17. Walt Disney's film Fantasia is an experiment in such visual-auditory correlations.
18. Abanandranath Tagore, Sadanga (Calcutta: Indian Society of Oriental Art, 1926).
19. Manasara—see P. K. Acharya, Hindu Architecture, 5 vols. (London: Oxford University Press, 1927-65).
20. Paul Klee, Pedagogical Sketch Book (London: Faber & Faber, 1953).
21. Alice Boner, "The Symbolic Aspects of Form," Journal of the Indian Society of Oriental Art, vol. 17 (1949), and Principles of Composition in Hindu Sculpture (Leiden: E. J. Brill, 1964).
Chapter 2
1. Wilder Penfield quoting Theodore Rasmussen in a lecture before the Royal Society of London.
2. Robert Campbell, "The Circuit of the Senses," Life, vol. 35, no. 4 (1959).
3. Ibid.
4. Paradiso, Canto 30, lines 61-96 (trans. Gary).
5. Walter Gropius, "Blueprint or an Architect's Education," Architecture d'Au-jourd'hui (February, 1950).
6. Mulk Raj Anand, The Hindu View of Art, rev. ed. (New Delhi: Arnold-Heinemann, 1978).
7. Erich Mendelsohn, Letters of an Architect (New York: Abelard Schuman, 1967).
8. Gropius, Scope of Total Architecture (London: Allen & Unwin, 1956).
9. D. H. Lawrence, "Introduction to The Paintings," Works of D. H. Lawrence (London: Heinemann, 1936).
10. Wilder Penfield, The Mystery of the Mind: A Critical Study of Consciousness and the Human Brain (Princeton: Princeton University Press, 1975).
11. Quoted by Le Corbusier in a lecture in Chandigarh, 1954.
12. Piet Mondrian, letter to James Johnson Sweeney, May 24, 1934. Reproduced in Mondrian's handwriting in Pier Mondrian: The Earlier Years (New York: Solomon R. Guggenheim Museum).
13. V. G. Rele, The Mysterious Kundalini (Bombay: Taraporevala & Sons, 1939).
Chapter 3
1. "Thalamus: the middle part of the diencephalon, the posterior section of the forebrain, through which sensory impulses pass to reach the cerebral cortex," Random House Dictionary.
2. V. G. Rele, The Mysterious Kundalini (Bombay: Taraporevala & Sons, 1939).
3. Desmond Morris, The Naked Ape (London: Cape, 1968).
4. Julian Huxley, Essays of a Humanist (Harmondsworth: Penguin, 1968).
5. Robert Campbell, "The Circuit of the Senses," Life, vol. 35, no. 4 (1959).
6. The Faerie Queene, book 6, canto 4, stanza II.
7. Oleg Adrianov of the Brain Institute of the USSR Academy of Medical Sciences, Moscow, in a lecture in London.
8. "In these passages, the spiritual significance of rhythm in art is plainly asserted. Conversely, they are also of interest to the problem of the origins of art, all rhythm corresponding in the last analysis to cosmic rhythms'' Ananda Coomaraswamy, The Transformation of Nature in Art (Cambridge: Harvard University Press, 1934; Dover reissue, 1956).
Chapter 4
1. Robert Campbell, "The Circuit of the Senses," Life, vol. 35, no. 4 (1959).
2. ibid.
3. V. G. Rele, The Mysterious Kundalini (Bombay: Taraporevala & Sons, 1939) and Arthur Avalon (Sir John Woodroffe), The Serpent Tower (Madras: Ganesh, 1921).
4. Campbell, "The Circuit of the Senses."
5. Rele, The Mysterious Kundalini.
6. Swami Vivekananda, Raja Yoga (Calcutta: Ramakrishna Mission, 1925).
7. Ananda Coomaraswamy, The Dance of Shiva (London: Simpkin Marshall Hamilton Kent & Co., 1924).
8. ibid.
9. Ibid.
10. Lama Anagarika Govinda, "Solar and Lunar Symbolism in the Development of Stupa Architecture," Marg, vol. 4, no. 1 (Bombay, 1950).
11. Francis Newton Souza, Nirvana of a Maggot (London: privately published, 1955).
Chapter 5
1. Professor Abubakar of Cairo University in a speech delivered at the University of Delhi, February 9, 1964.
2. Irene Rice Pereira, The Nature of Space (New York: privately published 1956).
3. Alice Boner, "The Symbolic Aspects of Form," Journal of the Indian Society of Oriental Art, vol. 17 (1949), and Principles of Composition in Hindu Sculpture (Leiden: E. J. Brill, 1964).
4. Geoffrey Scott, The Architecture of Humanism (London: Methuen, 1941).
5. Boner, Principles of Composition in Hindu Sculpture.
Chapter 6
1. Robert Campbell, "The Circuit of the Senses," Life, vol. 35, no. 4 (19S9).
2. V. G. Rele, The Mysterious Kundalini (Bombay: Taraporevala & Sons, 1939).
3. Edmund W. Sinnot, The Biology of Spirit (New York: Viking Press, 1954).
4. Ananda Coomaraswamy, "That Beauty Is a State," The Dance of Shiva (London: Simpkin Marshall Hamilton Kent & Co., 1924).
5. Charles Mauron, The Nature of Beauty in Art and Literature (London: 1927).
6. Ibid.
Chapter 7
1. A Midsummer Night's Dream, act 5, sc. 1, line 14.
2. Charles Baudelaire, "The Queen of the Faculties." Translated in The Mirror of Art (London: Phaidon, 1955).
3. Vishwanatha, Sahitya Darpana. English translation by P. D. Mitra, The Mirror of Composition (Benares: Motilal Banarsi Das, 1956).
4. Plato, Phaedrus, 250d.
5. Paul Klee, Pedagogical Sketch Book (London: Faber & Faber, 1953).
6. Ibid.
7. Quoted by Chiang Yee, The Chinese Eye (London: Methuen, 1935).
8. Quoted from Arnheim, Art and Visual Perception (London: Faber & Faber, 1954).
Bibliography
Abukabar, A. Speech delivered at the University of Delhi, February 9, 1964.
Acharya, P. K. Hindu Architecture. 5 vols. London: Oxford University Press, 1927-65.
Adrianov, Oleg. Lecture in London.
Anand, Mulk Raj. The Hindu View of Art. Rev, ed. New Delhi: Arnold-Heinemann, 1978.
Arnheim, Rudolf. Art and Visual Perception. London: Faber & Faber, 1954.
Avalon, Arthur (Sir john Woodroofe). The Serpent Power. Madras: Ganesh, 1921.
Baudelaire, Charles. "The Queen of the Faculties." Translated in The Mirror of Art. London: Phaidon, 1955.
Bharata. Natya Shastra, c. A. D, 500. 4 vols, Edited by M. Ramakrishna. Baroda Oriental Series. Baroda: University of Baroda, 1926-64.
Boner, Alice. Principles of Composition in Hindu Sculpture. Leiden: E. J. Brill, 1964.
_______."The Symbolic Aspects of Form." Journal of the Indian Society of Oriental Art 17 (1949).
Campbell, Robert. "The Circuit of the Senses," Life 35 (1959), no. 4.
Colour Research. The Brain Institute of the USSR Academy of Medical Sciences, Moscow.
Coomaraswamy, Ananda. The Dance of Shiva. London: Shimpkin Marshall Hamilton Kent & Co., 1924.
_______. The Transformation of Nature in Art. Cambridge: Harvard University Press, 1934. Dover reissue, 1956.
Govinda, Lama Anagarika. "Solar and Lunar Symbolism in the Development of Stupa Architecture." Marg 4 (1950), no. 1 (Bombay).
Gropius, Walter. "Blueprint of an Architect's Education." Architecture d'Aujourd'-hui. February, 1950.
_______. Scope of Total Architecture. London: Allen & Unwin, 1956.
"Howard Ketchum—Color Engineer." The New Yorker, March 8, 1952. Quoted from Gropius, Scope of Total Architecture.
Huxley, Julian. Essays of a Humanist. Harmondsworth: Penguin, 1968.
Kahn, Fritz. Der Mensch. Zurich: Alb. Muller Verlag, 1939.
Kandinsky, Wassily. Concerning the Spiritual in Art and Painting in Particular. Reprint. New York: Wittenborn, 1970.
Klee, Paul, On Modern Art. London: Faber & Faber, 1948.
_______. Pedagogical Sketchbook. London; Faber & Faber, 1953.
Lawrence, D. H. "Introduction to The Paintings." Works of D. H. Lawrence. London: Heinemann, 1936.
Manron, Charles. The Nature of Reality in Art and Literature. London: Hogarth, 1927.
Mendelsohn, Erich. Letters of an Architect. New York: Abelard Schuman. 1967.
Mondrian, Piet. Letter to James Johnson Sweeney, May 24, 1934. Reproduced in M
ondrian's handwriting in Piet Mondrian: The Earlier Years. New York: Solomon R. Guggenheim Museum.
Morris, Desmond. 77k; Naked Ape. London: Cape, 1968.
Penfield, Wilder. The Mystery of the Mind: A Critical Study of Consciousness and the Human Brain. Princeton: Princeton University Press, 1975.
Pereira, Irene Rice. The Nature of Space. New York: privately published, 1956.
Raman, C. V. "The Gateway of Human Knowledge." Lectures delivered at Azad Bhavan, 1965.
_______. "The Perception of Light and Colour in the Physiology of Vision,'' Bangalore; Memoirs of the Raman Research Institute, no. 125 (1960).
_______. "The Role of the Retina in Vision." Bangalore: Memoirs of the Raman Research Institute, no. 133 (1962).
Rele, V, G. The Mysterious Kundalini. Bombay: Taraporevala & Sons, 1939.
Scott, Geoffrey. The Architecture of Humanism. London: Methuen, 1941.
Sinnot, Edmund W. The Biology of Spirit. New York: Viking Press, 1954.
Souza, Francis Newton. Nirvana of a Maggot. London: privately published, 1955.
Tagore, Abanandranath. Sadanga. Calcutta: Indian Society of Oriental Art, 1926.
Vishwanatha. Sahitya Darpana. Translated by P. D. Mitra. The Mirror of Composition. Benares: Motilal Banarsi Das, 1956.
Vivekananda, (Swami). Raja Yoga. Calcutta: Ramakrishna Mission, 1925.
Yee, Chiang. The Chinese Eye. London: Methuen, 1935.
Index
Actor's Mask (klee), 122
Adler, Alfred, 63
aesthetic: appreciation, 17-18, 20, 24, 121, 124, 141; experiences, 19-22, 31, 38, 51, 57, 60, 91, 95, 99-100, 102, 111-13, 116, 12021, 135-36, 139, 142-43, 145
aesthetics, theories of, 13-14, 21, 99
Ajanta, 13, 20, 126-27, 145-44
amrita (elixir of immortality), 85
Anagarika Govinda, Lama, 82
Ananda (highest aesthetic value), 99, 144
Apollinaire, Guillaume, 59
Aragon, Louis, 136
art: abstract, 32, 47, 59, 64-65, 130, 132; philosophy of, 24, 128, 136; Puritan-Christian tradition in, 143; surrealist, 137
art for art's sake, 65
art galleries, 13, 18, 23, 92-93
Bagh, 144
Baudelaire, Charles Pierre, 23, 116
Rau hilts art school, 32
beauty, in art, 13, 23-24, 91, 112
Bell, Vanessa, 136
Benjamin, R., 90
Bernal, John, 137
Bharata, 38
bhavas (moods), 20, 23, 136; adbhuta (wonder), 38; hasya (joviality), 38; karuna (pity), 30, 38, 143; raudra (fury), 38; sringara (eroticism), 38
Bihzad, Kamal-ud-din, 143-44
bird of the heart, 22, 88, 90-91, 94, 100-102, 118
bird of the imagination, 22-23, 26, 114, 116, 118, 120-21, 142, 145-46
bird of memory, 22, 50-51, 55-60, 66-67, 69, 87, 118
bird of optical vision. See dickeybird
bird of reason, 22, 26, 69, 102, 104, 111-14, 118
bird of rhythm, 22, 75, 77, 85-88, 118
bird of the thalamus. See thalamus bird
Birds (Gaitonde), 140
Blake, William, 91
Boner, Alice, 95
brain, 22, 26, 28, 31, 40, 56-58, 67, 69-73, 75, 77-78, 86, 95, 102, 104-11. See also cerebral cortex; lumbar ganglion; nerves; nervous system; thalamus
Brain Institute of the U.S.S.R. Academy of Medical Sciences (Moscow), 104
Brancusi, Constantin, 96, 100
breathing, 23, 72, 80, 90, 92-93, 95, 99-161, 118; exercises, 71, 92-93, 110
Buddha, 93, 127
Buddhism, 82, 96-97, 126, 143-44
Buddhist: art, 82, 126, 143; philosophy, 82, 85, 137; text (Dhammapada), 143
Campbell, Robert, 77-78
cave drawings, 51, 121, 128, 143.
See also The Dying Princess
cerebral cortex, 22, 31, 50-51, 67, 69-72, 105-8, 118, 120. See also brain
Cezanne, Paul, 100
chakras (centres of" psychic force), 82, 85; muladhara, 80, 87; sahasrara, 85, 87. See also vagus nerve
Chiang Yee, 128, 130
Chinese art, 128, 130, 138, 144
Cloudy Terrace Mountain (Hui Tsang) 130
colour therapy, 41
colours: association with moods, 38, 40, 52, 100, 130; perception of, 38-41, 126-27
Concerning the Spiritual in Art (Kandinsky), 130
Cosmic Egg, 96, 100
critic. See rasika
Croce, Benedetto, 13
Cubist art, 36, 47, 100
da Vinci, Leonardo, See Leonardo da Vinci
Dante Alighieri, 53
darshana (total experience), 14, 17-24, 41, 48, 95, 112-13, 116, 118, 120, 138, 142-44
dhayana (meditation), 119
dhayana mantra (project picture), 80
dickeybird, 21, 26-27, 30-31, 38, 41, 47-48, 50-51, 57-58, 87, 118
Disasters of War (Goya), 136
Divina Proportione (Pacioli), 99
Dying Princess, The, Ajanta, 13, 20, 126-27
Eddington, Sir Arthur, 137
Einstein, Albert, 30, 66, 137
El Greco, 144
Eluard, Paul, 136
Encyclopaedia Britannica, 113
esthetic, esthetics. See aesthetic: aesthetics, theories of
eye, 29, 43, 50, 86, 88; as camera, 26, 30; effect of colours on, 38-39; functioning of, 28, 30-32, 34, 38-42; structure of, 26, 28, 30, 34, 38, 40. See also listening eye; optical, vision
eye bird. See dickeybird
Faerie Queene (Spenser), 71
Fitzgerald, R. G., 90
form, "pure," 64-65
Freud, Sigmund, 63
Gaitonde, V. S., 140
ganglions, 71, 75, 109, MS. See also lumbar ganglion; nervous system
Gestalt psychology, 22
Giacometti, Alberto, 43
Gill, Eric, 14, 136
Gleizes, Albert, 95
gnan shakti (pure consciousness), 96
Goethe, Johann Wolfgang von, 112
Goya, Francisco Jose de, 136
Grant, Duncan, 136
Greek mythology, 92
Gropius, Walter, 15, 30, 32-34, 41, 55, 59
Guernica (Picasso), 20, 135-36
heart, 90-93, 95, 98-99, 102, 110, 144
heart bird. See bird of the heart
Hebbar, K. K., 15, 145
Hegel, Georg Wilhelm Friedrich, 13, 145
Hermitage Museum (Leningrad), 20
Hindu: art, 14, 44, 46, 63, 98, 100, 130, 134; divinities, 63, 98, 100 (see also Kali; Krishna; Shiva; Vishnu); philosophy, 31, 46, 56, 80, 100, 102, 112, 116, 130, 132, 138, 143-44 (tee also Tantric philosophy; Vedanta philosophy; yoga philosophy)
Hot Pursuit (Klee), 122
Hui Tsung, 130
Hume, David, 21, 56
image, preceding idea, 66
imagination bird. See bird of the imagination
Impressionists, 47. See also neo-Impressionism
Indian art, 140, 144. See also Buddhist, art; Hindu, art
Jeanneret, Pierre, 15
jeans, Sir James, 137
Joliot-Curie, Irene, 137
Jung, Carl Gustav, 63
Kali, 43
Kama Sutra (Vatsyayana), 44
Kandinsky, Wassily, 40, 100, 130-32, 144
Kant, Immanuel, 145
Ketchum, Howard, 40
king bird. See bird of the imagination
Klee, Paul, 16, 41, 46, 121-24, 131, 140, 144
Krishna, 87, 143
Krishnamurti, J., 64
Ku Kai Chih, 130
kundalini (dormant serpent power), 22, 32, 42, 56, 63, 77, 80, 85, 87, 110-11, 118, 144; kulakundali, 87. See also chakras
Kutub Minar, 34
Last Supper (Leonardo), 13, 127-28, 144
Lawrence, D. H., 59, 75
Le Corbusier, 14-15, 36, 95, 99; Modulor of, 36, 58
Leonardo da Vinci, 13, 20, 99, 12728, 144
Li Po, 128
lila
(play), 102
lines; curving, 18, 37, 47, 50, 55, 96; horizontal, 17, 33, 43, 50, 95, 116; vertical, 17, 33, 44, 50, 96, 116
lingam (phallus), of Shiva, 97, 100
listening eye, 24, 26, 41-42
looking and seeing, 13, 15, 18-23, 118, 120, 141, 145
lotus of a thousand petals. See brain
lumbar ganglion, 22, 31, 42, 67, 71, 79-80. See also brain; ganglions; nerves; nervous system
Ma Yuan, 144
Madonna and Child (Leonardo), 20
Madonna of the Rocks (Leonardo), 144
Making Pictures (Lawrence), 59
Malraux, Andre, 136
mandala (platform), 134
Mara (the senses), hosts of, 143
Masson, Andre, 15, 144
Mathur, B. P., 15
Mauron, Charles, 112, 113
Maxims and Reflections (Goethe), 112
memory, 31, 37, 42, 50-52, 54—56, 58-59, 64—66, 73, 77, 95, 102, 104, 111; collective, 60, 65, 98; collective racial, 20, 31, 50, 55, 65, 94, 98-99, 102, 104, 120
memory bird. See bird of memory
Mendelsohn, Erich, 58
Meru, Mount, 82
Michelangelo, 144
Midsummer Night's Dream, A (Shakespeare), 23
Minotauromachy (Picasso), 59
Miro, Joan, 15, 136-38
Modigliani, 143
Modulor. See Le Corbusier
Mohology-Nagy, Laszlo, 20
Mondrian, Piet, 132
Mont Sainte-Victoire, Series (Cezanne), 100
moods. See bhavas
Moore, G, E., 21
mridangam (percussion instrument), 42
museums, 13, 18, 23, 92-93
mystic experience, 64, 142
nadis (streams), 82; ida, 82, 84; pingala, 82, 84; sushumananadi, 82
The Nature of Beauty in Art and Literature (Mauron), 112
Natya Shastra (Bharata), 38
neo-Impression ism, 28, 51, See also Impressionists
Neruda, Pablo, 136
nerve cells, 78-79, 106-8
nerves, 18, 31, 57, 70-71, 77-78, 82, 85-86, 88, 92, 104, 109-10; optical, 38, 50, 86, 112. See also vagus nerve
nervous system, 26, 31, 51, 56, 60, 71, 77, 82, 85, 92, 94, 106-7, 109, 118
nirvana (spiritual release), 85, 143
Seven Little Known Birds of the Inner Eye Page 12
