Chaitanya’s new volume, edged in a glossy royal blue, is the fourth in a series of five which venture to span Indian painting—beginning from pre-historic rock paintings to the ‘modern temper’ of the Tagores, of Shergil and Jamini Roy. The author’s credentials need no elaboration and his erudition rides high despite the modesty of the blurb on the dust jacket—perhaps to popularize the sale of a scholar’s work:
Jan-Feb 1984, volume 8, No 4
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