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 he has prepared for the India Office* and which will be ready for sale at the India Museum on its reopening. It is in fact a classified and descriptive catalogue of the arms exhibited at the old India Museum, and is the only completed catalogue of any section of the Museum that has yet been made ; and it will always remain a work of permanent reference on Indian armoury, Mr. Egerton first gives a sketch of the military history of India from the earliest times, adding figures of the arms of ancient India repre- sented on the Buddhist sculptures of Sanclii [b.C. 250], and Udya- giri, and references to those portrayed in the Buddhist paintings at Ajanta [about a.b. 400] ; and on the later Hindu temple of Bhur vanes war [a.d, 650] ; in the Jaina sculptures at Saitron in Rajputana [a.b. i igo] ; on the sun temple at Kanarak [a.b. 1237 ] } and in the sculptures of the fifteenth century in the neighbour- hood of Man d ore* the former capital of Mar war. After this follows a most interesting and valuable chapter on the decoration, and processes of manufacture of Indian arras, which really exhausts the subject, Mr. Egerton considers that Aryan art predomi- nates over Turanian in Indian arms, and he divides the former into Hindi or Indian, and Iranic or Persian, and the latter into I) ra vidian* Tibetan, and Indo-Chinese, There is an obvious difference in the forms and details of decoration prevailing in the Pan jab, Rajputana, and Hindustan generally, and of those which prevail in the Dakhan, and again along the Eastern Himalayas ; but the distinguishing expression of an ethnic or national art is given to it not by its forms but by its animating spirit j and what- ever may be the local shapes it takes there prevails all through India proper a distinctive art, which we recognise to be in its essence unvarying and indivisible, and which we may call Indian. A Mahommedan mosque in India, although its form may be Sara- cenic, is generally as essentially Hindu in expression as a temple of Siva or Vishnu, On the other hand, there is a deep and impassable gulf fixed between Indian art and the as strongly specialised art of Further India.