Adyar Pamphlets

Art As a Factor in the Soul's Evolution

No. 50

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 !ondon "#05 Pu$lished in "#"5 Theosophical Pu$lishing %ouse Adyar &hennai '(adras) *ndia The Theosophist +ffice Adyar (adras. *ndia
[Page 1] *T

is difficult to define Theosophy ,ith a phrase- $ut ,ere once as.ed so to define it perhaps one could hardly do $etter than say that it is a ,ay of loo.ing at the universe and man from the standpoint of their &reator. To loo. at everything from the standpoint of /od and not of man 0 this is the gift that the 1ivine 2isdom $esto,s on those that cherish her. %ence it is that there is nothing in life that is not interesting to the Theosophist- the spec. of dust on the ground and the glo,ing ne$ulas in the heavens that are to form solar systems the tiny living cell ,ith its untold mysteries and the Elder 3rothers of our race that are the glory of our humanity 0 all these have their message for him and tell him something of Theosophy. Science Art 4eligion and Philosophy every conceiva$le $ranch of .no,ledge is $ut a [Page ] means ,here$y he gains a glimpse of the 1ivine 2isdom that is the manifestation of the mind of /od. 2ith this old and yet ever ne, synthesis of life's activities to guide his vision man loo.s on the universe ,ith ne, eyes- he holds in his hands the .ey to the riddle of the universe and even if ,hen veil after veil is lifted there must $e veil upon veil $ehind yet each raising of a veil ,ill only add glory to his vision. 2ith the first true glance into the real meaning of life that comes ,ith the study of Theosophy in its modern presentation three facts ,ill ever stand insistent $efore the consciousness of man. +f these the first is that every,here in the universe at every conceiva$le point in space and yet outside it all there is a &onsciousness the e5pression of ,hose 2ill is the universe visi$le and invisi$le. &all it $y ,hat name ,e ,ill the fact is the same- /od A$solute Spirit 1ivine !a, 0 these are merely so many different ,ays of conceiving this truth. 2e may regard /od the one &onsciousness $ehind all things ,ith many a philosopher as Pure 3eing or as the Eternally %oly from the standpoint of religion- it ,ill $e the aim of this paper to point out the significance of yet another aspect as the *nfinitely 3eautiful. *t is this aspect that the divine Plato revealed to the ,orld- and the fe, in Persia and *ndia that follo, the mystical philosophy of the S6fis still attest to this day that it has not $een altogether forgotten.[Page !] Furthermore this consciousness or $eing of /od manifests itself in the universe ,e are told in a trinity of threefold activity sym$oli7ed in diverse ,ays in the ,orld8religions- of these many trinities ,hich are sym$ols one is ta.en for the purpose of this paper 0 that of Po,er 2isdom and (ind. 9sually this trinity is thought of as Po,er 2isdom and !ove- $ut (ind is here su$stituted for !ove for the follo,ing reasons. As the ,ords are here used a difference e5ists $et,een (ind and 2isdom- mind it is that gathers facts of consciousness analyses them synthesi7es them and thus slo,ly comes to certain conclusions and finally to generali7ation- through the ,or.ings of the mind there arises .no,ledge as distinct from ,isdom. 3ut ,isdom does not analy7e or synthesi7e- the thing or la, is .no,n $y another process ,hose faint manifestation among us no, is the intuition- it is .no,n from ,ithin and not from Page 1

Adyar Pamphlets

Art As a Factor in the Soul's Evolution

No. 50

,ithout. 2hen ,isdom ,or.s for an instant the duality $et,een the .no,er and the thing .no,n ceases and the ne, fact of consciousness is gained from ,ithin. 2isdom then is the second aspect of the Trinity. 3ut in reality 2isdom is to our consciousness a flashing $ac. and forth $et,een a duality of 3eauty and !ove. There may $e .no,ledge of a thing or person through the ,or.ing of the mind through reason through :udgment- $ut the ,isdom of it arises ,hen through a flash of ,hat to us is love there arises a momentary identification of .no,er and [Page "] .no,n and ,ith that the sensing of the Pattern or Archetype the 3eautiful8in8itself of ,hich the thing .no,n is a particular manifestation. 3eauty then cannot $e separated from !ove nor !ove from 3eauty for they are the insepara$le dual manifestations in time and space of 2isdom. The second great fact that is understood ,ith the true vision of life is that everything in the universe is directed $y intelligence. 2e reali7e that the scheme of life and activity that ,e call evolution is the result of a conscious direction- and that this direction is in accordance ,ith a Plan made $y a (aster (ind. Facts of evolution from this standpoint assume a ne, significance for evolution is the reali7ation in our ,orld of consciousness of this divine Plan. Nature is not then $lindly ,or.ing to produce forms that ,ill adapt themselves to changing conditions $ut it is chaos that is $eing slo,ly and la$oriously moulded into a cosmos after a Pattern that e5ists from the $eginning of things. This pattern is Plato's 2orld of *deas in ,hich e5ist the archetypes of things. *n one of its aspects it is ;ant's ,orld of the things8in8themselves out of space time and causality- it is too the 1ivine (ind of 3er.eley. 2hat the general concept is to the particular such is the relation of the archetypal ,orld to our ,orld of time and space. 3efore the $eginning of evolution the 1ivine (ind conceives the archetypes of forms in ,hich the divine [Page #] life is to manifest- $ut $efore man's consciousness ,hich is an e5pression of that life can e5ist in full self8consciousness in the archetype it must first slo,ly $e conscious on a lo,er realm in the several manifestations of that archetype. !et us consider for instance ,hat seems an evident fact that it is in the scheme of evolution that the human soul is to $e clothed in the future in an ideal form perfectly $eautiful and a full e5pression of the life ,ithin. The 1ivine (ind conceives the archetypal form and thence it e5ists as an a$solute reality in the 2orld of *deas. 3ut a long process of evolution has to $e gone through $efore this aim can $e realised and the human soul in full consciousness can ta.e the archetypal form itself as its vehicle. First the archetype is $rought do,n from the 2orld of *deas into lo,er regions- ,hen this happens the archetype that is the reality at the $ac. of a general concept at once manifests itself as many particulars- forms then are to $e $uilt up in matter ,ith these particular manifestations as models. Furthermore as self8consciousness in the human soul is first developed in the lo,est realms of matter these particular types ,ill there appear- they ,ill perhaps $e hardly recognisa$le as particulars for the virgin matter is difficult to mould and the forms ,ill $e of the roughest and crudest. 3ut slo,ly race after race the guiding intelligences modify these crude manifestations one after another so as to perfect them- and thus the human [Page $] consciousness is taught to pass from a vehicle of one particular type to that of another and so slo,ly on,ards to life in the archetype itself. This then is the reason ,hen ,e consider the human form that ,e can trace its $road outlines in the lo,est verte$rata and the planning for it in yet earlier forms- the slo, la$orious march of evolution through one .ingdom of nature after another and in the human through one race after another is all $ut the ,or. of teaching the divine life that at our stage is the human soul to gro, in po,er till it shall $e Page 2

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Art As a Factor in the Soul's Evolution

No. 50

a$le to e5ist in the archetypal form itself and so stand in the presence of /od the Father as %is perfect Son. Similarly too :ust as there e5ists as the perfect vehicle of man's consciousness the archetypal form to ,hich ,e are marching so also are there archetypes $ehind all particulars ,hether they $e forms emotions or thoughts- and the ,or. of evolution is to train man to live in these archetypal ideas and emotions and not in their particulars and so reali7e his divinity. Three facts it ,as stated stand clearly $efore the student of Theosophy- of these t,o have $een mentioned- first that there is in the universe $ehind all force and matter a &onsciousness omnipresent and eternally $eneficent call it $y ,hat names ,e ,ill- and second that this &onsciousness has at the $eginning of things made a plan in accordance ,ith ,hich evolution is [Page %] $eing guided. The third follo,s from these t,o and it is that man's duty is to understand ,hat is this Plan and ,or. in harmony ,ith it for his progress and happiness lie in that alone. *t is the understanding of the Plan and the harmonious ,or.ing ,ith it that is the theme of this paper sho,ing in ,hat ,ay Art may $e a means. No, man the child of /od is made in the image of /od and :ust as there is in the 9nity of the 1ivine &onsciousness a trinity of manifestation three similar aspects are found in man also. The divine trinity of Po,er 2isdom and (ind Father Son and %oly /host finds its reflection in man as Spirit *ntuition and *ntelligence. *n the gro,th of the soul the e5pansion of consciousness proceeds from $elo, and hence the first to manifest in man is *ntelligence- and then ,hat is designated $y the term *ntuition ,hich em$odies in itself not only a sense of unity through love $ut also the essence of *ntelligence- and finally ,hen man approaches perfection Spirit manifests in all its po,er containing ,ithin itself all that ,as the life and soul of *ntuition and *ntelligence. (an's duty is to ,or. ,ith the divine Plan. 3ut at first man's soul is $ut fee$ly conscious ,ith $ut little intelligence and he finds himself united to an animal of much po,er that has $een slo,ly $uilt for him through the ages through the long process of evolution. The $ody and its energies are the vehicle of the soul $ut they have come from the animal [Page &] ,orld $ringing ,ith them the animal tendencies of self8 assertion and selfishness and the strong instinct for the need of a struggle for e5istence and self8 preservation. 2ere man left alone to evolve $y himself at this stage progress ,ould $e infinitesimal and indeed there ,ould $e far more a reversion to animal $rutishness than an evolution to human virtue. 3ut man is not left alone to evolve- teachers and la,givers the perfected men of a past age ,ith a .no,ledge of the divine Plan no, appear and direct the gro,th 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 .no,s is that pain is to $e avoided- he has only intelligence ,or.ing in him and only this can $e appealed to- and the guiding rules are of such a nature that even his dim intelligence can assent to them seeing ho, according to them transgression and pain follo, in <uic. succession. There is nevertheless in him intuition a higher faculty than intelligence- it is fee$le only a spar. that has :ust 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 /odhead ,ithin. %ence there are proclaimed to him dictates of altruism proved more false than true ,ithin the limited e5perience of the da,ning intelligence such as Hatred ceases only by love Return evil with good Love thy enemies- and ,e shall find that in [Page '] almost every savage community there e5ists or has e5isted this teaching of altruism generally attri$uted to some mythical hero or god.

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Art As a Factor in the Soul's Evolution

No. 50

2e must not forget this fact that al,ays in man even at the lo,est there is ,ithin him something that can respond intuitively to the highest code of ethics and give assent thereto though it may $e almost impossi$le to put it into practice- it is this that sho,s the possi$ility that a human soul may evolve through good alone to possess in perfection and strength all those <ualities of heart and mind that normally are strengthened $ut not originated in the struggle ,ith temptation and evil. =There is a natural melody an o$scure fount in every human heart. *t may $e hidden over and utterly concealed and silenced 0 $ut it is there. At the very $ase of your nature you ,ill find faith hope and love. %e that chooses evil refuses to loo. ,ithin himself shuts his ears to the melody of his heart as he $linds his eyes to the light of his soul. %e does this $ecause he finds it easier to live in desires. 3ut underneath all life is the strong current that cannot $e chec.ed- the great ,aters are there in reality>. Slo,ly man evolves through e5perience. At first many e5periences are re<uired to teach him one la,- he has $ut the intelligence to ,or. ,ith and many isolated e5periences does he go through $efore there rises in his mind the generali7ation that is the la, of conduct or the truth of nature. !ife after life he [Page 1(] lives on earth ma.ing slo, progress slo,ly generali7ing one at a time the immuta$le la,s of things. At first carried a,ay $y the impetuosity of the desires of his earthly garment he is un:ust to many and through that reaps much suffering the result of his in:ustice to others- $ut slo,ly there arises in his mind the idea of :ustice as a la, of his $eing. Again too $eing the slave of the will to live and ,ith a fierce thirst for sensation he goes to e5tremes recoiling from e5cess of one .ind of sensation or emotion to e5cess of other .inds suffering much in the process and learning $ut little- $ut still gradually as the outcome of his e5periences of pleasure and pain there arises ,ithin him another la, of $eing temperance. Similarly too through refusal to recogni7e the :ust $ounds that are imposed upon him $y the eternal la,s through impatience to o$tain ,hat is not yet his due he $rings suffering on others $y these means and himself suffering in return he slo,ly learns patience 0 patience to plan and to achieve and to suffer ,ithout complaining. Each of the virtues that the man learns throughout his many lives $ecomes a la, of his $eing- it is a generali7ation from many particular e5periences $ut ,hen once generali7ed is his o,n for ever a part of himself- and in so far as he thus generali7es he gets a glimpse of the divine Plan in ,hich the generali7ations e5ist as archetypal ideas.[Page 11] 2e no, see the usual method of evolution- man learns the immortal virtues through e5perience. 3ut e5perience is a slo, teacher for many particular e5periences re<uiring perhaps many lives on earth are needed to instil into the man's soul one truth- is this the only method of $uilding into our inner natures the virtues of !oyalty %onour Purity Sincerity and the others ? 2ere there no other method evolution ,ould achieve too little at the e5pense of much energy dissipated. There is ho,ever another ,ay. (an has not only the one aspect of intelligence- there is a higher one of intuition 0 3uddhi is the name ,e give to it in our Theosophical studies. 3eauty and love are its dual manifestation $ut through either it is a,a.ened. 2hen then a man lives his lives on earth and loves a fe, here and there ,ith ,hom he comes into contact the 3uddhi the soul of intuition gro,s ,ithin him. For love in truth manifests the immortality ,ithin for it is a desire for the everlasting possession of the good and the $eautiful. %ere then is a ne, factor to help his evolution. *ntuition transcends reason- ,isdom comes from its Page 4

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No. 50

e5ercise not merely .no,ledge as from mind- intuition generalises from ,ithin and not from ,ithout not through many particulars $ut $y sensing the archetype itself. 2e see thus a ne, method of realising the virtues through their archetypes the divine *deas themselves a method [Page 1 ] $y ,hich evolution can $e hastened $y anticipating e5perience. (an thencefor,ard $egins to live in the eternal. No, ,e can understand the place of Art as a factor in the soul's evolution. Art in its highest manifestation al,ays deals ,ith the archetypes. =*ts one source is the .no,ledge of *deas- its one aim the communication of this .no,ledge> @SchopenhauerA. (usic the 1rama Poetry Sculpture Painting and the other $ranches of Art in so far as they sho, us types of life and form are true manifestations of Art- in so far as they fall short of this they are $ut playing ,ith fleeting shado,s. The divine *deas are archetypes of natural things o$:ects and forms that manifest in the orderly process of nature as a result of the unseen forces that guide evolution- the $eauty in them is a reflection of the $eauty of the archetypes. 2e have ho,ever many things of man's manufacture that may $e $eautiful 0 lovely designing and ornamentation ,or. in silver and gold. No, it does not follo, that $ecause ,e postulate the *dea or archetype for such a natural o$:ect as a tree or a flo,er that there is of a necessity an archetype for an artificial manufactured article li.e a chair or a ta$le or a $oo.- nevertheless these latter may $e $eautiful if in them the artist tries to em$ody reflections of several concepts of the archetypal ,orld such as grace rhythm harmony. [Page 1!] 2hen the artist deals ,ith 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 flo,er an eternal concept- does he merely paint a hand 0 then the more it suggests to us the archetypal hand the more $eautiful it ,ill $e. And here ,e see the true significance of genius. *t is the a$ility of the human soul to come into touch ,ith the 2orld of *deas. 3ut it is not the artist alone ,ho is a genius- the philosopher ,ith his $road generalisations the pure8hearted saint in his lofty contemplation the lover ,ho through human loves rises to one divine all live in a realm ,here =eternity affirms the conception of an hourB for genius is the po,er of giving e5pression to the une5hausted forms of creation potentially e5isting in the mind of the &reator>. The true function of Art is to put us in touch ,ith archetypal concepts and true art in reality does so. Sculpture tells us of grace that =proper relation of the acting person ,ith the action> and reveals to us the idea of the figure. Painting sho,s us more the character of the mind and depicting passions and emotions sho,s the soul in its alternations $et,een ,illing and .no,ing- historical painting again through particular individuals that have helped the race $y the no$ility of their conduct suggests to us types of men and ,omen- portrait painting though [Page 1"] there may $e a faithfulness in portraying a living individual is yet only great ,hen through the person on the canvas a type can $e suggested or hinted at sometimes merely the particular manifestation of an archetype in humanity. *n painting landscape painting perhaps $rings us nearer to the ,orld of ideas through the $eauties of nature. *t may $e the simple picture of a sunset $ut the artist ,ill $e great if through the harmony of light and color he can suggest to our intuition the archetypal sunset ,ith its many more dimensions than ,e can cogni7e no,. 2ith paintings of seas and mountains la.es and dells he can teach us to see Nature as she is as the (irror of the 1ivine (ind.

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Art As a Factor in the Soul's Evolution

No. 50

Poetry has much in common ,ith sculpture and painting. *t deals ,ith concepts depicting them ,ith the music of ,ords ,ith meter and rhythm as a veil to a,a.en our deeper intuitions to penetrate $ehind. The true poet reflects the archetypal ideas in the mirror of his o,n e5perience real or imaginary. %e loo.s on the ,orld and his genius ena$les him to see the reflections of the archetype around him and he tells us of :oy and sorro, hope and despair typical and universal in the hearts of all men- he gives us the a$iding truths ,hich so often vanish in the critical analysis of the lo,er mind. *n epic poetry the poet sho,s the heroes of anti<uity as types of men and a 9lysses or a ;ing Arthur moving a$out ,ith an atmosphere of his o,n ma.es us dimly feel [Page 1#] that there must $e and there ,ill $e al,ays such men in our midst. *n lyric poetry the poet $ecoming himself a mirror to reflect typical emotions in others feeling them as it ,ere himself sings of men as he sees them ,ith those larger, other eyes than ours. No $ranch of Art perhaps e5cept (usic can help man to rise to higher levels than the 1rama. For the drama sho,s the inner conflict in man. The true dramatist fastens on fleeting reflections of archetypes in humanity materiali7es them and then on the stage ma.es them live- and through these types he sounds for us the deep notes in humanity 0 the pain that is not uttered the temptations that $eset men their failures and successes the destiny that ma.es effect follo, ine5ora$ly upon cause and the purification of the human soul through self8sacrifice. For a fe, hours ,e are to forget ourselves and li.e the gods ,atch man.ind in its struggles. 2e contemplate life impartially and impersonally through these types on the stage and $egin to understand life as it is and not as ,e thin. it is. And as $efore the nearer the dramatist in his creation comes to types in humanity the greater he is. The types of men and ,omen in Aeschylus and Sophocles those that the prolific genius of Sha.espeare has created for us TannhCuser 2otan 3rDinnhilde Siegfried Amfortas ;undry and Parsifal from the mind of 2agner 0 all these are ever in humanity- and our .no,ledge of them gives us a larger vie, of life. [Page 1$] Through ,atching their e5periences too ,e anticipate e5periences for ourselves thus hastening evolution and passing on s,ifter to the goal. !oo.ing at the ,orld through the eyes of the dramatist ,e may ourselves $ecome =serene creators of immortal things>. 2ith architecture and music ,e 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 sho,s us the relation. For architecture is harmony in space as music is harmony in time. A great ,or. of architecture is li.e a musical thought8form that descends from on high and $ecomes materialised in stone. *t puts us in touch ,ith the realm of *deas $y telling us the la,s of proportion 0 visi$le not only in the one $uilding alone $ut also in the ,hole universe 0 $y giving us concepts of gravity rigidity rhythm harmony $y ma.ing us understand =the $ass notes of nature>. 3ut ,hat shall $e said of the greatest of all the arts 0 (usic ? *n ,ays not possi$le to other $ranches of Art music ma.es us feel our immortality. *t tell us of the archetypal ,orld directly of things of that ,orld ,ithout their veils- tells of sorro, not mine or yours $ut Sorro, itself 0 /od's Sorro, if you ,ill- of love not mine or yours not of this individual or that $ut love of !ove- for music is the soul of Art and tal.s to us ,ith the language of /od.[Page 1%] Sorro, is hard to $ear and dou$t is slo, to clear Each sufferer says his say his scheme of the ,eal and ,oeE 3ut /od has a fe, of us ,hom %e ,hispers in the earPage 6

Adyar Pamphlets

Art As a Factor in the Soul's Evolution

No. 50

The rest may reason and ,elcomeE 'tis ,e musicians .no,. True art then ,ill al,ays call forth a response in man from the higher intuition the 3uddhi ,hose heritage is the archetypal ,orld. *t ,ill al,ays suggest something of the ,orld of *deas. Art from this standpoint is al,ays didactic can never $e anything else. *t does not necessarily teach us our .no,n ideas of ethics- $ut it ,ill al,ays sho, to our intuitions ho, to loo. at man and the ,orld from the standpoint of /od that is in their true relations. *t ,ill teach us to cast out the self the true aim of Ethics 4eligion and Philosophy. Art then is a means for the <uic.ening of the 3uddhi ,hence come s,ift generalisations from ,ithin of the meaning of life's activities and the hastening of evolution. Art can help the evolution of man in another ,ay. Sooner or later in the endless life of the gro,ing soul there comes a time ,hen an inner change ta.es place ,ithin him- life loses its old attractions for him and he see.s for something more a$iding than the ,orld can offer him. %e has come to the end of the Path of Out-going and $egins to tread the Path of Return. There is the reversal of motives and he yearns for things eternal. *f he has in his previous lives loved $eautiful things not [Page 1&] merely through the senses $ut rather through his intuitions then slo,ly ,ithout violent transitions and ,ithout deep inner struggles he passes from his life of ,orldliness and enters upon the higher ,ay. For the higher path is not so radically different from that lo,er ,here it ,as pleasant to live and love $eautiful things- the higher is $ut the lo,er transformed into one of a$solute $eauty and happiness ,ithout the dross of mortality that made all things lova$le transient so that they fell short of our desire. Truly it might $e said of the ne, life of eternal $eauty * pluc.ed a rose and loF it had no thorn. Further as the man gro,s to his fuller life through Art he gro,s from ,ithin as the flo,er gro,s and there is a harmonious development of all the faculties of the soul not losing in $readth ,hat he gains in intensity. %e gro,s to $e a harmonious and musical soul. %e treads s,iftly as surely the (iddle 4oad ,hose &ourse 3right 4eason traces and soft Guiet smoothes. No longer a creature vacillating $et,een changing moods his .ey8note of character no, ,ill $e Sophrosyne sound8mindedness health of heart- and through love of the sciences and fair philosophies he learns ho, to $lend all human feelings and thoughts =into an immortal feature of perfection>. 3ut more ,onderful than all these is the vision he gains of the divine Plan- he $ecomes a .no,er of the [Page 1'] inner nature of things- he feels and thin.s archetypal the truly ideal emotions and thoughts. Through them he sees in ,hat ,ays he can $ecome a co8,or.er ,ith /od ho, he may $e /od's messenger on earth to tell of %eaven. A greater happiness than this is not possi$le to any man and it is this that comes to him through Art. Het Art is not the end. (an has in him a more /od8li.e aspect than intuition- it is ItmJ Spirit. Through the e5ercise of intuition Spirit ,ill reveal itself- and ,hat Art is to the dreary vie, of life of the unevolved man so ,ill the Spirit8aspect of life $e to Art. +f this ,e .no, nothing- and yet do ,e perhaps discern a Page 7

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reflection of that undreamed of vie, of life in the lives of a 3uddha and a &hrist ? %as not every utterance from them an archetypal character flashing forth into many meanings in our minds ? 1o they not seem to live a life that is a sym$ol every event of their lives $eing as it ,ere a sym$ol of some deep living truth in the Eternal (ind of the (ost %igh ? *s it not to this ne, aspect of life that Art itself is $ut the threshold ? 2ho $ut the greatest of artists can tell us of that glory that shall $e revealed ? Het till ,e come to that day ,e have Art to guide us on our ,ay. =1ie ;unst 0 (ensch hast du allein> 0 Art that shall lead a man's feelings and not follo, them that shall ma.e him free8,illing in the image of his (a.er. For Art is life at its intensest and reveals the $eauty [Page (] and ,orth of all human activities- and yet it shall $e the mission of Art no, and for ever to sho, men that !ife even in all its fullness is li.e =a dome of many8colored glass> reflecting $ut $ro.en gleams of =the ,hite radiance of Eternity>.

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