Architecture Indonesian and Farther Indian Art

ARCHITECTURE; INDONESIAN AND FARTHER INDIAN ART) coloured no doubt by both China and Persia in proportion to the invading successes of their various rulers. All this truly eastern art ex pressed itself vigorously in sumptuous colour arrangements : in the buildings by the use of burnt clays, in lacquers by the lavish use of gold, crimson, etc., and quite noticeably in the magnificent costumes embroidered on the richest silk and satin. Marco Polo's amazement at the glories spread before his eyes in his travels through Persia, Turkestan and China was a sincere acknowledg ment of the existence of something at least unusual to a Venetian in the days of the glory of his native city.

Gothic Architecture.

In Europe with the development of Gothic architecture (q.v.) it was evident that some of the rich ness of the East would remain. Curiously enough, the fact that the Gothic sculptured reliefs were quite as brilliantly painted as their prototypes in Greek Art is equally ignored. The interiors of the Sainte Chapelle in Paris and the restorations of some of the earlier châteaux in the Loire district indicate what the Gothic painted decoration must have been. Much of the Gothic sculpture of the 13th century was fully painted though, to be sure, the actual monuments retain little indication of colour apart from the bril liant stained glass (q.v.) . It is evident that this desire for ex pression in colour would appear in varied forms in different peoples and throughout their histories. The Spanish iron work (see IRON IN ART) of the 16th century, possibly the finest in Europe, is like wise enriched with reds, blues and gold, all handled with the bold ness of master craftsmen. Brussels is noteworthy for its great Place surrounded by stone structures now quite dark with the patina of age, but superbly ornamented with gold decorations.

Primitive peoples are lovers of colour in precise relationship to their independence of so-called civilized contacts. The artistic ex pression of the tribes of Central Africa, the natives of Polynesia, the Incas of South America, the Mayas of Central America, the American Indians and, finally, the Esquimaux, is shown in bold pat terns of pure colour which cover the most sacred structures and also the boats, tents and domestic vessels. In Asia, the Assyrians produced magnificent tile decorations which are among the gems of the Louvre collection. Egypt in its constant unfolding of its treasures from the royal tombs proves the freedom and versatility of her artists (see EGYPTIAN ARCHITECTURE). The furniture, pottery, glass, jewellery, fabrics, indicate an understanding of the combination of colour and form that is almost incredible. In Persia the magnificent blue dome of Ispahan, the tile, lacquers, rugs of Persian history from the Sassanian period to our day are additional indications of an instinct for colour that has persisted through the historic races of the world.

In approaching contemporary architecture, one is faced with certain preconceived theories as to what is acceptable. If an architect ventures to experiment, even though he directly copies an example of accepted historic reputation, he risks making his build ing conspicuous. The tradition of the monotone has developed so uniformly that the very knowledge of how to experiment seems to be a lost art. The painter theoretically equipped to handle colour has withdrawn to his studio and in his own restricted dignity produces canvases that may or may not eventually deco rate a building. Where the public might gain from the exercise of his ability he refrains, not necessarily from choice but for the obvious reason that where all buildings are monotonous there is no need of a colourist.

The New Architecture.

Granting that tradition has re strained development and that under existing conditions extensive use of colour is impossible, a new factor of enormous influence has appeared. The tall building on a comparatively narrow street in one of our big cities can no longer employ the decorative forms so lovingly and superbly handled by the masters of the past (see ARCHITECTURE). Two reasons are evident : copying any man's work intended for a particular place or period is not only false but a stamp of inability in design; the detail, charming in a structure 40 ft. in height is ludicrous in one 400 ft. higher. If the detail, as much of the earlier American sky-scraper architecture shows, is merely inflated to suit the increased distance from the eye the fal lacy is no less obvious. The decoration of the tall building must produce the same agreeable effects of rhythm, symmetry, pictur esqueness, sparkle or whatever basic theories the designer wishes, with quite new mediums. Flat surfaces take the place of the obso lete cornices, and colour in surfaces, in proportion to the distance from the observer, marks the accents that the artist desires. The practical question of material, whether the effect will be produced in burnt clay or terra-cotta, bricks covered with glazes baked under high temperatures, mosaic or glass, will depend, in large measure, on the ingenuity of the designers themselves. What seems to be particularly vital, however, is the conception of the use of colcur as a part of the structure and not as merely applied ornament.

The dream of a coloured city, buildings in harmonious tones making great masses of beautiful pattern, may be less of a vision if the enterprising city developer realizes what it means. There is evident economy of effort in the application of colour in lieu of carved decoration which cannot be seen; and the novelty of a structure distinguishable from its neighbours has a practical value which must appeal without question to the designer and his public. The precise manner of handling colour, whether in masses, adapted as contrasts to the major tone of the building, as accents only, or in the entire structure by reason of its basic material, depends again on the programme of the creative designer ; but a positive conception of the employment of colour cannot countenance mere spots of bright tiles, marbles or other substances used to relieve the sobriety of a facade. The individual must learn what media fit his taste and are adapted to the conditions of his work.

The classic conception of colour was that functional elements should be in base colours, particularly where stone and metal were employed, and that only decoration should be toned. In modern construction, where the entire facade is applied to a skeleton frame of concrete or steel, the design would be false if the artist persist ently 'emphasized classicism where all construction is evidenced on the facade. As he creates his design, if he is willing, he can attempt accents and effects quite in keeping with contemporary building practice.

In recent years little of actual value has been produced that would indicate broad acceptance of the need of colour on buildings. The Radio City buildings in New York, striking as they are in mass and arrangement, carry on the classic principle of grey masses re lieved by richly decorated sculptures and entrance features. They do not indicate a departure from the norm of the stone block.

In exposition architecture, however, the public has been privi leged to see what might be acComplished with the architects en couraged to experiment. Here the painters have been asked to co operate. In Chicago, in 1932, while the results were somewhat confused due to a lack of organization in scheme, the effect was nevertheless striking and had a considerable influence on the many visitors. In New York in 1939, a more carefully analyzed colour scheme, using mural paintings to a degree before unknown and accepting a policy of separating the Fair into broad zones of colour —gold, blue, red, white,—produced a superb effect of mass, that at night, with the added attraction of lights carefully set to pro duce accents on trees, flowers, and the building blocks, developed a substantial result in the use of colour on buildings.

It is important to note the fact that the painters helped materi ally to accomplish this effect. Paint was the main element, for the use of more substantial materials could not be general in view of the cost. To the public the Fair in New York demanded compari son with the white Exhibition of Chicago in 1893, which capti vated the eye as an expression of neo-classicism, and where no colour of any consequence appeared. The World's Fair in San Francisco in 1939 also was designed with similar concentration on brilliant colour masses. The possibilities of colour in large masses have been established.

BIBLIOGRAPHY.-E.

Viollet-Le-Duc, Discourses on Architecture Bibliography.-E. Viollet-Le-Duc, Discourses on Architecture (1875); G. Perrot and C. Chipiez, Histoire de Part dans l'antiquite (1882-19°3) ; W. J. Anderson, Architecture of the Renaissance in Italy 0896); C. Diehl, Manuel d'art Byzantin (i9io) ; V. A. Smith, History of Fine Art in India and Ceylon (Dgi I) ; F. Sarre and E. Herz feld, Archtiologische Reise im Euphrat und Tigrisgebiet (1911-2o) ; E. F. Fenollosa, Epochs of Chinese and Japanese Art (1912) ; H. Taine, Philosophie de Part (1921); G. Migeon, L'Orient Musulman (1922); Leon V. Solon, Polychromy (1924); Wm. J. Anderson and R. P. Spiers, Architecture of Greece and Ronie (1927). (E. J. K.)