Archaeology Magazine - March 1951

Table of Contents for the Digital Edition of Archaeology Magazine - March 1951