By Ajit Mookerjee
Incredibly wealthy treasury of real royalty-free designs tailored from artifacts of the Harappa tradition, cash and pottery from South India, Ajanta and Bagh work of art, Muslim monuments, Buddhist temples, textiles from Gujarat, Punjab, different areas, mask and tribal arts, even more. instantly usable fabric or nice source for layout suggestion. advent. Notes.
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Additional info for 5000 Designs and Motifs from India
N. R. Gopalakrishnan and to Mr. Gouri Ghose for their cooperation and particularly to the three artists, Miss Arati Roy, Mr. Indu Bhusan Gupta and Mr. Sushil Das, for the copy work. I am also grateful to Dr. Verrier El win and the Oxford University Press for the permission to reproduce the tribal decorations in the last four plates of the book. A. M. NOTES TRADITIONAL DESIGNS AND MOTIFS : 3000 B . C. TO MODERN TIMES PLATES 1—5 Harappa culture: mainly Mohenjo-daro and Harappa seals, dolls and toys, pottery including Nal PLATES 6—8 Sanchi Stupas: mainly railings and gateways PLATES 9—15 Punch-marked coins and pottery: mainly Taxila and South India PLATES 16—22 Ajanta and Bagh murals PLATES 23—44 Muslim monuments: mainly Agra, Delhi, Sikandra, Fatehpur Sikri, Bijapur, Lahore, Jaunpur, etc.
The basic continuity is not achieved at the sacrifice of flexibility of forms and designs. On the other hand, the popular standard of taste has been maintained throughout because of the scope for such transformation and change. This continuity is, however, not like that of a stagnant pool. So long as the craftsman functioned and he set his personal seal on the things he produced, there was no risk of any violent change in their appeal nor was there any sudden break with the past. Art was conditioned by the function of the craft object, which in turn guided the life movement of the people in any given surrounding.
To help such designers (and others interested in the subject) this modest publication is attempted. In application of designs, the artists of old seldom lost their sense of proportion and balance and the main theme of the work was never lost sight of in the exuberance of decoration. Degeneration followed as a later phenomenon. Indian art in general, no doubt, provides adequate material for the study of decorative arts. But it is in the actual articles of daily use or other ancillary objects that the designs and motifs are so well preserved and handed down from generation to generation.
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