Art Historians

"Unfortunately, the horse has become a bone of contention between two groups of historians dealing with the 'Aryan Problem' in India, the so-called Nationalists and the so-called Marxists. The former, basing their views on the archaeological findings, maintain that the people of the Indus-Sarasvati Civilization may have been the Vedic Aryans who are known in history for their chariots driven by horses, while the latter hold that the archaeological findings are 'minor', ' limited', and 'marginal', and hold onto the age-old view that the people of the Indus-Sarasvati Civilization were not horse- users, hence could not be the Vedic Aryans. To say the least, this is a strange logic. For the scientists, Indus-Sarasvati people were definitely horse-users, whether they were Vedic Aryans or not hardly concerns them. But Marshall certainly erred gro.55ly when he observed that the Indus people could not be Vedic Aryan because they were not familiar with the horse, let alone its users. Incidentally, in the Vedas the people are never called a.Warohis, that is, horsemen, they are credited only with chariots driven by horses. They ate sheep, etc. but not horse meat or camel meat. Hence, it is not surprising that the horse and camel bones are only rarely found in excavations."

"S.P. Gupta offered a sensible reply to the further objection that horse remains, if at all they are accepted, rarely account for more than 2% of the total animal remains at any site. Pointing out that the same holds true of the camel and elephant (animals undeniably present in Harappan sites), he explained that this low proportion is 'simply because these animals are not likely to have been as regularly eaten as cattle, sheep and goats as well as fish whose bones are abundantly found at all Indus-Saraswati settlements' (Gupta 1996: 162)."

"The Indus-Sarasvati Civilization is found extending for more than 1600 km from north to south and equally from east to west, covering an area of about 2.5 million sq. km and more. The northernmost site known to us so far is Manda, located on the River Beas near Jammu; the southernmost site is Bhagatrav on the RiverTapti in Gujarat; the easternmost site is Bhorgarh in east Delhi and Alamgirpur in district Meerut; and the westernmost site is Sutkagendor, located on the ancient shore of the Arabian Sea, near the eastern border of Iran. The Indus-Sarasvati Civilization was, therefore, around four times more in area coverage than any contemporary civilization, including the Egyptian and the Mesopotamian."

"All this clearly shows that, in the process of the formation of the Indus-Sarasvati Civilization, which was typically a lowland cultural phenomenon, not one but several regions were directly or indirectly involved, as has been pointed out by Mughal. The usual American perception (of scholars like Possehl) that the highland Baluchi cultures, such as the Quetta culture with roots in Iranian Neolithic cultures of the Zagros mountains, and the Iranian Bronze Age cultures were primarily responsible for the birth and early growth of the Indus- Sarasvati Civilization, therefore, requires serious reconsideration since the pre-4000 BC cultures leading to the 4000 BC settlements are now locally available in Punjab, Haryana, Rajasthan, and Gujarat, particularly at Harappa, where a four-metre deposit of handmade black painted red ware with mud-brick houses was found in early 1996."

"With regard to the problem of communalism whether it be Hindu- Muslim, Vaishnava-Saiva or Shia-Sunni it may be assumed that the people of India have come of age. If that is so the historians of India should neither look for forces of communal synthesis nor for those of conflict; they should just look for facts as they unfold themselves in the historical process. If they only look for facts supporting synthesis they may be good nationalists but they would at the same time be inverted communalists. Let history be our psychoanalyst. Once we are able to accept ourselves for what we are we will be able to give the right direction to our present and future. … A historian’s commitment to history must remain untouched by his loyalties, political, religious or others."

"This led to a serious debate amongst all the archaeologists, of the world who were dealing with the Indus-Sarasvatj Civilization, directly or indirectly, What one group called ‘Pre-Harappan’, the other group called ‘Early Harappan’. Why this controversy cropped up? It is all a question of ‘approaches’ in archaeological Studies which are primarily two—the ‘culture-historical’ and “culture- processual’."

"Generally speaking, a temple is a 'Place of Worship'. It is also called the 'House of God'. However, for a Hindu, it is both and yet still more. It is the whole cosmos in the miniature form."

"It would therefore, indicate quite clearly that there were at least two phases in the Kot Diji ot the Early Indus-Sarasvati culture : Old (3500-3000 b.c.) and New (3000-2700 B.c.) The period between 3500 B.c. and 3000 B.C. was very crucial— the Early Indus- Civilization was spreading far and wide, informing us that it Was the proto-urban phase in which new townships were getting established in and also beyond the Indus and Sarasvati basins; the large cities of Harappa, Mohenjodaro, etc. were the culmination of the long process of urbanisation and not its beginning."

"Indian art has been the product of Indian culture as the Greek art has been the product of Greek culture or the Roman art has been the product of Roman culture. Indian culture, however, has been the product of two streams of thoughts and practices, one, the Folk, belonging to the oral traditions operating at the folk level, in the villages, and, the other, classical, belonging to the sophisticated literary traditions, the former is sometimes called 'Lower Tradition' and the latter 'Higher Tradition'."

"What is, however, much more significant to note is that here we have the longest sequence of cultures, without any break whatsoever, upto the Early Indus-Sarasvati. In other words, this sequence does not allow any outside agency to come and effect changes in the step-by-step growth of culture. If this is realised clearly, it will not leave any scope for doubt in the indigenous of the origin and growth of the Indus-Sarasvati Civilization; at Mehrgarh from around 4000 B.c. we start getting all those characistic features which went directly into the make-up of the Early Indus sarasvati Civilization."

"The balance of trade appears to have been in favor of India; more items were exported from India than imported from the Gulf and Mesopotamia.”"

"Men of genius sometimes accomplish most when they work the least, for they are thinking out inventions and forming in their minds the perfect idea that they subsequently express with their hands,"

"Titian, having adorned Venice, or rather all Italy and other parts of the world, with excellent paintings, well merits to be loved and respected by artists, and is in many things to be admired and imitated also, as one who has produced, and is producing, works of infinite merit; nay, such as must endure while the memory of illustrious men shall remain."

"I think that anyone who will take the trouble to consider the matter carefully will arrive at the same conclusion as I have, that art owes its origin to Nature herself, that this beautiful creation the world supplied the first model, while the original teacher was that divine intelligence which has not only made us superior to the other animals, but like God Himself, if I may venture to say it."

"Although Titian's works seem to many to have been created without much effort, this is far from the truth and those who think so are deceiving themselves. In fact, it is clear that Titian retouched his pictures, going over them with his colours several times, so that he must obviously have taken great pains. The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them."

"In our time it has been seen, as I hope to show quite shortly, that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature. Much more then it is probable that the first men, being less removed from their divine origin, were more perfect, possessing a brighter intelligence, and that with Nature as a guide, a pure intellect for master, and the lovely world as a model, they originated these noble arts, and by gradually improving them brought them at length, from small beginnings, to perfection. I do not deny that there must have been an originator, since I know quite well that there must have been a beginning at some time, due to some individual."

"It is true that , who afterwards did the ornamentation of the other organ opposite this one, displayed much more judgment and skill than Luca, as will be said in the proper place, because he did almost the whole of the work in the rough as it were, not delicately finishing it, so that it should appear much better at a distance than Luca's; as it does, for with all his care and skill the eye cannot appreciate it well because of the very polish and finish, which are lost in the distance, as it can the almost purely rough hewn work of Donato. To this matter artists should devote much attention, because experience shows that all things seen at a distance, whether they be paintings or sculptures or any other like thing, are bolder and more vigorous in appearance if skilfully hewn in the rough than if they are carefully finished. Besides the effect obtained by distance, it often happens that these rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes sap the vitality and powers of those who never know when to leave off."

"As an artistic style, mannerism conformed to a divided outlook on life which was, nevertheless, spread uniformly all over Western Europe; the baroque is the expression of an intrinsically more homogeneous worldview, but one which assumes a variety of shapes in the different European countries. Mannerism, like Gothic, was a universal European phenomenon, even if it was restricted to much narrower circles than the Christian art of the Middle Ages; the baroque, on the other hand, embraces so many ramifications of artistic endeavour, appears in so many different forms in the individual countries and spheres of cultures, that it seems doubtful at first sight whether it is possible to reduce them all to a common denominator."

"The historical importance of the Carracci is extraordinary; the history of the whole of modern ‘church art’ begins with them."

"Mannerism came so late into the foreground of research on the history of art, that the depreciatory verdict implied in its very name is often still taken to be adequate, and the unprejudiced conception of this style as a purely historical category has be."

"Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences."

"The late Middle Ages not merely has a successful middle class—it is in fact a middle-class period."

"The structure of the nobility is changed along with that of the state, but it preserves its continuity with the past intact. Knighthood, on the other hand, as the exclusive warrior-class and upholder of secular culture, decays completely. The process is protracted and the ideals of chivalry do not lose their alluring splendour from one day to the next—least of all in the eyes of the middle classes. But behind the scenes everything is set for the fall of Don Quixote.—The decline of the knighthood has been connected with the new methods of warfare introduced in the late Middle Ages, and it has been pointed out that the heavily accoutred cavalry suffered a severe reverse whenever they met the infantry of the new mercenary armies or the foot of the peasant brigades."

"There is, as Tocqueville remarks, almost no political question which is not connected in some way with the imposition or the granting of taxes. At any rate, problems of taxation dominated public life in England from the end of the Middle Ages and became in the seventeenth century the immediate cause of the revolutionary movements."

"The Renaissance discovery of nature was an invention of nineteenth-century liberalism which played off the Renaissance delight in nature against the Middle Ages, in order to strike a blow at the romantic philosophy of history. For when Burckhardt says that the ‘discovery of the world and of man’was an achievement of the Renaissance, this thesis is, at the same time, an attack on romantic reaction and an attempt to ward off the propaganda designed to spread the romantic view of medieval culture. The doctrine of the spontaneous naturalism of the Renaissance comes from the same source as the theory that the fight against the spirit of authority and hierarchy, the ideal of freedom of thought and freedom of conscience, the emancipation of the individual and the principle of democracy, are achievements of the fifteenth century. In all this the light of the modern age is contrasted with the darkness of the Middle Ages."

"Early Christian art during the first two or three centuries of its existence was merely a development or even a variant of late Roman art. So great is the similarity between late pagan and early Christian work that the decisive change of style must have occurred between the classical and post-classical, not between the pagan and Christian eras."

"There can be no question that such a gap existed in early Christian art. What has been praised in it as deliberate simplification, masterly concentration or conscious idealizing and intensifying of the actual is in reality often just incapacity and poverty, just a helpless inability to render natural forms correctly, and a primitive bungling of the drawing.This clumsiness and ungainliness of early Christian art is not mastered until after the Edict of Toleration, when it became the official art of state and court, of aristocratic and educated circles."

"The ‘spirituality’ of this art, in which scholars have tried to find all the essentials of the later medieval conceptions of art, is in reality only the same indefinite sort of spirituality which inspired the last centuries of paganism."

"The new Christian ideal of life did not at first alter the outward forms of art, but did alter its social function."

"The art of representing the human figure in the ancient world begins and ends with ‘frontality’."

"It would never have been possible for Byzantine court art to become the Christian art par excellence, if the Church itself had not become an absolute authority and had not felt itself to be mistress of the world. In other words, the Byzantine style was only able to gain a footing everywhere where there was a Christian art, because the Catholic Church in the West desired to become the power the Emperor was already in Byzantium."

"Rousseau’s ideas were in the air; he only expressed what many of his contemporaries knew, namely that they were faced with a choice and had to decide either for Voltairianism, with its reasonableness and respectability, or for the surrender of historical traditions and a completely new beginning. There is no personal relationship in the whole history of European culture with more profound symbolic significance than that between Voltaire and Rousseau."

"The unity of the Middle Ages as a historical period is quite artificial. In reality they fall into three entirely distinct cultural periods—the natural economy of the early Middle Ages; the courtly chivalry of the high Middle Ages; and the urban bourgeois culture of the late Middle Ages. At any rate, the divisions between these three epochs go deeper than those which mark the beginning and the end of the Middle Ages as a whole."

"The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional... All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial."

"The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death."

"In spite of the growing differences of income, the ever-increasing concentration of capital and the steady increase of the proletariat, in a word, in spite of the growing opposition between classes, there is everywhere a certain social levelling that, at last, puts a definite end to the privileges of birth. This is the last stage of the trend towards the abolition of social distinctions which had been going on since the days of hereditary monarchy and authoritarian priesthood. The decisive step was due to the Sophists, who invented the completely new rationalistic conception of areté,independent of birth and breeding, to which every Greek without exception could attain. The next step in this levelling is taken by the Stoics, who first enunciated standards of human value that are free from all tinge of race and nationality. The Stoics’ freedom from national prejudice merely expressed a state of affairs already achieved in the kingdoms of Alexander’s successors, just as the liberalism of the Sophists is merely a reflection of the social conditions due to the rise of the commercial and industrial bourgeoisie of the cities."

"Such specialization and depersonalization of enquiry led inevitably to a taste for mere erudition and a temptation to eclecticism."

"The contrast between Tolstoy’s discretion and Dostoevsky’s exhibitionism, between the restraint of the one and the ‘dancing about naked in public’ of the other—as someone says in The Possessed—is attributable to the same social gap as separated Voltaire from Rousseau."

"We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest."

"But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique."

"... "folk art" signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialized. It is of the essence of this art that those who keep it in being are not only passively receptive, but normally are creative participants in the artistic activities, and yet do not stand out as individuals or claim any personal authorship of the productions. "Popular art" on the other hand is to be understood as artistic or quasi-artistic production for the demand of a half-educated public, generally urban and inclined to mass-behavior. In folk art, producers and consumers are hardly distinguished, and the boundary between them is always fluid; in the case of popular art, we find on the contrary an artistically uncreative, completely passive public, and professional production of artistic goods strictly in response to the demand for them. It is indeed a striking fact that folk art, especially folk-poetry, emerges from the ranks of those who enjoy it, whereas popular songs—the street-ballads and popular "hits"—derive from professionals belonging to and spiritually dependent upon the upper classes."

"The partial absorption of art by domestic industry and by domestic female crafts, that is to say, the fusion of artistic activity with other activities, is a retrogression from the standpoint of the division of labour and professional differentiation."

"The end of the Neolithic age betokens almost as universal a re-orientation of life, almost as profound a revolution of economy and society, as its beginning. Then the break was marked by the transition from mere consumption to production, from primitive individualism to co-operation, now it is marked by the beginning of independent trade and handicrafts, the rise of cities and markets, and the agglomeration and differentiation of the population."

"Folk-art signifies the poetical, musical and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialised."

"The fundamental difference between composing for a nobleman or a personal patron in general and working for the anonymous concert public is that the commissioned work is usually intended for a single performance, whereas the concert piece is written for as many repeats as possible. That explains not only the greater degree of care with which such a work is often composed but also the more exacting way in which the composer presents it. Now that it is possible to create works which would not be consigned to oblivion so quickly as commissioned works, he 76 sets out to create ‘immortal’ works. Haydn already composes much more cautiously and slowly than his predecessors. But even he writes over a hundred symphonies; Mozart writes only half as many and Beethoven only nine."

"The eighteenth century is full of contradictions. It is not only that its philosophical attitude wavers between rationalism and anti-rationalism, but its artistic aims are also dominated by two 122 opposite tendencies and at some times approach a strictly classicistic, at others a more unrestrained pictorial conception. And like the rationalism of the period, its classicism is also difficult to define and open to various sociological interpretations, since it is sustained alternately by courtly-aristocratic and middle-class strata of society and ends by developing into the representative artistic style of the revolutionary bourgeoisie."

"The mania for self-observation and self-admiration in literature and the view that a work is the more true and the more convincing, the more directly the author reveals himself in it, are part of the intellectual inheritance of Rousseau. In the next hundred to hundred and fifty years everything of importance in European literature is stamped with this subjectivism. Not only Werther, René, Obermann, Adolphe, Jacopo Ortis, are among the successors of Saint-Preux, but also the heroes in later novels— from Balzac’s Lucien de Rubempré, Stendhal’s Julien Sorel, Flaubert’s Frédéric Moreau and Emma Bovary to Tolstoy’s Pierre, Proust’s Marcel and Thomas Mann’s Hans Castorp—are derived from it. They all suffer from the discrepancy between dream and reality and are the victim of the conflict between their illusions and practical, commonplace, middle-class life."

"The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix’s intimate connection with romanticism is brought most clearly to light."

"If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the presuppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion."

"We read the works of the older literature differently from those of our own age; we enjoy them purely aesthetically, that is, indirectly, disinterestedly, perfectly aware of their fictitiousness and of our self-deception."