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Sri Aurobindo


The Significance Of indian Art
-Sri Aurobindo

Chapter II
The Significance of Indian Architecture

 

 

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, proportions, lines, colours, can here only justify them by their service for the something intangible it has to express; the spirit needs all the possible help of the material body to interpret itself to itself through the eye, yet asks of it that it shall be as transparent a veil as possible of its own greater significance. The art of the East and the art of the West—each in its characteristic or mean, for there are always exceptions,—deal with the problem of these two interlocking powers in a quite different way. The Western mind is arrested and attracted by the form, lingers on it and cannot get away from its charm, loves it for its own beauty, rests on the emotional, intellectual, aesthetic suggestions that arise directly from its most visible language, confines the soul in the body; it might almost be said that for this mind form creates the spirit, the spirit depends for its existence and for everything it has to say on the form. The Indian attitude to the matter is at the opposite pole to this view. For the Indian mind form does not exist except as a creation of the spirit and draws all its meaning and value from the spirit. Every line, arrangement of mass, colour, shape, posture, every physical suggestion, however many, crowded, opulent they may be, is first and last a suggestion, a hint, very often a symbol which is in its main function a support for a spiritual emotion, idea, image that again goes beyond itself to the less definable, but more powerfully sensible reality of the spirit which has excited these movements in the aesthetic mind and passed through them into significant shapes.

This characteristic attitude of the Indian reflective and creative mind necessitates in our view of its creations an effort to get beyond at once to the inner spirit of the reality it expresses and see from it and not from outside. And in fact to start from the physical details and their synthesis appears to me quite the wrong way to look at an Indian work of art. The orthodox style of Western criticism seems to be to dwell scrutinisingly on the technique, on form, on the obvious story of the form, and then pass to some 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, dhyana in the technical Indian term, to the spiritual meaning and atmosphere, make ourselves one with that as completely as possible, and then only the helpful meaning and value of all the rest comes out with a complete and revealing force. For here it is the spirit that carries the form, while in most Western art it is the form that carries whatever there may be of spirit. The striking phrase of Epictetus recurs to the mind in which he describes man as a little 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, mahan atma, 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 by the power that informs this symbol to support some aspect of that infinite's self-expression. It is therefore essential that we should look here not solely with the physical eye informed by the reason and the aesthetic imagination, but make the physical seeing a passage to the opening of the inner spiritual eye and a moved communion in the soul. A great oriental work of art does not easily reveal its secret to one who comes to it solely in a mood of aesthetic curiosity or with a considering critical objective mind, still less as the cultivated and interested tourist passing among strange and foreign things; but it has to be seen in loneliness, in the solitude of one's self, in moments when one is capable of long and deep meditation and as little weighted as possible with the conventions of material life. That is why the Japanese with their fine sense in these things,—a sense which modern Europe with her assault of crowded art galleries and over-pictured walls seems to have quite lost, though perhaps I am wrong, and those are the right conditions for display of European art,—have put their temples and their Buddhas as often as possible away on mountains and in distant or secluded scenes of Nature and avoid living with great paintings in the crude hours of daily life, but keep them by preference in such a way that their undisputed suggestion can sink into the mind in its finer moments or apart where they can go and look at them in a treasured secrecy when the soul is at leisure from life. That is an indication of the utmost value pointing to the nature of the appeal made by Eastern art and the right way and mood for looking at its creations.

Indian architecture especially demands this kind of inner study and this spiritual self-identification with its deepest meaning and will not otherwise reveal itself to us. The secular buildings of ancient India, her palaces and places of assembly and civic edifices have not outlived the ravage of time; what remains to us is mostly something of the great mountain and cave temples, something too of the temples of her ancient cities of the plains, and for the rest we have the fanes and shrines of her later times, whether situated in temple cities and places of pilgrimage like Srirangam and Rameshwaram or in her great once regal towns like Madura, when the temple was the centre of life. It is then the most hieratic side of a hieratic art that remains to us. These sacred buildings are the signs, the architectural self-expression of an ancient spiritual and religious culture. Ignore the spiritual suggestion, the religious significance, the meaning of the symbols and indications, look only with the rational and secular aesthetic mind, and it is vain to expect that we shall get to any true and discerning appreciation of this art. And it has to be remembered too that the religious spirit here is something quite different from the sense of European religions; and even mediaeval Christianity, especially as now looked at by the modern European mind which has gone through the two great crises of the Renascence and recent secularism, will not in spite of its oriental origin and affinities be of much real help. To bring in into the artistic look on an Indian temple occidental memories or a comparison with Greek Parthenon or Italian church or Duomo or Campanile or even the great Gothic cathedrals of mediaeval France, though these have in them something much nearer to the Indian mentality, is to intrude a fatally foreign and disturbing element or standard in the mind. But this consciously or else subconsciously is what almost every European mind does to a greater or less degree,—and it is here a pernicious immixture, for it subjects the work of a vision that saw the immeasurable to the tests of an eye that dwells only on measure.

Indian sacred architecture of whatever date, style or dedication goes back to something timelessly ancient and now outside India almost wholly lost, something which belongs to the past, and yet it goes forward too, though this the rationalistic mind will not easily admit, to something which will return upon us and is already beginning to return, something which belongs to the future. An Indian temple, to whatever godhead it may be built, is in its inmost reality an altar raised to the divine Self, a house of the Cosmic Spirit, an appeal and aspiration to the Infinite. As that and in the light of that seeing and conception it must in the first place be understood, and everything else must be seen in that setting and that light, and then only can there be any real understanding. No artistic eye however alert and sensible and no aesthetic mind however full and sensitive can arrive at that understanding, if it is attached to a Hellenised conception of rational beauty or shuts itself up in a materialised or intellectual interpretation and fails to open itself to the great things here meant by a kindred close response to some touch of the cosmic consciousness, some revelation of the greater spiritual self, some suggestion of the Infinite. These things, the spiritual self, the cosmic spirit, the Infinite, are not rational, but suprarational, eternal presences, but to the intellect only words, and visible, sensible, near only to an intuition and revelation in our inmost selves. An art which starts from them as a first conception can only give us what it has to give, their touch, their nearness, their self-disclosure, through some responding intuition and revelation in us, in our own soul, our own self. It is this which one must come to it to find and not demand from it the satisfaction of some quite other seeking or some very different turn of imagination and more limited superficial significance.

This is the first truth of Indian architecture and its significance which demands emphasis and it leads at once to the answer to certain very common misapprehensions and objections. All art reposes on some unity and all its details, whether few and sparing or lavish and crowded and full, must go back to that unity and help its significance; otherwise it is not art. Now we find our Western critic telling us with an assurance which would be stupefying if one did not see how naturally it arose, that in Indian architecture there is no unity, which is as much as to say that there is here no great art at all, but only a skill in the execution of crowded and unrelated details. We are told even by otherwise sympathetic judges that there is an overloading of ornament and detail which, however beautiful or splendid in itself, stands in the way of unity, an attempt to load every rift with ore, an absence of calm, no unfilled spaces, no relief to the eye. Mr. Archer as usual carries up the adverse criticism to its extreme clamorous top notes; his heavily shotted phrases are all a continuous insistence on this one theme. The great temples of the South of India are, he allows, marvels of massive construction. He seems by the way to have a rooted objection to massiveness in architecture or great massed effects in sculpture, regardless of their appropriateness or need, although he admits them in literature. Still this much there is and with it a sort of titanic impressiveness, but of unity, clarity, nobility there is no trace. This observation seems to my judgment sufficiently contradictory, since I do not understand how there can be a marvel of construction, whether light or massive, without any unity,—but here is not even, it seems, a trace of it—or a mighty impressiveness without any greatness or nobility whatever, even allowing this to be a Titanic and not an Olympian nobleness. He tells us that everything is ponderous, everything here overwrought and the most prominent features swarming, writhing with contorted semi-human figures are as senseless as anything in architecture. How, one might ask, does he know that they are senseless, when he practically admits that he has made no attempt to find what is their sense, but has simply assumed from the self-satisfied sufficiency of his own admitted ignorance and failure to understand that there cannot be any meaning? And the whole thing he characterises as a monstrosity built by Rakshasas, ogres, demons, a gigantesque barbarism. The northern buildings find a little less disfavour in his eyes, but the difference in the end is small or none. There is the same ponderousness, absence of lightness and grace, an even greater profusion of incised ornament; these too are barbaric creations. Alone the Mahomedan architecture, called Indo-Saracenic, is exempted from this otherwise universal condemnation.

It is a little surprising after all, however natural the first blindness here, that even assailants of this extreme kind, since they must certainly know that there can be no art, no effective construction without unity, should not have paused even once to ask themselves whether after all there must not be here some principle of oneness which they had missed because they came with alien conceptions and looked at things from the wrong end, and before pronouncing this magisterial judgment should not have had patience to wait in a more detached and receptive way upon the thing under their eye and seen whether then some secret of unity did not emerge. But it is the more sympathetic and less violent critic who deserves a direct answer. Now it may readily be admitted that the failure to see at once the unity of this architecture is perfectly natural to a European eye, because unity in the sense demanded by the Western conception, the Greek unity gained by much suppression and a sparing use of detail and circumstance or even the Gothic unity got by casting everything into the mould of a single spiritual aspiration, is not there. And the greater unity that really is there can never be arrived at at all, if the eye begins and ends by dwelling on form and detail and ornament, because it will then be obsessed by these things and find it difficult to go beyond to the unity which all this in its totality serves not so much to express in itself, but to fill it with that which comes out of it and relieve its oneness by multitude. An original oneness, not a combined or synthetic or an effected unity, is that from which this art begins and to which its work when finished returns or rather lives in it as in its self and natural atmosphere. Indian sacred architecture constantly represents the greatest oneness of the self, the cosmic, the infinite in the immensity of its world-design, the multitude of its features of self-expression, laksana, (yet the oneness is greater than and independent of their totality and in itself indefinable), and all its starting-point of unity in conception, its mass of design and immensity of material, its crowding abundance of significant ornament and detail and its return towards oneness are only intelligible as necessary circumstances of this poem, this epic or this lyric—for there are smaller structures which are such lyrics—of the Infinite. The Western mentality, except in those who are coming or returning, since Europe had once something of this cult in her own way, to this vision, may find it difficult to appreciate the truth and meaning of such an art, which tries to figure existence as a whole and not in its pieces; but I would invite those Indian minds who are troubled by these criticisms or partly or temporarily overpowered by the Western way of seeing things, to look at our architecture in the light of this conception and see whether all but minor objections do not vanish as soon as the real meaning makes itself felt and gives body to the first indefinable impression and emotion which we experience before the greater constructions of the Indian builders.

To appreciate this spiritual-aesthetic truth of Indian architecture, it will be best to look first at some work where there is not the complication of surroundings now often out of harmony with the building, outside even those temple towns which still retain their dependence on the sacred motive, and rather in some place where there is room for a free background of Nature. I have before me two prints which can well serve the purpose, a temple at Kalahasti, a temple at Sinhachalam, two buildings entirely different in treatment and yet one in the ground and the universal motive. The straight way here is not to detach the temple from its surroundings, but to see it in unity with the sky and low-lying landscape or with the sky and hills around and feel the thing common to both, the construction and its environment, the reality in Nature, the reality expressed in the work of art. The oneness to which this Nature aspires in her inconscient self-creation and in which she lives, the oneness to which the soul of man uplifts itself in his conscious spiritual upbuilding, his labour of aspiration here expressed in stone, and in which so upbuilt he and his work live, are the same and the soul-motive is one. Thus seen this work of man seems to be something which has started out and detached itself against the power of the natural world, something of the one common aspiration in both to the same infinite spirit of itself,—the inconscient uplook and against it the strong single relief of the self-conscient effort and success of finding. One of these buildings climbs up bold, massive in projection, up-piled in the greatness of a forceful but sure ascent, preserving its range and line to the last, the other soars from the strength of its base, in the grace and emotion of a curving mass to a rounded summit and crowning symbol. There is in both a constant, subtle yet pronounced lessening from the base towards the top, but at each stage a repetition of the same form, the same multiplicity of insistence, the same crowded fullness and indented relief, but one maintains its multiple endeavour and indication to the last, the other ends in a single sign. To find the significance we have first to feel the oneness of the infinity in which this nature and this art live, then see this thronged expression as the sign of the infinite multiplicity which fills this oneness, see in the regular lessening ascent of the edifice the subtler and subtler return from the base on earth to the original unity and seize on the symbolic indication of its close at the top. Not absence of unity, but a tremendous unity is revealed. Reinterpret intimately what this representation means in the terms of our own spiritual self-existence and cosmic being, and we have what these great builders saw in themselves and reared in stone. All objections, once we have got at this identity in spiritual experience, fall away and show themselves to be what they really are, the utterance and cavil of an impotent misunderstanding, an insufficient apprehension or a complete failure to see. To appreciate the detail of Indian architecture is easy when the whole is thus seen and known; otherwise, it is impossible.

This method of interpretation applies, however different the construction and the nature of the rendering, to all Dravidian architecture, not only to the mighty temples of far-spread fame, but to unknown roadside shrines in small towns, which are only a slighter execution of the same theme, a satisfied suggestion here, but the greater buildings a grandiose fulfilled aspiration. The architectural language of the north is of a different kind, there is another basic style; but here too the same spiritual, meditative, intuitive method has to be used and we get at the same result, an aesthetic interpretation or suggestion of the one spiritual experience, one in all its complexity and diversity, which founds the unity of the infinite variations of Indian spirituality and religious feeling and the realised union of the human self with the Divine. This is the unity too of all the creations of this hieratic art. The different styles and motives arrive at or express that unity in different ways. The objection that an excess of thronging detail and ornament hides, impairs or breaks up the unity, is advanced only because the eye has made the mistake of dwelling on the detail first without relation to this original spiritual oneness, which has first to be fixed in an intimate spiritual seeing and union and then all else seen in that vision and experience. When we look on the multiplicity of the world, it is only a crowded plurality that we can find and to arrive at unity we have to reduce, to suppress what we have seen or sparingly select a few indications or to be satisfied with the unity of this or that separate idea, experience or imagination; but when we have realised the self, the infinite unity and look back on the multiplicity of the world, then we find that oneness able to bear all the infinity of variation and circumstance we can crowd into it and its unity remains unabridged by even the most endless self-multiplication of its informing creation. We find the same thing in looking at this architecture. The wealth of ornament, detail, circumstance in Indian temples represents the infinite variety and repetition of the worlds,—not our world only, but all the planes,—suggests the infinite multiplicity in the infinite oneness. It is a matter of our own experience and fullness of vision how much we leave out or bring in, whether we express so much or so little or attempt as in the Dravidian style to give the impression of a teeming inexhaustible plenitude. The largeness of this unity is base and continent enough for any superstructure or content of multitude.

To condemn this abundance as barbarous is to apply a foreign standard. Where after all are we bound to draw the line? To the pure classical taste Shakespeare's art once appeared great but barbarous for a similar reason,—one remembers the Gallic description of him as a drunken barbarian of genius,—his artistic unity non-existent or spoilt by crowding tropical vegetation of incident and character, his teeming imaginations violent, exaggerated, sometimes bizarre, monstrous, without symmetry, proportion and all the other lucid unities, lightnesses, graces loved by the classic mind. That mind might say of his work in language like Mr. Archer's that here there is indeed a Titanic genius, a mass of power, but of unity, clarity, classic nobility no trace, but rather an entire absence of lucid grace and lightness and restraint, a profusion of wild ornament and an imaginative riot without law or measure, strained figures, distorted positions and gestures, no dignity, no fine, just, rationally natural and beautiful classic movement and pose. But even the strictest Latin mind has now got over its objections to the “splendid barbarism” of Shakespeare and can understand that here is a fuller, less sparing and exiguous vision of life, a greater intuitive unity than the formal unities of the classic aesthesis. But the Indian vision of the world and existence was vaster and fuller than Shakespeare's, because it embraced not merely life, but all being, not merely humanity, but all the worlds and all Nature and cosmos. The European mind not having arrived except in individuals at any close, direct, insistent realisation of the unity of the infinite self or the cosmic consciousness peopled with its infinite multiplicity, is not driven to express these things, cannot understand or put up with them when they are expressed in this oriental art, speech and style and object to it as the Latin mind once objected to Shakespeare. Perhaps the day is not distant when it will see and understand and perhaps even itself try to express the same things in another language.

The objection that the crowding detail allows no calm, gives no relief or space to the eye, falls under the same heading, springs from the same root, is urged from a different experience and has no validity for the Indian experience. For this unity on which all is upborne, carries in itself the infinite space and calm of the spiritual realisation, and there is no need for other unfilled spaces or tracts of calm of a lesser more superficial kind. The eye is here only a way of access to the soul, it is to that that there is the appeal, and if the soul living in this realisation or dwelling under the influence of this aesthetic impression needs any relief, it is not from the incidence of life and form, but from the immense incidence of that vastness of infinity and tranquil silence, and that can only be given by its opposite, by an abundance of form and detail and life. As for the objection in regard to Dravidian architecture to its massiveness and its Titanic construction, the precise spiritual effect intended could not be given otherwise; for the infinite, the cosmic seen as a whole in its vast manifestation is Titanic, is mighty in material and power. It is other and quite different things also, but none of these are absent from Indian construction. The great temples of the north have often in spite of Mr. Archer's dictum, a singular grace in their power, a luminous lightness relieving their mass and strength, a rich delicacy of beauty in their ornate fullness. It is not indeed the Greek lightness, clarity or naked nobleness, nor is it exclusive, but comes in in a fine blending of opposites which is in the very spirit of the Indian religious, philosophical and aesthetic mind. Nor are these things absent from many Dravidian buildings, though in certain styles they are boldly sacrificed or only put into minor incidents,—one instance of the kind Mr. Archer rejoices in as an oasis in the desert of this to him unintelligible mass of might and greatness,—but in either case suppressed so that the fullness of solemn and grandiose effect may have a complete, an undiminished expression.

I need not deal with adverse strictures of a more insignificant kind,—such as the dislike of the Indian form of the arch and dome, because they are not the radiating arch and dome of other styles. That is only an intolerant refusal to admit the beauty of unaccustomed forms. It is legitimate to prefer one's own things, those to which our mind and nature have been trained, but to condemn other art and effort because it also prefers its own way of arriving at beauty, greatness, self-expression, is a narrowness which with the growth of a more catholic culture ought to disappear. But there is one comment on Dravidian temple architecture which is worth noting because it is made by others than Mr. Archer and his kind. Even a sympathetic mind like Professor Geddes is impressed by some sense of a monstrous effect of terror and gloom in these mighty buildings. Such expressions are astonishing to an Indian mind because terror and gloom are conspicuously absent from the feelings aroused in it by its religion, art or literature. In the religion they are rarely awakened and only in order to be immediately healed and, even when they come, are always sustained by the sense of a supporting and helping presence, an eternal greatness and calm or love or Delight behind; the very goddess of destruction is at the same time the compassionate and loving Mother; the austere Maheshwara, Rudra, is also Shiva, the auspicious, Ashutosha, the refuge of men. The Indian thinking and religious mind looks with calm, without shrinking or repulsion, with an understanding born of its agelong effort at identity and oneness, at all that meets it in the stupendous spectacle of the cosmos. And even its asceticism, its turning from the world, which begins not in terror and gloom, but in a sense of vanity and fatigue, or of something higher, truer, happier than life, soon passes beyond any element of pessimistic sadness into the rapture of the eternal peace and bliss. Indian secular poetry and drama is throughout rich, vital and joyous and there is more tragedy, terror, sorrow and gloom packed into any few pages of European work than we can find in the whole mass of Indian literature. It does not seem to me that Indian art is at all different in this respect from the religion and literature. The Western mind is here thrusting in its own habitual reactions upon things in the indigenous conception in which they have no proper place. Mark the curious misreading of the dance of Shiva as a dance of Death or Destruction, whereas, as anybody ought to be able to see who looks upon the Nataraja, it expresses on the contrary the rapture of the cosmic dance with the profundities behind of the unmoved eternal and infinite bliss. So too the figure of Kali which is so terrible to European eyes is, as we know, the Mother of the universe accepting this fierce aspect of destruction in order to slay the Asuras, the powers of evil in man and the world. There are other strands in this feeling in the Western mind which seem to spring from a dislike of anything uplifted far beyond the human measure and others again in which we see a subtle survival of the Greek limitation, the fear, gloom and aversion with which the sunny terrestrial Hellenic mind commonly met the idea of the beyond, the limitless, the unknown; but that reaction has no place in Indian mentality. And as for the strangeness or formidable aspect of certain unhuman figures or the conception of demons or Rakshasas, it must be remembered that the Indian aesthetic mind deals not only with the earth but with psychic planes in which these things exist and ranges freely among them without being overpowered because it carries everywhere the stamp of a large confidence in the strength and the omnipresence of the Self or the Divine.

I have dwelt on Hindu and especially on Dravidian architecture because the latter is the most fiercely attacked as the most uncompromisingly foreign to European taste. But a word too may be said about Indo-Moslem architecture. I am not concerned to defend any claim for the purely indigenous origin of its features. It seems to me that here the Indian mind has taken in much from the Arab and Persian imagination and in certain mosques and tombs I seem to find an impress of the robust and bold Afghan and Mogul temperament; but it remains clear enough that it is still on the whole a typically Indian creation with the peculiar Indian gift. The richness of decorative skill and imagination has been turned to the uses of another style, but it is the same skill which we find in the northern Hindu temples, and in the ground we see, however toned down, something sometimes of the old epic mass and power, but more often that lyric grace which we see developing before the Mahomedan advent in the indigenous sculpture,—as in the schools of the North-East and of Java,—and sometimes a blending of the two motives. The modification, the toning down sets the average European mind at ease and secures its suffrage. But what is it that it so much admires? Mr. Archer tells us at first that it is its rational beauty, refinement and grace, normal, fair, refreshing after the monstrous riot of Hindu Yogic hallucination and nightmare. That description which might have been written of Greek art, seems to me grotesquely inapplicable. Immediately afterwards he harps on quite another and an incompatible phrase, and calls it a fairy-land of exquisite architecture. A rational fairy-land is a wonder which may perhaps be hereafter discovered by some strange intertwining of the nineteenth and twentieth century minds, but I do not think it has yet existed on earth or in the heavens. Not rational but magical beauty satisfying and enchanting to some deeper quite suprarational aesthetic soul in us is the inexpressible charm of these creations. But still where does the magic touch our critic? He tells us in a rapt journalistic style. It is the exquisite marble traceries, the beautiful domes and minarets, the stately halls of sepulture, the marvellous loggias and arcades, the magnificent plinths and platforms, the majestic gateways, et cetera. And is this then all? Only the charm of an outward material luxury and magnificence? Yes; Mr. Archer again tells us that we must be content here with a visual sensuous beauty without any moral suggestion. And that helps him to bring in the sentence of destructive condemnation without which he could not feel happy in dealing with Indian things: this Moslem architecture suggests not only unbridled luxury, but effeminacy and decadence! But in that case, whatever its beauty, it belongs entirely to a secondary plane of artistic creation and cannot rank with the great spiritual aspirations in stone of the Hindu builders.

I do not demand “moral suggestions” from architecture, but is it true that there is nothing but a sensuous outward grace and beauty and luxury in these Indo-Moslem buildings? It is not at all true of the characteristic greater work. The Taj is not merely a sensuous reminiscence of an imperial amour or a fairy enchantment hewn from the moon's lucent quarries, but the eternal dream of a love that survives death. The great mosques embody often a religious aspiration lifted to a noble austerity which supports and is not lessened by the subordinated ornament and grace. The tombs reach beyond death to the beauty and joy of Paradise. The buildings of Fatehpur-Sikri are not monuments of an effeminate luxurious decadence,—an absurd description for the mind of the time of Akbar,—but give form to a nobility, power and beauty which lay hold upon but do not wallow on the earth. There is not here indeed the vast spiritual content of the earlier Indian mind, but it is still an Indian mind which in these delicate creations absorbs the West Asian influence, and lays stress on the sensuous as before in the poetry of Kalidasa, but uplifts it to a certain immaterial charm, rises often from the earth without quite leaving it into the magical beauty of the middle world and in the religious mood touches with a devout hand the skirts of the Divine. The all-pervading spiritual obsession is not there, but other elements of life not ignored by Indian culture and gaining on it since the classical times are here brought out under a new influence and are still penetrated with some radiant glow of a superior lustre.

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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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