Early Indian Ivory Carving

Kramrisch, Stella

doi:10.2307/3795016

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“…Two more adoring denizens of the heavenly world are shown above; they may have held musical instruments . 35 For comparison, we show an Amaravati relief illustrating this scene (fig. jo), in which the child Buddha is not represented. The scarf held by the gods is empty; so is the footstool next to Queen Maya.…”

Section: Introductionmentioning

confidence: 99%

The Freer Indian sculptures.

Lippe¹

1970

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As a collector, Charles Lang Freer had an overwhelming interest in the arts of the Far East; and this is naturally reflected in the relatively small number of Indian works of art he purchased in his lifetime. In 1907 he bought an ivory carving from Orissa and some 134 miniatures of various Indian schools, mostly Mughal; and in 1914 he acquired a stone carving from Java which reflects the dominantly Hindu culture that overran Southeast Asia in medieval times. Since the opening of the Gallery in 1923 a few more sculptures have been added: four by John Ellerton Lodge, the first Director, one by his successor, Archibald Gibson Wenley, and one by the present writer.In spite of the limited size of this group, the rarity and the exceptional quality of some of the pieces make it an outstanding collection that has attracted the favorable attention of scholars and connoisseurs in this field all over the world. It seemed desirable, therefore, to make as thorough a study as possible to determine the date and place of each in relation to the existing body of comparative material in India and the West, and to make it available to a wider audience in published form.To undertake this task we were fortunate to secure the services of Dr. Aschwin Lippe, formerly Research Curator in the Metropolitan Museum of Art. Dr. Lippe is a leading scholar in the arts of the Far East and has also specialized in the sculpture of India, has travelled widely in that country and studied the major monuments with a deep scholarly knowledge and a discriminating eye. We are very pleased to be able to publish the results of his research on our collection.The objects in the Freer Gallery were photographed by Raymond A.Schwartz, Chief of the Freer Photographic Laboratory, and for the other illustrations appropriate acknowledgement is made in each caption. The book was edited and seen through the press by Lloyd E. Langford, Editorial Secretary, who has worked out the problems of style and layout and handled all IX negotiations with the printer; and Fritz Hartmann and the Briider Hartmann Company have given us every cooperation in producing a volume that is worthy of their reputation and of the material it treats. Finally we express our gratitude to the Kevorkian Foundation for a grant to cover the cost of publication.

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Section: Introductionmentioning

confidence: 99%

The Freer Indian sculptures.

Lippe¹

1970

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Early Indian Ivory Carving

Cited by 1 publication

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The Freer Indian sculptures.

The Freer Indian sculptures.

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