R. REID. DEL.
SANDAL-WOOD CARVING AT TRAVANCORE.
Certain general impressions will be received from a walk through the galleries and from a hurried view of the sculptures, textile fabrics, arms, pottery, jewelry, furniture, lacquer and metal-work. Forms, combinations and decorative styles will catch the eye which seem not new, but merely changed from something seen elsewhere, as the ear will catch a well-known melody running through a profusion of intricate variations. The alternative questions occur: Is India the home of all the arts? or, Has it no original art? In one place stands a small table of Cashmere lacquer in which a great part of the decoration is surely Chinese: a small gold cup has a sculpturesque decoration as surely Greek. Here is a coffee-pot of Mongolian type, and a parcel-gilt vase of Greek: there are gold dishes after the Saracenic, inlaid-work decidedly Persian, and mosaic-work most certainly Florentine.
It is long since the connoisseur of Indian art awakened from the dream that India has been an isolated country. The fact is, that it lies in the way of all commerce between the far East and the West, and that it can be, and has been, approached as easily from land as from the sea. It has a long legendary history, but a comparatively short real history. The immigration of the Aryan race is said to have taken place about B.C. 3101, but from that period until the rise of Buddhism, in the sixth century B.C., there is nothing to guide us but legend. Putting aside what may have been learned of India by the Greeks from the troops from the Panjab and Afghanistan which swelled the gigantic army of Xerxes, Alexander's invasion of India (B.C. 327) may be said to have really opened the way to the acquisition by the Greeks of something like an exact though partial knowledge of the country pronounced by Herodotus the wealthiest and most populous in the world. In truth, the writings of Greeks who accompanied Alexander, and of Chinese pilgrims, and some temple-inscriptions, constitute the basis of Indian history. The commerce of India at a very early period extended far and wide. Arrian, an Alexandrian merchant of the second century, mentions the muslins of the Ganges, cloths of all sorts, colored shawls and sashes, purple goods, gold embroidery, lac, steel, jewels, perfumes and spices. How long this trade had been going on we cannot say. It was, however, encouraged by the Ptolemies, who established a port on the Red Sea and organized a system of conveyance by means of caravans to the Nile, and so to Alexandria. In this way Indian manufactures reached Europe, while the Persians were at the same time carrying on an extensive trade in the same materials. The Indians further contributed to the advance of commerce by becoming road-builders, and thus bringing the manufacturing places along the valley of the Ganges into connection with the Panjab in the north-west and with ports and trading-stations in the west and south. Thus, Egypt and Assyria were brought into commercial intercourse with the eastern tract of the valley of the Ganges—that lying between the modern Allahabad and Calcutta. That commerce spread in other directions there can be no doubt. Within three centuries of the foundation of Buddhism it had penetrated to Ceylon, and reached Tibet and China in the first century of our era. Let us look at one stupendous fact as indicative of international intercourse with India—namely, that Buddhism, which has all but disappeared from the land of its birth, is at the present moment the religion of about five hundred millions of human beings occupying the continent of Asia from the Caspian to the Pacific, from Tartary to China and Japan.
Leaving both religion and commerce aside—the latter of which might have been brought down to the opening of maritime intercourse between Europe and the far East by way of the Cape—there have yet to be taken into consideration the several invasions of India, which afford yet another possible explanation of the manner in which its arts may have been affected by contact with foreigners.
SHIELD DAMASCENED IN GOLD: PANJAB.
There were many schisms among the Buddhists between the sixth and third centuries before our era, but in power their community grew year by year. Asoka brought all Northern India under his power, and, becoming a good Buddhist, sent missionaries all over India from Cashmere to Ceylon. After his death India was for some centuries under the Indo-Scythians, until the fourth century of our era. From that time Buddhism declined rapidly. The Brahmans were ever its enemies, and toward the eighth century began to push northward from the retreats they had sought when Brahmanism, a thousand years before, had given way to Buddhism. About the same time began the Arab invasions which ultimately led to the establishment of Mohammedan rule. This was the beginning of about twelve hundred years of war. The Arabs came first in A.D. 664, and again in 711. The Turkomans entered the Panjab in 976, and the Afghan dynasties of Mahmud of Gazni and Mohammed of Ghor followed in the tenth and twelfth centuries. The third Afghan dynasty established its rule at Delhi in the thirteenth century. With this century we approach the conquests of Chingis Khan in Central Asia and of Hulaku Khan, and then in rapid succession came the Mohammedan incursions into the Dekkan and the Mongolian subjugation of India, which was begun in 1298, carried on by Tamerlane in 1398, and completed in 1526 by Sultan Baber. The Mogul period ended with the British conquests of 1803 and 1817.
If the rise and fall of these various tides of commerce and war are followed, it will be seen that not only has India not been an isolated country, but, on the contrary, through a hundred channels it has held communication with the world beyond the Himalayas. Its art has no doubt been affected by such intercourse. The effect of architectural forms upon the decorations made use of in industrial art has already been referred to; and when we find that the Buddhists acquired a knowledge of the use of stone in building from the Greeks and Persians, we at once see why Doctor Leitner's collection of fragments of sculpture from Peshawur in the north of the Panjab, and now in the museum, should be called Græco-Buddhistic. Indian architecture is based upon Greek, and the influence of the latter lasted so long that Mr. Fergusson, who has made a special study of Hindu temples, says that he could not find anywhere in Cashmere the slightest trace of the bracketed capital of the Hindus, but that the Doric or quasi-Doric column is found all along the valley in temples dating from the eighth to the twelfth century. Doctor Birdwood, again, has succeeded in tracing the inlaid woodwork or marquetry of India from Shiraz in Persia to Sindh, Bombay and Surat. Further, the mosaic-work of Agra is of Florentine extraction, having been introduced by Austin de Bordeaux in the seventeenth century, and recently revived.