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JOURNAL, R.A.S. (CEYLON). 



[Vol. XXI. 



2. Dr. Coomaraswamy then proceeded with his lecture, the 

 room being darkened. 



The first few slides thrown on the screen represented sculpture 

 in the days of Asoka. Incidentally, the lecturer said the Indian 

 idea of art was contained in the Sanskrit word russa, which 

 covered the whole gamut of human passion. There were nine 

 russas, and the ninth russa was the consummation or contradic- 

 tion of the others — dispassion. Therefore, one true test of 

 Indian art was whether it represented passion. Indian art was 

 always religious art, and even secular art was dominated by 

 religion. The truest interpretation of art was when the absolute 

 russa — concentration of passion — was expressed. The slides 

 thrown on the screen illustrated this idea very clearly. The pre- 

 occupation of the Western mind with Greek and Italian art made 

 it difficult to understand and appreciate Gothic, Egyptian, and 

 Indian art. Indian art was related to yogi — i.e., it was dominated 

 by conception of the Buddha. The artist himself was religious, 

 and his conceptions were formed while in a state of spiritual 

 ecstasy. It was said that such spiritual vision presented the 

 picture before the artist more clearly than if he saw with his 

 physical vision. A third way in which Indian art was related to 

 yogi was by the purpose of Indian art. There were one or two 

 details in the physical form peculiar to Indian art : long arms, 

 narrow waists, and extreme severity of outline. 



Dr. Coomaraswamy showed a series of pictures running through 

 a few centuries : bronzes , and specimens of Sinhalese sculpture. He 

 referred to the valuable discoveries of the Archaeological Com- 

 missioner, and the close connection betwen Mahayana and Indian 

 art. Among the bronzes shown was one of Uma in the attitude of 

 giving instructions, probably to Sivan. The "form divine" was 

 usually in the shape of a woman, which indicated the true feelings 

 with which womenkind was regarded in those early days. 



The lecturer had so far confined his remarks to Indian art in the 

 South. He now went on to Indian art in the North of India, and 

 exhibited some magnificent specimens of sculpture. Having spoken 

 of sculpture he passed to painting, and showed several beautiful 

 specimens — typical of the true idealistic school. The charming 

 freedom and graceful treatment of life in that age in palace and 

 hovel were cleverly depicted in the specimens shown. 



From India Dr. Coomaraswamy crossed to Java, which was 

 started with a Buddhist civilization, and consequently its art 

 was of the most beautiful. Several slides showed Buddha going 

 to Java on a lotus flower, and a number of deities. One of the 

 pictures of the Buddha brought out strikingly the beauty and 

 serenity of the figure. There were not only the remains of Buddhist 

 art in Java, but Hindu art as well. 



The lecturer then took his hearers back to Northern India and 

 showed several specimens of Nepalese Mahayana Buddhist art. 



Having reviewed the history of Indian art up to the 12th 

 century in the North and the 16th century in the South, the 

 lecturer touched on the degeneracy of Indian art in the 19th 



