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Le dernier ouvrage de Pratapaditya Pal est une contribution importante à la connaissance de l’art indien.
Les grands musées indiens sont assez bien connus par les spécialistes mais les collections privées indiennes et les collectionneurs restent relativement ignorés par les spécialistes et le grand public. The Mānadeva and Śaka eras, both of which were referred to in inscriptions made during the Licchavi period (C.
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When I first encountered Coomaraswamy’s multivolume catalogue of the Boston Museum collections in the Calcutta University library as a student in 1956, I learnt that the great Indian collection for which the museum was famous at the time was identified as the hyphenated “Ross-Coomaraswamy Collection.” The “Ross” part of the moniker, however, remained a mystery until I came to occupy the position of Keeper of the Indian Collections in 1967 – exactly two decades after Coomaraswamy passed away.
(2010, University of Washington Press), made a remarkable reassessment of the previously accepted dating of the earliest Nepalese wood sculptures, relying in large part on the modern technique of carbon-14 dating.
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This brings about a lot of despair, anguish and tension among the people concerned.
The I once read a book by Sir Erwin Panofsky which asserted that all artists were born under Saturn; today I would say that so are all curators and collectors of art.
Paul Walter, however, must have been an exception; as a collector he was so passionate, avaricious, curious, eclectic, impulsive, gregarious and generous that I always felt he must have been born under all the planets and shared bits of all the zodiacal signs.
[* of a standing Buddha] will return "Sculpture of a standing Buddha" or "Torso of a Standing Buddha". Robert Elgood is renowned internationally as being among the world’s leading experts in the field of Indian and Islamic arms and armor and has published extensively. Together, the two catalogues provide astute historical introductions, exceptionally well-illustrated object entries, and state-of-the-field analyses of two of the most significant intact royal collections of arms and armor.,), or Khojarnath, the mandala as perfect divine structure is manifested not only in the medium of wall painting for the first time in historical Western Tibet, but a complete mandalic programme is also represented on a monumental wooden doorway.
The iconographic programme on this doorway represents the earliest known example in this region.