Baroque India : the neo-roman religious architecture of South Asia : a global stylistic survey
著者
書誌事項
Baroque India : the neo-roman religious architecture of South Asia : a global stylistic survey
Indira Gandhi National Centre for the Arts : Aryan Books International, 2000
- タイトル別名
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Neo-roman religious architecture of South Asia
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p.[443]-445) and index
内容説明・目次
内容説明
In addition, he is the author of a survey of Islamic architecture world-wide, which includes, of course, the Indo-Islamic traditions. It is his belief that Indian Baroque - or, more correctly, Indian Neo-Roman - cannot be properly appreciated without an understanding of the architectural styles that preceded it on the subcontinent, and which exercised a significant impact on it. To produce the book the author not only visited the various sites which contain the monuments of Indian Neo-Roman, but has travelled as an architectural pilgrim over much of the Neo-Roman world, in Europe and the Americas. He has also familiarized himself with the art-historical theories on the various styles of architecture, in particular, the Neo-Roman. He has thus prepared himself to contemplate Baroque India's contribution against the Neo-Roman background. In consequence, the method adopted in this book has been that of summarily describing the distinctive spatial modalities of the various Neo-Roman styles, as reflected in their major monuments, especially the styles which impacted on India: a method that facilitates the discernment of the specific Indian contribution to Neo-Roman taken as a whole.
In so doing, the author has tried to outline a consistent aesthetic theory of Neo-Roman, to portray its five major modes - Renaissance, Mannerism, Baroque, Rococo and Neoclassicism - as expressions of the Neo-Roman essence, immanently developing, in the indicated sequence, one from the other, and pullulating a rich variety of spatial themes that both display a marked originality and manifest a capacity for assimilating the spatial nuances of the other architectural styles. This theory, he believes, has enabled him to distinguish the originality of Indian Neo-Roman, and describe what it has absorbed from the subcontinent's Indian and Indo-Islamic styles, while integrating the absorbed material into its Neo-Roman substance.
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