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Baroque India (The Neo-Roman Religious Architecture of South Asia: A Global Stylistic Survey)

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Especificaciones

Código del Artículo: IDL074

por Jose Pereira

Hardcover (Edición: 2000)

Indira Gandhi National Centre for the Arts and Aryan Books International
ISBN 8173051615

Tamaño: 10.9" X 8.8"
Páginas: 520 (Illustrated Throughout in B/W)
Weight of the Book: 2.190 Kg

Precio: Euro 80.04

Descripción

From The Jacket

Baroque India is the fruit of cover 40 years of research, and is the work of one professionally trained in the history of Indian art (Hindu, Buddhist and Jain). In addition, he is the author of a survey of Islamic architecture world-wide, which includes, of course, the Indo-Islamic tradition. It is his belief that Indian Baroque-or, more correctly, India 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-Ramon 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 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.

Jose Pereira is Professor of theology at Fordham University in New York, where he teachers History of Religions. He holds a doctorate from the University of Bombay in Ancient Indian History and Culture. He has been Visiting Professor at the Instituto Superior de Estudos Ultramarinos in Lisbon (1959-1960), research fellow in the History of Indian Art at the School of Oriental and Africa Studies in London (1962-1966), and Research Associate in the History of Indian Art at The American Academy of Benares at Varanasi (1967-1969). In the latter institution he chose as his project the architecture of Baroque India, and the present work is based on the research organized for that project. The photographs then taken in field trips to the various regions of Baroque India, including those reproduced in the present work, are preserved in the archives of the American Institute of Indian Studies at Varanasi.

Professor Pereira is the author of numerous articles and books - on theology, and on architectural, cultural, philological and literary history. Among his books are the following: Hindu Theology (Garden City, New York: Doubleday, 1976), Monolithic Jinas (Delhi: Motilal Banarsidass, 1979), Elements of Indian Architecture (Motilal Banarsidass, 1987), Islamic Sacred Architecture. A Stylistic History (New Delhi: Books & Books, 1994), and Baroque Goa. The Architecture of Portuguese India (New Delhi: Books & Books, 1995)

Cover Design: Teresa Pereira

The front of the cover displays the elevation of the church of Santana at Tallauli/Talaulim (1681-1695), possibly designed by FRANCISCO DO REGO. The back of the cover shows the interior of the church of Nossa Senhora da Divina Providencia in Velha Goa (1656-1661), designed by CARLO FERRARINI and FRANCESCO MERIA MILAZZO (photograph by Marie-Pierre Astier)

Foreword

As is in other spheres of Indian life and art, the architecture heritage of India also exemplifies plurality and co-existence of many temporal moments and crossing of boundaries yet retaining an identity. Scores of monuments, shrines, and memorials distributed the country bear testimony to the twin processes of a distinct style as also osmosis which takes place with styles of earlier periods and adjacent areas as also assimilations of new influences. This event in India from very early times.

The several volumes on architecture published by the Indira Gandhi National Centre for the Arts (IGNCA) bear testimony to the characteristic features of this dynamics of the interplay of the cosmic and the terrestrial, the humble indigenous and the monumental, the distinctively regional and the pan-Indian. A.K. Coomaraswamy's Essays in Early Indian Architecture throws light on the humbles hamlets as also the symbolic meaning of architectural members. Adam Hardy's book Indian Temple Architecture: Form and Transformation takes the theme further by demonstrating convincingly the multilayered system. The study on Govindadeva: A Dialogue in Stone is a prefect example of the processes of interaction and fusion. The volume on Stupa and Its Technology: A Tibeto-Buddhist Perspective and Paul Mus's Barabudur: Sketch of a History of Buddhism Based on Archaeological Criticism of the Texts exemplify these processes in the context of Buddhism monuments found not only in India but also in Tibet and Indonesia. No architecture scheme appears to work in total isolation or insulation and yet it acquires a distinctive personality. Whether it is the potential of the Indian tradition to assimilate without being purely derivative or the more universal and complex processes of the giver and the receiver is difficult to priorities. It is evident that the trend continues well into the Eighteenth and even Nineteenth centuries. Prof. Jose Pereira's volume Baroque India: The Neo-Roman Religious Architecture of South Asia, A Global Stylistic Survey cogently traces the history of the evolution of Baroque in the context of India. His volume Baroque Goa: The Architecture of Portuguese India (Books and Books, Delhi, 1995) had focused on Goa. Prof, Pereira in the present monograph now explores thoroughly the applicability of terms like Baroque and Neo-Roman to a specific of colonial (local) architectural development in India represented by several grand edifices.

The colonial expansion in South Asia undoubtedly was an era of economic exploitation and political oppression. Nevertheless, it also brought in its wake the possibility of a dialogue between the East and West. There was mutual influence. Many seminal ideas travelled to the West and aspects of European knowledge and technology effected the Indian arts and crafts. In some cases hybrid styles emerged, in others there was a more meaningful blending of genres and styles. The history of this Indo-European dialogue is complex and a more balanced reassessment in different fields has yet to be made.

Without making evaluation statements, it is clear that there is evidence of the impact of the colonial presence in many domains of life and art. In architecture, buildings such as Tirumalan ayaka's Palace at Madurai; Mattancheri Palace, Cochin; several Nawabi mansions of Lucknow; and various notable edifices of Calcutta, Mumbai and elsewhere are typical examples.

The author in his monograph deals with the various issue relating to the transmission and growth of European architectural traditions in India within a local format. Giving the political history associated with the subject as a background, he discusses various other details, viz., the structural antecedents and stylistic aesthetics, architectural contents of the monuments connected with the Indian Baroque and Neo-Roman traditions and aspects of ornamentation and draws some significant conclusions.

Prof. Pereira gives us his overview of the political history, the aesthetics of the Neo-Roman, the characteristics of the Baroque, the interactions with Indian styles and the emergence of a distinctively Indian Baroque. Prof. Pereira builds up a strong case for Indianized Baroque as a regional development with characteristic, especially the churches including those raised by Protestants in the Western coastal areas, and elsewhere in India to stress his view-point. According to the author, the regional manifestation of the Goan Baroque also contains typical Indian elements associated with structural tradition of medieval India e.g. presence of amalakas, lotus and cypress motifs, pot-shaped pillar-bases, Bengal -roofs, etc., and develops its own structural features. HE also records the presence of certain features of Baroque style in some of the Hindu shrines of Goa built during the Portuguese rule. Prof. Pereira also tries to visualize some sort of aesthetic parallelism between Hindu temples and Baroque structures. Assessing the process of Indianization of Neo-Roman architecture, he describes it as "European in grammar and Indian in syntax, though later even grammar was considerably modified". Therefore, this type of stylistic transformation, as a whole, has to be treated as an Indian development in the same way as the Indo-Islamic architecture, which also was the result of a dialogue with architectural styles of non-Indian origin.

Prof. Pereira through an in-depth study of European and Indian architecture, methodical analyses and logical inferences has been able to expose almost an unknown chapter of Indian's art history. Our author, who besides being an architectural historian, is a linguist specialising in Latin and Sanskrit and other European and Indian languages, a specialist on religious and philosophical thought of Asia and Europe and a painter of repute. He has devoted more than two decades in carrying out the present study. In his conclusions, he attempts to highlight the contribution of India to Neo-Roman architecture idiomatically, axiomatically and aesthetically. I have no doubt that his exposition will interest both cultural historians as also students of architecture. Prof. Pereira's views and inferences on the subject may not be shared by some scholars or readers but his contribution to the colonial phase of Indian art is not without significance.

The IGNCA is deeply involved in the integrated study of Indian art and architecture under its Ksetra-Sampada programme in the context of which investigations are made on a structural heritage zone/area serving as a sacred centre, keeping in view its character in totality. The objective of these studies is to understand architecture as an expression of life in relation to rituals, myths, culture and environment. Goa as an architecture heritage zone with many notable shrines, sanctuaries and churches, bound together through a structural idiom, indeed serves as a point of cultural convergence and radiation bringing together the people to a common socio-religious fold. Prof. Pereira's present work corroborates IGNCA's approach to a Ksetra (area) and, is yet another example of the efficacy of IGNCA's theoretical position.

I am grateful to Prof. Pereira for allowing IGNCA to publish the book. I would like to thank my colleagues Mr. M.C. Joshi for reading the manuscript carefully, and Dr. Lalit M. Gujral for seeing it through the press.

Contents

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	Foreword - By Kapila Vatsyayan	vii
	Prologue
1.	Neo-Roman and the Baroque	1
2.	Catholicism and the Baroque	1
3.	Styles of Neo-Roman	2
4.	World-wide diffusion of Neo-Roman	3
5.	Neo-Roman in Asia and india	3
6.	Synthetic and inclusive approach of the present work	3
7.	Acknowledgements	4
8.	Conventions used in the text	5
	Chapter 1. Political History	7
9.	Creators of Baroque Indian History	7
10.	The Indian dynasties	12
11.	The three sacred imperialisms, Muslim, Christian and Hindu	13
12.	Portuguese crusade against Islam	14
13.	Hindu-Muslim wars in India	16
14.	Portuguese India	17
15.	Phases of Portuguese overseas expansion. Phase of the Indian empire	17
16.	Phase of the Brazilian empire	21
17.	Phase of the African empire	23
18.	Dutch India	27
19.	Phases of Dutch rule in India	28
20.	Danish India	28
21.	French India	29
22.	Phases of French rule in India	29
23.	British India	31
24.	Phases of British rule in India	31
	Chapter 2. Aesthetics of Neo-Roman	36
25.	Anthropic and cosmic character of architecture	36
26.	Curved and rectilinear space: the Baroque and Classicism	37
27.	Spatial characteristics of the Baroque, architecture of the curviform	37
28.	Illuminational characteristics of the Baroque [65]	38
29.	Classicism and the Baroque Impulse	39
30.	Architectonic and Decorative Baroque	39
31.	Mannerism	40
32.	The Indian Aesthetic	40
33.	Scientific and intuitive awareness of the structure of the cosmos	44
34.	Trabeate and arcuate construction	45
35.	The Parthian and Roman General of arcuate architecture	45
36.	India and the Parthian and Roman Genera	47
37.	The Neo-Roman styles in India	48
38.	Inauguration of the Neo-Roman Revolution	48
39.	BRUNELLESCHI'S four-point programme: the Four Specifics of Neo-Roman architecture	49
40.	Classical precedent for BRUNELLESCHI's programme	50
41.	Roman attitudes to the programmatic organization of space	50
42.	Decay of the programmatic approach	51
43.	Restoration of the programmatic approach in medieval Italy	51
44.	Transformation of the Four Specifics. Transformation of Specific 1, idiom	52
45.	Transformation of Specific 2, proportion	57
46.	Transformation of Specific 3, syntacticity	59
47.	Transformation of Specific 4, perspective	60
48.	Ambiguity of Neo-Roman	61
49.	Assimilative power of Neo-Roman	62
50.	Aesthetics of fragmentation and integration in Neo-roman	62
51.	The nine categories: criteria for the definition of the Neo-Roman style	64
52.	Definition of styles, 1. Renaissance	65
53.	Renaissance idiomatics: the classical orders	67
54.	Description of the five orders [4,5].	68
55.	Renaissance decorative forms	70
56.	Definition of style, 2. Mannerism	71
57.	Academic Mannerism	71
58.	Antinomian Mannerism	75
59.	Microtectonic Antinomian Mannerism	76
60.	Macrotectonic Antinomian Mannerism	77
61.	Mannerist decorative Forms, architectonic, Antinomian	79
62.	Mannerist decorative forms, picturesque	80
63.	Definition of styles, 3. Baroque	81
64.	Baroque spatially	81
65.	Baroque illumination [28]	83
66.	Baroque decorative forms	86
67.	The salomonic column	87
68.	Renaissance revival of the salomonic column	87
69	Morphology of the salomonic column	88
70.	Spiral shaft of the salomonic column	88
71.	Unscrolled zone of the salomonic column	89
72.	Scrolled zone of the salomonic column	89
73.	Living creatures figured on the salomonic column	90
74.	Acanthus ring on the salomonic column	91
75.	Definition of styles, 4. Rococo	91
76.	Rococo decorative forms	93
77.	Definition of styles, 5.Neoclassicism	95
	Chapter 3. Architecture: Evolution, Styles, History And Historiography	103
78.	Three main European sources of Indian Neo-Roman	104
79	Prelude to Portuguese Neo-Roman: the Manueline (1480-1560)	105
80.	Vestiges of the Manueline India	107
81.	Portuguese Renaissance (1490-1550)	111
82.	Mannerism in Portugal and Brazil	112
83.	Portuguese and Brazilian Baroque (1680-1780)	115
84.	Portuguese and Brazilian Rococo (1750-1800)	120
85.	Portuguese and Brazilian Neoclassicism (1760-1850)	123
86.	Neo-Roman in France. French Renaissance (1490-1540)	123
87.	French Mannerism, Academic and Baroquized (1540-1780)	123
88.	Rococo Interlude (1730-1760)	125
89.	French Neoclassicism (1760-1840)	126
90.	Neo-Roman in French India	127
91.	Neo-Roman in Britain	129
92.	British Baroquized Academic Mannerism and Antinomian Mannerism	130
93.	British Neopalladianism	131
94.	Regions of Neo-Roman architecture in India	133
95.	Styles of Neo-Roman architecture in India	134
96.	General characteristics of the Indian Neo-Roman styles	135
97.	General characteristics of the West Coast styles	136
98.	General characteristics of the Malabari style	137
99.	Characteristics of the Norteiro style	140
100.	Characteristics of the Konkani style	141
101.	Coromandel style	148
102.	Indian Neo-Roman among the Neo-Roman traditions of Africa and Asia	149
103.	Neo-Roman in China	151
104.	Filipino Neo-Roman	152
105.	Periods of Indian Neo-Roman history	156
106.	First periods: implantation of the European style (1500-1550)	156
107.	Second periods: genesis of the Indian style and the maturity of the European (1550-1760)	157
108.	Third period: maturity of the Indian style (1660-1760)	161
109	Fourth periods: Finals of the Indian and European styles (1760-1850)	162
110.	Historiography of Neo-Roman architrcture20	163
111.	Historiography of Indian architecture	164
112.	Historiography of Portuguese architecture	165
113.	Initiation of Indian Neo-Roman art historiography	168
114.	Contemporary Portuguese art historiography	170
115.	Contemporary art historiography of Neo-Roman India	172
	Chapter 4. Catholic Churches: Types	177
116.	The Christian church	178
117.	Types of Christian church, central and longitudinal	179
118.	Types of Neo-Roman churches in India	182
119.	The Hall church	183
120.	Goan Hall churches	185
121.	The Se (catedral de Santa Catarina) in Velha Goa. Neo-Roman cathedrals in the Iberian world	186
122.	The architect of the Se, JULIO SIMAO/JULES SIMON (fl. 1565-1641)	187
123.	Brief history of the Se	190
124.	Herreran idiom of the Se	191
125.	Other similarities and some differences between the Simonian and Herreran idioms	191
126.	Interior spatiality of the Hall Church, in particular, the Se	192
127.	Latin cross-domed church	195
128.	Interior spatiality of the Latin cross-domed church	197
129.	Interior spatiality of the Franco-Indian Latin cross-domed churches	198
130.	Greek cross-domed church	200
131.	Evolution of the Greek cross-domed church	201
132.	Interior spatiality of the Greek cross-domed church	203
133.	Exterior spatiality of the Neo-Roman church. Some types of façade	204
134.	Towers façades	205
135.	Wall façades	206
136.	Types of Wall façade, 1. The hollowed façade	207
138.	Types of Wall façade, 3. The templiform façade	211
139.	Column façade	210
140.	Indian Neo-Roman façade. The Tower façade	212
141.	Goan Immured Prostyle façade, the Providencia	212
142.	Franco-Indian Immured Prostyle facade	217
143.	Indian versions of the Standard Italian façade	217
144.	Franco-Indian façade of Standard Italian format	220
145.	Neo-Roman dome	223
146.	Varieties of the Neo-Roman dome	225
147.	Indian Neo-Roman domes	227
	Chapter 5. The Diminuted Sanctuary Church	233
148.	Notes of the Diminuted Sanctuary Church	233
149	Other features of the Diminuted Sanctuary Church	235
150.	Various formats of the Diminuted Sanctuary Church	235
151.	The standard or oblong format of the Diminuted Sanctuary Church	236
152.	The polygonal format of the Diminuted Sanctuary Church	238
153.	The curviform format of the Diminuted Sanctuary Church	239
154.	The mixtilinear format of the Diminuted Sanctuary Church	239
155.	The Box Church and its evolution	239
156.	The Indian Diminuted Sanctuary Church	240
157.	Portals	241
158.	Porch and narthex façades	244
159.	Fronton shapes	245
160.	Volute shapes	249
161.	Finials	251
162.	Façade and rear towers	252
163.	Compartmentation or reticulation	253
164.	Column-pilaster combinations	258
165.	Contrast in days and storeys	260
166.	Arrangement of voids	262
167.	Unpierced surfaces	264
168.	Emblems and niches	265
169.	Frontispiece-tower interlink	266
170.	Interiors: structural units	267
171.	The Goan planed groin vault	270
172.	Organization of the interior	274
	Chapter 6. Gilt-Woodwork: Retables And Pulpits	297
173.	The Christian altar	298
174.	Functions of the altar	298
175.	Traditions of the altar	299
176.	The Portuguese altar traditions	300
177.	The Indian altar traditions	303
178.	The idiomatics of the altar: basic features	306
179.	Idiomatics of the altar: architectural articulation	307
180.	Axiomorphics of the altar: altar types	307
181.	Axiomorphics of the altar: altar types	309
182.	Axiomorphics of the altar: special environment	309
183.	Iconography of the altar	310
184.	Portuguese and Brazilian iconography	313
185.	Indian iconography	314
186.	Aesthetics of the altar	316
187.	Evolution of the retable	318
188.	Shrine Retable	319
189.	Tabernacle: theology	320
190	Tabernacle: types	321
191.	Expositorium	322
192.	Portuguese Expositorium or trono	325
193.	Indian tabernacles	329
194.	Parietal Retable	330
195.	Main features of the retable, 1: plan	330
196.	Main features of the retable, 2: spacing of the bays	330
197.	Main features of the retable, 3: voids	332
198.	Main features of the retable, 4: predella or socle	334
199.	Main features of the retable, 5: attic	335
200.	Portuguese Pinnacled and Aedicular Attics	336
201.	Portuguese Arched Attics	338
202.	Portuguese Convoluted Attics	339
203.	Indian attic	342
204.	Indian Aedicule Attics, first phase	344
205.	Indian Aedicule Attics, Second phase	347
206.	Indian Convoluted Attics	349
207.	Indian Arched Attics	350
208.	Main features of the retable, 6: enframement	352
209.	Pulpit: Theology	354
210.	Description of the pulpit	355
211.	Indian pulpits	355
212	Indian salomonic columns	355
213.	Five Indian pulpit traditions	356
214.	Evolution of the ornamentation of the Indian pulpit	358
215.	Components of the Indian pulpit	358
216.	Evolution of the component of the Indian pulpit	358
217.	Subdivision of the components of the Indian pulpit	359
218.	Parts of the Indian canopy	359
219.	Indian pulpit cupola	359
220.	Indian pulpit crown	360
221.	Indian coronal volutes and cresting motifs	360
222.	Indian pulpit tester	360
223.	Indian pulpit supraport	361
224.	Indian pulpit doorway	361
225.	Indian pulpit encincture	363
226.	Indian pulpit bowl	365
227.	Indian pulpit stalk	365
	Chapter 7. Crosses, Shrines And Hindu Temples	369
228.	Connection between piazza crosses, wayside shrines, and Hindu temples	369
229.	Indo-Syrian piazza cross	369
230	Indo-Latin piazza cross	371
231.	Wayside shrines or furis	376
232.	The Hindu temple [cf. 32]	376
233	The Maratha temple	380
234	The Goan temple	381
235.	Associate structures of the Goan temple	386
236.	Goan church and Hindu temple compared	387
237.	Evolution of the Goan Hindu temple	388
238.	fate of the Goan Hindu temple	389
	Chapter 8. Protestant Churches	397
239.	Protestant architecture church	397
240.	Paradoxes of the Protestant church	398
241.	Creation of a distinctive Protestant architectural history	398
242	Protestantism and the Baroque	399
243.	Dutch Classicism	399
244.	Four periods of Protestant architectural history	400
245.	Initial; period (1540-1600), of Protestantization	400
246.	Centralized oblong plan	401
247.	Galleried interiors	401
248.	Second period (1600-1650), of Dutch dominance or Protestant autonomy	402
249.	Dutch Protestant architecture of the second period	402
250.	Danish Protestant architecture of the second period	403
251.	French Protestant architecture of the second period	403
252.	British Protestant architecture of the second period	403
253.	Third period (1650-1750), of British and German dominance , or Catholicization	404
254.	British Protestant churches of the third period. The evolution of the Anglican church	404
255.	Eccentric varieties of the Anglican church	406
256.	Standardization of the Anglican church	406
257.	Problem of a distinctive exterior silhouette for a Protestant church	407
258.	Evolution of the paradigm of the Anglican church	407
259.	Limitations of the paradigm	408
260.	British Indian Protestant churches of the third period	409
261.	Danish protestant churches of the third period	409
262.	Danish Indian Protestant churches of the third period	410
263.	Fourth period (1750-1900), of America dominance or-Protestantization	410
264.	British Protestant architecture of the fourth period	410
265.	British Indian Protestant architecture of the fourth period	411
266.	British Indian Armenian churches	413
	Epilogue	417
267.	Historical importance of Indian Neo-Roman	417
268.	Idiomatic contribution of India to Neo-Roman architecture	418
269.	Axiomorphic contribution of Indian to Neo-Roman architecture	419
270.	Aesthetic contribution of India to Neo-Roman architecture	420
	List of Illustrations	423
271.	Line drawings	423
272.	Plates. Interspersed in text. Plates 1-12	432
273.	Plates: Portfolio, 1. Piazza crosses. Plates 13-16	433
274.	Plates: Portfolio, 2.Façades. Plates 17-35	433
275.	Plates: Portfolio, 3. Interiors. Plates 36-50	435
276.	Plates: Portfolio, 4. Vaults and domes. Plates 51-65	436
277.	Plates: Portfolio, 5. Retables and tabernacles. Plates 66-89	437
278.	Plates: Portfolio, 6. Pulpit. Plates 90-97	440
279.	Plates: Portfolio, 7. Indian Gothic. Plates 98-99	440
280.	Plates: Portfolio, 8. Ecclesiastical furniture and woodwork. Plates 100-104	441
	Bibliography	443
281.	Bibliography of Indian Neo-Roman. From 1951	443
282.	Tribute to Significant art historians	445
	Index	447
283.	Persons	447
284	Monuments	455
285.	Themes	480