By Oliver Forge, Brendan Lynch
Выставочный каталог индийской живописи периода 1580 - 1850 гг.
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Additional resources for Indian Painting 1580 - 1850
Both these he finds in rough objects; and neither of them in smooth. Variety indeed, in some degree, he may find in the outline of a smooth object: but by no means enough to satisfy the eye, without including the surface also. From rough objects also he seeks the effeSi of light and Jhade, which they are as well disposed to produce, as they are the beauty of composition. One uniform light, or one uniform shade produces no effect. 舒The richness also of the light depends on the breaks, and little recesses, which it finds on the surfaces of bodies.
It ranges through the limits of art. The picture, the statue, and the garden are all the objects of it9s attention. In the embellished pleasure-ground particularly, tho all is neat, and elegant舒far too neat and elegant for the use of the pencil; yet, if it be well laid out, it exhibits the lines, and principles of landscape and is well worth the study of the picturesque traveller. * 舦 See page 8. But But among all the objects of art, the pictu* resque eye is perhaps most inquisitive after the elegant relics of ancient architecture; the ruined tower, the Gothic arch, the remains of castles, and abbeys.
It examines parts, but never descends to particles. Having thus from a variety of examples endeavoured to shew, that roughness either real, or apparent, forms an essential difference between the beautiful, and the picturesque; it may be expected, that we should point out the reason of this difference. It is obvious enough, why the painter prefers rough objects to smooth*: but it is not so obvious, why the quality of roughness should make an essential difference between the objects of nature, and the objects of artificial representation.