By Jonathan Tweet, Mark Rein-Hagen
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Tres enfoques distintos confluyen en este libro: historia y psicología del arte (Sir Ernst Gombrich), psicología (Julian Hochberg) y filosofía (Max Black). Estos tres distinguidos autores examinan en los tres ensayos recogidos en este volumen el problema de las percepciones de las imágenes y, en specific, de l. a. pintura y l. a. fotografía.
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Extra info for The Art of Magic: Ars Magica - CORE Rulebook
D. Seated stone, height Sarnath Preaching 6i 3 / 4 ". Buddha. d. Museum, Sarnath In these images every aspect of the body, the indicate which deity parts of the like hand is is fashioned according to prescribed canons of beauty and meaning. The position gestures, called mudras in Sanskrit, and the attributes are all symbolical in nature, and represented and what qualities are associated with him. In fact, the shapes of the different body are prescribed in the sculptor's manual, with the head in the form of an egg, the eyebrows an Indian bow, the eyelids resembling lotus flowers, the lips with the fullness of the mango fruit, the shoulders rounded like the trunk of an elephant, the waist like that of a lion, and the fingers like flowers.
D. Indian Museum, Calcutta The emphasis upon sensual beauty is by no means restricted to sculptures, some of them religious, others purely secular in donors 52 at the entrances to the great may be found in many Mathura For example, the representations of couples in the genre scenes show this same the yakshis but character. cave temples as well as the Donors, from entrance of cave temple, Karli, Bombay Mathura School, State. first Sandstone. d. accent on the beauty of the female form rendered with a wonderful feeling for the softness and sensuousness and of female flesh.
D. Art Institute of Chicago While the Greco-Buddhist school of Kushan cities of Peshawar and Taxila in art flourished in the North-West Frontier region around the present-day Pakistan, another school of sculpture more closely related to the native Indian tradition developed in India proper, at Mathura, not far been considerable debate Buddha image, among from Delhi scholars as to which of these schools in northern India. was responsible for the conclusively. However, it is certain that There has origin of the a question which has not yet been settled this development took place under the foreign, Indo-Scythian, Kushan dynasty and that the impetus came from the outside even though the forms used by the Mathura artists were truly indigenous.