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Title:
Volume 31 - Issue 1
Date:
1977
Table of contents:
- p. i-iii [Supplement to Vol. 31 No. 1]: Anand, Mulk Raj, Coomaraswamy's Holistic Vision of Art | Ananda Coomaraswamy differentiated between the inner and outer beauty of an art object, emphasizing the inner aspect of beauty. This approach was against the "art for art's sake" individualism of late 19th and early 20th century aesthetics. Coomaraswamy defined his aesthetic interms of Hindu metaphysics, and rejected renaissance art.
- p. Front and Back [Advertisements]: [Photographs: Hoysala Art]
- p. 2-20 [Also in - In Praise of Hoysala Art; Pages - 2-20]: Anand, Mulk Raj, In Praise of Hoysala Art [Editorial] | The Hoysala shrines at Somnathpur, Belur, and Halebid were conceived as star-shaped structures, and built with chloritic schist. The editorial discusses the sequence of buildings, the sculpture, and the beliefs of the Hoysalas and other near-contemporary powers of the Deccan.
- p. iv-v [Supplement to Vol. 31 No. 1]: Anand, Mulk Raj, In Memory of Hermann Goetz | A tribute to Hermann Goetz, one of the pioneers of the 20th century in the realm of study, interpretation and exposition of the ideals behind India's creative arts. In his capacity as an Editorial Advisor of Marg, Goetz contributed significantly to the activities of the Modern Architects and Artists Research Group.
- p. 21-46, 102 [Notes and References on page 102 Also in - In Praise of Hoysala Art; Pages - 21-46, 102]: Del Bontà , Robert J., The Hoysala Legacy | The article outlines the dynastic history of the Hoysalas (11th to mid-14th centuries), defines the contemporary styles, and discusses the Hoysala temple plan, architectural features, artists, and iconography.
- p. 47-106 [Also in - In Praise of Hoysala Art; Pages - 47-105] Photographs after p. 106]: Berkson, Carmel, [Hoysalas] Friezes: Notes on Plates | The notes accompanying the illustrations emphasize the perfection and purpose of the friezes in the Hoysala temples in Halebid, Somnathpur, Belagame, Warangal, and Belur. The depiction of the female form in the friezes and origin of the star-shaped plan of the temples are discussed in detail.