Norwich bulletin., 1916-02-29
LARGE ATTENDANCE
 AT PUBLIC LECTURE Rev. William M. Zumbro Spoke Un- der Auspices of Art Students.

There was a good attendance Mon day evening at Slater Hall at the pub lie illustrated lecture upon The Art of India, given by Rev. William M zumbro of Madura, under the aus- pices of the Norwich Art Students association.
 Principal Henry A. Tirrell intro duced the speaker. He said the best books on Indian Art are those by Havell, Vincent Smith and Ferguson. tory Of their art. They cared noth- ing of art for arts sake Indian art is intensely and profoundly religious as it has no reason for existing out side of religion. The Buddhist churches and Hindu temples were far ed by the Dravidians and Aryans and on these the builders and sculptors iaVished their work as an expression of their intense love and devotion to their gods. In these and in the paintings with which they were press the national traditions and as- pirations.
 Three Divisions in Art of India.
 In speaking of the art of India, it is customary to speak of Buddhist art, Hindu art and Muhammedan art, as these three principal races have each had part in it's development but these terms imply only differences of time and piace-not so much religious Dravidfans, who came into India be- fore the Aryans and were the first to develop sculpture and painting the Aryans, who have contributed some of the best fin literature and art; and the Moguls, who came later in time and EITh oV-f lf fzNf that of the other races. though in sptred largely by the same motives. So speaking of Buddhist art does not mean art peculiar to the Buddhist re- Hgion, but means the art of India that was developed during the time of the Buddhist ascendency. Although the inspiration of Indian art goes back to Vedic times, the material em- bodiment of these ideals in artistic form was hardly accomplished before the time of Asoka, the great Buddhist emperor, in the third century B C. Hindu art was developed after the de- cline Of Buddhism and the revival of Hinduism. and Muhammedan art is the art of India during the Moful as- tendency.
 Architecture the Foundation.
 Since all art in India centers around the sacred shrines. architecture is the foundation for all Indian art
 The earliest specimens remaining today are Buddhist and are found in central and northern India.
 Asoka set up a larger number of stone pillars, Inscribed with edicts. Some of these have great artistic mer- it. He also built the dome-shaped shrines. Two of these were at sanchi and Bharkut. Although the topes were plain, the gateways to the rail- ing. around them was decorated with sculpture.
 At Karli. Ajanta and Ellora are still to be seen those wonderful rock cut temples and monasteries which were a feature of Buddhism in the period of its ascendency. Here were impor- tant schools of literature and scul1S- ture and at Ajanta there was the most important ancient school of painting known in 1ndia-indeed the only one before the beginning of the Christian era. At Ellora and Ajanta are also to be found splendid Jain and Hindu temples made after the pattern of the Buddhist ones, so that the rock cut temples and monasteries at these two places afford fine opportunity to study the development of Indian art through a period of about 500 years from 300 B. c. to 600 A. D.
 Show Customs and Habits.
 They also shoy us pretty well the customs and habits of the people their dress, civil and domestic build ings, etc.
 In Orissa. on the eastern coast, is found the principal style of architec- ture developed by the Aryans. This school is called Indo-Aryan or or Aryavartan. In and around Bhurva- neswar are still more than 300 tenn ples, among them the finest products of this style. They were built from the Sth to the 18th centuries A. D.
 In Mysore on the west coast anoth- er style of architecture Is called the Chalul1yan. These temples were built from the 12th to the 14th cen turies and nowhere in the world has so much patient work been lavished on an equal amount of space. Here also we find in its highest develop ment that exuberant fancy and ex- cessive decoration for which Indian are Is especially noted.
 In Southern Iidia.
 In southern India is another school, Here the Dravidians were driven by the Aryans when they oyerran the and the Dravidian is an en. tirely different style and covers 8 ong period. dating from the 9th or Ith century A. D.. to the present time Moguls began their incursions and centuries later under the Great Ab- kar, subdued a large part of the They had @ style peculiar y their own and to them belong the Tai Mahai and the exquisite palaces and tombs stin found in and around Agra and Delhi, the old cap tais of the Mogul Empire.
 The Earlier Sculptures.
 The earlier sculptures of India, be- onging to the Buddhist period just before and after tho birth of Christ and used to adorn the. railings and sateways of the Topes at Sancfi, Budh Gaya and Amaravati md the rock cut, temples of Karfi Ellora and Ajanta, are by a frank naturalisrn ! naive realism expressing a real love Lnd appreciation of nature and al truthful and artistic representation of fife as they saw it around them. Lat- IT on, in the great period of art, 600