Form And Colour

Cover Form And Colour
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Berenson finds the inspiration in Chinese art, Mr. Binyon in Japanese art, and both may be right, for, as Mr. Okakura insists, the art philosophy of all the East is of the same complexion.
But if Mr. Berenson and Mr. Binyon are right, how much more right must Mr. Havell be I What holds good of Chinese and Japanese art holds still more good of Indian art. China and Japan do but dally with India's great spiritual idea, which is diluted and weakened in its transfer to those remote regions until it
... affords but a doubtful and uncertain inspiration. If we would discover the spiritual motive in its freshness and power as a life force we must go to India ; and consequently, if we would discover the same motive in full vigour as an artistic force we must have recourse to Indian art. A resident for many years in India, Principal of the Government School of Art and Keeper of the Calcutta Art Gallery, Mr. Havell approaches his subject with a complete experience of all its aspects. With a contemptuous gesture he seems to brush aside as amateurish irrelevancies the arguments in favour of Chinese or Japanese spiritual art, and in 96 FORM AND COLOUR authoritative accents bids us prostrate ourselves before the creations of the Hindu genius.

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