Seven Little Known Birds of the Inner Eye

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by Mulk Raj Anand


  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

 

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