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Theosophy
and Art
Art as a Factor in the Soul’s Evolution
by
C. Jinarajadasa
From the Proceedings of the
Federation of the European Sections
of
the Theosophical Society,
First Published February 1915
All real Art is the disimprisoned
soul of Fact
Thomas Carlyle
IT is
difficult to define Theosophy with a phrase; but were
once asked so to define it, perhaps one could hardly do better than say that it
is a way of looking at the universe and man from the standpoint of their
Creator. To look at everything from the standpoint of God and not of man — this
is the gift that the
Divine Wisdom
bestows on those that cherish her. Hence it is that there is nothing in life
that is not interesting to the Theosophist; the speck of dust on the ground,
and the glowing nebulas in the heavens that are to form solar systems, the tiny
living cell with its untold mysteries, and the Elder Brothers
of our race that are the glory of our humanity —
all these have their message for him and tell him something of Theosophy.
Science, Art, Religion, and Philosophy, every conceivable branch of knowledge,
is but a means whereby he gains a
glimpse of the Divine Wisdom that is the manifestation of the mind of God.
With this old
and yet ever new synthesis of life's activities to guide his vision, man looks
on the universe with new eyes; he holds in his hands the key to the riddle of
the universe, and even if when veil after veil is lifted there must be veil
upon veil behind, yet each raising of a veil will only add glory to his vision.
With the
first true glance into the real meaning of life that comes with the study of
Theosophy in its modern presentation, three facts will ever stand insistent
before the consciousness of man. Of these the first is that everywhere in the
universe, at every conceivable point in space, and yet outside it all, there is
a Consciousness, the expression of whose Will is the universe visible and
invisible. Call it by what name we will, the fact is the same; God, Absolute
Spirit, Divine Law — these are merely so many different ways of conceiving this
truth. We may regard God, the one Consciousness behind all things, with many a
philosopher as Pure Being, or as the Eternally Holy from the standpoint of
religion; it will be the aim of this paper to point out the significance of yet
another aspect as the Infinitely Beautiful.
It is this aspect
that the divine Plato revealed to the world; and the few in
Furthermore,
this consciousness or being of God manifests itself in the universe, we are
told, in a trinity of threefold activity, symbolized in diverse ways in the
world-religions; of these many trinities, which are symbols, one is taken for
the purpose of this paper — that of Power, Wisdom and Mind.
Usually this
trinity is thought of as Power, Wisdom and Love; but Mind is here substituted
for Love for the following reasons. As the words are here used a difference
exists between Mind and Wisdom; mind it is that gathers facts of consciousness,
analyses them, synthesizes them, and thus slowly comes to certain conclusions,
and finally to generalization; through the workings of the mind there arises
knowledge, as distinct from wisdom. But wisdom does not analyze or synthesize;
the thing or law is known by another process, whose faint manifestation among
us now is the intuition; it is known from within and not from without. When
wisdom works, for an instant the duality between the knower and the thing known
ceases, and the new fact of consciousness is gained from within.
Wisdom, then,
is the second aspect of the Trinity. But in reality Wisdom is, to our
consciousness, a flashing back and forth between a duality of Beauty and Love.
There may be knowledge of a thing or person through the working of the mind,
through reason, through judgment; but the wisdom of it arises when through a
flash of what to us is love there arises a momentary identification of knower
and known, and with that the sensing of
the Pattern or Archetype, the Beautiful-in-itself, of which the thing known is
a particular manifestation. Beauty, then, cannot be separated from Love, nor Love from Beauty, for they are the inseparable dual
manifestations in time and space of Wisdom.
The second
great fact that is understood with the true vision of life is that everything
in the universe is directed by intelligence. We realize that the scheme of life
and activity that we call evolution is the result of a conscious direction; and
that this direction is in accordance with a Plan made by a Master
Mind. Facts of evolution from this standpoint assume a
new significance, for evolution is the realization in our world of
consciousness of this divine Plan. Nature is not, then, blindly working to
produce forms that will adapt themselves to changing conditions, but it is
chaos that is being slowly and laboriously
moulded into a cosmos after a Pattern that exists from
the beginning of things.
This pattern
is Plato's World of Ideas, in which exist the archetypes of things. In one of its
aspects it is Kant's world of the things-in-themselves, out of space, time and
causality; it is, too, the Divine Mind of
Before the
beginning of evolution, the Divine Mind conceives the archetypes of forms in
which the divine life is to manifest;
but before man's consciousness which is an expression of that life can exist in
full self-consciousness in the archetype, it must first slowly be conscious on
a lower realm in the several manifestations of that archetype. Let us consider,
for instance, what seems an evident fact, that it is in the scheme of evolution
that the human soul is to be clothed in the future in
an ideal form, perfectly beautiful and a full expression of the life within.
The Divine Mind conceives the archetypal form, and thence it exists as an
absolute reality in the World of Ideas. But a long process of evolution has to
be gone through before this aim
can be realised, and the
human soul in full consciousness can take the archetypal form itself as its
vehicle. First, the archetype is brought down from the World of Ideas into
lower regions; when this happens, the archetype, that is the reality at the back
of a general concept, at once manifests itself as many
particulars; forms then are to be built up in matter with
these particular manifestations as models. Furthermore, as self-consciousness
in the human soul is first developed in the lowest realms of matter, these
particular types will there appear; they will, perhaps, be hardly recognisable as particulars, for the
virgin matter is difficult to mould and the forms will
be of the roughest and crudest. But slowly, race after race, the guiding
intelligences modify these crude manifestations one after another so as to
perfect them; and thus the human consciousness is taught to pass from a vehicle
of one particular type to that of another and so slowly onwards to life in the
archetype itself.
This, then, is
the reason, when we consider the human form, that we can trace its broad
outlines in the lowest vertebrata and the planning for it in yet earlier forms;
the slow laborious march of evolution through one kingdom of nature after
another, and in the human, through one race after another, is all but the work
of teaching the divine life, that at our stage is the human soul,
to grow in
power, till it shall be able to exist in the archetypal form itself and so
stand in the presence of God the Father as His perfect Son.
Similarly,
too, just as there exists as the perfect vehicle of man's
consciousness
the archetypal form to which we are marching, so also are there archetypes
behind all particulars, whether they be forms, emotions, or thoughts; and the
work of evolution is to train man to live in these archetypal ideas and
emotions, and not in their particulars, and so realize
his divinity.
Three facts,
it was stated, stand clearly before the student of Theosophy; of these, two
have been mentioned; first, that there is in the universe behind all force and
matter a Consciousness, omnipresent and eternally beneficent, call it by what
names we will; and, second, that this Consciousness has at the beginning of
things made a plan in accordance with which evolution is being
guided. The third follows from these two, and it is
that man's duty is to understand what is this Plan and
work in harmony with it, for his progress and happiness lie in that alone. It
is the understanding of the Plan and the harmonious working with it that is the
theme of this paper, showing in what way Art may be a means.
Now man, the
child of God, is made in the image of God and just as there is in the Unity of
the Divine Consciousness a trinity of manifestation, three similar aspects are
found in man also. The divine trinity of Power, Wisdom and Mind, Father, Son
and Holy Ghost, finds its reflection in man as Spirit, Intuition and
Intelligence. In the growth of the soul the expansion of
consciousness proceeds from below and hence the first to manifest in man is
Intelligence; and then what is designated by the term Intuition, which embodies
in itself not only a sense
of unity through love, but also the essence of
Intelligence; and finally, when man approaches perfection, Spirit manifests in
all its power, containing within itself all that was the life and soul of
Intuition and Intelligence.
Man's duty is
to work with the divine Plan. But at first man's soul is but feebly conscious, with
but little intelligence, and he finds himself united to an animal of much power
that has been slowly built for him through the ages through the long process of
evolution. The body and its energies are the vehicle of the soul, but they have
come from the animal world, bringing
with
them the animal tendencies of self-assertion and
selfishness and the strong instinct for the need of a struggle for existence
and self-preservation. Were man left alone to evolve by himself
at this stage, progress would be infinitesimal, and indeed there would be far
more a reversion to animal brutishness than an evolution to human virtue.
But man is
not left alone to evolve; teachers and lawgivers, the perfected men of a past
age, with a knowledge of the divine Plan, now appear
and direct the growth of the souls of men. At first, very largely, an element
of fear comes in the rules of guidance, for the only thing that the savage
knows is that pain is to be avoided; he has only intelligence working in him,
and only this can be appealed to; and the guiding rules are of such a nature
that even his dim intelligence can assent to them, seeing how according to them
transgression and pain follow in quick succession. There is, nevertheless, in
him intuition, a higher faculty than intelligence; it is feeble, only a spark
that has just come from the flame. This is a far more potent factor in the soul
than the intelligence, and even at this early savage stage an appeal is made to
this nascent Godhead within. Hence there are proclaimed to him dictates of
altruism, proved more false than true within the limited experience of the
dawning intelligence, such as, Hatred ceases only by love, Return evil with
good, Love
thy enemies; and we shall find that in almost every savage community there exists
or has existed this teaching of altruism, generally attributed to some mythical
hero or god.
We must not
forget this fact, that always in man, even at the lowest, there is within him
something that can respond intuitively to the highest code of ethics and give
assent thereto, though it may be almost impossible to put it into practice; it
is this that shows the possibility that a human soul may evolve
through good alone to possess in perfection and strength
all those qualities of heart and mind that normally are strengthened, but not
originated, in the struggle with temptation and evil. “There is a natural
melody, an obscure fount,
in every human heart. It may be hidden over and
utterly concealed and silenced — but it is there. At the very base of your
nature, you will find faith, hope, and love. He that chooses evil refuses to
look within himself, shuts his ears to the
melody of his heart, as he blinds his eyes to the light
of his soul. He does this because he finds it easier to live in desires. But
underneath all life is the strong current that cannot be checked; the great
waters are there in reality”.
Slowly man
evolves through experience. At first many experiences are required to teach him
one law; he has but the intelligence to work with, and many isolated
experiences does he go through before there rises in his mind the
generalization
that is the law of conduct or the truth of nature.
Life after life he
lives on earth making slow progress, slowly
generalizing, one at a time, the immutable laws of things. At first, carried
away by the impetuosity of the desires of his earthly garment, he is unjust to
many, and through that reaps much suffering, the result of his injustice to
others; but slowly there arises in his mind the idea of justice as a law of his
being. Again, too, being the slave of the will to live, and with a fierce
thirst for sensation, he goes to
extremes,
recoiling from excess of one kind of sensation or emotion to excess of other
kinds, suffering much in the process and learning but little; but still
gradually, as the outcome of his experiences of pleasure and pain, there arises
within him another law of being, temperance. Similarly, too, through refusal to
recognize the
just bounds that are imposed upon him by the eternal laws, through impatience
to obtain what is not yet his due, he brings suffering on others by these
means, and himself suffering in return, he slowly learns patience — patience to
plan and to achieve and to suffer without complaining.
Each of the
virtues that the man learns throughout his many lives becomes a law of his
being; it is a generalization from many particular experiences, but when once
generalized is his own for ever, a part of himself; and in so far as he thus
generalizes, he gets a glimpse of the divine Plan in which the
generalizations exist as archetypal ideas.
We now see
the usual method of evolution; man learns the immortal virtues through
experience. But experience is a slow teacher, for many particular experiences,
requiring perhaps many lives on earth, are needed to instil
into the man's soul one truth; is this the only method of building into our
inner natures the virtues of Loyalty, Honour, Purity, Sincerity, and the others
? Were there no other method, evolution would achieve too little at the expense
of much energy dissipated.
There is,
however, another way. Man has not only the one aspect of intelligence; there is
a higher one of intuition — Buddhi is the name we give to it in our
Theosophical studies. Beauty and love are its dual manifestation, but through
either it is awakened. When, then, a man lives his lives on earth and loves a
few here and there with whom he comes into contact, the Buddhi, the soul of
intuition, grows within him. For love, in truth, manifests the immortality
within, for it is a desire for the everlasting possession of the good and the
beautiful.
Here, then,
is a new factor to help his evolution. Intuition transcends reason; wisdom
comes from its exercise, not merely knowledge, as from mind; intuition generalises from within and not from without, not through
many particulars, but by sensing the archetype itself. We see thus a new method
of realising the
virtues, through their archetypes, the divine Ideas
themselves, a method by which evolution
can be hastened by anticipating experience. Man thenceforward begins to live in
the eternal.
Now we can
understand the place of Art as a factor in the soul's evolution. Art, in its
highest manifestation, always deals with the archetypes. “Its one source is the
knowledge of Ideas; its one aim the communication of
this knowledge” (Schopenhauer). Music, the Drama, Poetry, Sculpture, Painting,
and the other
branches of
Art, in so far as they show us types of life and form, are true manifestations
of Art; in so far as they fall short of this, they are but playing with
fleeting shadows.
The divine
Ideas are archetypes of natural things, objects and forms that manifest in the
orderly process of nature, as a result of the unseen forces that guide
evolution; the beauty in them is a reflection of the beauty of the archetypes.
We have, however, many things of man's manufacture that may be beautiful —
lovely designing and ornamentation, work in silver and gold.
Now it does
not follow that because we postulate the Idea, or archetype, for such a natural
object as a tree or a flower, that there is of a necessity an archetype for an
artificial manufactured article like a chair or a table or a book; nevertheless
these latter may be beautiful, if in them the artist tries to embody
reflections of several concepts of the archetypal world, such as grace, rhythm,
harmony.
When the
artist deals with a natural thing, he must try to sense the archetype; if he
paints a rose, he must suggest to us through its species the particular conception,
a rose, and through that the archetypal idea, flower, an eternal concept; does
he merely paint a hand — then the more it suggests to us the archetypal hand
the more beautiful it will be. And here we see the true
significance of genius. It is the ability of the human soul
to come into touch with the World of Ideas. But it is not the artist alone who
is a genius; the philosopher with his broad generalisations,
the pure-hearted saint in his lofty contemplation, the lover who through human
loves rises to one divine, all live in a realm where “eternity affirms the
conception of an hour", for genius is the power of giving expression to
the unexhausted forms of creation potentially existing in the mind of the
Creator”.
The true
function of Art is to put us in touch with archetypal concepts, and true art in
reality does so. Sculpture tells us of grace, that “proper relation of the
acting person with the action”, and reveals to us the idea of the figure.
Painting
shows us more the character of the mind, and depicting passions and emotions
shows the soul in its alternations between willing and knowing; historical
painting, again, through particular individuals, that have helped the race by
the nobility of their conduct, suggests to us types of men and women;
portrait
painting, though 1 there may be a
faithfulness in portraying a living individual, is yet only great when through
the person on the canvas a type can be suggested or hinted at, sometimes merely
the particular manifestation of an archetype in humanity. In painting,
landscape painting perhaps brings us nearer to the world of ideas through the
beauties of nature.
It may be the
simple picture of a sunset, but the artist will be great if, through the
harmony of light and color, he can suggest to our intuition the archetypal
sunset with its many more dimensions than we can cognize now. With paintings of
seas and mountains, lakes and dells, he can teach us to see Nature as she is,
as the Mirror of the Divine Mind.
Poetry has
much in common with sculpture and painting. It deals with concepts, depicting
them with the music of words, with meter and rhythm as a veil to awaken our
deeper intuitions to penetrate behind. The true poet reflects the archetypal
ideas in the mirror of his own experience, real or imaginary. He
looks on the
world, and his genius enables him to see the reflections of the archetype
around him, and he tells us of joy and sorrow, hope and despair, typical and
universal, in the hearts of all men; he gives us the abiding truths which so
often vanish in the critical analysis of the lower mind.
In epic
poetry, the poet shows the heroes of antiquity as types of men, and a Ulysses
or a King Arthur, moving about with an atmosphere of his own, makes us dimly feel
that there must be and there will be always such men in our midst. In lyric
poetry, the poet becoming himself a mirror to reflect typical emotions in
others, feeling them as it were, himself, sings of men
as he sees them with those larger, other eyes than ours.
No branch of
Art, perhaps, except Music, can help man to rise to higher levels than the
Drama. For the drama shows the inner conflict in man. The true dramatist
fastens on fleeting reflections of archetypes in humanity, materializes them,
and then on the stage makes them live; and through these types he sounds for us
the deep notes in humanity — the pain that is not uttered, the temptations that
beset men, their failures and successes, the
destiny that makes effect follow inexorably upon cause,
and the purification of the human soul through self-sacrifice. For a few hours
we are to forget ourselves, and, like the gods, watch mankind in its struggles.
We contemplate life, impartially and impersonally, through these types on the
stage, and begin
to understand life as it is, and not as we think it
is. And as before, the nearer the dramatist in his creation comes to types in
humanity, the greater he is. The types of men and women in Aeschylus and
Sophocles, those that the prolific genius of Shakespeare has created for us, Tannhäuser, Wotan,
Brüinnhilde, Siegfried, Amfortas, Kundry and Parsifal from the mind of Wagner — all these are
ever in humanity; and our knowledge of them gives us a larger view of
life. Through watching their
experiences, too, we anticipate experiences for ourselves, thus hastening
evolution and passing on swifter to
the goal. Looking at the world through the eyes of
the dramatist, we may ourselves become “serene creators of immortal things”.
With
architecture and music we come, as in landscape painting, to the more
impersonal manifestations of Art. Architecture and music are closely allied,
and the description of architecture as frozen music, shows us the relation. For architecture is harmony in space as music is harmony in time.
A great work of
architecture is like a musical thought-form that descends
from on high and becomes materialised in stone. It
puts us in touch with the realm of Ideas by telling us the laws of proportion —
visible not only in the one building alone but also in the whole universe — by
giving us concepts of gravity, rigidity, rhythm, harmony, by making us
understand “the bass notes of nature”.
But what
shall be said of the greatest of all the arts — Music ?
In ways not possible to other branches of Art, music makes us feel our
immortality. It tell us of the archetypal world directly, of things of that
world without their veils; tells of sorrow, not mine or yours, but Sorrow
itself — God's Sorrow, if you will; of love, not mine or yours, not of this individual
or that, but love
of Love; for music is the soul of Art and talks to
us with the language of God.
Sorrow is hard to bear, and doubt is slow to
clear,
Each sufferer says his say, his scheme of the
weal and woe:
But God has a few of us whom He whispers in
the ear;
The rest may reason and welcome: 'tis we
musicians know.
True art,
then, will always call forth a response in man from the higher intuition, the
Buddhi, whose heritage is the archetypal world. It will always suggest
something of the world of Ideas. Art, from this standpoint, is always didactic,
can never be anything else. It does not necessarily teach us our known
ideas of ethics; but it will always show to our
intuitions how to look at man and the world from the standpoint of God, that
is, in their true relations. It will teach us to cast out the self, the true
aim of Ethics, Religion and Philosophy. Art, then, is a means
for the quickening of the Buddhi, whence come swift generalisations
from within of the meaning of life's activities, and the hastening of
evolution.
Art can help
the evolution of man in another way. Sooner or later in the endless life of the
growing soul, there comes a time when an inner change takes place within him;
life loses its old attractions for him, and he seeks for something more abiding
than the world can offer him. He has come to the end of the Path of Out-going
and begins to tread the Path of Return. There is the reversal of motives, and
he yearns for things eternal. If he has in his previous lives loved beautiful
things, not merely through the senses, but rather through his intuitions, then,
slowly, without violent transitions and without deep inner struggles, he passes
from his life of worldliness, and enters upon the higher way. For the higher path
is not so radically different from that lower where it was pleasant to live and
love beautiful things; the higher is but the lower transformed into one of
absolute beauty and happiness, without the dross of mortality that made all
things lovable transient so that they fell short of our desire. Truly it might
be said of the new life of eternal beauty,
I plucked
a rose, and lo! it had no thorn.
Further as
the man grows to his fuller life through Art, he grows from within, as the flower
grows, and there is a harmonious development of all the faculties of the soul,
not losing in breadth what he gains in intensity. He grows to be a harmonious
and musical soul. He treads, swiftly as surely,
the
Bright
Reason traces and soft Quiet smoothes.
No longer a
creature vacillating between changing moods, his key-note of character now will
be Sophrosyne, sound-mindedness, health of heart; and
through love of the sciences and fair philosophies, he learns how to blend all
human feelings and thoughts “into an immortal feature of perfection”.
But more
wonderful than all these is the vision he gains of the divine Plan; he becomes
a knower of the inner nature of things;
he feels and thinks archetypal, the truly ideal, emotions and thoughts. Through
them he sees in what ways he can become a co-worker with God, how he may be
God's messenger on earth to tell of Heaven. A greater happiness than this is
not possible to any man, and it is this that comes to him through Art.
Yet Art is
not the end. Man has in him a more God-like aspect than intuition; it is Âtmã, Spirit. Through the exercise of intuition Spirit will
reveal itself; and what Art is to the dreary view of life of the unevolved man, so will the Spirit-aspect of life be to Art.
Of this we know nothing; and yet do we perhaps
discern a reflection of that undreamed of view of life
in the lives of a Buddha and a Christ ? Has not every utterance from them an
archetypal character, flashing forth into many meanings in our minds ? Do they not seem to live a life that is a symbol,
every event of their lives being, as it were, a symbol of some deep living
truth in the Eternal Mind of the Most High ? Is it not to this new
aspect of life that Art itself is but the threshold ?
Who but the
greatest of artists can tell us of that glory that shall be revealed
? Yet, till we come to that day, we have Art to guide us on our way.
“Die Kunst, Mensch, hast du allein” — Art that shall lead
a man's feelings and not follow them, that shall make him free-willing, in the
image of his Maker. For Art is
life at its intensest, and reveals the beauty and worth of all human activities; and yet it
shall be the mission of Art, now and for ever, to show men that Life, even in
all its fullness, is like “a dome of many-colored glass”, reflecting but broken
gleams of “the white radiance of Eternity”.
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Complete Theosophical Glossary in Plain Text Format
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Classic Introductory
Theosophy Text
A Text Book of Theosophy By C
What Theosophy Is From the Absolute to Man
The Formation of a Solar System The Evolution of Life
The Constitution of Man After Death Reincarnation
The Purpose of Life The Planetary Chains
The Result of Theosophical Study
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Preface to the American Edition Introduction
Occultism and its Adepts The Theosophical Society
First Occult Experiences Teachings of Occult Philosophy
Later Occult Phenomena Appendix
Preface
Theosophy and the Masters General Principles
The Earth Chain Body and Astral Body Kama – Desire
Manas Of
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The population of Wales as at the 2001 census is 2,946,200.
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Cardiff, Wales, UK, CF24 – 1DL.
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