Abstract
The article sets up to discuss the relevance of the tradition of art texts (śilpaśātras) to the understanding of Indian art. This tradition has been dealt with for almost two hundred years since the first translation of text fragments from the treatises on Indian architecture by Ram Raz. The recent researches in the field threw a new light upon the aspects of provenance and function of shilpashastric texts, as well as their relationship with the extant works of art. The context-based approach to Indian art, avoiding the mistakes made when the textual and art history studies were carried out simultaneously but very rarely coming into contact and enriching one another, enables us to explore anew the role of these texts within the tradition of Indian art. Nevertheless, the manner in which the conceptual systems of śilpaśātras and the artistic tradition actually interact - how thought and action affect one another - is not a question simple to answer. The main reason for lacking research on this interaction is a rather stylistic approach, which dominates art history and pays too little attention to understanding the idea and provenance of śilpaśātras. The present research does not look for an unambiguous answer to the question concerning the role of shastric tradition in the overall artistic culture; rather it attempts to frame a preliminary working hypothesis for further investigation with a more coherent gaze at one of most undeservedly neglected spheres of Indian intellectual culture, namely, shilpashastric tradition and the role it played in the intellectual history of India.
Highlights
The article sets up to discuss the relevance of the tradition of art texts to the understanding of Indian art
The present research does not look for an unambiguous answer to the question conceming the role of shastric tradition in the overall artistic culture; rather it attempts to frame a preliminary working hypothesis for further investigation with a more coherent gaze at one of most undeservedly neglected spheres of Indian intellectual culture, namely, shilpashastric tradition and the role it played in the intellectual history of India
The mainstream of Indian art scholarship demonstrates that the core of the discipline remains a detailed study of archaeological evidence using a stylistic approach, and the dependency on the textual sources is still very uncommon
Summary
The article sets up to discuss the relevance of the tradition of art texts (silpasatras) to the understanding of Indian art. As an alternative to the concentration on style, one takes up the topics such as the legitimizing of political power, the cult transformation of iconographical sequences, or the symbolic recording of historical events Even these theories relating style and chronology, most probably because of dealing with the seemingly abstract and elusive notion of meaning, could hardly be admitted to a central position of the discipline, which continues to see itself as basically archaeological in character.[2]. The issues discussed below, which pertain to the undeservedly neglected problem of shastric culture of art, are to be treated as preliminary remarks considering the early history of analysis of silpaSiistras within the nationalist agenda and its influence on formation of the methodological framework for investigation of traditional Indian art. To expose the problem in a wider methodological perspective, the artistic tradition of silpaSiistras was juxtaposed to the methodological background applied to other intellectual cultures of India
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