Geschichte der Kunst. GwALiOR (15. Jahrhundert). Das Palace. die Unbeweglichkeit der Kontemplation, muss er thereforedescend unresistingly in das Chaos der Elemente. Die Rücknahme der indischen Seele von preoccupa mit Moral, seine pantheistische Verwirrung und dis-Bestellung, und schneiden Sie es fast ständig aus dem greatabstract Konstruktionen, die den aspirationof der alten Völker des Abendlandes prägen. In Indien, theeye nicht Dinge in ihrem Ensemble ergreifen, bis es in allen Einzelheiten Hastaken. In Ägypten, in der Wüste, thehorizon, und die gerade Linie des Flusses, wie in Greecethe wicklung Buchten,

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History of art . GwALiOR (xv Century). The Palace. the immobility of contemplation, he must thereforedescend unresistingly into the chaos of the elements. The withdrawal of the Indian soul from preoccupa-tion with morality, its pantheistic confusion and dis-order, cut it off almost constantly from the greatabstract constructions that characterize the aspirationof the ancient peoples of the Occident. In India, theeye does not seize things in their ensemble until it hastaken in all their details. In Egypt, the desert, thehorizon, and the straight line of the river, as in Greecethe winding bays, the transparent waters, and theclear-cut crests of the hills, had made of man a meta- INDIA 33 physician or a philosopher, loving the rhythm or thesinuous continuity that he observed in the universe;but here it required too many days to reach the moun-tains, the rivers were too vast and too muddy for oneto see to their depths, the forests were too dense to. BiNDERABUND (xvi Century). A temple. permit the eye to take in at once the harmonious lineof the trees, the outline of their leaves, the true form ofthe creeping animals that appear only in a flash, toflee from death or to inflict it. Man is surrounded byan unpassable barrier of luxuriant life, the eye is daz-zled by the ceaselessly broken and mingled colors andlines of flowers that rain sparkling dust, of vines, ofbeasts fantastically marked; one is caught up in thefeverish spirit of the germs of life and death that rollunder the ocean of leaves. The disorder of the materialworld of the Indian intoxicates his soul and brings him 34 MEDIAEVAL ART to that pantheistic mysticism that every sensual beingcan feel rising within him in supreme moments oflove, when, through the embrace of the woman whoyields to him, he feels the confused and real presenceof the universe. In the architecture of India we mustnot seek that linear abstraction which, by its con-tinuity, expresses the visible rhyth

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