... sixthly, to the turn, combination, harmony of colours, varnikabhanga. The distinctive character of Indian art, however, emerges from the turn given to each of the constituents of shadanga. Let us try to understand this distinctive character of the Indian art of painting. Rupa-bheda in the Indian art is faithfully observed. But here there is no attempt at an exact naturalistic fidelity to the physical... Philosophy of Indian Art Philosophy of indian art From various accounts which have evidential value, it is clear that India pursued the quest of the knowledge and the experience of reality through a multiple and even integral approach. The basic quest of India was to discover the causes of disintegration and to find effective remedies by which dis... the human mind and how it is related to the centre of the being to which the artistic work is intended to appeal. If we now ask the question as to what distinguishes Indian art, and what is the central philosophy of Indian art as we can gather it from the rich and long course of history through which that art has been sustained through several millennia, we shall find that it is a self-conscious ...
... Collected Works of Nolini Kanta Gupta - Vol. 1 The Standpoint of Indian Art INDIAN art is not in truth unreal and unnatural, though it may so appear to the eye of the ordinary man or to an eye habituated to the classical tradition of European art. Indian art, too, does hold the mirror up to Nature; but it is a different kind of Nature, not altogether this... Japanese – the Far Eastern – art gives a side-view; Indian art gives a view from above.* Or we may say, in psychological terms, that European art embodies experiences of the conscious mind and the external senses, Japanese art gives expression to experiences that one has through the subtler touches of the nerves and the sensibility, and Indian art proceeds through a spiritual consciousness and records... alone makes the European mind feel entirely at home. Europe's revulsion of feeling against Indian art came chiefly from her first meeting with the multiple-headed, multiple-armed, expressionless, strangely poised Hindu gods and goddesses, so different in every way from ordinary human types. Indian art had to be non-human, because its aim was to be supra-human, unnatural, because its very atmosphere ...
... Indian Art The Renaissance in India XII Indian Art - 1 A good deal of hostile or unsympathetic Western criticism of Indian civilisation has been directed in the past against its aesthetic side and taken the form of a disdainful or violent depreciation of its fine arts, architecture, sculpture and painting. Mr. Archer would not find much support in his... his wholesale and undiscriminating depreciation of a great literature, but here too there has been, if not positive attack, much failure of understanding; but in the attack on Indian art, his is the last and shrillest of many hostile voices. This aesthetic side of a people's culture is of the highest importance and demands almost as much scrutiny and carefulness of appreciation as the philosophy, religion... India. The weakness of Mr. Archer's attack, its empty noise and violence and exiguity of substance must not blind us to the very real importance of the mental outlook from which his dislike of Indian art proceeds. For the outlook and the dislike it generates are rooted in something deeper than themselves, a whole cultural training, natural or acquired temperament and fundamental attitude towards ...
... the turn, combination, harmony of colours, varnikabhanga. The distinctive character of Indian art, however, emerges from the turn given to each of the constituents of shadanga. III Let us try to understand this distinctive character of the Indian art of painting. Rupabheda in the Indian art is faithfully observed. But here there is no attempt at an exact naturalistic fidelity to... the human mind and how it is related to the centre of the being to which the artistic work is intended to appeal. If we now ask the question as to what distinguishes Indian art, and what is the central philosophy of Indian art as we can gather it from the rich and long course of history through which that art has been sustained through several millennia, we shall find that it is a self-conscious... and desirableness of the manifestation of divine force and energy in phenomenal creation. Indian art, particularly, provides a ready means through which body, heart and mind can be brought into touch with the Spirit. That is the reason why, if the Indian system of education is to become truly Indian, Indian art and its great heritage should be brought into the very life of our students and teachers ...
... Indian art - comprising architecture, sculpture, painting, music, dance and drama - being more an expression of Indian life in its true inwardness with its insistent religious commitment and reserves of the spiritual sublime, than a vivid imaginative imitation of outward reality, has been a constant invitation to Western detractors. The gravamen of the charge is that Indian art is not "realistic"... series 'A Rationalistic Critic on Indian Culture' (this was the main "reply" to Archer), and finally the comprehensive 'A Defence of Indian Culture' with sections on 'Religion and Spirituality', 'Indian Art', 'Indian Literature' and 'Indian Polity', All these had originally appeared in the Arya from December 1919 to January 1921, but were later subjected to some revision before publication in book form... endeavour of her greatest spirits, are not sane, not virile. 8 Archer is allergic to philosophy, and particularly to India's inward-looking spiritual philosophy. Measuring the creations of Indian art and literature with a yard-stick fashioned by Mammon in Science's forge and on Moloch's anvil. Archer finds everything Indian a negation of culture and a denial of life. An excessive emphasis on ...
... 1922, 1936 (revised), 1946 and subsequently. Two Pictures. This essay was published in the Karmayogin on 17 July 1909. Indian Art and an Old Classic. This essay was published in the Karmayogin on 2 October 1909. The Revival of Indian Art. This essay was published in the Karmayogin on 16 October 1909. An Answer to a Critic. Editorial title. This incomplete essay... Baroda College Social Gathering", The Brain of India , A System of National Education , A Preface on National Education , The National Value of Art , "Two Pictures", "Indian Art and an Old Classic", "The Revival of Indian Art", "Dinshah, Perizade", "Turiu, Uriu", all the contents of the Chandernagore Manuscript, all the reviews making up Part Eight, and all the contents of Part Nine. See the above... Aurobindo, he wrote: I have not intended to republish these articles as they were written when I had just recently come from England and they contain some very raw matter such as the remarks about Indian art which I no longer hold. He added that it might be necessary for him "to revise and possibly to omit or alter some passages" before publication. He did not find time for this revision, and ...
... Indian Art The Renaissance in India XIII Indian Art - 2 Architecture, sculpture and painting, because they are the three great arts which appeal to the spirit through the eye, are those too in which the sensible and the invisible meet with the strongest emphasis on themselves and yet the greatest necessity of each other. The form with its insistent masses... appreciation of beautiful or impressive emotion and idea. It is only in some deeper and more sensitive minds that we get beyond that depth into profounder things. A criticism of that kind applied to Indian art leaves it barren or poor of significance. Here the only right way is to get at once through a total intuitive or revelatory impression or by some meditative dwelling on the whole, dhyāna in the... soul carrying a corpse, psucharion ei bastazon nekron . The more ordinary Western outlook is upon animate matter carrying in its life a modicum of soul. But the seeing of the Indian mind and of Indian art is that of a great, a limitless self and spirit, mahān ātmā , which carries to us in the sea of its presence a living shape of itself, small in comparison to its own infinity, but yet sufficient ...
... The rest of A Defence of Indian Culture was not revised. Separate booklets . In February 1947 the four instalments on Indian art from A Defence of Indian Culture were published by Sri Aurobindo Circle, Bombay, under the title The Significance of Indian Art . New editions of this booklet were published in 1953 and 1964. In 1947, sometime after February, the four instalments on Indian... stated: "The subject matter of the book was written in a way of appreciation of Mr. James H. Cousins' book of the same name." Cousins' Renaissance in India , a series of articles on contemporary Indian art and other subjects, was published by Ganesh & Co., Madras, with a preface dated June 1918. New editions of Sri Aurobindo's Renaissance in India were published in 1927, 1937, 1946, 1951 and 1966... Arya Publishing House, Calcutta, under the title The Spirit and Form of Indian Polity . A new edition of this booklet was brought out in 1966. The publisher's note to The Significance of Indian Art , seen and approved by Sri Aurobindo, is reproduced below in full: These chapters have been abstracted from Sri Aurobindo's work left unfinished in the Arya, — A Defence of Indian ...
... "Indian Culture and External Influence", is an essay from the Arya, March 1919. The original text was revised slightly by the author. The sections on Indian art and Indian polity were published separately as The Significance of Indian Art ( See 77) and The Spirit and Form of Indian Polity ( See 83). SABCL: The Foundations of Indian Culture, Vol. 14 24 . THE FUTURE... 28, 29 77. THE SIGNIFICANCE OF INDIAN ART Sri Aurobindo Circle, Bombay, 1947 Reproduction of Chapters XII to XV of the series entitled "A Defence of Indian Culture" (See 23) first appeared in the Arya, January to April 1920. In SABCL these chapters appear in Section III of Volume 14, under the title "Indian Art". SABCL: The Foundations of Indian... The Foundations of Indian Culture AND THE RENAISSANCE IN INDIA: I s India Civilised? ; A Rationalistic Critic on Indian Culture; A Defence of Indian Culture (Religion and Spirituality, Indian Art, Indian Literature, Indian Polity); Indian Culture and External Influence; The Renaissance in India. Volume 15 Social and Political Thought: The Human Cycle; ...
... Archer need not be answered. Of all the chapters on Indian art I think those on Architecture and Sculpture are the best. While writing the chapter on painting I was tried and besides I have a great natural predilection for the other two arts. Appreciation _______________ 1 Ref : Rupam , April-July 1925; "The Mithunar in Indian art” "Mithunal Vibhushayet" – Agni Purana (Bibliotheca... modernists believe that there is an idea behind the primitives they call Indian art conceptual. They think that somebody wanted to convey the "idea of peace" and so he invented the figure of Buddha! But it is not an idea at all, it is "the experience" that is meant to be conveyed. Vision and experience are the creative elements of Indian art. What modernist art is trying to do – at least what it began with... in it. Formerly it was thought that there was a gulf between Ajanta and the Rajput School of painting, but the Nepalese, the Tibetan and Central Asian finds of painting prove the continuity of Indian art. Almost in every culture one sees that in earlier times there is grandeur of conception, while later on it becomes more conscious and vital, – detailed and delicate in expression. Page 214 ...
... Indian Art The Renaissance in India XV Indian Art - 4 The art of painting in ancient and later India, owing to the comparative scantiness of its surviving creations, does not create quite so great an impression as her architecture and sculpture and it has even been supposed that this art flourished only at intervals, finally ceased for a period of several... interpretation of the whole religion, culture and life of the Indian people. The one important and significant thing that emerges is the constant Page 300 oneness and continuity of all Indian art in its essential spirit and tradition. Thus the earlier work at Ajanta has been found to be akin to the earlier sculptural work of the Buddhists, while the later paintings have a similar close kinship... art of other countries of Asia. The spirit and motive of Indian painting are in their centre of conception and shaping force of sight identical with the inspiring vision of Indian sculpture. All Indian art is a throwing out of a certain profound self-vision formed by a going within to find out the secret significance of form and appearance, a discovery of the subject in one's deeper self, the giving ...
... the dwindling of that great fire of life, even a moment of incipient 1. The words of Sri Aurobindo in this chapter are to be found in The Renaissance in India and The Significance of Indian Art, unless otherwise mentioned. Page 24 disintegration, marked politically by the anarchy which gave European adventure its chance, inwardly by an increasing torpor of the creative... new meanings to the finer subtleties of life." The artists were not far behind. But we owe it in the main to the Tagores, who bathed in the well-spring of Indian culture, for the revival of Indian art and giving it a new direction. The Industrial Art Society of Calcutta was first instituted in 1854 by a few art enthusiasts, Indian and British. It ran a school of Industrial Art which was later... intuition." And we can be grateful to the Tagores for it. Abanindranath's role in the rebirth of taste and Page 47 understanding and the release of creativity in the world of Indian art is uncontested. He had his roots deep and widespread in the mind of Bengal, of India, in the life and culture of her people. Aban Thakur's work and influence spread all over India directly as well ...
... incompetent imitation of the worst European styles, as the glory of a new dawn and that hideous and glaring reproductions of them still adorning its dwellings? A rebirth of Indian taste supporting a new Indian Art which shall inspire itself with the old spirit while seeking for fresh forms is now, however, possible and it is certainly a great desideratum for the future. For nothing can be more helpful towards... promises us on Pallava Sculpture and South Indian Sculptures Mr. Gangoly will remedy this imperfection of detail. The first chapter of the letterpress deals with the legendary origins of South Indian art. It is interesting and valuable, but there are some startlingly confident statements against which our critical sense protests. For instance, "it is beyond doubt that the two divisions of the country... which falls considerably below the best, but the general impression is that of a mass of powerful, striking and inspired creations. And throughout there is that dominant note which distinguishes Indian art from any other whether of the Occident or of the Orient. All characteristic Oriental art indeed seeks to go beyond the emotions and the senses; a Japanese landscape of snow and hill is as much an ...
... Early Cultural Writings The Revival of Indian Art The Main Difference 16-October-1909 The greatness of Indian art is the greatness of all Indian thought and achievement. It lies in the recognition of the persistent within the transient, of the domination of matter by spirit, the subordination of the insistent appearances of Prakriti to the inner... to freedom does not stand. It has already been said that the condition of freedom is the search for truth, and the artist must not allow his imagination to take the place of the higher quality. Indian Art demands of the artist the power of communion with the soul of things, the sense of spiritual taking precedence of the sense of material beauty, and fidelity to the deeper vision within; of the lover ...
... Indian Art The Renaissance in India XIV Indian Art - 3 The sculpture and painting of ancient India have recently been rehabilitated with a surprising suddenness in the eyes of a more cultivated European criticism in the course of that rapid opening of the Western mind to the value of oriental thought and creation which is one of the most significant... these are matters of individual, national or continental temperament and preference. The essence of the question lies in the rendering of the truth and beauty seized by the spirit. Indian sculpture, Indian art in general follows its own ideal and traditions and these are unique in their character and quality. It is the expression great as a whole through many centuries and ages of creation, supreme at ...
... seven modules : *Understanding and managing self. *Family life. *Learning to live together. *Citizens and Indian constitution. *Transition to work. *Leadership. *Indian art and culture. Page 391 Participants also recommended that the Module 2 and Module 3 i.e. Family Life and Learning to Live Together could be combined. A small note on each of these modules... -leading community, -leading organizations, -leading people (country). *Transactional and Transformational Leadership. *Leadership for Ethical Organizations. Module 7: Indian Art and Culture Aesthetics is considered as a part of value systems of individuals. The element of aesthetics education must hence also form part of the curriculum in education in human values... skills. Further, the art and culture are also considered as life skills because they enrich lives of individuals. In this course, an effort would be made to develop appreciation for various forms of Indian art and culture and also some practical skills in one or more forms of art and culture. The module is proposed to cover: *Indian schools of painting. *Indian schools of music. *Indian ...
... Western teachers and masters and considered these three words to be the formula of Indianness. The British could hardly understand the spirit of Indian art and dismissed it as something primitive. Fortunately, Europe discovered in due course that Indian art had remarkable power and beauty. But in regard to other domains of life, the British imposed upon India the view that India could hardly be recognised... Upanishadic spirituality has remained constantly alive in varied degrees, and the Upanishads have particularly been the sufficient fountainhead not only of Indian philosophy and religion, but of all Indian art, poetry and literature. Page 67 The Vedic and the Upanishadic quest was that of immortality and of the eternal Truth in its integrality, discoverable on the heights beyond the mind ...
... Western teachers and masters and considered these three words to be the formula of Indianness. The British could hardly understand the spirit of Indian art and dismissed it as something primitive. Fortunately, Europe discovered in due course that Indian art had remarkable power and beauty. But in regard to other domains of life, the British imposed upon India the view that India could hardly be recognised... Upanishadic spirituality has remained constantly alive in varied degrees, and the Upanishads have particularly been the sufficient fountainhead not only of Indian philosophy and religion, but of all Indian art, poetry and literature. The Vedic and the Upanishadic quest was that of immortality and of the eternal Truth in its integrality, discoverable on the heights beyond the mind and in the planes ...
... horrible!' Khaserao said later, 'She must be a little mad.'" But Sri Aurobindo, agreeing with her, said, "At any rate it is the ugliest dome possible." Indeed, Nivedita took an active interest in Indian art. Already, in New York in June 1900, she had given a lecture on the art of ancient India, at the instance of Vivekananda. She it was who arranged for Nandalal Bose and Asit Kumar Haldar in December... knew so well. Artist Abanindranath Tagore and his students owe her a lot. Her critical articles in Indian magazines and periodicals contributed in a great measure to the understanding of Indian art by the then rather ignorant intellectuals. She left an abiding impression on Nandalal Bose. Page 547 Sister Nivedita "I have seen such spiritedness... centre with Havel, Justice Woodroffe, Okakura, Ananda Coomaraswa-my, Nivedita and Abanindranath. Every facet of Indian life interested Nivedita. And she gave herself unstintedly to propagate Indian art, Indian culture, Indian science. She "had the eye of sympathy and intuition and a close appreciative self-identification," is how Sri Aurobindo described it. She it was who stood by Sir Jagadish ...
... truth, the deeper not obvious reality of things, the joy of God in the world and its beauty and desirableness and the manifestation of divine force and energy in phenomenal creation. This is what Indian Art alone attempted thoroughly and in the effort it often dispensed, either deliberately or from impatience, with the lower, yet not negligible perfections which the more material European demanded.... and alien and unsuitable methods has to be purged out of our minds, and nowhere more than in the teaching which should be the foundation of intellectual and aesthetic renovation. The spirit of old Indian Art must be revived, the inspiration and directness of vision which even now subsists among the possessors of the ancient traditions, the inborn skill and taste of the race, the dexterity of the Indian ...
... Early Cultural Writings Indian Art and an Old Classic 02-October-1909 We have before us a new edition of Krittibas's Ramayan, edited and published by that indefatigable literary and patriotic worker, Sj. Ramānanda Chatterji. Ramānanda Babu is well known to the Bengali public as a clear-minded, sober and fearless political speaker and writer;... of old art in the book, then at the work of the new school, especially the two pictures against page 22, and last at Raja Ravivarma's failures. He will realise the strange hiatus in the history of Indian Art brought about by the enslavement of our minds to the West and recognise that the artists of the new school are merely recovering our ancestral heritage with a new development of spiritual depth, ...
... four articles in this number are all of a considerable interest and touch points or raise and answer questions which have either a central importance or a vital though second-plane prominence in Indian art, and each article is a remarkably just, full, efficient and understanding interpretation of its subject. The frontispiece is a panel from a Pallava temple at Page 590 Mahabalipuram intended... number. I could wish I had space for adequate comment on the many points of stimulating interest with which this number abounds, but I have, I think, indicated enough to show that every lover of Indian art and culture ought to possess "Rupam". He will find it one of the luxuries that are necessities. Page 594 × ...
... these writings were later revised by Sri Aurobindo. Volume 1. Early Cultural Writings Two Pictures Kalidasa's Seasons Suprabhat: A Review Indian Art and an Old Classic The Brain of India The Revival of Indian Art The National Value of Art The Men that Pass Conversations of the Dead A System of National Education Volume 2. Collected Poems Invitation ...
... moment. To read these European comments one would imagine that in all Indian thought there was nothing but the nihilistic school of Buddhism and the monistic illusionism of Shankara and that all Indian art, literature and social thinking were nothing but the statement of their recoil from the falsehood and vanity of things. It does not follow that because these things are what the average European... knowledge. What a fine monument of political and administrative genius is the Śukra-Nīti , to take one example only, and what a mirror of the practical organisation of a great civilised people! Indian art was not always solely hieratic,—it seemed so only because it is in the temples and cave cathedrals that its greatest work survived; as the old literature testifies, as we see from the Rajput and ...
... and alien and unsuitable methods has to be purged out of our minds, and nowhere more than in the teaching which should be the foundation of intellectual and aesthetic renovation. The spirit of old Indian Art must be revived, the inspiration and directness of vision which even now subsists among the possessors of the ancient traditions, the inborn skill and taste of the race, the dexterity of the Indian... with the Tagore family providing its most talented leaders. This revival, however, could not resist the utilitarian onslaught and started fading away in the 1930s. Page 67 Indian Art demands of the artist the power of communion with the soul of things, the sense of spiritual taking precedence of the sense of material beauty, and fidelity to the deeper vision within____ * ...
... too long. It would be good to have it within Sri Aurobindo's centenary year. But I did not picture my learned correspondent as a horseman! That radically changes my picture of you. Though from Indian art and folk-art, and the famous 'horse-sacrifice' I realize that the Horse too plays a central part in Indian life, though a very different one from the Forest. As to the last stage of life few surely... its divine radiance. The via negativa could never hold me, loving the natural world as I do. I hope you are right about a 'supermind epiphany'. Of course the horse is to be seen everywhere in Indian art and folk-art, and the 'horse-sacrifice' is in the ancient stories. The horse (or mare) is also to be found in Celtic mythology - do you know Vernon Watkins' fine 'Ballad of the Mari Lwyd'? And in ...
... especially one born into an aristocratic warrior class. The classic Indian tradition relating to the accomplishments of an individual are usually attributed to Agastiya, the mythical founder of Indian art and sciences. Among the arts he advocated were martial skills of armed and unarmed combat. Buddhism never succeeded in ousting the traditional Hinduism as the first religion of India, although... fighting. A warrior class would also keep a fighting tradition alive for as long as it lasted. However, perhaps the strongest evidence, both for the argument that kalaripayit is an indigenous Indian art, and that it has continued since earliest times, comes from the way in which the art is practised in modern times. If it were an imported art, it would be based in cities and practised by the educated ...
... what I recently said. Mrs. Raymond, hearing it, remarked that I knew nothing of art. PURANI: She doesn't see anything in Indian art. SRI AUROBINDO: She is a modernist. But Raymond is a fine artist. He has something more than modem. PURANI: Yes, he appreciates Indian art. But both of them like Moghul and Rajput art. SRI AUROBINDO: Yes, because it has become established. They go by the authorities ...
... understand it. PURANI: And they also differ among themselves. EVENING PURANI: Westerners say that ancient Indian art is religious and spiritual. SRI AUROBINDO: That is because only these types still exist. There was also secular art which has been destroyed. PURANI: And Indian art is not so much aesthetic as expressing some religious emotion—the artists wanted more to express these emotions ...
... 2. Indian Literature: (a) Sanskrit and Tamil (b) Birth of modem Indian languages (c) Great literary masters: a detailed study of one of them. 3. Indian Art: (a) The aim of Indian art (b) An in-depth of one of the schools of Indian painting, dance, drama, sculpture or architecture (c) Folklore and folk dances (d) Indian arts and crafts ...
... and religion have been predominant in Indian culture and all the other elements have followed as best as they can. This is the one of the distinctive characters of Indian culture. Indian art Similarly, in all other fields of human activity, such as art, architecture, sculpture, painting, music, and literature, the aim has been ultimately to discover and express the Divine. The... speak with pride of their metaphysics, of their literature, of their religion, but in all else they were content to be learners and imitators. Since then Europe has discovered that there was too an Indian art of remarkable power and beauty; but the rest of what India meant it has hardly at all seen. But meanwhile the Indian mind began to emancipate itself and to look upon its past with a clear and se ...
... study of art and values, and in this connection, the followings questions could be discussed: What is art? How is art viewed in India and the West? Six limbs of Indian art: Rupa Bheda, Pramaana, Bhava, Lavanya, Sadrishya, Varnikabhanga. Art and the pursuit of the value of Beauty in relation to poetry, music, painting, architecture, dance and drama. Important... special study of Indian culture and Indian system of values. It should also include the study of Indian religion and spirituality, Indian ethics and Indian concept of dharma, Indian literature, Indian art, Indian architecture, and Indian polity. It may be suggested that these programmes can be spread over three years of courses. Page 225 IX In the light of the foregoing, it ...
... On Art - Addresses and Writings Some Extract from Sri Aurobindo's "Significance of Indian Art" I "Indian architecture, painting, sculpture are not only intimately one in inspiration with the Central things in Indian philosophy, religion, yoga, culture,-but a specially intense expression of their significance". II "The great artistic... revelation of glory and beauty of the sensuous appeal of life or of the dramatic power and moving interest of character and emotion and action. This is a common form of aesthetic work in Europe; but in Indian art it is never Page 82 the governing motive. The sensuous appeal is there, but it is refined into one and not the chief element of the richness of a soul of psychic grace and beauty ...
... joy of God in the world and its beauty and desirableness and the manifestation of divine force and energy in phenomenal creation. This is what Indian Art alone attempted.... 50 Sri Aurobindo ends with the plea that "the spirit of old Indian Art must be revived" so that the whole nation may be "lifted again to the high level of the ancient culture - and higher". 51 Such, then, were ...
... culture,—that, then, is the important issue. When the rationalist critic denies that India is or ever has been civilised, when he declares the Upanishads, the Vedanta, Buddhism, Hinduism, ancient Indian art and poetry a mass of barbarism, the vain production of a persistently barbaric mind, what he means is simply that civilisation is synonymous and identical with the cult and practice of the materialistic... is only narrowed to its central issue. A more moderate and perspicacious rationalistic critic would admit the past value of India's achievements. He would not condemn Buddhism and Vedanta and all Indian art and philosophy and social ideas as barbarous, but he would still contend that not there lies any future good for the human race. The true line of advance lies through European modernism, the mighty ...
... measured by the amount of opposition it meets, and it is encouraging to note that the revival of Indian Art is exciting intellectual opponents to adverse criticism. Mr. Vincent Smith, a solid and well-equipped scholar and historian but not hitherto noted as an art-critic, recently lectured on Indian Art, ancient and modern. It is not surprising that he should find little to praise in the characteristic ...
... watched and followed. There again, it is the spirit of Bengal that expresses itself. The attempt to express in form and limit something of that which is formless and illimitable is the attempt of Indian art. The Greeks, aiming at a smaller and more easily attainable end, achieved a more perfect success. Their instinct for physical form was greater than ours, our instinct for psychic shape and colour... delicacy, grace and strength, and it is these qualities to which the new school of art has instinctively turned in its first inception. Unable to find a perfect model in the scanty relics of old Indian art, it was only natural that it should turn to Japan for help, for delicacy and grace are there triumphant. But Japan has not the secret of expressing the deepest soul in the object, it has not the ...
... S: The way Western terms such as experimentation and innovation are used does not apply to Indian arts, because our understanding of it is very different. The word "amateur" does not exist in Indian art systems. There is no place for an amateur. Either you are a student or you are artist and the guru has said: Now go out. And then you are performing. There is no in-between. Either you are good... children to become dancers. Dance plus computer, dance plus job, dance plus marriage, dance plus, yes! But dance alone! No! I feel that, if you would have to sum up in one word Indian aesthetics, Indian art forms, and the Indian concept of life, this word is ananda. Ananda is the key to understanding India. And that is why so many people don't understand: with so much poverty, how come people are ...
... Mahabharata; (g) Significance of Puranas; (h) Significance of Ramayana and Mahabharata; (i) Indian Women; (k) Problems of Hindu-Muslim Unity; (1) Masterpieces of Indian Art; (m) Masterpieces of Indian Architecture; (n) Problems of Indian Polity and Unity of India; and (o) Yoga 7. Philosophy of Education and Life: There has been one... Innovative Initiatives (regarding Aims, Methods, Contents of Education) ****** M.Ed. (Hons) : One Additional Foreign Language + One Interdisciplinary study : e.g. Philosophy + Sanskrit + Indian Art + Astronomy M.Ed. (Special) :0ne Additional Foreign Language + A Specialised Pedagogical Study Page 217 Page 218 Page 219 Page 220 ...
... there anything like Goloka? Is it real? SRI AUROBINDO: It is real but it depends on how one sees it. PURANI ( showing a book by Laurence Binyon ): Binyon praises Chinese art and says about Indian art that its subject matter appeals indirectly, not through the lines and moods of the painting itself, while Chinese art is synthetic. SRI AUROBINDO: That is not true. I don't agree. Western critics... spiritual. What Binyon mentions is the expression of the Spirit of universal Nature and nothing truly spiritual. As I have said, Far Eastern art expresses the Spirit as Nature, as Prakrid, while Indian art expresses the Spirit as Self, the spiritual being, Purusha. That is too subtle for the European mind to understand. × ...
... NIRODBARAN: If there is any trouble in India, Hitler will be glad. SRI AUROBINDO: Of course! PURANI: Benoy Sarkar writes in Rupam about art, that the subject matter is not important. Indian art has been always concerned with the subject while what matters in art is whether it is aesthetic or not. From that point of view, pattern, design, colour, line are things that count. SRI AUROBINDO:... seated in a triangle. SRI AUROBINDO: That is again scientific art, not aesthetic, and besides, has modern art no subject? PURANI: Agastya answers Sarkar by saying that by the Indianness of Indian art what is meant is not so much the subject as the tradition, the training that one follows in one's art, which is quite different from the European tradition. SRI AUROBINDO: Apart from the subject ...
... SRI AUROBINDO: Would be nationalised? (Laughter) EVENING Purani was discussing art with Sri Aurobindo, apropos of Laurence Binyon's book. PURANI: Binyon has not adequately dealt with Indian art here. SRI AUROBINDO: Hasn't he done that in a separate book? PURANI: Yes, with Mogul art. Coomaraswamy says that images were found in India even in the pre-Buddhistic period, before the Greek... Greek influence. SRI AUROBINDO: What proof is there? It may be that they have shaken off the Greek influence and taken up a new line. Greek art had Egyptian influence, so why not Indian art? PURANI: Gandhara art may be Greek. SRI AUROBINDO: No, it is mixed. No scholar claims it to be pure Greek art. ...
... that "Nature may be violated and brought by a sublime deformation to a permanent beauty." Page 13 Q. Does it not look like justification of multi-limbs and other symbolism of Indian art wherein universal powers are embodied in artistic forms in which nature seems success' fully violated and brought to sublime beauty ? A. A modernist artist tries to go beyond nature in his... the abnormal and it is this condition which we see reflected in the modernist art. It is broken up into various theories, and into ideological groups. It is so very far from the ancient Greek or Indian art which seem to have a wide background of peace and harmony and a spontaneous delight of creation. What I mean is that the modernist art is not calm and self-contained in its perception or sure of ...
... selects, the causal part or thing in itself; the psychical part or its passing imaginations, phases, emotions; or the physical part, the outward appearance, incident or movement as our eyes see them. Indian Art attaches itself to the two higher interpretations, European to the two lower. They meet in the middle term of Art, the imaginative and emotional; but each brings with it the habits of vision, the ...
... speak with pride of their metaphysics, of their literature, of their religion, but in all else they were content to be learners and imitators. Since then Europe has discovered that there was too an Indian art of remarkable power and beauty; but the rest of what India meant it has hardly at all seen. But meanwhile the Indian mind began to emancipate itself and to look upon its past with a clear and se ...
... is an incomprehensible, subtly unsubstantial cloud-weaving; Indian religion meets his eye as a mixture of absurd asceticism and an absurder gross, immoral and superstitious polytheism. He sees in Indian art a riot of crudely distorted or conventional forms and an impossible seeking after suggestions of the infinite—whereas all true art should be a beautiful and rational reproduction or fine imaginative ...
... omniscient Light, Some far tune of the immortal rhapsodist Voice, Some rapture of the all-creating Bliss, Some form and plan of the Beauty unutterable. 22 The Golden Age of Indian Art is considered to be the period from the late 4 th to the 6 th c, though astonishing embodiments of Beauty continue to be seen in Indian sculpture and architecture right up to the 16 th c. and ...
... dites-vous. 2 Fine mess! I will have to pay lots [?] for a law-suit because my precious cousin has forgotten all along to pay the tax! 0 Lord! ____________________ 1. A well-known critic of Indian art of the times. 2. French for "What do you say?" Page 110 I send you three poems—parables rather, all from Sri Ramakrishna. I have written in all eighteen. The others will ...
... first love. As the general secretary of the Indian Society of Oriental Art, the Rupam magazine stands testimony to his brilliance. In countries like China and Burma (Myanmar), he gave lectures on Indian Art. Among the many books he wrote on art, are: Vedic Painting, South Indian Bronze, Masterpiece of Rajput Paintings, and his research work on music, Ragas and Raginis. 34. viraha: separation ...
... little too anglicised have lost the sense of beauty. There are certain schools in Bombay, schools of artists, which are frightful. And then, there was that attempt of the Calcutta School to revive Indian art, but that was only on a very small scale. From the point of view of Page 340 art what you have most within your reach are the old creations, the old temples, old pictures. All that was ...
... indeed absurd) but culturally speaking the European-Christian emphasis has been incarnational, and whatever is sublime in Christian art has respected the 'minute particulars'. So indeed has much Indian art and I was thinking specifically of Sri Aurobindo who does not it seems to me respect those minute particulars, but rather sweeps them aside. I enclose a photocopy of a review I wrote of a recent ...
... you speak of individual tendencies it is different. An artist may have theories and ideas about art but he does not express his individuality. In modern art, the artist figures much, while in old Indian art he didn't: he remained behind. ...
... SRI AUROBINDO: It seems to be post-Ajanta decorative style. Lion stylised, peacock in front of the lion, Kartik humorous. EVENING PURANI: Gandhara art is supposed to be a mixture of Greek and Indian art. More of Greek influence than Indian. SRI AUROBINDO: What Gandhara representations I have seen seem to me to be spoiled by Central Asian influence and then bungled by Indian. It is more Central ...
... dramas written in modem Indian languages; i) Indian authors in English: Rabindranath Tagore and Sri Aurobindo. Class X The curriculum of class X will be devoted to Indian Art. Special reference to: a) Indian concept of Art; illustrations in Poetry, Music, Painting, Architecture and Sculpture; b) Various stages of development in Art, particularly ...
... a select library and a cinema hall for exhibiting children's films on varieties of topics particularly those relating to: (a)Cultural themes of India; (b)Heroism and freedom movement; (c)Indian art; (d)Indian music; (e)Indian dance; (f)Indian crafts; 78 (g)Indian folklore; (h)Great discoveries of ancient India and modern world; ...
... movement of spiritual inquiry and passion for the highest knowledge. It is in these Vedas and Upanishads that we find not only the sufficient fountainhead of Indian philosophy and religion, but of all Indian art, poetry and literature. It is there that we find the soul, the temperament, and the ideal mind which later ripened into what we now call Indian genius of spirituality, intellectuality, askesis and ...
... Philosophy? Scientific Method Limitations of Science and Philosophy Is Mathematics Knowledge? Beauty of Nature Beauty of Poetry, Art, Music Six Limbs of Indian Art Yoga and Art The Secret Meaning of the Legends of the Veda Stories of the Upanishads and their Yogic Import Evolution and the idea of the Avatar The Great ...
... It is remarkable that these essential elements of Indianness have inspired the complex structure of Indian religion and spirituality, Indian philosophy and ethics, Indian sociology and polity, Indian art and literature, — indeed, Page 451 every aspect of Indian life. In every field of culture great and noble ideals have been erected, and even the practical applications have been quite ...
... unreality. Indian artists and poets were steeped in that tradition, wholly inspired by that spirit. Orthodox morality often wonders, is even shocked at the frankness, the daring nonchalance in Indian art creations,—a familiar prudery would call it shamelessness and even vulgarity, but to the Indian view, 'the Brahmin and the cow and the elephant' are of equal value and merit. The movement conventional ...
... artists and poets were steeped in that tradition, wholly inspired by that spirit. Orthodox morality often wonders, is even shocked at the frankness, the daring Page 170 non-chalance in Indian art creations,—a familiar prudery would call it shamelessness and even vulgarity, but to the Indian view, the Brahmin and the cow and the elephant' are of equal value and merit. The movement conventional ...
... today and tomorrow. While doing so, we shall need to diagnose more properly maladies that have been created by the Macaulayan system of education in India. Macaulay has succeeded in demolishing the Indian art and science of living, it has succeeded in creating in our mind the inability to recovery of that special kind of scientific spirit that was sustained by high intellectual and philosophical culture ...
... the Upanishads possible. We see here how the soul of India was born, and we come to recognize the Vedas and Upanishads as not only the fountainhead of Indian philosophy and spirituality, of Indian art, poetry and These great names are those to whom various parts of the Rig Veda are attributed. The Rig Veda, as we possess it, is arranged in ten books. They are called Mandalas. Six of the ...
... the Ramayana and even in the Mahabharata, very often we find instances where the rein of knowledge has prevented the emotion and the zeal of the heart from running riot. In fact the speciality of Indian art does not lie so much in the play of colours as in the drawing of lines. Colour gives the tinge of the vital urge, while it is the lines that create here the real beauty by circumscribing or delimiting ...
... Dr. Rajendra Lal Mitra, Sri Ramkrishna Paramahansa, Swami Vivekananda, Yogi Vijay Krishna Goswami, the world-poet Rabindranath Tagore, Abanindranath Tagore, the gifted pioneer of the new school of Indian Art, Jagadish Chandra Bose, the greatest Indian scientist 79, etc. etc., - an unbroken line of outstanding personalities who enriched every sphere of Indian life. We have not mentioned the more recent ...
... art-ideals of the East are not understood by many even among those who claim to follow them. In the Vishnu Dharmottar Purana the six limbs—(Shadanga) of the art of painting are enumerated showing that Indian Art must have reached a high standard of development before the canons of art could be formulated. We have no time to go into these six limbs. But I will take only one, Sādṛśya. Many people mistake ...
... looking at the world. It may be said without exception that the oriental artist is never looking at the world from our point of view. Herbert Read Meaning of Art, Page 47 Indian art, its ideals and methods in the school at Calcutta. It is not that European culture has done India no good. Far from it. Some great and eternal values like freedom, value of the individual, need of ...
... the ideas of manners and good breeding which this apologist thinks permissible in critical controversy. Dr Coomaraswamy is a critic of established reputation, whose contributions to the study of Indian Art are valued in every country in Europe and Asia where the subject itself is studied. Sister Nivedita's literary genius, exquisite sympathetic insight and fine artistic culture are acknowledged by ...
... on a much broader basis than our present limited industry. With a little energy and the assistance of Government we can broaden this basis, and then we may look forward to a new lease of life for Indian art and Indian literature and for those industries which depend on leisure and wealth. I should like now to say a few words on the subject of the assistance which a Government can give in developing ...
... turn all the needed strengths and aims of her present and future life into materials for that spirit to work upon and integrate and harmonise. Of such vital and original creation we may cite the new Indian art as a striking example. The beginning of this process of original creation in every sphere of her national activity will be the sign of the integral self-finding of her renaissance. Page 22 ...
... birth-song in which it soared from its earth into the supreme empyrean of the spirit. The Vedas and the Upanishads are not only the sufficient fountain-head of Indian philosophy and religion, but of all Indian art, poetry and literature. It was the soul, the temperament, the ideal mind formed and expressed in them which later carved out the great philosophies, built the structure of the Dharma, recorded its ...
... characters is equally unfounded: Rama and Sita, Arjuna and Yudhisthira, Bhishma and Duryodhana and Karna are intensely real and human and alive to the Indian mind. Only the main insistence, here as in Indian art, is not on the outward saliences of character, for these are only used secondarily as aids to the presentation, but on the soul life and the inner soul quality presented with as absolute a vividness ...
... lines and colours, rhythms and embodiments which will be significant of the other life and other nature than the physical which all that is merely outward conceals. This is the eternal motive of Indian art, but applied in a new way less largely ideaed, mythological and symbolical, but with a more delicately suggestive attempt at a near, subtle, direct embodiment. This art is a true new creation, and ...
... its richest outward colour and sensuous passion in the work of the classical writers, while the expression of the spiritual Page 255 through the aesthetic sense is the constant sense of Indian art, as it is also the inspiring motive of a great part of the later religion and poetry. Japan and China, more especially perhaps southern China, for the north has been weighted by a tendency to a more ...
... many figures. To catch the eye of the Indian reader [he tries] to give the greater of these something like life size, while putting the rest in smaller proportions—after a convention familiar to Indian art. Each essay is indeed excellent in itself; that on Emerson is a masterpiece of fullness in brevity, for it says perfectly in a few pages all that need be said about Emerson the poet and nothing that ...
... rather a living image of the rapturous calm of the supreme and infinite consciousness,—it is indeed so that it can well be "Infinity's centre". The face of the liberated Buddha as presented to us by Indian art is such an expression or image of the calm of Nirvana and could, I think, be quite legitimately described as a face of Nirvanic calm, and that would be an apt and live phrase and not an ugly artifice ...
... given to the Police to substantiate their case ought to have been given to the Pandit before the order was passed.—EDITOR) OTHER WRITINGS BY SRI AUROBINDO IN THIS ISSUE Anandamath V Indian Art and an Old Classic Page 263 ...
... children of one mighty Mother, whatever their class or condition,—Indian fraternity based on Indian liberty and Indian equality. OTHER WRITINGS BY SRI AUROBINDO IN THIS ISSUE The Revival of Indian Art The Brain of India II Anandamath VII, VIII Page 286 ...
... by the uncouthness to Western eyes of its form and the strangeness of its motives and it is only now, after the greatest of living art-critics in England had published sympathetic appreciations of Indian art and energetic propagandists like Mr. Havell had persevered in their labour, that the European vision is opening to the secret of Indian painting & sculpture. But the art of Japan presented certain ...
... eye's desire in perfection of form and colour becomes an enlightenment of the inner being through the power of a certain spiritually aesthetic Ananda. Sri Aurobindo, The Renaissance in India: Indian Art - IV O Lord, awaken in me the ardent desire to know You. I aspire to consecrate my life to Your service. The Mother, Some Answers from the Mother: 24 December 1971 ...
... Transpose him to the second half of the 10th century B.C. and at once we shall connect him with the Indus seals and fully explain thereby whatever in his sculptures is not characteristic of post-Mauryan Indian art. And Basham's reference to the Indus Valley Civilization is apt in more senses than one. For, this civilization has several features which, like the realistic treatment of the animals on its ...
... a living image of the rapturous calm of the supreme and infinite consciousness, — it is indeed so that it can well be "Infinity's centre". The face of the liberated Buddha as presented to us by Indian art is such an expression or image of the calm of Nirvana and could, and that would be an apt and live phrase and not an ugly artifice or twist of rhetoric. It should be remembered that the calm of ...
... about the sections. He also touches once more on the subject of Aryan and non-Aryan, which usually implies an Aryan invasion of India. The first chapter dealing with the legendary origins of South Indian Art he calls "interesting and valuable", but adds: "...there are some startlingly confident statements against which our critical sense protests. For instance, 'it is beyond doubt that the two divisions ...
... "To read these European comments one would imagine that in all Indian thought there was nothing but the nihilistic school of Buddhism and the monistic Illusionism of Shankara and that all Indian art, literature and social thinking were nothing but the statement of their recoil from the falsehood and vanity of things.... "Even the most extreme philosophies and religions. Buddhism and ...
... plates ? Tagore and Roerich 50 do praise them lavishly. Are they deserving of so much praise ? Please enlighten me and edify me, O Guru. If possible open in me some eye. I frankly confess most Indian art means nothing to me. Is there any good painting here ? If so which plates show that ? Will you tell me ? I want to learn, you see. I am ashamed to advertise my ignorance about such an art as painting ...
... read the Vedic texts and the principal Upanishads and study the later period of Indian history, we find that they are not only the fountainhead of Indian yoga and philosophy and religion, but of all Indian art, poetry and literature. Sri Aurobindo points out: "It was the soul, the temperament, the ideal mind formed and expressed in them which later carved out the great philosophies, built the structure ...
... It is remarkable that these essential elements of Indianness have inspired the complex structure of Indian religion and spirituality, Indian philosophy and ethics, Indian sociology and polity, Indian art and literature, — indeed, every aspect of Indian life. In every field of culture great and noble ideals have been erected, and even the practical applications have been quite effective, and even ...
... the next few months, I sent to the Princess more than 500 books on a variety of subjects connected with India. Knowing her special interest in culture, a large number of these books pertained to Indian art, Indian architecture, Indian dance, and Indian literature. Books on the Veda, Upanishad and the Gita as also on a number of modern commentators on Indian tradition of Yoga Page 31 constituted ...
... In Asoka's days Buddhism was accepted in most parts of India and throughout Ceylon. Later it spread to the countries of Southeast Asia and across the mountains into China. And with Buddhism went Indian art, literature, and philosophy. The influence that India still exercises in eastern Asia began with this cultural expansion under Asoka. Suggestions for further reading Arnold, Sir Edwin ...
... and compared their knowledge. We see here how the soul of India was born, and we come to recognize the Vedas and Upanishads as not only the fountain-head of Indian philosophy and spirituality, of Indian art, poetry and literature, but also of Indian education and of the Indian tradition of teacher-pupil relationship. The most important idea governing the ancient system of education was that of ...
... characters is equally unfounded: Rama and Sita, Arjuna and Yudhishthira, Bhishma and Duryodhana and Kama are intensely real and human and alive to the Indian mind. Only the main insistence, here as in Indian art, is not on the outward saliences of character, for these are only used secondarily as aids to the presentation, but on the soul-life and the inner soul-quality presented with as absolute a vividness ...
... sleeping when the cry comes for battle." She fought for the ideal of a national education based on Indian culture, Indian values, Indian spirit. One of her great interest was in the revival of ancient Indian art. Among her friends were the great artists of the Bengal renaissance, Rabanindranath Tagore and Nandalal Bose. Another of her dreams was the blossoming of Indian science. She encouraged her friend ...
... 1952 Essays on the Gita, 'Arya', August 1916 - July 1920 1959 The Renaissance in India, 'Arya', August 1918 - November 1918 1920 The Significance of Indian Art, 'Arya', 1918 -1921 1947 II. PHILOSOPHY AND SOCIOLOGY The Life Divine, 'Arya', August 1914 - January 1919 1939 Ideals and Progress, 'Arya' ...
... struggle between the divine and the undivine, the gods and the titans, and the final victory of the divine and the gods, this has been the keynote of Page 64 great creative work in Indian art and literature, this is the characteristic manner of the Indian conception of life. Undoubtedly, man in his beginnings was like a primitive beast. But a way had to be found to evolve out of this ...
... unreality. Indian artists and poets were steeped in that tradition, wholly inspired by that spirit. Orthodox morality often wonders, is even shocked at the frankness, the daring nonchalance in Indian art creations , – a familiar prudery would call it shamelessness and even vulgarity, but to the Indian view, 'the Brahmin and the cow and the elephant' are of equal value and merit. The movement ...
... & introduction).- 1st ed. 1953 Essays on the Gita, 'Arya' Aug. 1916-July 1920.- 1st ed. 1922 The Renaissance in India, 1st ed. 1920.- 'Arya' Aug. 1918-Nov. 1918 The Significance of Indian Art, 'Arya' 1918-1921.- 1st ed. 1947 2 – Philosophy-Sociology The Life Divine, 'Arya' Aug. 1914-Jan. 1919.- 1st ed. 1939 Ideals and Progress, 'Arya' 1915-1916.- 1st ed. 1920 The Superman ...
... 497; roads to Realisation, 497; "India has lived and lived greatly", 497; positive ideal of Indian culture, 498; Western charge against Indian culture, 498; India and Western Art, 498-9; "form" in Indian art, 499; India's sacred architecture, 500; Kalahasti & Simhachalam, 500; Taj, mosques, tombs, 500; sculpture & painting, 501ff, 502; Olympian and Indian gods, 501 ;Ajanta marvels, 503; the adoration ...
... Indian Culture AND THE RENAISSANCE IN INDIA: Is India Civilised?; Page 819 A Rationalistic Critic on Indian Culture; A Defence of Indian Culture (Religion and Spirituality, Indian Art, Indian Literature, Indian Polity); Indian Culture and External Influence; The Renaissance in India. Volume 15 — Social and Political Thought: The Human Cycle; The Ideal of Human Unity; ...
... by car, on motorbike or by cycle. Today one can hardly recognise her.' 'But even with this health,' Gangaram-da noted, 'Elisabeth has brought out a remarkable book called Sri Aurobindo on Indian Art with innumerable photographs, all taken by her. It's a wonderful book and she took great pains to bring it out.' 'One morning,' Dada recounted, 'Elisabeth turned up at six o'clock and told ...
... create immortal poems. He even feels, like any spiritualist who knows it more intensely, that "the human soul is not a mere spring of pussillanimity in the midst of a trackless jungle". Like old Indian art masters. Day Lewis asks the poets of the future; "Look inward then, but outwards too no less steadily". The poets will always find "in man's unending struggle with fate their permanent myth". "His ...
... the spirit of national pride or egoism in the ennobling pursuit of art. We have to approach it in the spirit of service, to offer it at the alter of the inner soul that is within us. The ideals of Indian art are of immense value to the world of art to-day. It should be the privilege of Indian artist to contribute to world art. Let the Indian artist have confidence in himself and in the Bharat- ...
... built in the thirteenth century while others as far back as the eleventh. The temple complex is an attraction to all with its marble carvings for, indeed, it is considered an apogee of refinement in Indian art. This is a pilgrimage centre for the Jains as the temples are dedicated to a few of their Tirthankars. Notable is a 2500-year-old image of Adinath, the first Jain Tirthankar. Then there is the legendary ...
... governed the spirit and body of Indian society were of the highest kind, its social order secured an inexpugnable basic stability, the strong life force that worked in it was creative of an extraordinary energy, richness and interest, and the life organised remarkable in its opulence, variety in unity, beauty, productiveness, movement. All the records of Indian history, art and literature bear evidence... A Defence of Indian Culture A Defence of Indian Culture Indian Polity The Renaissance in India XXI Indian Polity - 1 I have spoken hitherto of the greatness of Indian civilisation in the things most important to human culture, those activities that raise man to his noblest potentialities as a mental, a spiritual, religious, intellectual, ethical, aesthetic... social order. It is necessary to reestablish the real facts and their meaning and afterwards it will be time to pass judgment on the political, the economic and the social aspects of Indian culture. The legend of Indian political incompetence has arisen from a false view of the historical development and an insufficient knowledge of the ancient past of the country. It has long been currently supposed ...
... performances. The originality of composition and intensity of impact I experienced in their dance, music and lighting (also directed by Tej-da) were quite unique and I felt that I had witnessed Indian performing art at its best. That's why I feel that had we been able to record these exceptional programmes, not just our Ashram, but Orissa, India and the world would have benefitted from Page 123 ... however great their repute in whichever field. They used to come to the Ashram for darshan and not to present their spectacle or exhibit their skill. They performed with a sentiment of "offering" their art to Them. I organised programmes for quite a number of artists, such as Birendra Kishore Ray Choudhury, a veena-player, Tara Ghoshal, a dilruba player, Jyotsna Bhole, a well-known Hindustani... after these programmes by visiting artists, I have learnt a lot. I have come in contact with many great musicians and dancers and got a chance to experience their deep devotion and dedication to their art. The Mother had told me that artists were sensitive to things of beauty and I Page 126 got ample opportunities to see this truth in reality. Among the artists who touched us very deeply ...
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