Abstract
The goal of Indian art historians has long been to understand the visual coherence of their monuments, to clarify their historical relationships and to comprehend their meaning. The essential priority of historical reconstruction to cultural interpretation has been difficult to maintain, and the time has come to set aside the idea that cultural interpretations can be made independent of specific historical contexts. The priority hitherto given to meaning must be subordinated to the fundamental priority of history. Ways to analyze styles of surviving monuments must be developed on the basis of the significant formal criteria inherent in the monuments themselves. These criteria can only be apprehended by examining the Indian artist's technical approach and his understanding of forms through their unique measure. Imaging technology provides us with the means to access the self-explanations encoded in the morphologies of the surviving monuments.
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