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Sri Aurobindo


The Significance Of indian Art
-Sri Aurobindo

Chapter I
Western and Eastern Misunderstandings and their root Cause

 

 

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 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 and central formative ideas which have been the foundation of Indian life and of which much of the art and literature is a conscious expression in significant aesthetic forms. Fortunately, a considerable amount of work has been already done in the clearing away of misconceptions about Indian sculpture and painting and, if that were all, I might be content to refer to the works of Mr. Havell and Dr. Coomaraswamy or to the sufficiently understanding though less deeply informed and penetrating criticisms of others who cannot be charged with a prepossession in favour of oriental work. But a more general and searching consideration of first principles is called for in any complete view of the essential motives of Indian culture. I am appealing mainly to that new mind of India which long misled by an alien education, view and influence is returning to a sound and true idea of its past and future; but in this field the return is far from being as pervading, complete or luminous as it should be. I shall confine myself therefore first to a consideration of the sources of misunderstanding and pass from that to the true cultural significance of Indian aesthetic creation.

Mr. Archer pursuing his policy of Thorough devotes a whole chapter to the subject. This chapter is one long torrent of sweeping denunciation. But it would be a waste of time to take his attack as serious criticism and answer all in detail. His reply to defenders and eulogists is amazing in its shallowness and triviality, made up mostly of small, feeble and sometimes irrelevant points, big glaring epithets and forcibly senseless phrases, based for the rest on a misunderstanding or a sheer inability to conceive the meaning of spiritual experiences and metaphysical ideas, which betrays an entire absence of the religious sense and the philosophic mind. Mr. Archer is of course a rationalist and contemner of philosophy and entitled to his deficiencies; but why then try to judge things into the sense of which one is unable to enter and exhibit the spectacle of a blind man discoursing on colours? I will cite one or two instances which will show the quality of his criticism and amply justify a refusal to attach any positive value to the actual points he labours to make, except for the light they throw on the psychology of the objectors.

I will give first an instance amazing in its ineptitude. The Indian ideal figure of the masculine body insists on two features among many, a characteristic width at the shoulders and slenderness in the middle. Well, an objection to broadness of girth and largeness of belly—allowed only where they are appropriate as in sculptures of Ganesha or the Yakshas—is not peculiar to the Indian aesthetic sense; an emphasis, even a pronounced emphasis on their opposites is surely intelligible enough as an aesthetic tradition, however some may prefer a more realistic and prosperous presentation of the human figure. But Indian poets and authorities on art have given in this connection the simile of the lion, and lo and behold Mr. Archer solemnly discoursing on this image as a plain proof that the Indian people were only just out of the semi-savage state! It is only too clear that they drew the ideal of heroic manhood from their native jungle, from theriolatry, that is to say, from a worship of wild beasts! I presume, on the same principle and with the same stupefying ingenuity he would find in Kamban's image of the sea for the colour and depth of Sita's eyes clear evidence of a still more primitive savagery and barbaric worship of inanimate nature, or in Valmiki's description of his heroine's “eyes like wine”, madireksana, evidence of a chronic inebriety and the semi-drunken inspiration of the Indian poetic mind. This is one example of Mr. Archer's most telling points. It is by no means an isolated though it is an extreme specimen, and the absurdity of that particular argument only brings out the triviality of this manner of criticism. It is on a par with the common objection to the slim hands and feet loved of the Bengal painters which one hears sometimes advanced as a solid condemnation of their work. And that can be pardoned in the average man who under the high dispensation of modern culture is not expected to have any intelligent conception about art,—the instinctive appreciation has been already safely killed and buried. But what are we to say of a professed critic who ignores the deeper motives and fastens on details in order to give them this kind of significance?

But there are more grave and important objections in this criticism; for Mr. Archer turns also to deal with philosophy in art. The whole basis of Indian artistic creation, perfectly conscious and recognised in the canons, is directly spiritual and intuitive. Mr. Havell rightly lays stress on this essential distinction and speaks in passing of the infinite superiority of the method of direct perception over intellect, an assertion naturally offensive to the rationalistic mind, though it is now increasingly affirmed by leading Western thinkers. Mr. Archer at once starts out to hack at it with a very blunt tomahawk. How does he deal with this crucial matter? In a way which misses the whole real point and has nothing whatever to do with the philosophy of art. He fastens on Mr. Havell's coupling of the master intuition of Buddha with the great intuition of Newton and objects to the parallel because the two discoveries deal with two different orders of knowledge, one scientific and physical, the other mental or psychic, spiritual or philosophic in nature. He trots out from its stable the old objection that Newton's intuition was only the last step in a long intellectual process, while according to this positive psychologist and philosophic critic the intuitions of Buddha and other Indian sages had no basis in any intellectual process of any kind or any verifiable experience. It is on the contrary the simple fact, well-known to all who know anything of the subject, that the conclusions of Buddha and other Indian philosophers (I am not now speaking of the inspired thought of the Upanishads which was pure spiritual experience enlightened by intuition and gnosis,) were preceded by a very acute scrutiny of relevant psychological phenomena and a process of reasoning which, though certainly not rationalistic, was as rational as any other method of thinking. He clinches his refutation by the sage remark that these intuitions which he chooses to call fantasies contradict one another and therefore, it seems, have no sort of value except their vain metaphysical subtlety. Are we to conclude that the patient study of phenomena, the scrupulous and rigidly verifiable intellectual reasonings and conclusions of Western scientists have led to no conflicting or contradictory results? One could never imagine at this rate that the science of heredity is torn by conflicting “fantasies” or that Newton's “fantasies” about space and gravitational effect on space are at this day in danger of being upset by Einstein's “fantasies” in the same field. It is a minor matter that Mr. Archer happens to be wrong in his idea of Buddha's intuition when he says that he would have rejected a certain Vedantic intuition, since Buddha neither accepted nor rejected, but simply refused at all to speculate on the supreme cause. His intuition was confined to the cause of sorrow and the impermanence of things and the release by extinction of ego, desire and Sanskara, and so far as he chose to go, his intuition of this extinction, Nirvana, and the Vedantic intuition of the supreme unity were the seeing of one truth of spiritual experience, seen no doubt from different angles of vision and couched in different intellectual forms, but with a common intuitive substance. The rest was foreign to Buddha's rigidly practical purpose. All this leads us far afield from our subject, but our critic has a remarkably confused mind and to follow him is to be condemned to divagate.

Thus far Mr. Archer on intuition. This is the character of his excursions on first principles in art. Is it really necessary to point out that a power of mind or spirit may be the same and yet act differently in different fields? or that a certain kind of intuition may be prepared by a long intellectual training, but that does not make it a last step in an intellectual process, any more than the precedence of sense activity makes intellectual reasoning a last step of sense-perception? The reason overtops sense and admits us to other and subtler ranges of truth; the intuition similarly overtops reason and admits us to a more direct and luminous power of truth. But very obviously in the use of the intuition the poet and artist cannot proceed precisely in the same way as the scientist or philosopher. Leonardo da Vinci's remarkable intuitions in science and his creative intuitions in art started from the same power, but the surrounding or subordinate mental operations were of a different character and colour. And in art itself there are different kinds of intuition. Shakespeare's seeing of life differs in its character and aims from Balzac's or Ibsen's, but the essential part of the process, that which makes it intuitive, is the same. The Buddhistic, the Vedantic seeing of things may be equally powerful starting-points for artistic creation, may lead one to the calm of a Buddha or the other to the rapture dance or majestic stillness of Shiva, and it is quite indifferent to the purposes of art to which of them the metaphysician may be inclined to give a logical preference. These are elementary notions and it is not surprising that one who ignores them should misunderstand the strong and subtle artistic creations of 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 existence, and it measures, if the immeasurable can be measured, the width of the gulf which till recently separated the oriental and the Western mind and most of all the European and the Indian way of seeing things. An inability to understand the motives and methods of Indian art and a contempt of or repulsion from it was almost universal till yesterday in the mind of Europe. There was little difference in this regard between the average man bound by his customary first notions and the competent critic trained to appreciate different forms of culture. The gulf was too wide for any bridge of culture then built to span. To the European mind Indian art was a thing barbarous, immature, monstrous, an arrested growth from humanity's primitive savagery and incompetent childhood. If there has been now some change, it is due to the remarkably sudden widening of the horizon and view of European culture, a partial shifting even of the standpoint from which it was accustomed to see and judge all that it saw. In matters of art the Western mind was long bound up as in a prison in the Greek and Renascence tradition modified by a later mentality with only two side rooms of escape, the romantic and the realistic motives, but these were only wings of the same building; for the base was the same and a common essential canon united their variations. The conventional superstition of the imitation of Nature as the first law or the limiting rule of art governed even the freest work and gave its tone to the artistic and critical intelligence. The canons of Western artistic creation were held to be the sole valid criteria and everything else was regarded as primitive and half-developed or else strange and fantastic and interesting only by its curiosity. But a remarkable change has begun to set in, even though the old ideas still largely rule. The prison, if not broken, has at least had a wide breach made in it; a more flexible vision and a more profound imagination have begun to superimpose themselves on the old ingrained attitude. As a result, and as a contributing influence towards this change, oriental or at any rate Chinese and Japanese art has begun to command something like adequate recognition.

But the change has not yet gone far enough for a thorough appreciation of the deepest and most characteristic spirit and inspiration of Indian work. An eye or an effort like Mr. Havell's is still rare. For the most part even the most sympathetic criticism stops short at a technical appreciation and imaginative sympathy which tries to understand from outside and penetrates into so much only of the artistic suggestion as can be at once seized by the new wider view of a more accomplished and flexible critical mentality. But there is little sign of the understanding of the very well-spring and spiritual fountain of Indian artistic creation. There is therefore still a utility in fathoming the depths and causes of the divergence. That is especially necessary for the Indian mind itself, for by the appreciation excited by an opposing view it will be better able to understand itself and especially to seize what is essential in Indian art and must be clung to in the future and what is an incident or a phase of growth and can be shed in the advance to a new creation. This is properly a task for those who have themselves at once the creative insight, the technical competence and the seeing critical eye. But everyone who has at all the Indian spirit and feeling, can at least give some account of the main, the central things which constitute for him the appeal of Indian painting, sculpture and architecture. This is all that I shall attempt, for it will be in itself the best defence and justification of Indian culture on its side of aesthetic significance.

The criticism of art is a vain and dead thing when it ignores the spirit, aim, essential motive from which a type of artistic creation starts and judges by the external details only in the light of a quite different spirit, aim and motive. Once we understand the essential things, enter into the characteristic way and spirit, are able to interpret the form and execution from that inner centre, we can then see how it looks in the light of other standpoints, in the light of the comparative mind. A comparative criticism has its use, but the essential understanding must precede it if it is to have any real value. But while this is comparatively easy in the wider and more flexible turn of literature, it is, I think, more difficult in the other arts, when the difference of spirit is deep, because there the absence of the mediating word, the necessity of proceeding direct from spirit to line and form brings about a special intensity and exclusive concentration of aim and stress of execution. The intensity of the thing that moves the work is brought out with a more distinct power, but by its very stress and directness allows of few accommodations and combined variations of appeal. The thing meant and the thing done strike deep home into the soul or the imaginative mind, but touch it over a smaller surface and with a lesser multitude of points of contact. But whatever the reason, it is less easy for a different kind of mind to appreciate.

The Indian mind in its natural poise finds it almost or quite as difficult really, that is to say, spiritually to understand the arts of Europe, as the ordinary European mind to enter into the spirit of Indian painting and sculpture. I have seen a comparison made between a feminine Indian figure and a Greek Aphrodite which illustrates the difficulty in an extreme form. The critic tells me that the Indian figure is full of a strong spiritual sense—here of the very breath and being of devotion, an ineffable devotion, and that is true, it is a suggestion or even a revelation which breaks through or overflows the form rather than depends on the external work,—but the Greek creation can only awaken a sublimated carnal or sensuous delight. Now having entered somewhat into the heart of meaning of Greek sculpture, I can see that this is a wrong account of the matter. The critic has got into the real spirit of the Indian, but not into the real spirit of the Greek work; his criticism from that moment, as a comparative appreciation, loses all value. The Greek figure stresses no doubt the body, but appeals through it to an imaginative seeing inspiration which aims at expressing a certain divine power of beauty and gives us therefore something which is much more than a merely sensuous aesthetic pleasure. If the artist has done this with perfection, the work has accomplished its aim and ranks as a masterpiece. The Indian sculptor stresses something behind, something more remote to the surface imagination, but nearer to the soul, and subordinates to it the physical form. If he has only partially succeeded or done it with power but with something faulty in the execution, his work is less great, even though it may have a greater spirit in the intention: but when he wholly succeeds, then his work too is a masterpiece, and we may prefer it with a good conscience, if the spiritual, the higher intuitive vision is what we most demand from art. This however need not interfere with an appreciation of both kinds in their own order.

But in viewing much of other European work of the very greatest repute, I am myself aware of a failure of spiritual sympathy. I look for instance on some of the most famed pieces of Tintoretto,—not the portraits, for those give the soul, if only the active or character soul in the man, but say, the Adam and Eve, the St. George slaying the dragon, the Christ appearing to Venetian Senators, and I am aware of standing baffled and stopped by an irresponsive blankness somewhere in my being. I can see the magnificence and power of colouring and design, I can see the force of externalised imagination or the spirited dramatic rendering of action, but I strive in vain to get out any significance below the surface or equivalent to the greatness of the form, except perhaps an incidental minor suggestion here and there and that is not sufficient for me. When I try to analyse my failure, I find at first certain conceptions which conflict with my expectation or my own way of seeing. This muscular Adam, the sensuous beauty of this Eve do not bring home to me the mother or the father of the race, this dragon seems to me only a surly portentous beast in great danger of being killed, not a creative embodiment of monstrous evil, this Christ with his massive body and benevolent philosophic visage almost offends me, is not at any rate the Christ whom I know. But these are after all incidental things; what is really the matter is that I come to this art with a previous demand for a kind of vision, imagination, emotion, significance which it cannot give me. And not being so self-confident as to think that what commands the admiration of the greatest critics and artists is not admirable, I can see this and pause on the verge of applying Mr. Archer's criticism of certain Indian work and saying that the mere execution is beautiful or marvellous but there is no imagination, nothing beyond what is on the surface. I can understand that what is wanting is really the kind of imagination I personally demand; but though my acquired cultured mind explains this to me and may intellectually catch at the something more, my natural being will not be satisfied, I am oppressed, not uplifted by this triumph of life and the flesh and of the power and stir of life,—not that I object to these things in themselves or to the greatest emphasis on the sensuous or even the sensual, elements not at all absent from Indian creation, if I can get something at least of the deeper thing I want behind it,—and I find myself turning away from the work of one of the greatest Italian masters to satisfy myself with some “barbaric” Indian painting or statue, some calm unfathomable Buddha, bronze Shiva or eighteen-armed Durga slaying the Asuras. But the cause of my failure is there, that I am seeking for something which was not meant in the spirit of this art and which I ought not to expect from its characteristic creation. And if I had steeped myself in this Renascence mind as in the original Hellenic spirit, I could have added something to my inner experience and acquired a more catholic and universal aesthesis.

I lay stress on this psychological misunderstanding or want of understanding, because it explains the attitude of the natural European mind to the great works of Indian art and puts on it its right value. This mind catches only what is kin to European effort and regards that too as inferior, naturally and quite rightly since the same thing is more sincerely and perfectly done from a more native fountain of power in Western work. That explains the amazing preference of better informed critics than Mr. Archer for the bastard Gandharan sculpture to great and sincere work original and true in its unity,—Gandharan sculpture which is an unsatisfying, almost an impotent junction of two incompatible motives, incompatible at least if one is not fused into the other as here certainly it is not fused,—or its praise otherwise incomprehensible of certain second-rate or third-rate creations and its turning away from others noble and profound but strange to its conceptions. Or else it seizes with appreciation—but is it really a total and a deeply understanding appreciation?—on work like the Indo-Saracenic which though in no way akin to Western types has yet the power at certain points to get within the outskirts of its circle of aesthetic conceptions. It is even so much struck by the Taj as to try to believe that it is the work of an Italian sculptor, some astonishing genius, no doubt, who Indianised himself miraculously in this one hour of solitary achievement, for India is a land of miracles,—and probably died of the effort, for he has left us no other work to admire. Again it admires, at least in Mr. Archer, Javanese work because of its humanity and even concludes from that that it is not Indian. Its essential unity with Indian work behind the variation of manner is invisible to this mind because the spirit and inner meaning of Indian work is a blank to its vision and it sees only a form, a notation of the meaning, which, therefore, it does not understand and dislikes. One might just as well say that the Gita written in the Devanagari is a barbaric, monstrous or meaningless thing, but put into some cursive character at once becomes not Indian, because human and intelligible!

But, ordinarily, place this mind before anything ancient, Hindu, Buddhistic or Vedantic in art and it looks at it with a blank or an angry incomprehension. It looks for the sense and does not find any, because either it has not in itself the experience and finds it difficult to have the imagination, much more the realisation of what this art does really mean and express, or because it insists on looking for what it is accustomed to see at home and, not finding that, is convinced that there is nothing to see or nothing of any value. Or else if there is something which it could have understood, it does not understand because it is expressed in the Indian form and the Indian way. It looks at the method and form and finds it unfamiliar, contrary to its own canons, is revolted, contemptuous, repelled, speaks of the thing as monstrous, barbarous, ugly or null, passes on in a high dislike or disdain. Or if it is overborne by some sense of unanalysable beauty of greatness or power it still speaks of a splendid barbarism. Do you want an illuminating instance of this blankness of comprehension? Mr. Archer sees the Dhyani Buddha with its supreme, its unfathomable, its infinite spiritual calm which every cultured oriental mind can at once feel and respond to in the depths of his being, and he denies that there is anything,—only drooped eyelids, an immobile pose and an insipid, by which I suppose he means a calm passionless face.* He turns for comfort to the Hellenic nobility of expression of the Gandharan Buddha, or to the living Rabindranath Tagore more spiritual than any Buddha from Peshawar to Kamakura, an inept misuse of comparison against which I imagine the great poet himself would be the first to protest. There we have the total incomprehension, the blind window, the blocked door in the mind, and there too the reason why the natural Western mentality comes to Indian art with a demand for something other than what its characteristic spirit and motive intend to give, and, demanding that, is not prepared to enter into another kind of spiritual experience and another range of creative sight, imaginative power and mode of self-expression.

This once understood, we can turn to the difference in the spirit and method of artistic creation which has given rise to the mutual incomprehension; for that will bring us to the positive side of the matter. All great artistic work proceeds from an act of intuition, not really an intellectual idea or a splendid imagination,—these are only mental translations,—but a direct intuition of some truth of life or being, some significant form of that truth, some development of it in the mind of man. And so far there is no difference between great European and great Indian work. Where then begins the immense divergence? It is there in everything else, in the object and field of the intuitive vision, in the method of working out the sight or suggestion, in the part taken in the rendering by the external form and technique, in the whole way of the rendering to the human mind, even in the centre of our being to which the work appeals. The European artist gets his intuition by a suggestion from an appearance in life and Nature or, if it starts from something in his own soul, relates it at once to an external support. He brings down that intuition into his normal mind and sets the intellectual idea and the imagination in the intelligence to clothe it with a mental stuff which will render its form to the moved reason, emotion, aesthesis. Then he missions his eye and hand to execute it in terms which start from a colourable “imitation” of life and Nature—and in ordinary hands too often end there—to get at an interpretation that really changes it into the image of something not outward in our own being or in universal being which was the real thing seen. And to that in looking at the work we have to get back through colour and line and disposition or whatever else may be part of the external means, to their mental suggestions and through them to the soul of the whole matter. The appeal is not direct to the eye of the deepest self and spirit within, but to the outward soul by a strong awakening of the sensuous, the vital, the emotional, the intellectual and imaginative being, and of the spiritual we get as much or as little as can suit itself to and express itself through the outward man. Life, action, passion, emotion, idea, Nature seen for their own sake and for an aesthetic delight in them, these are the object and field of this creative intuition. The something more which the Indian mind knows to be behind these things looks out, if at all, from behind many veils. The direct and unveiled presence of the Infinite and its godheads is not evoked or thought necessary to the greater greatness and the highest perfection.

The theory of ancient Indian art at its greatest—and the greatest gives its character to the rest and throws on it something of its stamp and influence—is of another kind. Its highest business is to disclose something of the Self, the Infinite, the Divine to the regard of the soul, the Self through its expressions, the Infinite through its living finite symbols, the Divine through his powers. Or the Godheads are to be revealed, luminously interpreted or in some way suggested to the soul's understanding or to its devotion or at the very least to a spiritually or religiously aesthetic emotion. When this hieratic art comes down from these altitudes to the intermediate worlds behind ours, to the lesser godheads or genii, it still carries into them some power or some hint from above. And when it comes quite down to the material world and the life of man and the things of external Nature, it does not altogether get rid of the greater vision, the hieratic stamp, the spiritual seeing, and in most good work—except in moments of relaxation and a humorous or vivid play with the obvious—there is always something more in which the seeing presentation of life floats as in an immaterial atmosphere. Life is seen in the self or in some suggestion of the infinite or of something beyond or there is at least a touch and influence of these which helps to shape the presentation. It is not that all Indian work realises this ideal; there is plenty no doubt that falls short, is lowered, ineffective or even debased, but it is the best and the most characteristic influence and execution which gives its tone to an art and by which we must judge. Indian art in fact is identical in its spiritual aim and principle with the rest of Indian culture.

A seeing in the self accordingly becomes the characteristic method of the Indian artist and it is directly enjoined on him by the canon. He has to see first in his spiritual being the truth of the thing he must express and to create its form in his intuitive mind; he is not bound to look out first on outward life and Nature for his model, his authority, his rule, his teacher or his fountain of suggestions. Why should he when it is something quite inward he has to bring out into expression? It is not an idea in the intellect, a mental imagination, an outward emotion on which he has to depend for his stimulants, but an idea, image, emotion of the spirit, and the mental equivalents are subordinate things for help in the transmission and give only a part of the colouring and the shape. A material form, colour, line and design are his physical means of the expression, but in using them he is not bound to an imitation of Nature, but has to make the form and all else significant of his vision, and if that can only be done or can best be done by some modification, some pose, some touch or symbolic variation which is not found in physical Nature, he is at perfect liberty to use it, since truth to his vision, the unity of the thing he is seeing and expressing is his only business. The line, colour and the rest are not his first, but his last preoccupation, because they have to carry on them a world of things which have already taken spiritual form in his mind. He has not for instance to re-create for us the human face and body of the Buddha or some one passion or incident of his life, but to reveal the calm of Nirvana through a figure of the Buddha, and every detail and accessory must be turned into a means or an aid of his purpose. And even when it is some human passion or incident he has to portray, it is not usually that alone, but also or more something else in the soul to which it points or from which it starts or some power behind the action that has to enter into the spirit of his design and is often really the main thing. And through the eye that looks on his work he has to appeal not merely to an excitement of the outward soul, but to the inner self, antaratman. One may well say that beyond the ordinary cultivation of the aesthetic instinct necessary to all artistic appreciation there is a spiritual insight or culture needed if we are to enter into the whole meaning of Indian artistic creation, otherwise we get only at the surface external things or at the most at things only just below the surface. It is an intuitive and spiritual art and must be seen with the intuitive and spiritual eye.

This is the distinctive character of Indian art and to ignore it is to fall into total incomprehension or into much misunderstanding. 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. There is much in the literature which can be well enough appreciated without any very deep entry into these things, but it is comparatively a very small part of what is left of the other arts, Hindu or Buddhistic, of which this can be said. They have been very largely a hieratic aesthetic script of India's spiritual, contemplative and religious experience.

Footnote: In a note Mr. Archer mentions and very rightly discounts an absurd apology for these Buddhas, viz., that the greatness and spirituality are not at all in the work, but in the devotion of the artist! If the artist cannot put into his work what was in him—and here it is not devotion that is expressed,—his work is a futile abortion. But if he has expressed what he has felt, the capacity to feel it must also be there in the mind that looks at his work.

 

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All extracts and quotations from the written works of Sri Aurobindo and the Mother and the Photographs of the Mother and Sri Aurobindo are copyright Sri Aurobindo Trust, Pondicherry -605002 India

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