I c a n n o t look back at the various fcenes through which
I palled in thefe excurfions, without almoft involuntarily indulging
a train of reflections relative to the ftate of the arts,
under this, as well as under the Hindoo government. The
amazing monuments which are ftill to be found in India
prove the Muffiilman conquerors to have been well acquainted
with*the principles of architecture, and.at Ieaft to have
had a tafte for grand compofition j in painting, on the contrary,
they have only exercifed themfelves in miniature, many
of which are highly beautifuLia, compofition and in delicacy
of colour j their attempts in this art have alio been confined
to water-colours j and they have laboured under a further difad
vantage; the religion of Mahommed prohibiting all refem-
blances of animated nature. Whether the Arabs have ever
tranfgreffed the law in this point,' I know not j but probably,
on account of the remotenefs of India from the original feat
of the religion of Mahommed, it may have loft much of its
rigour, and may, therefore, have left the princes of India at
more liberty to indulge themfelves in this elegant art.
In fculpture there are no inftances of excellence among the
Moors, except in the Taje Mahel at Agra, upon which there
are flowers carved with confiderable ability.
T he. Hindoos appear to .me to rife fuperior to the Mahom-
medans in the ornamental parts of architecture. Some of the
Sculptures in their buildings are very highly to be commended
for the beauty of the execution j they friay, indeed, .be -laid to>
be very finely drawn, and cut with a peculiar ftiarpnefs. The
inftance which is produced, in this work of a column from the
temple of Vis Vilha, fat Benares, wilJlpfove.it, although cut
in free-ftone. A fimilaf inftance cut in black in the
collection of Charles.Townley, Efq..(oh,which,ate qmaments
fimilar to'thofe which are referred-to above}, is^a.ftrikiiig proof ;
Of their power ihi this art. ‘ This column was.brought fxohi 1
Gour, an ancient City, (now. totally dempMfhed) fimaf/Ét on
the eaftem fhore of the Canges, nearly qitóo’fite tq Rajdma-
hel. I have feen many inftances of. caft metal ftatues, relative
to Hindoo mythology, that prove "their perfect knowledge
in the art of calling. Thefe works, .as1 they appiy,>to3
the religion of Bramah, are both curious arid.- valuable j but,
as they are purely mythological, the artifts have only con-
iidered the lymbolical character, .withoik the, proper, attention,
and, perhaps, without a power of givmg-aiperfect beau-'
tiful form,- fuch as we fee in the Grecian ftatues.
T he paintings of the Hindoos, as they are, like their fculpture,
chiefly applied to reprefent the objects of their religious
worlhip, are certainly not fo perfect as the Moorilh pictures*
which are all portraits. A conftant ftudy of Ample nature*
it is well known, will produce a refemblance which is fome-
times aftonilhing, and which the painter of ideal objects never
can arrive at.
PHI
M p i ."t.;