History of art . s of relationships orclearly stated abstractions, but expressive masseswhich give an intoxicated, florid image of the wholeworld, and no longer seek for an equilibrium be-tween the laws of the universe and the laws of themind. By flashes, veiled by obscurity and by torpor,one can doubtless find everything in this art, over-lapping the neighboring element, oppressing it or beingoppressed by it; one can meet with brief jets of con-sciousness and sudden starts from the most rudi-mentary realism to the highest idealism. When onesees them isolated one notes the special quality of t
History of art . s of relationships orclearly stated abstractions, but expressive masseswhich give an intoxicated, florid image of the wholeworld, and no longer seek for an equilibrium be-tween the laws of the universe and the laws of themind. By flashes, veiled by obscurity and by torpor,one can doubtless find everything in this art, over-lapping the neighboring element, oppressing it or beingoppressed by it; one can meet with brief jets of con-sciousness and sudden starts from the most rudi-mentary realism to the highest idealism. When onesees them isolated one notes the special quality of thefigures, especially the figures of women, innumerable,gentle, religious, and yet formidable in their grace,their sensuality, their carnal heaviness. At everymoment they give evidence of the effort—gigantic,vague, but often of a mighty fervor—toward a higheradaptation to their role in humanity. The man ofIndia loves to see the waist bend under the weight ofthe breasts and the haunches, he likes long tapering. Delhi (xii Century). Jain Colonnade. {Mosque of Koutah.) 30 MEDIEVAL ART forms and the single wave of the muscles as a move-ment surges through the whole body. But this hymnto the more tender forms of beauty is lost in the clamorof the universe. At one and the same time he can
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
