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<p class="paracenter"><i>Section Six</i>
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<p class="paracenter">THE NATURE AND DESTINY OF ART
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<p class="para">True art means the expression of beauty in the material world. In a world wholly converted, that is to say, expressing integrally the divine reality, art must serve as the revealer and teacher of this divine beauty in life. In other words, the artist must be able to enter into communion with the Divine and receive the inspiration as to what should be the form or forms for the material realisation of the divine beauty. At the same time, in expressing true beauty in the physical, he also sets an example, becomes an instrument of education. Art not only creates beauty, but educates the taste of people to find true beauty, the essential beauty that expresses the divine truth. That is the true role of art. But between that and what it is now there is a great difference.
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The decline comes in the normal course of evolution which follows a spiral movement. From the beginning of the last century to the middle of it, art became totally a debased thing, commercial, obscure, ignorant, something very far from its true nature and function. But the spirit of art cannot die; only as it rose as a movement of protest or revolt, the forms it chose were equally bad. In attempting to counteract the general debasing of taste it went to the other extreme, as is the character of all movement of nature. One was a servile copy of nature, it was pointed out or not even that. In those days it used
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<br><p class="pageno">Page-175</p>
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<p class="para">to be called photographic art, if one were to abuse it. But now it is no longer a term of abuse, for photography has developed into a consummate art. Neither could it be truly called realism, for there are realistic paintings which belong to a very high order. That art was conventional, artificial, lifeless. Now the reaction to this movement said: we do not concern ourselves with physical life any more, the reality as we see with outward eyes is no longer our business; we want instead to express the vital life, the mental life. Hence came a whole host of reformers and rebels—cubists, surrealists, futurists and so on—who sought to create art with their head. They forgot the simple truth that in art it is not the head that commands, but the feeling of beauty in the heart. So art landed into the most absurd, ridiculous and frightful of worlds. Indeed with the two wars behind us we have gone further in that direction. Each war has brought down a world in decomposition. And now we seem to be in the very heart of chaos.
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Perhaps we are at the bottom of the curve and it is time to mount up. This disintegration is a necessary prelude; it is even from a certain point of view a better condition than that of the epoch of Queen Victoria or the Second Empire in France, the age of the practical successful bourgeoisie, of snug contentment and dull mediocrity, of death in life. As I say, the movement of progress follows a curve. In a certain epoch some fine things are expressed in a fine way. Then follows an epoch which is tired of the old things, wants to find new things and
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<br><p class="pageno">Page-176</p>
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<p class="para">express in a new way. The age of Louis XIV, for example, was an age dominated by the sense of artistic creation and it represented the peak of a certain type of the truly beautiful in art and life. In the course of social evolution other ideas, other needs appeared—those of a commercial age. So the curve took a downward course. For there is nothing so antagonistic to art as commerce. For the association of commerce with art means the popularisation of something which is exceptional: it is putting within the reach of all and sundry a thing which is understood and appreciated only by the chosen few, the elite. Perhaps it is because of this, because art has no outlet in the world, it has in these days turned to other directions, into the domains of the mental and the vital, into sideways and bypaths of consciousness. When, however, better conditions prevail, when instead of the spirit of mercantilism, there appears upon earth the sense of a more beautiful reality, then art will be reborn and come to its own. That seems to be still a long way off.
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The art of this decadent epoch is what I call mushroom art. You know how mushrooms grow? They grow anywhere and do not seem to form part, for example, of what you cultivate or where you cultivate. Just think of it! There is a spot on the wall which becomes humid and you see it soon covered with this growth. You have a tree which does not get the sunlight, you will find its roots covered with mushrooms. It is a kind of spontaneous growth which is not linked to the spot where it</p>
<br><p class="pageno">Page-177</p>
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<p class="para">grows. It is not a limb of its environment, but something extraneous added to it. Instead of mushrooms, I could have spoken of parasites: they belong to the same category. You have seen parasite plants? They grow upon trees, they fix themselves there. They have not their own life and organs, they do not draw their food directly from earth, as all normal plants do; they live upon the life of another, make use of the labour of another. There are also animal parasites that live upon another animal, growing and profiting by its labour. Parasites or mushrooms have no raison d'etre to be where they are—they are invaders, interpolators, anomalies.
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In ancient times, in the great ages, in Greece, for example or even during the Italian Renaissance, particularly, however, in Greece and in Egypt, they erected buildings, constructed monuments for the sake of public utility. Their buildings were meant for the most part to be temples, sanctuaries to lodge their gods and deities. What they had in view was something total, whole and entire, beautiful and complete in itself. That was the purpose of architecture embodying the harmony of sweeping and majestic lines: sculpture was a part of architecture supplying details of expression and even painting came up to complete the expression: but the whole held together in a coordinated unity which was the monument itself. The sculpture was for the monument, the painting was for the monument; it was not that each was separate from the other and existed for itself and one did not know why it was there. In India, when a temple was
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<br><p class="pageno">Page-178</p>
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<p class="para">being built, for example, what was aimed at was a total creation, all the parts combined to give effect to one end, to make a beautiful vesture for God, the one object of their adoration. All the great epochs of art were of this kind. But in modern times, in the latter part of the last century, Art became a matter of business. A painting was done in order to be sold. You do your paintings, put each one in a frame and place them side by side or group them, that is, lump them together without much reason. The same with regard to sculpture. You do a statue and set it up anywhere without any connection whatsoever with the surrounding. It is always something foreign, extraneous in its setting, like a mushroom or a parasite. The thing in itself may not be quite ugly, but it is out of place, it is not part of an organic whole. We exhibit art today. Indeed, it is exhibitionism, it is the showing off of cleverness, talent, skill, virtuosity. A piece of architecture does not incarnate a living force as it used to do once upon a time. It is no longer the expression of an aspiration, of something that lifts up the spirit nor the expression of the magnificence of the Divine whose dwelling it is meant to be. You build houses here and there, pell-mell or somehow juxtaposed without any coordinating idea governing them, without any relation to the environment where they are situated. When you enter a house, it is the same thing. A bit of painting here, a bit of sculpture there, some <i>objects of art </i>
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<br><p class="pageno">Page-179</p>
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<p class="para">scopic collection. It gives a shock to the truly sensitive artistic taste.
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I do not say that a museum is not necessary or useful. It is a good means of education, that is to say, getting information about what other people or other epochs did. It is an aid to the historical knowledge of things. But it is far from being artistic. A museum is not the place where art can find its highest or its true expression. There is an art which seeks to coordinate, integrate distinct, discrete, contrary objects. It is called decorative art. And in so far as this art is successful, we are a step forward even in these days towards true art.
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Here in India things are and should be a little different. In spite of the modern European invasion and in spite of certain lapses in some directions—I may refer to what Sri Aurobindo calls the Ravi Varma interlude—the heart of India is not anglicised or Europeanised. The Calcutta School is a sign—although their attempt is rather on a small scale—yet it is a sign that India's artistic taste, in spite of a modern education, still turns to what is essential and permanent in her culture and civilisation. You have still before you, within your reach, the old temples, the old paintings, to teach you that art creation is meant to express a faith, to give you the sense of totality and organisation. You will note in this connection another fact which is very significant. All these paintings, all these sculptures in caves and temples bear no signature. They were not done with the idea of making a name. Today you fix your name to every bit of work you do,
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<br><p class="pageno">Page-180</p>
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<p class="para">announce the event with a great noise in the papers, so that the thing may not be forgotten. In those days the artist did what he had to do, without caring whether posterity would remember his name or not. The work was done in an urge of aspiration towards expressing a higher beauty, above all with the idea of preparing a dwelling fit for the deity whom one invokes. In Europe in the cathedrals of the Middle Age, things were done in the same spirit. There too at that time works were anonymous and bore no signature of the author. If any name came to be preserved, it was more or less by accident.
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However, even the commercialism of today, hideous as it is, has an advantage of its own. Commercialism means the mixing together of all parts of the world. It effaces the distinction between Orient and Occident, brings the Orient near to the Occident and the Occident near to the Orient. With the exchange of goods, there happens an exchange of ideas and even of habits and manners. In ancient days Rome conquered Greece and through that conquest was herself conquered by the Culture and Civilisation of Greece. The thing is happening today on a much greater scale and more intensely perhaps. At one time Japan was educating herself on the American pattern; now that America has conquered Japan physically, she is being conquered by the spirit of Japan; even in objects manufactured in America, you notice the Japanese influence in some way or other.
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<br><p class="pageno">Page-181</p>
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