Picturesque Nepal . ost graphic andforceful interpretation, so that the Nepaleseartist either elevates the observer by thetranscendental nature of his celestial con-ceptions, or terrorizes him into docility by hissuggestions of purgatory. It is an art, there-fore, as far as the people themselves are con-1 cerned, which inspires awe and veneration moreI than pleasure, and is worshipped rather thanadmired. From the point of view of the aesthetic,Nepal was until a few years ago a terra incognita,and even now, although specimens of Newarhandiwork have filtered down through thedevious mountain pass
Picturesque Nepal . ost graphic andforceful interpretation, so that the Nepaleseartist either elevates the observer by thetranscendental nature of his celestial con-ceptions, or terrorizes him into docility by hissuggestions of purgatory. It is an art, there-fore, as far as the people themselves are con-1 cerned, which inspires awe and veneration moreI than pleasure, and is worshipped rather thanadmired. From the point of view of the aesthetic,Nepal was until a few years ago a terra incognita,and even now, although specimens of Newarhandiwork have filtered down through thedevious mountain passes from Katmandu, littleis known of its general character. Theexamples alluded to are usually sacerdotalutensils of brass, or temple accessories, to beseen in private collections or in museums,which, removed from the religious edifices theyare devised to serve, dethroned as it were fromOlympus, have lost much of their sentimentand prestige, and, instead of being regardedwith fear and reverence, have degenerated into. «_-:. RELIGIOUS ART 131 objects of curiosity. Torn from their pictur-esque setting in shrine or temple, they arerobbed of much of the religio loci, and now,obviously out of place, are collected in smallgroups like monks turned out of their cellsinto the public streets. In the strange sur-roundings of a private room or art collection,although beautiful pieces of craftsmanship,they give but a faint conception of the uniquequality of the complete art of the Newar. Tounderstand this correctly it must be studied insitu, and in conjunction with the atmosphereof deep religious sincerity in which it was firstnourished and developed. The original ai;tistswerejiphjid_jLnd-_stimu^faithj they acceptedjthejwild£st_Jegends_^^traditions, hence the earnest and Iionestnature of their com^ositij)ns, a quality^whichstill survives and is observableJi]ua_degree_at_t hejpresentjiay. A reference has been previously made to thegreat religious and political storm-wave ofMohammedani
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Keywords: ., bookauthorbrownper, bookcentury1900, bookdecade1910, bookyear1912
