III. BOOK translated, enough has, perhaps, been said on this subject, considering the little value of opinions formed on such grounds. An important part of the Hindú literature, however, still remains to be noticed, in their tales and fables; in both of which species of composition they appear to have been the instuctors of all the rest of mankind. The most ancient known fables (those of Bidpái) have been found almost unchanged in their Shanscrit dress; and to them almost all the fabulous relations of other countries have been clearly traced.* The complicated scheme of story-telling, tale within tale, like the "Arabian Nights," seems also to be of their invention, as are the subjects of many wellknown tales and romances both Oriental and European. In their native form, they are told with simplicity, and not without spirit and interest. It is remarkable, however, that the taste for description seems here to have changed sides, the Hindú stories having none of those gorgeous and picturesque accompaniments which are so captivating in the Arabian and Persian tales.† * By Mr. Colebrooke, the Baron de Sacy, and Professor Wilson. + As a guide to further inquiry into the Indian origin of European fictions, consult the Transactions of the Royal Asiatic Society, vol. i. p. 156. CHAP. VII. THE FINE ARTS. * Music. VII. THE Hindú music appears, from the accounts of CHAP. Sir W. Jones and Mr. Paterson †, to be systematic and refined. They have eighty-four modest, of which thirtysix are in general use, and each of which, it appears, has a peculiar expression, and the power of moving some particular sentiment or affection. They are named from the seasons of the year and the hours of the day and night, and are each considered to possess some quality appropriate to the time. Musical science is said to have declined like all others; and, certainly, the present airs do not give * Asiatic Researches, vol. iii. p. 55. + Ibid. vol. ix. p. 445. Sir W. Jones explains that these modes are not to be confounded with our modern modes, which result from the system of accords now established in Europe. The Indian modes are formed partly "by giving the lead to one or other of our twelve sounds, and varying, in seven different ways, the position of the semitones." This gives the number of eighty-four, which has been retained, although many of the original, or rather possible, modes have been dispensed with, and the number made up by aids drawn "from the association of ideas and the mutilation of the regular scales." BOOK to an unlearned ear the impression of any such variety or complication. They are almost all of one sort, remarkably sweet and plaintive, and distinguishable at once from the melodies of any other nation. To do them justice, however, they should be heard from a single voice, or accompanied by the vína, which has been called the Indian lyre. The usual performance is by a band of fiddles and drums beaten with the fingers. It is loud and unmusical, and would drown the voices of the singers if they were not exerted to a pitch that is fatal to all delicacy or softness.* Painting. Painting is still in the lowest stage. Walls of houses are often painted in water colours, and sometimes in oils. The subjects are mythology, battles, processions, wrestlers, male and female figures, and animals, with no landscape, or at best a tree or two or a building stuck in without any knowledge of perspective, or any attention to light and shade. Of the works of other nations they most resemble the paintings on the walls of Egyptian tombs. They have also pictures of a small size in * It is but fair to give the following opinion from a person evidently qualified to judge (in the Oriental Quarterly Magazine for December, 1825, p. 197.): -"We may add, that the only native singers and players whom Europeans are in the way of hearing, in most parts of India, are regarded by their scientific brethren in much the same light as a ballad-singer at the corner of the street by the primo soprano of the Italian Opera." a sort of distemper, which, in addition to the above CHAP. subjects, include likenesses of individuals. The Hindús have often beautifully illuminated manuscripts, but the other ornaments are better executed than the figures. If portraits were not spoken of as common in the dramas, I should suspect that they had learned this art from the Mussulmans, by whom (in spite of the discouragement given by the Mahometan religion) they are very far surpassed. Sculpture. One would expect that sculpture would be carried to high perfection among a people so devoted to polytheism; and it certainly is not for want of employment that it has failed to attain to excellence. Besides innumerable images, all caves and temples are covered with statues and reliefs; and the latter are often bold, including complicated groups, and expressing various passions. They are sometimes very spirited, and neither the sculptures nor paintings fail to produce very fine specimens of grace in figure and attitude; but there is a total ignorance of anatomy, and an inattention even to the obvious appearances of the limbs and muscles, together with a disregard of proportion between different figures, and a want of skill in grouping, which must entirely exclude the best of the Hindú sculpture from coming into the most remote comparison with European works of art. VII. BOOK Architecture. The numerous edifices erected by the Hindús attest their knowledge of the practice of architecture; and if any confidence can be given to the claims of the books of which fragments still remain, they seem early to have been acquainted with the science. A candid and judicious review of the extant works on architecture is contained in a late essay by an intelligent native, where, also, the system taught by them is ably developed.* The principles of the art seem, by this essay, to have been well understood; and numerous rules appear to have been derived from them. The various mouldings, twelve in number, are described; some (the cyma, toro, cavetto, &c.) are the same as our own, and a few are peculiar. The forms and proportions of pedestals, bases, shafts, capitals, and entablatures are given; how fully, in some cases, may be conjectured from there being sixty-four sorts of bases. There are no fixed orders, but the height of a column may vary from six to ten diameters, and its proportions regulate, though not strictly, those of the capitals, intercolumniations, &c. This place does not admit of any specification of the rules of architecture, or anything beyond a general notion of the native Essay on Hindú Architecture, by Rám Ráz, published by the Oriental Translation Fund. |