Professional Documents
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Tagore and
Indian
Aesthetics
MR. ABU SALEH
Rabindranath Tagore spent his early life within the boundaries of his
family estate. He could not adjust to the formal education system. He was
tutored at home where he learnt Science, Mathematics, History, Arts etc.
Tagore began to write poetry at a very early age under the pseudonym of
“Bhanusingha” (Sun Lion) and some he wrote anonymously. Later he
regularly began to write for magazines like Balaka and Bharati. His first
collection of poetry Kabi Kahini (Tale of a Poet) was published in 1878. By
this time he also wrote his first short story “Bhikharini” (The Beggar
Woman), 1877.
Tagore wrote prolifically like Kheya (poetry, 1906), Raja, play in 1910,
translated as The King of the Dark Chamber, Gitanjali(Song Offerings)
(1910), Dak-ghar (The Post Office) (1912), Achalayatan (The Immoveable)
(1912), The Gardener (1913), The Crescent Moon (1913), Gitimalya (Wreath of
Songs), 1914, Songs of Kabîr (1915), Stray Birds (1916), Sadhana: The
Realisation of Life (1916), and Balaka (1916) (The Flight of Cranes) 1916, and
the poems Fruit-Gathering (1916), The Gardener (1915) and The Fugitive
(1921) . Tagore wrote novels like Gora in 1910, Ghare-Baire, (The Home and
the World) in 1915 and Yogayog, (Crosscurrents) in 1929. Glimpses of Bengal:
Selected from the Letters of Sir Rabindranath Tagore (1885-1895) was
published in 1920. Later he wrote Muktadhara (The Waterfall), (1922), and
Raktakaravi (Red Oleanders) in 1926.
Tagore passed away on 7th August 1941 at his birth place, Jorasanko.
Tagore was a prolific writer of par excellence who immensely enriched the
Bengali literature as he majorly used to write in Bengali. Today most of his
writings both fiction and non-fiction are available in English translation.
Tagore had his phenomenology of art and aesthetics that he discussed in
two of his essays “What is Art?” and “The Realization of Beauty”. Before
discussing the Tagore’s contribution to Indian aesthetics and art we will
first briefly discuss about aesthetics and art in general.
Aesthetics:
The word aesthetics derives its meaning from the Greek word
“aisthetikos” meaning “of sense perception”. The term was introduced.
“…..into the philosophical lexicon during the Eighteenth Century, the term
‘aesthetic’ has come to be used to designate, among other things, a kind of
object, a kind of judgment, a kind of attitude, a kind of experience, and a
kind of value.”
He says, the personal man “is found in the region where we are free
from all necessity, – above the needs, both of body and mind, – above the
expedient and useful. It is the highest in man, – this personal man”. The
personal man belongs to the real world where we see it, feel it “we deal
with it with all our emotions. Its mystery is endless because we cannot
analyse it or measure it. We can but say, ‘Here you are.’” This is the world
from wherein science leaves us and Arts takes hold of it. Tagore says if we
know what art is then we can say what this world is “with which art has
such intimate relationship” In other words man has very close
relationship of love with this world. If we find the relationship between
world and art then will we be able to understand man? It means art is for
humanity and love for the world.
Where can we find this world of art which is the real world, according
to Tagore. He says “We see it, feel it; we deal with it with all our emotions.
Its mystery is endless because we cannot analyze it or measure it. We can
but say, “Here you are”. Here lies the world of art. He draws an analogy
between life and art and says “For Art, like life itself, has grown by its own
impulse, and man has taken his pleasure in it without definitely knowing
what it is”
Tagore reasons out the existence of art before defining it and makes an
attempt to know to whom the art owes its existence. He enquires whether
origin of art lies in some societal cause or it exist just art for its own sake,
or it is an expression of some impulse. He then spells the reasons of art
being in our lives comparing the life of man and animal. He says animal is
bound within the limits of its needs but man, Tagore says “he earns a great
deal more than he is absolutely compelled to spend”. Here he is referring
to the man’s emotional and physical energy. It is this energy from where
this science, philosophy and art come. Tagore avers, “Man has a fund of
emotional energy which is not all occupied with his self-preservation. This
surplus seeks its outlet in the creation of Art, for man’s civilization is built
upon his surplus.” The surplus energy that man has and gains seeks a
passage to exit. If man withholds this surplus energy it is harmful to him.
Thus, man finds an outlet for its release. It is through art the surplus
energy is released. Thus, art is not just an object but one finds emotions
and expressions in it. In other words man reveals himself through his art.
As Tagore says “man reveals himself and not his objects” He says mere
gathering of information does not make a man fully himself. This
information does not reveal his true and organic self. ‘Who has the
inherent power to select things from his surroundings in order to make
them his own…he not merely piles up things outside him but creates
himself”
Tagore has also discussed about the function of art. He says man’s true
world is the living world of truth and beauty. For him beauty is
everywhere. He says if someone sees something ugly then it is their
perception that makes them to see it as ugly. He puts it “in the distorted
expression of beauty in our life and in our art which comes from our
imperfect realization of truth.”
Tagore on Beauty:
When we say that beauty is everywhere we do not mean that the word
ugliness should be abolished from our language, just as it would be absurd
to say that there is no such thing as untruth. Untruth there certainly is,
not in the system of the universe, but in our power of comprehension, as
its negative element. In the same manner there is ugliness in the distorted
expression of beauty in our life and in our art which comes from our
imperfect realization of Truth. To a certain extent we can set our life
against the law of truth which is in us and which is in all, and likewise we
can give rise to ugliness by going counter to the eternal law of harmony
which is everywhere.
Tagore further adds “Through our sense of truth we realise law in
creation, and through our sense of beauty we realise harmony in the
universe. When we recognize the law in nature we extend our mastery
over physical forces and become powerful; when we recognize the law in
our moral nature we attain mastery over self and become free.”
Conclusions:
Summary :
In this module you are introduced to the subject of aesthetics more
specifically of Rabindranath Tagore and his contribution to Indian
aesthetics. In this module we have presented life and writings of Tagore,
further definitions and meaning of art and aesthetics and so on. Further,
we have discussed Tagore’s concept of Art and Aesthetics and how he has
written on these matters. For more on this module, please find the e-text,
learn more and self-assessment tabs.