[Footnote 121:  Plates 13-15.]

[Footnote 122:  Plate 18.]

[Footnote 123:  The Art of India and Pakistan, Plate 79]

[Footnote 124:  W.G.  Archer, ‘Maithil Painting,’ Marg, Vol.  III, No. 2.]

[Footnote 125:  W.G.  Archer, Bazaar Paintings of Calcutta (London, 1953), Plates 8, 9, 14, 19, 30, 31 and 41.]

[Footnote 126:  Ajit Mookerjee, Art of India, (Calcutta, 1952) Fig. 94.]

[Footnote 127:  B. Dey and J. Irwin, ‘Jamini Roy,’ Journal of the Indian Society of Oriental Art (1944), Vol.  XII, Plate 6.]

[Footnote 128:  For reproductions of Keyt’s work, see Martin Russell, George Keyt (Bombay, 1950), Plates 1-101.]

NOTES

Note 1, p. 13.

For a further discussion of these two main kinds of Indian expression, see my Indian Painting (Iris, Batsford, London, 1956).

Note 2, p. 14.

In Indian painting, Krishna is normally blue or mauve in colour, though cases occur in which he is black, green or dark brown.  Black would seem to follow from Krishna’s name—­the word ‘Krishna’ meaning ’black’—­and may have been applied either because he sprang from a black hair of Vishnu or because he was born at midnight, ‘black as a thundercloud.’  It has been suggested that his dark complexion proves a Dravidian or even an aboriginal origin since both the Dravidian races and the aboriginal tribes are dark brown in colour in contrast to the paler Aryans.  None of the texts, however, appears to corroborate this theory.  So far as ‘blue’ and ‘mauve’ are concerned, ‘blue’ is the colour of Vishnu and characterizes most of his incarnations.  As the colour of the sky, it is appropriate to a deity who was originally associated with the sun—­the sun with its life-giving rays according well with Vishnu’s role as loving protector.  ‘Blue’ is also supposed to be the colour of the ocean on which Vishnu is said to recline at the commencement of each age.  In view of the variations in colour in the pictures, it is perhaps significant that ‘blue,’ ‘mauve’ and ‘green’ are commonly regarded in village India as variants of ’black’—­many Indians making no distinction between them.  In Indian painting, the fact that Krishna is blue makes it easy to identify him, his only serious rival being another and earlier incarnation of Vishnu, the princely Rama.  The latter can usually be distinguished from Krishna by the fact that he carries a bow (never a cowherd’s stick) and is often accompanied by Hanuman, the monkey leader.

Note 3, p. 17.

For a comparison of Ghora Angirasa’s teaching in the Chandogya Upanishad with Krishna’s precepts in the Gita, see Mazumdar, The Age of Imperial Unity (432-4) and Basham, The Wonder that was India (242-7, 304-5)

Note 4, p. 17.