Reviews
By Benoy Kumar Sarkar, Chintaharan Chakravarti, Vidhushekhara Bhattacharya, Bimala Charan Law, Giuseppe Tucci, Ajit Ghose
Summary
The *Dasabhūmika-sūtra* (reprinted from *Acta Orientalia*, 40.14) edited by J. Rahder focuses on the seventh stage, considered the most significant as it marks a Bodhisattva’s irreversible enlightenment. Rahder’s edition compares multiple texts, including Tibetan and Mongolian translations, and critiques earlier interpretations, such as misrenderings of terms like *vinsvartana* (return) and *upādyāyānam* (not merely “knowing all sciences”). The work contextualizes the *bhūmi* theory within Mahayana and Prajñāpāramitā literature, noting variations in classification across texts like the *Mahāvastu* and Nagarjuna’s writings. Narainilal Chamanlal Mehta’s *Studies in Indian Painting* surveys Indian art from the 7th century to 1870, emphasizing secular paintings in Gujarat and the *Salivihana* epistle. While praising the book’s contributions, reviewers critique its underrepresentation of key works like the Jaipur Pothikhana’s large-scale Krishna-Gopika paintings and its dismissal of earlier Bundela School examples. The text also challenges Mehta’s characterization of Akbar’s court art as derivative, highlighting the originality of works like the *Razmnamah* and *Hamzah*, which blend Persian techniques with innovative execution. Overall, the review underscores the complexity of Indian art history, advocating for nuanced analysis beyond oversimplified categorizations.
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Conclusion
This document offers critical insights into two distinct yet equally significant areas of Indian cultural history. The detailed analysis of the *Dasabhūmika-sūtra* elucidates the evolution of Mahayana Buddhist thought, particularly the doctrinal shift marking the seventh *bhūmi* as pivotal for Bodhisattva enlightenment, while highlighting J. Rahder’s meticulous editorial contributions and scholarly rigor. Concurrently, the review of *Studies in Indian Painting* underscores the artistic richness of Indian pictorial traditions, emphasizing the underappreciated secular art of Gujarat and the cultural significance of the *Vasanta Vilas* and *Salivihana* epistle. Both sections collectively enhance scholarly understanding—one by clarifying complex theological frameworks and their historical context, the other by broadening the canon of Indian art appreciation. Together, they exemplify the depth and diversity of India’s intellectual and aesthetic heritage.