Historic Pillars-Capitals-Bases of India, Index to Plates

Description

Preface to the Suite Historic Pillars-Capitals-Bases of India
Written by the artist Herbert W. Johe
The source for this collection of watercolors is Part II. Pillars-Caps-Bases, of the publication, Jeypore Portfolio of Architectural Details, prepared under the supervision of Colonel Samuel Swinten Jacob, C.I.E., Engineer to Jeypore State, and published in 1890. Other parts of the Jeypore Portfolio deal with Copings and Plinths-Carved Doors-Brackets-Arches-Ballustrades. Part II includes 79 plates, drawn by students at the Jeypore School of Art, intended to serve as working drawings for the architect and artisan.
In preparing this exhibition, I randomly selected examples that portrayed the artistry of the inhabitants of a region in northwest India, known as Rajasthan (literally, the abode of a prince). Within an area o 130,000 square miles, it is a land of medieval forts and palaces on hilltops which cast a spell on the visitor. Perhaps, no other region of India is so thrilling and so colorful, or possesses more that is traditional and picturesque.
Indian Architecture can be divided into the following three periods which frequently overlap:
1) Buddhist style (B.C. 250 - A.D. 750)
2) Jaini style (A.D. 1000-1300) with later revivals
3) Hindu style (or Brahman style)
a) Northern Hindu style (A.D. 600 to present)
b) Chalukyn style in central India (A.D. 1000-1300)
c) Davidian style in south India (A.D. 1350-1750)
The earliest phase of architectural activity in Rajasthan was an offshoot of the intensive and virile movement initiated during the Gupta period (4th to 6th century A.D.) known as the "Golden Age of Indian Art." Many great temples were built between the 8th and 11th centuries. Most of these suffered destruction during the early Muslim invasions. Hindu princes were responsible for building palaces, forts, and citidals during the 15th, 16th and 17th centuries, borrowing many features from Muslim buildings. The princely mansions and palaces show evidence of individual taste and liking.
Indian columns are most idiosyncratic and are unlike those in any other style. The origin of their form is unknown, but it seems certain that they had a timber prototype. There is no system of recognized types as in Greece or Rome. The shaft is as much ornamented as capital and base and the characteristic bracket capital takes a variety of forms. Buddhist columns are often octagonal.
I am much indebted to Nathan T. Whitman, Professor Emeritus of History of Art, University of Michigan, for servicable criticism and suggestions while preparing this text.
Herbert W. Johe