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《美国费城艺术博物馆藏印度雕塑》1960年
THE INDIAN SCULPTURES in the Philadelphia Museum of Art date approximately from the first century B.C. to the nineteenth century A.D. The early schools are repre-sented by a few examples only. Most of the sculptures were created in the centuries of the great stone temples (seventh to thirteenth century and in South India to the seventeenth century) in such centres as Bhuvaneshvar in Orissa in the extreme East; K hajuraho in the "midland" of Madhya Pradesh; K iradu in Rajasthan in the West; and Madura in the far South. Widely distributed through space and time, the sculptures are the work of various schools, produced at different phases of their maturity. At the same time and ir-respective of their distinctions, they are unmistakably Indian by virtue of their particu-lar kind of plasticity.
The sculptures in the Museum are detached from their original context. They were each part of a larger monument, a special kind of sanctuary or a temple. These monuments had their definite function and meaning. Within its own integrity, each sculpture was part of their total form. The monument with its sculpture was complete in its concreteness when it was seen and used. It was seen with the eye of knowledge and used with ritual com petence.
The single sculpture as a work of art in itself and as part of a larger context is the final stage of the inspiration, method, and skill of the Indian artist. As substantiated in-spiration the form of each sculpture confronts the onlooker with the power that went into its making. The form is essentially plastic. Viewing and accounting to himself for the particular plasticity of Indian sculpture, the onlooker by way of re -creation may re invest the sculptures with the concreteness of their intended ffect.
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