CONTINUITY OF TRADITION IN MEDIEVAL SCULPTURE AND PAINTING IN WESTERN INDIA

If sculpture is the index of art of a particular region at a given time, one realises that all art forms whether plastic or graphic, appear to be one and follow a continuity of style which appears to be traditionally handed down to the craftsmen through 'Master to pupil tradition i.e. This congruity of style

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अंधारे का मत है कि पश्चिम भारत की मध्यकालीन मूर्तिकला और चित्रकला एक ही रेखा-परम्परा से बँधी हैं — चित्तौड़ के समिद्धेश्वर मन्दिर के स्तम्भों पर उत्कीर्ण दाता-आकृतियाँ, देलवाड़ा तथा ओसियाँ के उत्कीर्णन, और जैन हस्तप्रतियों के चित्रित काष्ठपट्ट। आगे वे स्थपति, सूत्रग्राहिन्, सूत्रधार तथा वर्धकि का भेद स्पष्ट करते हैं। Andhare argues that medieval Western Indian sculpture and painting share one draughtsman's line: engraved donor figures on the Samiddhesvara temple pillars at Chittor, the Delwara and Osian reliefs, and Jain manuscript covers. He then untangles sthapati, sutragrahin, sutradhara and vardhaki from the Manusamhita and Aparajitaprccha.

Written by the archive’s cataloguers, not by the author.