Landscapes in India: Forms and Meanings. Amita Sinha. Boulder: University Press of
Colorado, 2006. 228 pp.
Reviewed by Catherine B. Asher
Amita Sinha’s book has virtually no precedent. Without solid foundations from which to work, Landscapes in India: Forms and Meanings lacks
some of the historical precision that a reader might expect. The title
is somewhat misleading for it addresses only the Hindu and Buddhist
landscapes of India, and it is not until page 15 that Sinha clarifies
what her text covers. She thus leaves the reader for the first 14 pages
mystified at the assumption that India’s built environment only
consists of temples and shrines dedicated to multiple Hindu and
Buddhist deities, while ignoring the built environment of the rest of
subcontinent. She neglects structures of Jains, neo-Buddhists,
Christians, Muslims, Sikhs, Parsis, and Indians of Chinese origin who
follow their own religious traditions; she also neglects the
extraordinary secular built environment. The thrust of Sinha’s argument
is that Indian society is driven by religion, and she seems to suggest
that one’s religious upbringing shapes perceptions of India’s
landscape. This is problematic, for Sinha makes no account for common
cultural understandings. In addition, no attention is paid to class,
education, or economic factors. Rather, while Sinha acknowledges that
there are multiple landscapes in the enormous landmass of the
subcontinent, the landscape she discusses in this book is presented as
a timeless essentialized one where age old tradition is continuous. She
admits to change in cities, but never discusses those landscapes, and
while she admits early in the text that change has occurred even in
villages she writes the remainder of her text as if, in fact, rural
India is frozen in time.
Sinha’s
book has merit as well as flaws, for she introduces the reader to the
rich mythological and epic lore that inform the Indic traditions of the
subcontinent. She divides her volume into four sections with multiple
chapters in each one. Part one is an introduction to the entire book.
She draws heavily on the work of earlier scholars such as Ananda
Coomaraswamy, Mircea Eliade, and Stella Kramrisch, all of whom also
subscribed to the view of a timeless India. She argues that India’s
natural landscape of mountains, hills, rivers and caves informs both
India’s built environment of temple and shrine as well a pilgrimage
ritual.
Part two concerns nature and specifically how nature as described in the Ramayana,
in Buddhist stories, and in the legends of the Hindu god Krishna has
served as the focus for pilgrimage sites. This section’s success varies
with how critically she uses her sources. Her discussion of Kishkindha,
a site associated with events of the Ramayana, relying on the excellent
work of Phillip Wagoner and J. Malville, is well argued as is her
understanding of the cosmic tree in Buddhist landscapes. However, her
discussion of Ayodhya, another site associated with the god Rama and
the epic named for him, is flawed, for Sinha accepts without critical
reflection common beliefs about this site that in fact are late
19th-century inventions. Her evaluation of Braj, the site associated
with the childhood of the Hindu god Krishna, is also problematic, for
Sinha seems to believe that the area called Braj was always recognized
as such, failing to realize the geographical area today known as Braj
was only “discovered” in the 16th century.
Part three concerns the built environment, which Sinha relates to ancient Indian texts known as Vaastu shastras
on the ideal layout of temples, houses, and towns. While Sinha’s
argument that these texts inform temple construction is probably
accurate, the claim that they drive domestic dwellings or urban layout
is more problematic. She cites the planned 18th-century city of Jaipur
as an example; however, that city is unique, and opinion on how much
the Vaastu shastras
had a role in its design is open to scholarly debate. Other examples
cited, for example, villages in south India are too random, and too few
samples are provided to know if this is a sustainable argument.
The
last section of the book moves away from the thrust of her earlier
arguments and concerns attempts to make heritage sites historically
accurate and viable as pilgrimage and tourist sites. This section
appears to be rooted in her own successful work as a designer in the
University of Illinois’s Department of Landscape Architecture. Members
of this department including Sinha, developed plans for the Buddhist
site of Sarnath and Pavagadh Hill, a site sacred to multiple Indian
religious traditions. In her final chapter Sinha discusses the work of
India’s most famous living architect, Charles Correa, whose buildings
takes into consideration the traditions of each area where he is
commissioned to build. Thus his art center for Jaipur reflects the
city’s grid plan layout; his Aga Khan Award winning Vidhan Bhavan
(State Assembly) in Bhopal recalls a nearby Buddhist stupa; while his
low-cost housing development in New Bombay uses the layout of village
houses to create affordable yet livable housing.
In
spite of the flaws noted above, Sinha is to be credited for beginning
to think about cultural landscapes in the Indian context. This field is
rich with potential and Sinha has provided ways to begin considering
these issues.
Architecture of Mughal India Catherine
B. Asher is an Associate Professor of Art History at the University of
Minnesota. She specializes in Islamic and Indian art from 1200 to the
present. The second edition of her bookwas published by Cambridge
University Press in 2001 Her most recent book, co-authored with Cynthia
Talbot, is India before Europe (Cambridge
University Press, 2006). Her current work focuses on issues of identity
and patronage in the arts of India since the 12th century.