Changes

{|class="wikitable" style= "background-color: #D1F7FFEFEFFF; width: 100%;"

Read Summary of '''Read Summary of [[Aesthetic Sense]]'''

<div style="color:#000000;">Beauty is the aesthetic instinct of man, and the good is his ethical instinct, and these two things are very important in human education and growth. (The Mother, 25 May 1955) <ref>http://incarnateword.in/cwm/07/25-may-1955#p39</ref> </div> <span style="background-color:transparent;color:#000000;">“</span><span style="background-color:transparent;color:#000000;">The business of both parent and teacher is to enable and to help the child to educate himself, to develop his own intellectual, moral, aesthetic and practical capacities and to grow freely as an organic being, not to be kneaded and pressured into form like an inert plastic material.” (Sri Aurobindo, The Human Cycle) </span><span style="background-color:transparent;color:#0066cc;"> <ref>http://incarnateword.in/cwm/12/teachers#p14</ref></span>

== The Perception Experience of Beauty Ananda ==

<div style="color:#000000;">It is the consciousness of beauty. Aesthetic means that which concerns beauty, art. There are people, for example, who move around in life = A True and see landscapes, see people and things and have absolutely no sense of whether it is beautiful or not; and into the bargain, it makes no difference at all to them. They look at the sky, see whether there are any clouds, whether it will rain or be clear, for instance; or whether the sun is hot or the wind cold. But there are others—when they raise their eyes and look at a beautiful sky, it gives them pleasure, they say, "Oh! It is fine today, the sunrise is lovely today, the sunset is beautiful, the clouds have fine shapes." So, the first kind do not have an aesthetic conscience, the second have. (The Mother, 1 June 1955) <ref>http://incarnateword.in/cwm/07/1-june-1955#p3</ref></div>Wide Consciousness ==

== The Experience There are two kinds of Ananda ==beauty. There is that universal beauty which is seen by the inner eye, heard by the inner ear etc.—but the individual consciousness responds to some forms, not to others, according to its own mental, vital and physical reactions. There is also the aesthetic beauty which depends on a particular standard of harmony, but different race or individual consciousnesses form different standards of aesthetic harmony. <ref>http://incarnateword.in/cwsa/27/beauty-in-women#p18</ref>

<div style="color:#000000;">By aesthesis is meant Only those who have developed a reaction of the consciousnesslittle artistic taste, mental have travelled much and vital and even bodily, which receives a certain element in seen many things, something that can be called have widened their taste, Rasa, which passing through the mind or sense or both, awakes a vital enjoyment of the taste, Bhoga, consciousness and this can again awaken us, awaken even the soul they are no longer so sectarian. <ref>http://incarnateword.in us to something yet deeper and more fundamental than mere pleasure and enjoyment, to some form of the spirit's delight of existence, Ananda. /cwm/05/21-october-1953#p60</divref>

<div style="color:#000000;">Ordinarily, we suppose that aesthesis is concerned with beauty, and that indeed is its most prominent concern: but it is concerned with many other things also. It is the universal Ananda that is the parent of aesthesis and the universal Ananda takes three major and original forms, beauty, love and delight, the delight of all existence, the delight in things, in all things. Universal Ananda is the artist and creator of the universe witnessing, experiencing and taking joy in its creation. In the lower consciousness it creates its opposites, the sense of ugliness as well as the sense of beauty, hate and repulsion and dislike as well as love and attraction and liking, grief and pain as well as joy and delight; and between these dualities or as a grey tint in the background there is a general tone of neutrality and indifference born from the universal insensibility into which the Ananda sinks in its dark negation in the Inconscient. All this is the sphere of aesthesis, its dullest reaction is indifference, its highest is ecstasy. Ecstasy is a sign of a return towards the original or supreme Ananda: that art or poetry is supreme which can bring us something of the supreme tone of ecstasy. For as the consciousness sinks from the supreme levels through various degrees towards the Inconscience the general sign of this descent is an always diminishing power of its intensity, intensity of being, intensity of consciousness, intensity of force, intensity of the delight in things and the delight of existence. So too as we ascend towards the supreme level these intensities increase. As we climb beyond Mind, higher and wider values replace the values of our limited mind, life and bodily consciousness. Aesthesis shares in this intensification of capacity. The capacity for pleasure and pain, for liking and disliking is comparatively poor on the level of our mind and life; our capacity for ecstasy is brief and limited; these tones arise from a general ground of neutrality which is always dragging them back towards itself. As it enters the overhead planes the ordinary aesthesis turns into a pure delight and becomes capable of a high, a large or a deep abiding ecstasy. <ref>http://incarnateword.in/cwsa/27/the-overmind-aesthesis#p61</refcenter> ~</divcenter>

== If you have the true consciousness, you experience this joy of seeing, of being in a conscious contact with something very beautiful, very harmonious, and then that's all. <span style="backgroundref>http://incarnateword.in/cwm/07/9-color:transparent;color:february-1955#000000;">A True and Wide Consciousnessp7</spanref> ==

<span style="background-color:transparent;color:#000000;">There are two kinds of beauty. There is that universal beauty which is seen by the inner eye, heard by the inner ear etc.—but the individual consciousness responds to some forms, not to others, according to its own mental, vital and physical reactions. There is also the aesthetic beauty which depends on a particular standard of harmony, but different race or individual consciousnesses form different standards of aesthetic harmony. <ref>http://incarnateword.in/cwsa/27/beauty-in-women#p18</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">For instance, if your consciousness Artistic taste is limited to one place, that is, it is a national consciousness (the consciousness of any one country), what pleased with beautiful things and is itself beautiful. </spanref><span style="background-colorhttp:transparent;color:#000000;">beautiful</span><span style="background-color:transparent;color:#000000;"> </span><span style="background-color:transparent;color:#000000;">for one country is not <incarnateword.in/span><span style="background-color:transparent;color:#000000;">beautiful<cwm/span><span style="background-color:transparent;color:#000000;"> <15/span><span style="background-color:transparent;color:beauty#000000;">for another.p1</spanref>

<div style="color:#000000;">Only those who have developed a little artistic taste, have travelled much and seen many things have widened their consciousness and they are no longer so sectarian. (The Mother, 21 October 1953) <ref>http://incarnateword.in/cwm/05/21-october-1953#p60</ref>= Stages of Aesthesis ==

<div style="color:#000000;">If you We have the true consciousness, you experience this joy a sense of seeingbeauty and love beauty without even knowing why, and there are things which give the sense of being in a conscious contact with something very beautifulbeauty without our knowing why, very harmonious, and then that's allwithout our reasoning. It is instinctive. He (The Mother, 9 February 1955Sri Aurobindo) says that this is the infrarational stage of the aesthetic sense. <ref>http://incarnateword.in/cwm/07/91-februaryjune-1955#p7p21</ref>

<span style="background-color:transparent;color:#000000;"center>Artistic taste is pleased with beautiful things and is itself beautiful.~</span><span style="background-color:transparent;color:#0066cc;"><u><ref>http://incarnateword.in/cwm/15/beauty#p1</ref></u></spancenter>

== Stages It is a kind of Aesthesis ==harmony which you experience much more than think, and the true suprarational relation with beauty is not at all a "reasonable" relation (Sri Aurobindo will tell you this at the end), it completely overpasses reason, it is a contact in a higher realm.

<div style="color:#000000;">We have a sense One can experience an aesthetic pleasure (let us call it that) in seeing something which is truly beautiful and at the same time something else which is not beautiful, but which gives one some sort of pleasure, because it is mixed, because one's aesthetic instinct is not pure, it is mixed with all kinds of beauty sensations which are very crude and love beauty without even knowing untrained. So it is here, as he says, that reason has its role, that it comes in to explain whya thing is beautiful, to educate the taste; but it is not final, and there are things which give reason is not the sense final judge; it can very well make mistakes, only it is a little higher, as judgment, than that of a completely infrarational being who has no reason and no understanding of beauty without our knowing why, without our reasoningthings. It is instinctivea stage. He (Sri Aurobindo) It is a stage, that's what he says , it is a stage. But if you want to realise true beauty, you must go beyond that , very far beyond this is the infrarational stage of the aesthetic sense. (The Mother, 1 June 1955) <ref>http://incarnateword.in/cwm/07/1-june-1955#p21p24</ref></div>

<div style="color:#000000;"center>It is a kind of harmony which you experience much more than think, and the true suprarational relation with beauty is not at all a "reasonable" relation (Sri Aurobindo will tell you this at the end), it completely overpasses reason, it is a contact in a higher realm.~</div><div style="color:#000000;">One can experience an aesthetic pleasure (let us call it that) in seeing something which is truly beautiful and at the same time something else which is not beautiful, but which gives one some sort of pleasure, because it is mixed, because one's aesthetic instinct is not pure, it is mixed with all kinds of sensations which are very crude and untrained. So it is here, as he says, that reason has its role, that it comes in to explain why a thing is beautiful, to educate the taste; but it is not final, and reason is not the final judge; it can very well make mistakes, only it is a little higher, as judgment, than that of a completely infrarational being who has no reason and no understanding of things. It is a stage. It is a stage, that's what he says, it is a stage. But if you want to realise true beauty, you must go beyond that, very far beyond this stage. <ref>http://incarnateword.in/cwm/07/1-june-1955#p24</ref></divcenter>

<div style="color:#000000;">The higher principle of beauty is a suprarational principle and therefore reason understands nothing at all about it. If you want to judge art by reason you are sure to say foolish things. (The Mother, 25 May 1955) <ref>http://incarnateword.in/cwm/07/25-may-1955#p37</ref>

<span style="background-color:transparent;color:#000000;">On the physical plane the Divine expresses himself through beauty, on the mental plane through knowledge, on the vital plane through power and on the psychic plane through love. <ref>http://incarnateword.in/cwm/15/the-divine-working-in-the-universe#p6</ref></span>

<div style="color:#000000;">… so that joy is a joy which has an object, it is because you read that sentence that you feel this joy, if you had not read the sentence, you would not have felt the joy. (The Mother, 5 December 1956) <ref>http://incarnateword.in/cwm/08/5-december-1956#p17</refcenter>~</divcenter>

… so that joy is a joy which has an object, it is because you read that sentence that you feel this joy, if you had not read the sentence, you would not have felt the joy. <ref>http://incarnateword.in/cwm/08/5-december-1956#p17</ref>  <center>~</center> When we rise high enough, we discover that these four aspects unite with each other in a <span style="background-color:transparent;color:#000000;">single consciousness, full of love, luminous, powerful, beautiful, containing all, pervading all.</span><span style="background-color:transparent;color:#0066cc;"> <ref>http://incarnateword.in/cwm/15/the-divine-working-in-the-universe#p7</ref></span>

<div style="color:#333333;">It is obvious that as one goes farther, as it were, from the material world, the forms and consciousness of those beings are of a purity, beauty and perfection much higher than our ordinary physical forms. It is only in the nearest vital world, the one which is, so to say, mixed with our material life―though it lies beyond it and there is a zone where the vital is no longer mixed with the material world―of that material vital one can say that in some of its aspects it is even uglier than things here, for it is filled with a bad will which is not counterbalanced by the presence of the psychic being which, in the physical world, amends, corrects, puts right, directs this bad will. But it is rather a limited zone and, as soon as one goes beyond it, one can find and meet things that are not favourable to human life, beings not on the same scale as human existence, but having their own beauty and grandeur, with whom one may establish relations which may become quite pleasant and even useful. (The Mother, 11 July 1956) <ref>http://incarnateword.in/cwm/08/11-july-1956#p10</ref>  <center>~</divcenter> There is a world in which you are the supreme maker of forms: that is your own particular vital world. You are the supreme fashioner and you can make a marvel of your world if you know how to use it. If you have an artistic or poetic consciousness, if you love harmony, beauty, you will build there something marvellous which will tend to spring up into the material manifestation. <ref>http://incarnateword.in/cwm/08/18-april-1956#p55</ref>

<div style="color:#000000;">There is a world in which you are the supreme maker of forms: that is your own particular vital world. You are the supreme fashioner and you can make a marvel of your world if you know how to use it. If you have an artistic or poetic consciousness, if you love harmony, beauty, you will build there something marvellous which will tend to spring up into the material manifestation. (The Mother, 18 April 1956) <ref>http://incarnateword.in/cwm/08/18-april-1956#p55</refcenter>~</divcenter>

<div style="color:#000000;">Now, obviously, most often what people—unless they are initiated—call "soul" is the vital activity. If someone has a strong, active, obstinate vital which rules the body's activities, which has a very living or intense contact with people and things and events, if he has a marked taste for art, for all expressions of beauty, we are generally tempted to say and believe, "Oh! He has a living soul"; but it is not his soul, it is his vital being which is alive and dominates the activities of the body. That is the first difference between someone who is beginning to be developed and those who are still in the inertia and tamas of the purely material life. This gives, first to the appearance and also to the activity, a kind of vibration, of intensity of vibration, which often creates the impression that this person has a living soul; but it is not that, it is his vital which is developed, which has a special capacity, is stronger than the physical inertia and gives an intensity of vibration and life and action that those whose vital being is not developed do not possess. (The Mother, 9 April 1958) <ref>http://incarnateword.in/cwm/09/9-april-1958#p4</ref></div>

<span style="background-color:transparent;color:#000000;">The impulsive reactive sensational mentality, the life-cravings and the mind of emotional desire are taken up by the intelligent will and are overcome, are rectified and dominated by a greater ethical mind which discovers and sets over them a law of right impulse, right desire, right emotion and right action. The receptive, crudely enjoying sensational mentality, the emotional mind and life mind are taken up by the intelligence and are overcome, rectified and dominated by a deeper, happier aesthetic mind which discovers and sets above them a law of true delight and beauty. <ref>http://incarnateword.in/cwsa/24/purification-intelligence-and-will#p9</ref>  <center>~</spancenter> … there is a just and permissible, a quite legitimate human enjoyment of these things, which is, to speak in the language of Indian psychology, predominantly sattwic in its nature. It is an enlightened enjoyment principally by the perceptive, aesthetic and emotive mind, secondarily only by the sensational, nervous and physical being, but all subject to the clear government of the buddhi, to a right reason, a right will, a right reception of the life impacts, a right order, a right feeling of the truth, law, ideal sense, beauty, use of things. The mind gets the pure taste of enjoyment of them, ''rasa'', and rejects whatever is perturbed, troubled and perverse. Into this acceptance of the clear and limpid ''rasa'', the psychic prana has to bring in the full sense of life and the occupying enjoyment by the whole being, ''bhoga'', without which the acceptance and possession by the mind, ''rasa-grahaṇa'', would not be concrete enough, would be too tenuous to satisfy altogether the embodied soul. This contribution is its proper function. <ref>http://incarnateword.in/cwsa/24/purification-the-lower-mentality#p3</ref>

<span style="background-color:transparent;color:#000000;"center>… ~</span><span style="background-color:transparent;color:#000000;">there is a just and permissible, a quite legitimate human enjoyment of these things, which is, to speak in the language of Indian psychology, predominantly sattwic in its nature. It is an enlightened enjoyment principally by the perceptive, aesthetic and emotive mind, secondarily only by the sensational, nervous and physical being, but all subject to the clear government of the buddhi, to a right reason, a right will, a right reception of the life impacts, a right order, a right feeling of the truth, law, ideal sense, beauty, use of things. The mind gets the pure taste of enjoyment of them, rasa, and rejects whatever is perturbed, troubled and perverse. Into this acceptance of the clear and limpid rasa, the psychic prana has to bring in the full sense of life and the occupying enjoyment by the whole being, bhoga, without which the acceptance and possession by the mind, rasa-grahaṇa, would not be concrete enough, would be too tenuous to satisfy altogether the embodied soul. This contribution is its proper function. <ref>http://incarnateword.in/cwsa/24/purification-the-lower-mentality#p3</ref></spancenter>

<div style="color:#000000;">Aesthetics is concerned mainly with beauty, but more generally with rasa, the response of the mind, the vital feeling and the sense to a certain "taste" in things which often may be but is not necessarily a spiritual feeling. Aesthetics belongs to the mental range and all that depends upon it; it may degenerate into aestheticism or may exaggerate or narrow itself into some version of the theory of "Art for Art's sake". The Overmind is essentially a spiritual power. Mind in it surpasses its ordinary self and rises and takes its stand on a spiritual foundation. It embraces beauty and sublimates it; it has an essential aesthesis which is not limited by rules and canons; it sees a universal and an eternal beauty while it takes up and transforms all that is limited and particular. It is besides concerned with things other than beauty or aesthetics. It is concerned especially with truth and knowledge or rather with a wisdom that exceeds what we call knowledge… <ref>http://incarnateword.in/cwsa/27/the-overmind-and-aesthetics#p1</ref></div>

<div style="color:#000000;">The beginning of the heart's attraction to the Divine may be impersonal, the touch of an impersonal joy in something universal or transcendent that has revealed itself directly or indirectly to our emotional or our aesthetic being or to our capacity of spiritual felicity. That which we thus grow aware of is the Ananda Brahman, the bliss existence. There is an adoration of an impersonal Delight and Beauty, of a pure and an infinite perfection to which we can give no name or form, a moved attraction of the soul to some ideal and infinite Presence, Power, existence in the world or beyond it... <ref>http://incarnateword.in/cwsa/24/the-ananda-brahman#p2</ref>  <center>~</center> It (spiritual bliss) may present itself first as a yearning for some universal Beauty which we feel in Nature and man and in all that is around us; or we may have the intuition of some transcendent Beauty of which all apparent beauty here is only a symbol. That is how it may come to those in whom the aesthetic being is developed and insistent and the instincts which, when they find form of expression, make the poet and artist, are predominant. <ref>http://incarnateword.in/cwsa/24/the-ananda-brahman#p3</ref>  <center>~</divcenter>

<div style="color:#000000;">It (spiritual bliss) may present itself first as a yearning for some universal Beauty which we feel in Nature and man and in all Yes, this beauty of soul that is around us; or we may have visible in the intuition face, this kind of some transcendent Beauty dignity, this harmony of which all apparent beauty here is only a symbolintegral realisation. That is how When the soul becomes visible in the physical, it may come to those in whom gives this dignity, this beauty, this majesty, the aesthetic majesty that comes from one's being is developed and insistent and the instincts whichTabernacle. Then, when they find form even things that have no particular beauty put on a sense of expressioneternal beauty, make of it the poet and artist, are predominanteternal beauty. <ref>http://incarnateword.in/cwsacwm/2415/thejuly-ananda1958-brahman1#p3</ref></div>

<div style="color:#000000;">Yes, this beauty of soul that is visible in the face, this kind of dignity, this harmony of integral realisation. When the soul becomes visible in the physical, it gives this dignity, this beauty, this majesty, the majesty that comes from one's being the Tabernacle. Then, even things that have no particular beauty put on a sense of eternal beauty, of it the eternal beauty. (The Mother, 1 July 1958) <ref>http://incarnateword.in/cwm/15/july-1958-1#p3</refcenter>~</divcenter>

<span style="background-color:transparent;color:#000000;">That is what the experience of the normal life is meant to lead to by its widening culture of the intellect, the aesthetic and emotional mind and of our parts too of will and active experience. It widens and refines the normal being so that it may open easily to all the truth of That which was preparing it for the temple of its self-manifestation. <ref>http://incarnateword.in/cwsa/24/the-mystery-of-love#p3</ref></span>

<span style="background-color:transparent;color:#000000;"center>Aesthetically, the delight takes the appearance of Rasa and the enjoyment of this Rasa is the mind's and the vital's reaction to the perception of beauty. The spiritual realisation has a sight, a perception, a feeling which is not that of the mind and vital;—it passes beyond the aesthetic limit, sees the universal beauty, sees behind the object what the eye cannot see, feels what the emotion of the heart cannot feel and passes beyond Rasa and Bhoga to pure Ananda—a thing more deep, intense, rapturous than any mental or vital or any physical rasa reaction can be. It sees the One everywhere, the Divine everywhere, the Beloved everywhere, the original bliss of existence everywhere, and all these can create an inexpressible Ananda of beauty—the beauty of the One, the beauty of the Divine, the ~</span><span style="background-color:transparent;color:#000000;">beauty of the Beloved, the beauty of the eternal Existence in things. It can see also the beauty of forms and objects, but with a seeing other than the mind's, other than that of a limited physical vision—what was not beautiful to the eye becomes beautiful, what was beautiful to the eye wears now a greater, marvellous and ineffable beauty. The spiritual realisation can bring the vision and the rapture of the All-Beautiful everywhere. <ref>http://incarnateword.in/cwsa/27/art-beauty-and-ananda#p7</ref></spancenter>

= Aesthetically, the delight takes the appearance of Rasa and the enjoyment of this Rasa is the mind's and the vital's reaction to the perception of beauty. The spiritual realisation has a sight, a perception, a feeling which is not that of the mind and vital;—it passes beyond the aesthetic limit, sees the universal beauty, sees behind the object what the eye cannot see, feels what the emotion of the heart cannot feel and passes beyond Rasa and Bhoga to pure Ananda—a thing more deep, intense, rapturous than any mental or vital or any physical rasa reaction can be. It sees the One everywhere, the Divine everywhere, the Beloved everywhere, the original bliss of existence everywhere, and all these can create an inexpressible Ananda of beauty—the beauty of the One, the beauty of the Divine, the beauty of the Beloved, the beauty of the eternal Existence in things. It can see also the beauty of forms and objects, but with a seeing other than the mind's, other than that of a limited physical vision—what was not beautiful to the eye becomes beautiful, what was beautiful to the eye wears now a greater, marvellous and ineffable beauty. The spiritual realisation can bring the vision and the rapture of the All-Beautiful everywhere. <span style="backgroundref>http://incarnateword.in/cwsa/27/art-beauty-color: transparent; color: and-ananda#000000;">Why is it Important to Have Aesthetic Sense?p7</spanref> =

<span style="background-color: transparent; color: #000000;">But the way the world Why is organized, people without aesthetic needs go back it Important to a very primitive life—which is wrong. We need a place where life... where the very setting of life would be, not an individual thing, but a </span><span stylehave Aesthetic Sense? ="background-color: transparent; color: #000000;">beauty that would be like the surroundings natural to a certain degree of development. (The Mother, 25 March 1970) <ref>http://incarnateword.in/agenda/11/march-25-1970#p49</ref></span>

<span style="background-color: transparent; color: #000000;">The But the way the world is organized, people without aesthetic downfall is perhaps due needs go back to other causes, a disappointed idealism in its recoil generating its opposite, very primitive life—which is wrong. We need a dry and cynical intellectualism which refuses to be duped by the ideal, the romantic or the emotional or anything that is higher than the reason walking by the light of the sensesplace where life... The Asuras of where the past were after all often rather big beings; the trouble about the present ones is that they are not really Asuras, but beings very setting of the lower vital worldlife would be, violent, brutal and ignoblenot an individual thing, but above all narrow-minded, ignorant and obscure. But this kind of cynical narrow intellectualism a beauty that is rampant now, does not last—it prepares its own end by increasing dryness—men begin would be like the surroundings natural to feel the need of new springs a certain degree of lifedevelopment. <ref>http://incarnateword.in/cwsaagenda/2811/sciencemarch-and25-yoga1970#p43p49</ref></span>

<div style="color: #000000;">An ordinary consciousness, altogether ordinary, dull like all ordinary consciousness—as soon as it sees something beautiful, whether it be an object or a person, hop! "I want it!" It is deplorable, you know. And into the bargain it doesn't even have the joy of the beauty, because it has the anguish of desire. <ref>http://incarnateword.in/cwm/07/9-february-1955#p7</refcenter>~</divcenter>

<span style="background-color: transparentThe aesthetic downfall is perhaps due to other causes, a disappointed idealism in its recoil generating its opposite, a dry and cynical intellectualism which refuses to be duped by the ideal, the romantic or the emotional or anything that is higher than the reason walking by the light of the senses. The Asuras of the past were after all often rather big beings; color: #000000;">But for one who has more inner sensitivitythe trouble about the present ones is that they are not really Asuras, but beings of the lower vital world, violent, appearances are no longer deceptive brutal and he can perceive the ugliness hidden beneath a pretty face ignoble, but above all narrow-minded, ignorant and obscure. But this kind of cynical narrow intellectualism that is rampant now, does not last—it prepares its own end by increasing dryness—men begin to feel the beauty concealed beneath a mask need of new springs of uglinesslife. <ref>http://incarnateword.in/cwmcwsa/1028/aphorismscience-297and-298yoga#p6p43</ref></span><div style="color: #000000;">You can read sacred books and yet be far away from the Divine; and you can read the most stupid productions and be in touch with the Divine.</div>

<div style="color: #000000;"center>There is a way of consciousness in union with the Divine in which you can enjoy all you read, as you can all you observe, even the most indifferent books or the most uninteresting things. You can hear poor music, even music from which one would like to run away, and yet you can, not for its outward self but because of what is behind, enjoy it.~</divcenter>

An ordinary consciousness, altogether ordinary, dull like all ordinary consciousness—as soon as it sees something beautiful, whether it be an object or a person, hop! "I want it!" It is deplorable, you know. And into the bargain it doesn't even have the joy of the beauty, because it has the anguish of desire. <div style="colorref>http: //incarnateword.in/cwm/07/9-february-1955#000000p7</ref>  <center>~</center> But for one who has more inner sensitivity, appearances are no longer deceptive and he can perceive the ugliness hidden beneath a pretty face and the beauty concealed beneath a mask of ugliness. <ref>http://incarnateword.in/cwm/10/aphorism-297-298#p6</ref>  <center>~</center> You can read sacred books and yet be far away from the Divine;">and you can read the most stupid productions and be in touch with the Divine. There is a way of consciousness in union with the Divine in which you can enjoy all you read, as you can all you observe, even the most indifferent books or the most uninteresting things. You can hear poor music, even music from which one would like to run away, and yet you can, not for its outward self but because of what is behind, enjoy it. And if you are not stopped by the appearance, physical or moral or aesthetic, but get behind and are in touch with the Spirit, the Divine Soul in things, you can reach beauty and delight even through what affects the ordinary sense only as something poor, painful or discordant. (The Mother, 28 April 1929) <ref>http://incarnateword.in/cwm/03/28-april-1929#p18</ref></div>

<div style="color: #000000;">The discipline of Art has at its centre the same principle as the discipline of Yoga. In both the aim is to become more and more conscious; in both you have to learn to see and feel something that is beyond the ordinary vision and feeling, to go within and bring out from there deeper things. Painters have to follow a discipline for the growth of the consciousness of their eyes, which in itself is almost a Yoga. If they are true artists and try to see beyond and use their art for the expression of the inner world, they grow in consciousness by this concentration, which is not other than the consciousness given by Yoga. Why then should not Yogic consciousness be a help to artistic creation? (The Mother, 28 July 1929) <ref>http://incarnateword.in/cwm/03/28-july-1929#p7</ref>  <center>~</center> To do this yoga, one must have, at least a little, the sense of beauty. If one does not, one misses one of the most important aspects of the physical world. <ref>http://incarnateword.in/cwm/15/july-1958-1#p1</ref>  <center>~</divcenter> The aesthetic and emotional mind and aesthetic forms are used by Yoga as a support for concentration even in the Yoga of knowledge and are, sublimated, the whole means of the Yoga of love and delight, as life and action, sublimated, are the whole means of the Yoga of works. <ref>http://incarnateword.in/cwsa/23/the-higher-and-the-lower-knowledge#p10</ref>

<div style="color: #000000;">To do this yoga, one must have, at least a little, the sense of beauty. If one does not, one misses one of the most important aspects of the physical world. (The Mother, 1 July 1958) <ref>http://incarnateword.in/cwm/15/july-1958-1#p1</refcenter>~</divcenter>

<div style="color: #000000;">The aesthetic and emotional mind and aesthetic forms are used by Yoga as a support for concentration even in the Yoga of knowledge and areArt, sublimatedpoetry, the whole means of the music are not Yoga of love and delight, as life and action, sublimated, are the whole means of the Yoga of works. <ref>http://incarnateword.not in/cwsa/23/the-higher-and-the-lower-knowledge#p10</ref></div>themselves things spiritual any more than philosophy either is a thing spiritual or science…

<div style="color: #000000;">Art, poetry, music , as they are in their ordinary functioning, create mental and vital, not Yogaspiritual values; but they can be turned to a higher end, and then, not in themselves like all things that are capable of linking our consciousness to the Divine, they are transmuted and become spiritual any more than philosophy either is and can be admitted as part of a thing spiritual or science… life of Yoga. <ref>http://incarnateword.in/cwsa/28/the-intellect-and-yoga#p26</divref>

<span style="background-color: transparent; color: #000000;"center>Art, poetry, music, as they are in their ordinary functioning, create mental and vital, not spiritual values; but they can be turned to a higher end, and then, like all things that are ~</span><span style="background-color: transparent; color: #000000;">capable of linking our consciousness to the Divine, they are transmuted and become spiritual and can be admitted as part of a life of Yoga. <ref>http://incarnateword.in/cwsa/28/the-intellect-and-yoga#p26</ref></spancenter>

<span style="background-color: transparent; color: #000000;">Through the development of a new sense of beauty, a thirst for truth and light, through understanding that it is only by widening yourself, illumining yourself, setting yourself ablaze with the ardour for progress, that you can find both integral peace and enduring happiness. <ref>http://incarnateword.in/cwm/03/punishment#p24</ref></span>

<div style="color: #000000;">But this vital is a strange creature. It is a being of passion, enthusiasm and naturally of desire; but, for example, it is quite capable of getting enthusiastic over something beautiful, of admiring, sensing anything greater and nobler than itself. And if really anything very beautiful occurs in the being, if there is a movement having an exceptional value, well, it may get enthusiastic and it is capable of giving itself with complete devotion—with a generosity that is not found, for example, in the mental domain nor in the physical. It has that fullness in action that comes precisely from its capacity to get enthused and throw itself wholly without reserve into what it does. (The Mother, 9 September 1953) <ref>http://incarnateword.in/cwm/05/9-september-1953#p19</ref>  <center>~</center> A converted vital is an all-powerful instrument. And sometimes it gets converted by something exceptionally beautiful, morally or materially. When it witnesses, for example, a scene of total self-abnegation, of uncalculating self-giving one—of those things so exceedingly rare but splendidly beautiful—it can be carried away by it, it can be seized by an ambition to do the same thing. It begins by an ambition, it ends with a consecration… And this vital, if you place it in a bad environment, it will imitate the bad environment and do bad things with violence and to an extreme degree. If you place it in the presence of something wonderfully beautiful, generous, great, noble, divine, it can be carried away with that also, forget everything else and give itself wholly. <ref>http://incarnateword.in/cwm/05/9-september-1953#p20</divref>

<span style="background-color: transparent; color: #000000;"> A converted vital is an all-powerful instrument. And sometimes it gets converted by something exceptionally beautiful, morally or materially. When it witnesses, for example, a scene of total self-abnegation, of uncalculating self-giving one—of those things so exceedingly rare but splendidly beautiful—it can be carried away by it, it can be seized by an ambition to do the same thing. It begins by an ambition, it ends with a consecration… And this vital, if you place it in a bad environment, it will imitate the bad environment and do bad things with violence and to an extreme degree. If you place it in the presence of something wonderfully beautiful, generous, great, noble, divine, it can be carried away with that also, forget everything else and give itself wholly. (The Mother, 9 September 1953) <ref>http://incarnateword.in/cwm/05/9-september-1953#p20</refcenter>~</spancenter>

<span style="background-color: transparent; color: #000000;">When the adverse forces are dealt with in the right way, all that is ugly and false disappears to leave place only for what is true and beautiful. <ref>http://incarnateword.in/cwm/15/adverse-forces#p28</ref></span>

<div style="color: #000000;">A young child should aspire for beauty, not for the sake of pleasing others or winning their admiration, but for the love of beauty itself; for beauty is the ideal which all physical life must realise. Every human being has the possibility of establishing harmony among the different parts of his body and in the various movements of the body in action. Every human body that undergoes a rational method of culture from the very beginning of its existence can realise its own harmony and thus become fit to manifest beauty. <ref>http://incarnateword.in/cwm/12/physical-education#p12</ref>  <center>~</divcenter>

<span style="background-color: transparent; color: #000000;">To this general education of the senses and their functioning there will be added, as early as possible, the cultivation of discrimination and of the aesthetic sense, the capacity to choose and adopt what is beautiful and harmonious, simple, healthy and pure. As the capacity of understanding grows in the child, he should be taught, in the course of his education, to add artistic taste and refinement to power and precision. He should be shown, led to appreciate, taught to love beautiful, lofty, healthy and noble things, whether in Nature or in human creation. This should be a true aesthetic culture, which will protect him from degrading influences… A methodical and enlightened cultivation of the senses can, little by little, eliminate from the child whatever is by contagion vulgar, commonplace and crude. This education will have very happy effects even on his character. For one who has developed a truly refined taste will, because of this very refinement, feel incapable of acting in a crude, brutal or vulgar manner. This refinement, if it is sincere, brings to the being a nobility and generosity which will spontaneously find expression in his behaviour and will protect him from many base and perverse movements. <ref>http://incarnateword.in/cwm/12/vital-education#p11</ref></span>

<div style="color: #000000;">Sometimes, when one sees a generous act, hears of something exceptional, when one witnesses heroism or generosity or greatness of soul, meets someone who shows a special talent or acts in an exceptional and beautiful way, there is a kind of enthusiasm or admiration or gratitude which suddenly awakens in the being and opens the door to a state, a new state of consciousness, a light, a warmth, a joy one did not know before. That too is a way of catching the guiding thread. (The Mother, 26 December 1956) <ref>http://incarnateword.in/cwm/08/26-december-1956#p23</ref></div>

<span style="background-color: transparent; color: #000000;"center>''Can those who have a see of beauty also become cruel?''~</span><span style="background-color: transparent; color: #000000;"> That's a psychological problem. It depends on where their sense of beauty is located. One may have a physical sense of beauty, a vital sense of beauty, a mental sense of beauty. If one has a moral sense of beauty—a sense of moral beauty and nobility—one will never be cruel… But those who were unified, in the sense that they truly lived their art—those, no; they were generous and good. (The Mother, 17 March 1954) <ref>http://incarnateword.in/cwm/06/17-march-1954#p34</ref></spancenter>

<span style="background-color: transparent; color: #000000;">Shame has admirable results and both in aesthetics and in morality we could ill spare it; but for all that it is ''Q. Can those who have a badge of weakness and the proof see of ignorance. <ref>http://incarnateword.in/cwm/10/aphorism-81-82-83#p5</ref></span>beauty also become cruel?''

''A.'' That's a psychological problem. It depends on where their sense of beauty is located. One may have a physical sense of beauty, a vital sense of beauty, a mental sense of beauty. If one has a moral sense of beauty—a sense of moral beauty and nobility—one will never be cruel… But those who were unified, in the sense that they truly lived their art—those, no; they were generous and good. <span style="backgroundref>http://incarnateword.in/cwm/06/17-march-color: transparent1954#p34</ref>  <center>~</center> Shame has admirable results and both in aesthetics and in morality we could ill spare it; colorbut for all that it is a badge of weakness and the proof of ignorance. <ref>https: //incarnateword.in/cwm/10/aphorism-81-82-83#000000;"p3</ref>  <center>~</center> One must be very much higher on the scale to see that what one does is ugly. One must already have at the core of oneself a kind of foreknowledge of what beauty, nobility, generosity are, to be able to suffer from the fact that one doesn't carry them within oneself. <ref>http://incarnateword.in/cwm/03/conjugate-verses#p103</ref></span>

<span style="background-color: transparent; color: #000000;">The Greeks had a keen and exceptional sense of beauty, of eurythmy, of harmony in forms and things. But at the same time they had an equally keen sense of men's impotence in face of an implacable Fate which none could escape. They were haunted by the inflexibility of this Fate, and even their gods seem to have been subject to it. In their mythology and in their legends, one finds little trace of the divine compassion and grace. <ref>http://incarnateword.in/cwm/15/the-divines-help-to-man#p17</ref></span>

<div style="color: #000000;">But supposing you take a real genius—a musician or artist or writer of genius—who has fully mastered his instrument, who can use it to produce works that express the utmost human possibility, if you add to this a spiritual consciousness, the supramental force, then you will have something truly divine. (The Mother, 24 April, 1957) <ref>http://incarnateword.in/cwm/09/24-april-1957#p13</refcenter>~</divcenter>

<span style="background-color: transparent; color: #000000;">…if But supposing you go deeply enoughtake a real genius—a musician or artist or writer of genius—who has fully mastered his instrument, you who can perceive Sachchidananda, which is use it to produce works that express the principle of Supreme Beauty. Secondlyutmost human possibility, if you see that everything in add to this a spiritual consciousness, the manifested universe is relativesupramental force, so much so that there is no beauty which may not appear ugly in comparison with a greater beauty, no ugliness which may not appear beautiful in comparison with a yet uglier uglinessthen you will have something truly divine. <ref>http://incarnateword.in/cwm/1009/aphorism24-19april-1957#p3p13</ref></span>

<span style="background-color: transparent; color: #000000;">It is one of the greatest weapons of the Asura at work when you are taught to shun beauty. It has been the ruin of India. The Divine manifests in the psychic as love, in the mind as knowledge, in the vital as power and in the physical as beauty. If you discard beauty it means that you are depriving the Divine of this manifestation in the material and you hand over that part to the Asura. <ref>http://incarnateword.in/cwm/13/india#p224</refcenter>~</spancenter>

<div style="color: #000000;">I look at a rose…if you go deeply enough, you can perceive Sachchidananda, a thing that contains such a concentration which is the principle of spontaneous beauty..Supreme Beauty.how can one study sincerelySecondly, with attention and care, without being absolutely convinced you see that everything in the Divine manifested universe is there? …something we cannot namerelative, cannot define, cannot describe, but something we can feel and can more and more become. A Something so much so that there is more perfect than all the perfectionsno beauty which may not appear ugly in comparison with a greater beauty, more no ugliness which may not appear beautiful than all in comparison with a yet uglier ugliness. [Based on Aphorism 19—When I had the beautiesdividing reason, more marvellous than all I shrank from many things; after I had lost it in sight, I hunted through the world for the ugly and the marvelsrepellent, so that even the totality of all that exists cannot express it. And there is nothing but That. And it is not a Something floating in nothingness: there is nothing but ThatI could no longer find them. (The Mother, 8 October 1966) ]<ref>http://incarnateword.in/cwm/1610/8aphorism-october-196619#p7p3</ref></div>

<span style="colorcenter>~</center> It is one of the greatest weapons of the Asura at work when you are taught to shun beauty. It has been the ruin of India. The Divine manifests in the psychic as love, in the mind as knowledge, in the vital as power and in the physical as beauty. If you discard beauty it means that you are depriving the Divine of this manifestation in the material and you hand over that part to the Asura. <ref>http: //incarnateword.in/cwm/13/india#000000;"p224</ref>  <center> ~</center> I look at a rose, a thing that contains such a concentration of spontaneous beauty...how can one study sincerely, with attention and care, without being absolutely convinced that the Divine is there? …something we cannot name, cannot define, cannot describe, but something we can feel and can more and more become. A Something that is more perfect than all the perfections, more beautiful than all the beauties, more marvellous than all the marvels, so that even the totality of all that exists cannot express it. And there is nothing but That. And it is not a Something floating in nothingness: there is nothing but That. <ref>http://incarnateword.in/cwm/16/8-october-1966#p7</ref>  <center>~</center> ...the perception and enjoyment of the divine Beauty and Delight which pervade the universe. And I said that as we embrace the whole of life in Yoga, so we accept the entire genuine self-expression of the spirit of life in poetry. We would range up and down the whole realm of poetic creation like free, unattached worshippers of the Divine Beauty and seekers of the divine Delight. (The Mother, 13 July 1943) <ref>http://incarnateword.in/cwm/17/13-july-1943#p2</ref></span>

<span style="background-color:transparent;color:#000000;">There may be a development of intuitivity in the ethical or aesthetic being, but the rest may remain very much as it was. This is the reason of the frequent disorder or one-sidedness which we mark in the man of genius, poet, artist, thinker, saint or mystic. A partially intuitivised mentality may present an appearance of much less harmony and order outside its special activity than the largely developed intellectual mind. An integral development is needed… If however there is an integral development of the intuitive mind, it will be found that a great harmony has begun to lay its own foundations… It will be a harmony of the spontaneous expression of the spirit. <ref>http://incarnateword.in/cwsa/24/the-supramental-thought-and-knowledge#p6</ref>  <center>~</center> All those who have a sure and developed sense of harmony in all its forms, and the harmony of all the forms among themselves, are necessarily artists, whatever may be the type of their production. <ref>http://incarnateword.in/cwm/05/21-october-1953#p26</ref>  <center>~</spancenter> Art for Art's sake? But what after all is meant by this slogan and what is the real issue behind it? Is it meant, as I think it was when the slogan first came into use, that the technique, the artistry is all in all? The contention would then be that it does not matter what you write or paint or sculpt or what music you make or about what you make it so long as it is beautiful writing, competent painting, good sculpture, fine music… Only, you can say of him on the basis of this theory that as a work of art his creation should be judged by its success of craftsmanship and not by its contents; it is not made greater by the value of his ethical ideas, his enthusiasms or his metaphysical seekings. <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p1</ref>

<span style="color:#000000;">All those who have a sure and developed sense of harmony in all its forms, and the harmony of all the forms among themselves, are necessarily artists, whatever may be the type of their production. (The Mother, 21 October 1953) <ref>http://incarnateword.in/cwm/05/21-october-1953#p26</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">Art for Art's sake? But what after all is meant by this slogan certainly—Art as a perfect form and what is discovery of Beauty; but also Art for the real issue behind it? Is it meantsoul's sake, as I think it was when the slogan first came into use, spirit's sake and the expression of all that the techniquesoul, the artistry is all in all? The contention would then be spirit wants to seize through the medium of beauty. In that self-expression there are grades and hierarchies—widenings and steps that it does lead to the summits. And not matter what you write or paint or sculpt or what music you make or about what you make only to enlarge Art towards the widest wideness but to ascend with it so long as it is beautiful writing, competent painting, good sculpture, fine music… Only, you can say of him on to the basis of this theory heights that as a work of art his creation should climb towards the Highest is and must be judged by its success part both of craftsmanship our aesthetic and not by its contents; it is not made greater by the value of his ethical ideas, his enthusiasms or his metaphysical seekingsour spiritual endeavour. <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p1p6</ref></span>

<span style="background-color:transparent;color:#000000;">Art for Art's sake certainly—Art as a perfect form and discovery of Beauty; but also Art for the soul's sake, the spirit's sake and the expression of all that the soul, the spirit wants to seize through the medium of beauty. In that self-expression there are grades and hierarchies—widenings and steps that lead to the summits. And not only to enlarge Art towards the widest wideness but to ascend with it to the heights that climb towards the Highest is and must be part both of our aesthetic and our spiritual endeavour. <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p6</refcenter>~</spancenter>

<div style="color:#000000;">There are not only aesthetic values but life-values, mind-values, soul-values, that enter into Art. <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p5</ref></div>

<span style="background-color:transparent;color:#000000;"center>There is such a thing as a universal Ananda and a universal beauty and the vision of it comes from an intensity of sight which sees what is hidden and more than the form—it is a sort of ~</span><span style="background-color:transparent;color:#000000;">''viśvarasa''</span><span style="background-color:transparent;color:#000000;"> </span><span style="background-color:transparent;color:#000000;">such as the Universal Spirit may have had in creating things. To this intensity of sight a thing that is ugly becomes beautiful by its fitness for expressing the significance, the guna, the rasa which it was meant to embody. But I doubt how far one can make an aesthetic canon upon this foundation. It is so far true that an artist can out of a thing that is ugly, repellent, distorted create a form of aesthetic power, intensity, revelatory force. So too ugliness in painting must remain ugly, even if it gets out of itself a sense of vital force or expressiveness which makes it preferable in the eyes of some to real beauty. All that hits you in the midriff violently and gives you a sense of intense living is not necessarily a work of art or a thing of beauty. <ref>http://incarnateword.in/cwsa/27/universal-beauty-and-ananda#p3</ref></spancenter>

<span style="background-color:transparent;color:#000000;">''What does "There is such a thing as a universal Ananda and a universal beauty and the beauty vision of it comes from an intensity of sight which sees what is hidden and more than the hideous" mean?form—it is a sort of ''</span><span style="background-color:transparent;color:#000000;">It is always viśvarasa'' such as the same realisation presented from different angles, expressed through </span><span style="background-color:transparent;color:#000000;">various experiences: the realisation Universal Spirit may have had in creating things. To this intensity of sight a thing that everything is a manifestation of ugly becomes beautiful by its fitness for expressing the Supremesignificance, the Eternalguna, the Infinite, immutable in his total perfection and in his absolute realityrasa which it was meant to embody. But I doubt how far one can make an aesthetic canon upon this foundation. That It is so far true that an artist can out of a thing that is whyugly, repellent, by conquering our mind and its ignorant and false perceptions we candistorted create a form of aesthetic power, intensity, through all thingsrevelatory force. So too ugliness in painting must remain ugly, enter into contact with this Supreme Truth even if it gets out of itself a sense of vital force or expressiveness which is also makes it preferable in the Supreme Beauty and eyes of some to real beauty. All that hits you in the Supreme Love, beyond all our mental midriff violently and vital notions gives you a sense of intense living is not necessarily a work of art or a thing of beauty and ugliness, the good and the bad. <ref>http://incarnateword.in/cwmcwsa/1027/aphorismuniversal-48beauty-and-ananda#p3</ref></span>

<div style=''Q. What does "color:#000000;">… "art" was no longer to express physical life but mental life or vital life. And so came all the schools, like the Cubists and others, who created from their head. But in art it is not the head that dominates, it is the feeling for beauty. And they produced absurd and ridiculous and frightful things. Now they have gone farther still, but that, that is due to of the wars—with every war there descends upon earth a world in decomposition which produces a sort of chaos. And some, of course, find all this very beautiful and admire it very much.(The Mother, 28 October 1953) <ref>http://incarnateword.in/cwm/05/28-october-1953#p7</ref></div>hideous" mean?''

<span style="background-color''A.''It is always the same realisation presented from different angles, expressed through various experiences:transparent;color:#000000;">The mistake of the artist is to believe realisation that artistic production everything is something that stands by itself and for itselfa manifestation of the Supreme, independent of the rest of Eternal, the worldInfinite, immutable in his total perfection and in his absolute reality. Art as understood by these artists That is like a mushroom on the wide soil of lifewhy, something casual by conquering our mind and its ignorant and externalfalse perceptions we can, not something intimate to life; it does not reach through all things, enter into contact with this Supreme Truth which is also the Supreme Beauty and touch the deep and abiding realitiesSupreme Love, it does not become an intrinsic beyond all our mental and inseparable part vital notions of existence. True art is intended to express beauty and ugliness, the beautiful, but in close intimacy with good and the universal movementbad. (The Mother, 28 July 1929) <ref>http://incarnateword.in/cwm/03/28-july-1929#p14</ref></span>

<span style="background-color:transparent;color:#000000;">The true painting aims at creating something more beautiful than [Based on Aphorism 48—I knew my mind to be conquered when it admired the beauty of the ordinary realityhideous, yet felt perfectly why other men shrank back or hated. ]<ref>http://incarnateword.in/cwm/1210/artsaphorism-48#p19p3</ref></span>

<span style="background== Expression through Art -color:transparent;color:#000000;">To create something truly beautiful, he has first to see it within, to realise it as a whole in his inner consciousness; only when so found, seen, held within, can he execute it outwardly; he creates according to this greater inner vision. (The Mother, 28 July 1929) <ref>http://incarnateword.in/cwm/03/28-july-1929#p19</ref></span>Painting and Poetry ===

<div style=… "color:#000000;art">… art must act as a revealer was no longer to express physical life but mental life or vital life. And so came all the schools, like the Cubists and teacher of this divine beauty others, who created from their head. But in life; art it is not the head that dominates, it is to say, an artist should be capable of entering into communion with the Divine and of receiving inspiration about what form or forms ought to be used to express the divine feeling for beauty in matter. And thusthey produced absurd and ridiculous and frightful things. Now they have gone farther still, if it does but that, art can be a means of realisation of beauty, and at that is due to the same time wars—with every war there descends upon earth a teacher of what beauty ought to be, that is, art should be an element world in the education decomposition which produces a sort of men's tastechaos. And some, of young and oldcourse, find all this very beautiful and admire it is the teaching of true beauty, that is, the essential beauty which expresses the divine truthvery much. (The Mother, 28 October 1953) <ref>http://incarnateword.in/cwm/05/28-october-1953#p4p7</ref></div>

<span style="background-color:transparent;color:#000000;">There are truths and there are transcriptions of truths; the transcriptions may be accurate or may be free and imaginative… Poetic imagination is very usually satisfied with beauty of idea and image only and the aesthetic pleasure of it, but there is something behind it which supplies the Truth in its images, and to get the transcription also direct from that something or somewhere behind should be the aim of mystic or spiritual poetry. <ref>http://incarnateword.in/cwsa/27/the-aim-of-the-mystic-poet#p1</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">True art means The mistake of the artist is to believe that artistic production is something that stands by itself and for itself, independent of the expression rest of beauty in the material world. In Art as understood by these artists is like a world wholly convertedmushroom on the wide soil of life, something casual and external, that is not something intimate to say, expressing integrally life; it does not reach and touch the divine realitydeep and abiding realities, it does not become an intrinsic and inseparable part of existence. True art must serve as is intended to express the revealer and teacher of this divine beauty beautiful, but in lifeclose intimacy with the universal movement. <ref>http://incarnateword.in/cwm/1203/arts28-july-1929#p15p14</ref></span>

<span style="background-color:transparent;color:#000000;">If these painters were sincere, if they truly painted what they feel and see, the picture would be the expression of a confused mind and an unruly vital. But, unhappily, the painters are not sincere and then these pictures are nothing else than the expression of a falsehood, an artificial imagination based only on the will to be strange and to bewilder the public in order to attract attention and that has indeed very little to do with beauty. <ref>http://incarnateword.in/cwm/12/arts#p35</refcenter>~</spancenter>

<span style="background-color:transparentTo create something truly beautiful, he has first to see it within, to realise it as a whole in his inner consciousness;color:#000000only when so found, seen, held within, can he execute it outwardly;">Supreme art expresses the Beauty which puts you in contact with the Divine Harmonyhe creates according to this greater inner vision. <ref>http://incarnateword.in/cwm/1203/arts28-july-1929#p11</p19</ref></span>

<div style="color:#000000;">I believe even almost all the beautiful works, are not signed. All those paintings in the caves, those statues in the temples—these are not signed. One does not know at all who created them… All was done in a movement of aspiration to express a higher beauty, and above all with the idea of giving an appropriate abode to the godhead who was evoked. (The Mother, 28 October 1953) <ref>http://incarnateword.in/cwm/05/28-october-1953#p30</refcenter>~</divcenter>

<span style="color:#000000… art must act as a revealer and teacher of this divine beauty in life;">That is how Sri Aurobindo describes the different pantheons of different countries, specially of Greece or India. That that is to say, it is an aesthetic artist should be capable of entering into communion with the Divine and intellectual way of transforming all things into receiving inspiration about what form or forms ought to be used to express the divine creaturesbeauty in matter. And thus, divine beings: all the forces if it does that, art can be a means of realisation of Naturebeauty, all and at the elementssame time a teacher of what beauty ought to be, all spiritual forcesthat is, all intellectual forces, all physical forcesart should be an element in the education of men's taste, all these are transformed into a number of godheads young and they are given an aesthetic old, and intellectual reality. It it is a symbolic and artistic and literary and poetic way the teaching of dealing with all the universal forces and realities. That true beauty, that is how these pantheons came into existence, like the Greek or Egyptian pantheon or else essential beauty which expresses the pantheon of Indiadivine truth. (The Mother, 16 May 1956) <ref>http://incarnateword.in/cwm/0805/1628-mayoctober-19561953#p20p4</ref></span>

<span style="background-color:transparent;color:#000000;">All these gods are representations which Sri Aurobindo calls "aesthetic and intellectual"―a way of conceiving the universe. (The Mother, 16 May 1956) <ref>http://incarnateword.in/cwm/08/16-may-1956#p21</refcenter>~</spancenter>

<div style="color:#000000There are truths and there are transcriptions of truths;">In any cult the symbol, the significant rite transcriptions may be accurate or expressive figure may be free and imaginative… Poetic imagination is not very usually satisfied with beauty of idea and image only a moving and enriching the aesthetic elementpleasure of it, but a physical means by there is something behind it which supplies the human being begins Truth in its images, and to make outwardly definite get the emotion and aspiration transcription also direct from that something or somewhere behind should be the aim of his heart, to confirm it and to dynamise itmystic or spiritual poetry. (The Mother, 1 August 1956) <ref>http://incarnateword.in/cwmcwsa/827/1the-augustaim-1956of-the-mystic-poet#p54p1</ref></div>

<div style="color:#000000;">Always the symbol is legitimate in so far as it is true, sincere, beautiful and delightful, and even one may say that a spiritual consciousness without any aesthetic or emotional content is not entirely or at any rate not integrally spiritual. In the spiritual life the basis of the act is a spiritual consciousness perennial and renovating, moved to express itself always in new forms or able to renew the truth of a form always by the flow of the spirit, and to so express itself and make every action a living symbol of some truth of the soul is the very nature of its creative vision and impulse. <ref>http://incarnateword.in/cwsa/23/the-ascent-of-the-sacrifice-ii#p11</refcenter>~</divcenter>

<span style="background-color:transparent;color:#000000;">The dance was once one of True art means the highest expressions expression of beauty in the inner life; it was associated with religion and it was an important limb in sacred ceremonymaterial world. In a world wholly converted, that is to say, in expressing integrally the celebration of festivalsdivine reality, in art must serve as the adoration revealer and teacher of the Divinethis divine beauty in life. (The Mother, 28 July 1929) <ref>http://incarnateword.in/cwm/0312/28-july-1929arts#p22p15</ref></span>

<span stylecenter>~</center> If these painters were sincere, if they truly painted what they feel and see, the picture would be the expression of a confused mind and an unruly vital. But, unhappily, the painters are not sincere and then these pictures are nothing else than the expression of a falsehood, an artificial imagination based only on the will to be strange and to bewilder the public in order to attract attention and that has indeed very little to do with beauty. <ref>http://incarnateword.in/cwm/12/arts#p35</ref> ="background== Expression through Worship -color:transparent;colorDance, Music and Metaphor === Supreme art expresses the Beauty which puts you in contact with the Divine Harmony. <ref>http://incarnateword.in/cwm/12/arts#000000;"p11</</ref>  <center>~</center>Music I believe even almost all the beautiful works, no doubtare not signed. All those paintings in the caves, goes nearest those statues in the temples—these are not signed. One does not know at all who created them… All was done in a movement of aspiration to express a higher beauty, and above all with the infinite and idea of giving an appropriate abode to the essence godhead who was evoked. <ref>http://incarnateword.in/cwm/05/28-october-1953#p30</ref>  <center>~</center> That is how Sri Aurobindo describes the different pantheons of different countries, specially of Greece or India. That is to say, it is an aesthetic and intellectual way of transforming all things because it relies wholly on into divine creatures, divine beings: all the forces of Nature, all the elements, all spiritual forces, all intellectual forces, all physical forces, all these are transformed into a number of godheads and they are given an aesthetic and intellectual reality. It is a symbolic and artistic and literary and poetic way of dealing with all the ethereal vehicleuniversal forces and realities. That is how these pantheons came into existence,like the Greek or Egyptian pantheon or else the pantheon of India. <ref>http://incarnateword.in/cwm/08/16-may-1956#p20</spanref>  <center>~<span style=/center> All these gods are representations which Sri Aurobindo calls "aesthetic and intellectual"background―a way of conceiving the universe. <ref>http://incarnateword.in/cwm/08/16-may-color:transparent;color:1956#000000;"p21</ref>  <center> ~</spancenter> In any cult the symbol, the significant rite or expressive figure is not only a moving and enriching aesthetic element, but a physical means by which the human being begins to make outwardly definite the emotion and aspiration of his heart, to confirm it and to dynamise it. <span style="backgroundref>http://incarnateword.in/cwm/8/1-august-color:transparent;color:1956#000000;"p54</ref>  <center>''śabda''~</spancenter> Always the symbol is legitimate in so far as it is true, sincere, beautiful and delightful, and even one may say that a spiritual consciousness without any aesthetic or emotional content is not entirely or at any rate not integrally spiritual. In the spiritual life the basis of the act is a spiritual consciousness perennial and renovating, moved to express itself always in new forms or able to renew the truth of a form always by the flow of the spirit, and to so express itself and make every action a living symbol of some truth of the soul is the very nature of its creative vision and impulse. <span style="backgroundref>http://incarnateword.in/cwsa/23/the-ascent-of-the-sacrifice-color:transparent;color:ii#000000;"p11</ref>  <center> ~</spancenter> The dance was once one of the highest expressions of the inner life; it was associated with religion and it was an important limb in sacred ceremony, in the celebration of festivals, in the adoration of the Divine. <span style="backgroundref>http://incarnateword.in/cwm/03/28-july-color:transparent;color:1929#000000;"p22</ref>  <center>~</center> Music, no doubt, goes nearest to the infinite and to the essence of things because it relies wholly on the ethereal vehicle, ''śabda'' (architecture by the by can do something of the same kind at the other extreme even in its imprisonment in mass) ; but painting and sculpture have their revenge by liberating visible form into ecstasy, while poetry though it cannot do with sound what music does, yet can make a many-stringed harmony, a sound-revelation winging the creation by the word and setting afloat vivid suggestions of form and colour,—that gives it in a very subtle kind the combined power of all the arts. Who shall decide between such claims or be a judge between these godheads? <ref>http://incarnateword.in/cwsa/27/music-and-poetry#p1</ref></span>

<span style="background-color:transparent;color:#000000;">God had opened my eyes; for I saw the nobility of the vulgar''A.'' Yes, the attractiveness of the repellentcertainly. Artists who have trained their mind to a purely aesthetic look at beauty and beautiful things—for one instance. There are many others also, the perfection who have a sufficiently developed refinement of the maimed and aesthetic sense not to associate it with the beauty of the hideouscrude vital wish for possession, enjoyment or sensual contact. <ref>http://incarnateword.in/cwmcwsa/1027/aphorismphysical-beauty-and-sex-20sensation#p1p4</ref></span>

<span style="background-color:transparent;color:#000000;"center>… ~</span><span style="background-color:transparent;color:#000000;">technique is a means of expression; one does not write merely to use beautiful words or paint for the sole sake of line and colour; there is something that one is trying through these means to express or to discover. What is that something? The first answer would be—it is the creation, it is the discovery of Beauty… But there is not only physical beauty in the world—there is moral, intellectual, spiritual beauty also… But here again, what after all is Beauty? How much is it in the thing itself and how much in the consciousness that perceives it? Is not the eye of the artist constantly catching some element of aesthetic value in the plain, the ugly, the sordid, the repellent and triumphantly conveying it through his material,—through the word, through line and colour, through the sculptured shape? <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p2</ref></spancenter>

<div style="color:#000000;">There is a certain state The aesthetic and impersonal vision of Yogic consciousness in which all things become beautiful to can develop into the eye of the seer simply because they spiritually are—because they are a rendering in line and form of the quality and force of existence, of the consciousness, sight of the Ananda that rules the worlds,—of the hidden Divine. What a thing is to the exterior sense may not be, often is not beautiful for the ordinary aesthetic vision, but the Yogin sees in it the something More which the external eye does not see, he sees the soul behind, the self and spirit, he sees too lines, hues, harmonies and expressive dispositions Beauty everywhere which are not to the first surface sight visible or seizable. It may be said that he brings into the object something that is in himself, transmutes it by adding out of his own being to it—as the artist too does something of the same kind but in another wayits nature entirely pure. It is not quite that however,—what the Yogin sees, what the artist sees, is there—his is a transmuting vision because it is a revealing vision; <ref>http://incarnateword.in/cwsa/27/artphysical-beauty-forand-artssex-sakesensation#p3p6</ref></div>

<span style="background-color:transparent;color:#000000;">In the Yogin's vision of universal beauty all becomes beautiful, but all is not reduced to a single level. There are gradations, there is a hierarchy in this All-Beauty and we see that it depends on the ascending power (vibhuti) of consciousness and Ananda that expresses itself in the object. All is the Divine, but some things are more divine than others. <ref>http://incarnateword.in/cwsa/27/art-for-arts-sake#p4</refcenter>~</spancenter>

=== Perceiving Art Appreciation of poetry is a question of feeling, of intuitive perception, of a certain aesthetic sense, it is not the result of an intellectual judgment. <ref>http://incarnateword.in/cwsa/27/sri- Painting & Poetry ===aurobindos-critical-comments-on-poetry-written-in-the-ashram#p1</ref>

<span style="background-color:transparent;color:#000000;">Art leads to the same end; the aesthetic human being intensely preoccupied with Nature through aesthetic emotion must in the end arrive at spiritual emotion and perceive not only the infinite life, but the infinite presence within her; preoccupied with beauty in the life of man he must in the end come to see the divine, the universal, the spiritual in humanity. <ref>http://incarnateword.in/cwsa/23/the-higher-and-the-lower-knowledge#p4</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">''Are there people who have not been affected by this vital impurity and who appreciate beauty It is a literary way of speaking, you must understand it in a subtle aesthetic literary way only?''</span><span style="background-color:transparent;color:#000000it is a literary description of the word;">Yesit is very precise, certainlybut it is literary. Artists who So I cannot produce literature on this literature. One must have trained their mind to the taste for forms, for a purely aesthetic look at beauty and beautiful things—for way of saying things, a little exceptional, not too banal; but it is just one instanceway, it's a way of saying things which is charming. Literature exists completely in the way of saying things. You catch what you can of what's behind. There If you are many others indeed open to the literary meaning, it evokes things for you; but it cannot be explained. It is a means of evocation which corresponds alsowith music. Naturally, one can analyse literature and see how the sentence is constructed, but this is like your changing a human being into a skeleton. It is not pretty, a skeleton. It's the same thing. If in music you study counterpoint, and if this note must necessarily bring in this other, who have and this group of notes has necessarily to bring in that one, you spoil the music too, you make a sufficiently developed refinement skeleton of the aesthetic sense music; it is not interesting. These things have to associate it be felt with the crude vital wish for possessioncorresponding senses, enjoyment or sensual contactthe charm of the phrase with the literary sense—catching the harmony of words and what it evokes. <ref>http://incarnateword.in/cwsacwm/2707/physical-beauty-and21-sexseptember-sensation1955#p4p2</ref></span>

<span style="background-color:transparent;color:#000000;">The aesthetic and impersonal vision of things How can develop into the sight of the Divine Beauty everywhere which is in its nature entirely pure. <ref>http://incarnateword.in/cwsa/27/physical-beauty-and-sex-sensation#p6</ref></span>One Cultivate Aesthetic Sense? =

<span style="background-color… in this order:transparent;color:#000000;">Appreciation consciousness first, then the vital (mainly from the aesthetic point of poetry is view, but a question study of feelingsensations as well) , then the mind, then spiritual realization. And in between the vital and mental phases came the brief period of intuitive perceptionoccultism, of serving both as a transition and a certain aesthetic sense, it is not the result of an intellectual judgmentbasis for spiritual development. <ref>http://incarnateword.in/cwsaagenda/2703/srijuly-aurobindos28-critical-comments-on-poetry-written-in-the-ashram1962#p1p9</ref></span>

<div style="color:#000000;">It is a literary way of speaking, you must understand it in a literary way; it is a literary description of the word; it is very precise, but it is literary. So I cannot produce literature on this literature. One must have the taste for forms, for a beautiful way of saying things, a little exceptional, not too banal; but it is just one way, it's a way of saying things which is charming. Literature exists completely in the way of saying things. You catch what you can of what's behind. If you are indeed open to the literary meaning, it evokes things for you; but it cannot be explained. It is a means of evocation which corresponds also with music. Naturally, one can analyse literature and see how the sentence is constructed, but this is like your changing a human being into a skeleton. It is not pretty, a skeleton. It's the same thing. If in music you study counterpoint, and if this note must necessarily bring in this other, and this group of notes has necessarily to bring in that one, you spoil the music too, you make a skeleton of the music; it is not interesting. These things have to be felt with the corresponding senses, the charm of the phrase with the literary sense—catching the harmony of words and what it evokes. (The Mother, 21 September 1955) <ref>http://incarnateword.in/cwm/07/21-september-1955#p2</ref></div>=By Perfection ==

<div style="color:#000000;">… in this order: consciousness first[Based on Aphorisms 63— God is great, then says the vital (mainly from the aesthetic point of view, but a study of sensations as well) , then the mind, then spiritual realizationMahomedan. And in between the vital and mental phases came the brief period of occultismYes, serving both as a transition and a basis for spiritual development. (The MotherHe is so great that He can afford to be weak, 28 July 1962) <ref>http://incarnatewordwhenever that too is necessary.in/agenda/03/july-28-1962#p9</ref></div>

<div style="color:#000000;">When they speak of 65—Because Godis invincibly great, think of Him as "something else," they think that He cannot can afford to be weak; because He is immutably pure, ugly or imperfect—they think wronglyHe can indulge with impunity in sin; He knows eternally all delight, they dividetherefore He tastes also the delight of pain; He is inalienably wise, they separate… Perfection is something which lacks nothingtherefore He has not debarred Himself from folly. ] <ref>httphttps://incarnateword.in/cwm/10/aphorism-63-64-65#p24p21</ref></div>

<span style="background-color:transparent;color:#000000;">There must be order and harmony in work. Even what is apparently the most insignificant thing must be done with perfect perfection, with a sense of cleanliness, beauty, harmony and order. <ref>http://incarnateword.in/cwm/14/progress-and-perfection-in-work#p26</refcenter>~</spancenter>

<div style="color:#000000;">Each thing is exactly There must be order and harmony in its place, each person exactly in his place, each movement exactly in its place—and in its place in an ascending progressive movement, without any relapse, that work. Even what is to say, quite apparently the contrary to what happens in ordinary life. Naturally, this presupposes a kind of most insignificant thing must be done with perfect perfection, this presupposes with a kind of unity, this presupposes that the different aspects of the Supreme can be manifested and, sense of coursecleanliness, an exceptional beauty, a total harmony and a power strong enough to command obedience from the forces of Natureorder. (The Mother, 18 July 1961) <ref>http://incarnateword.in/cwm/1514/18progress-and-perfection-julyin-1961work#p11p26</ref></div>

<span style="color:#000000;">Take a great musician; well, even with a wretched piano and missing notes, he will produce something beautiful; but give him a good piano, well-tuned, and he will do something still more beautiful. The consciousness is the same in either case but for expression it needs a good instrument—a body with mental, vital, psychic and physical capacities. (The Mother, 15 January 1951) <ref>http://incarnateword.in/cwm/04/15-january-1951#p11</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">Intellectual or aesthetic delight can also be Each thing is exactly in its place, each person exactly in his place, each movement exactly in its place—and in its place in an obstacle ascending progressive movement, without any relapse, that is to say, quite the spiritual contrary to what happens in ordinary life. Naturally, this presupposes a kind of perfection if there is attachment to it, although it is much nearer to the spiritual than this presupposes a gross untransformed bodily appetite; in fact in order to become part kind of unity, this presupposes that the spiritual consciousness different aspects of the intellectual and aesthetic delight has also to change and become something higher. But all things that have a rasa cannot Supreme can be kept. There is a rasa in hurting manifested and killing others, the sadistic delightof course, there is a rasa in torturing oneselfan exceptional beauty, the masochistic delight—modern psychology is full of these two. Merely having a rasa is not total harmony and a sufficient reason for keeping things as part power strong enough to command obedience from the forces of the spiritual lifeNature. <ref>http://incarnateword.in/cwsacwm/3115/sex18-july-1961#p45p11</ref></span>

<span style="background-color:transparent;color:#000000;">To accept the uglinesses of the lower nature under the pretext that they exist―if this is what is meant by realism―does not form part of the sadhana. Our aim is not to accept these things and enjoy them, but to get rid of them and create a life of spiritual beauty and perfection. That cannot be done as long as we accept these uglinesses. <ref>http://incarnateword.in/cwm/14/desires-impulses-and-self-control#p8</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;"center>Pure sense of beauty can be acquired only through a great purification. <ref>http://incarnateword.in/cwm/15/beauty#p14~</refcenter>

<span style="color:#000000Intellectual or aesthetic delight can also be an obstacle to the spiritual perfection if there is attachment to it, although it is much nearer to the spiritual than a gross untransformed bodily appetite;">Tamas brings into our emotional nature insensibility, indifference, want in fact in order to become part of sympathy and openness, the shut soul, spiritual consciousness the callous heart, the soon spent affection intellectual and languor of the feelings, into our aesthetic delight has also to change and sensational nature become something higher. But all things that have a rasa cannot be kept. There is a rasa in hurting and killing others, the dull aesthesissadistic delight, there is a rasa in torturing oneself, the limited range masochistic delight—modern psychology is full of these two. Merely having a rasa is not a sufficient reason for keeping things as part of response, the insensibility to beauty, all that makes in man the coarse, heavy and vulgar spiritspiritual life. <ref>http://incarnateword.in/cwsa/2431/the-liberation-of-the-naturesex#p5p45</ref></span>

<span style="color:#000000;">The power of ethical knowledge and the ethical habit of thought and will to purify is obvious. Philosophy not only purifies the reason and predisposes it to the contact of the universal and the infinite, but tends to stabilise the nature and create the tranquillity of the sage; and tranquillity is a sign of increasing self-mastery and purity. The preoccupation with universal beauty even in its aesthetic forms has an intense power for refining and subtilising the nature, and at its highest it is a great force for purification. <ref>http://incarnateword.in/cwsa/23/the-higher-and-the-lower-knowledge#p8</refcenter>~</spancenter>

<span style="color:#000000;">Suppose you have a beautiful experience, that suddenly in answer to your aspiration a great light comes; you feel all flooded with joy, force, light, beauty, and have the impression that you are on To accept the point of being transfigured...mentally, instead uglinesses of being immobile and attentive, something has begun to ask, "Wait a minute, what is this experience? What does it mean?", begun to try to find an explanation (what it calls an "understanding") . Or maybe in the vital something has begun to enjoy lower nature under the experience: "How pleasant it pretext that they exist―if this is, how I would like it to grow, how good if it were constant, how...." Or something in the physical has said, "Oh! It what is a bit hard to endure that, how long am I going to be able to keep it?" It is perhaps meant by realism―does not as obvious as all this, but it is a wee bit hidden like this, somewhere. You will always find one form part of these three things or others analogousthe sadhana. Then, it is there the lantern is needed: where Our aim is the weak point? where is the egoism? where is the desire? where is that old dirt we do not want any longer? where is that thing which turns back upon itself instead of giving itselfto accept these things and enjoy them, opening itself, losing itself? which turns back upon itself, tries but to take advantage get rid of what has happened, wants to appropriate to itself the fruit them and create a life of the experience? Or rather which is too weak, too hard, too rigid to be able to follow the movement?spiritual beauty and perfection... It is that, you are now on the track, you begin precisely to put the light you have just acquired upon it; it is that you must do, focus the light upon it, turn it in such a way that the thing That cannot resist itbe done as long as we accept these uglinesses. (The Mother, 26 April 1951) <ref>http://incarnateword.in/cwm/0414/26desires-aprilimpulses-1951and-self-control#p29p8</ref></span>

== Discipline By Purification ==

<div style="color:#000000;">I have known people with such opposite sides in their nature, so contradictory, that one day they could make a magnificent, luminous, powerful formation for realisation, and then the next day a defeatist, dark, black formation—a formation Pure sense of despair—and so both would go out. And I was able to follow in the course of circumstances the beautiful one being realised, and while it was being realised, the dark one demolishing what the first one had done. And that is how it is in the larger lines of life as in its smaller details. And all that because one does not watch oneself thinking, because one believes one is the slave of these contradictory movements, because one says, "Oh! Today I am not feeling well. Oh! Today things seem sad to me", and one says this as if it were an ineluctable fate against which one could do nothing. But if one stands back or ascends beauty can be acquired only through a step, one can look at all these things, put them in their place, keep some, destroy or get rid of those one does not want and put all one's imaginative power—what is called imaginative—only in those one wants and which conform with one's highest aspiration. That is what I call controlling one's imaginationgreat purification. (The Mother, 3 September 1958) <ref>http://incarnateword.in/cwm/0915/3-september-1958beauty#p15p14</ref></div>

<span style="background-color:transparent;color:#000000;">Be sincere and absolute in your consecration to the Divine and your life will become harmonious and beautiful. <ref>http://incarnateword.in/cwm/14/sincerity#p9</refcenter>~</spancenter>

<div style="color:#000000;">Without outer Tamas brings into our emotional nature insensibility, indifference, want of sympathy and openness, the shut soul, the callous heart, the soon spent affection and languor of the feelings, into our aesthetic and inner disciplinesensational nature the dull aesthesis, one can achieve nothing the limited range of response, the insensibility to beauty, all that makes in lifeman the coarse, either spiritually or materially. All those who have been able to create something beautiful or useful have always been persons who have known how to discipline themselvesheavy and vulgar spirit. (The Mother, 23 June 1934) <ref>http://incarnateword.in/cwmcwsa/1624/23the-liberation-of-junethe-1934nature#p3p5</ref></div>

== Detachment ==<span style="color:#000000;">In fact people who work in order to develop their taste, to refine it, are rarely very much attached to food. It is not through attachment to food that they do it. It is for the cultivation of their senses, which is a very different thing. It is like the artist, you know, who trains his eyes to appreciate forms and colours, lines, the composition of things, the harmony found in physical nature; it is not at all through desire that he does this, it is through taste, culture, the development of the sense of sight and the appreciation of beauty. And usually artists who are real artists and love their art and live in the sense of beauty, seeking beauty, are people who don't have many desires. They live in the sense of a growth not only visual, but of the appreciation of beauty. There is a great difference between this and people who live by their impulses and desires. (The Mother, 23 February 1955) <ref>http://incarnateword.in/cwm/07/23-february-1955#p5</refcenter>~</spancenter>

<span style="color:#000000;">For the universal soul all things The power of ethical knowledge and all contacts of things carry in them an essence of delight best described by the Sanskrit aesthetic term, rasa, which means at once sap or essence ethical habit of a thing thought and its tastewill to purify is obvious. It is because we do Philosophy not seek only purifies the reason and predisposes it to the essence contact of the thing in its contact with usuniversal and the infinite, but look only tends to stabilise the manner in which it affects our desires nature and create the tranquillity of the sage; and fears, our cravings tranquillity is a sign of increasing self-mastery and shrinkings that grief purity. The preoccupation with universal beauty even in its aesthetic forms has an intense power for refining and painsubtilising the nature, imperfect and transient pleasure or indifference, that at its highest it is to say, blank inability to seize the essence, are the forms taken by the Rasa… If we could be entirely disinterested a great force for purification. <ref>http://incarnateword.in mind and heart and impose that detachment on /cwsa/23/the nervous being, the progressive elimination of these imperfect and perverse forms of Rasa would be possible -higher-and -the true essential taste of the inalienable delight of existence in all its variations would be within our reach…-lower-knowledge#p8</spanref>

<span style="color:#000000;"center>We attain to something of this capacity for variable but universal delight in the aesthetic reception of things as represented by Art and Poetry, so that we enjoy there the Rasa or taste of the sorrowful, the terrible, even the horrible or repellent; and the reason is because we are detached, disinterested, not thinking of ourselves or of self-defence (jugupsā), but only of the thing and its essence… ~</spancenter>

<span style=Suppose you have a beautiful experience, that suddenly in answer to your aspiration a great light comes; you feel all flooded with joy, force, light, beauty, and have the impression that you are on the point of being transfigured...mentally, instead of being immobile and attentive, something has begun to ask, "Wait a minute, what is this experience? What does it mean?", begun to try to find an explanation (what it calls an "understanding"color) . Or maybe in the vital something has begun to enjoy the experience:#000000;">CertainlyHow pleasant it is, how I would like it to grow, how good if it were constant, how...." Or something in the physical has said, "Oh! It is a bit hard to endure that, how long am I going to be able to keep it?" It is perhaps not as obvious as all this, but it is a wee bit hidden like this aesthetic reception , somewhere. You will always find one of contacts these three things or others analogous. Then, it is there the lantern is needed: where is the weak point? where is the egoism? where is the desire? where is that old dirt we do not a precise image or reflection want any longer? where is that thing which turns back upon itself instead of giving itself, opening itself, losing itself? which turns back upon itself, tries to take advantage of what has happened, wants to appropriate to itself the fruit of the pure delight experience? Or rather which is supramental and supra-aesthetic; for too weak, too hard, too rigid to be able to follow the latter would eliminate sorrowmovement?... It is that, terroryou are now on the track, horror and disgust with their cause while you begin precisely to put the former admits them: but light you have just acquired upon it; it represents partially and imperfectly one stage of is that you must do, focus the progressive delight of the universal Soul in things in its manifestation and light upon it, turn it admits us in one part of our nature to that detachment from egoistic sensation and such a way that universal attitude through which the one Soul sees harmony and beauty where we divided beings experience rather chaos and discord…thing cannot resist it. <ref>http://incarnateword. in/cwm/04/26-april-1951#p29</spanref>

<span style="color:#000000;">The full liberation can come to us only by a similar liberation in all our parts, the universal aesthesis, the universal standpoint of knowledge, the universal detachment from all things and yet sympathy with all in our nervous and emotional being. <ref>http://incarnateword.in/cwsa/21/delight-of-existence-the-solution#p14</ref></span>=By Discipline ==

<span style="background-color:transparent;color:#000000;">In the view of old philosophies pleasure and pain are inseparable like intellectual truth and falsehood and power I have known people with such opposite sides in their nature, so contradictory, that one day they could make a magnificent, luminous, powerful formation for realisation, and incapacity and birth and death; therefore then the only possible escape from them would be next day a total indifferencedefeatist, dark, a blank response black formation—a formation of despair—and so both would go out. And I was able to follow in the excitations course of circumstances the world-self… In beautiful one being realised, and while it was being realised, the dark one demolishing what the freer and higher movements there first one had done. And that is how it is demanded of us only a limited and specialised equality and impersonality proper to a particular field of consciousness and activity while in the egoistic basis larger lines of our practical life remains to us; as in its smaller details. And all that because one does not watch oneself thinking, because one believes one is the lower slave of these contradictory movements the whole foundation of our life has , because one says, "Oh! Today I am not feeling well. Oh! Today things seem sad to be changed me", and one says this as if it were an ineluctable fate against which one could do nothing. But if one stands back or ascends a step, one can look at all these things, put them in order to make room for impersonalitytheir place, keep some, destroy or get rid of those one does not want and put all one's imaginative power—what is called imaginative—only in those one wants and this the desire-soul finds impossiblewhich conform with one's highest aspiration. That is what I call controlling one's imagination. <ref>http://incarnateword.in/cwsacwm/2109/the3-doubleseptember-soul-in-man1958#p10p15</ref></span>

<span style="color:#000000;"center>~</center>The ethical mind becomes perfect in proportion as it detaches itself from desire, sense suggestion, impulse, customary dictated action Without outer and discovers a self of Rightinner discipline, Loveone can achieve nothing in life, Strength and Purity in which it can live accomplished and make it the foundation of all its actionseither spiritually or materially. The aesthetic mind is perfected in proportion as it detaches itself from all its cruder pleasures and from outward conventional canons of the aesthetic reason and discovers a self existent self and spirit of pure and infinite Beauty and Delight which gives its own light and joy All those who have been able to create something beautiful or useful have always been persons who have known how to the material of the aesthesisdiscipline themselves. <ref>http://incarnateword.in/cwsacwm/2416/purification23-intelligencejune-1934#p3</ref> <center>~</center>Be sincere and-absolute in your consecration to the Divine and your life will#p10become harmonious and beautiful. </ref>http://incarnateword.in/cwm/14/sincerity#p9</spanref>

== Devotion By Detachment ==

<span style="background-color:transparent;color:#000000;">Devotion selects In fact people who work in order to develop their taste, to refine it, are rarely very much attached to food. It is not through attachment to food that they do it. It is for the cultivation of their senses, which is a very different thing. It is like the emotional artist, you know, who trains his eyes to appreciate forms and aesthetic powers colours, lines, the composition of things, the soul and by turning them harmony found in physical nature; it is not at all God-ward in a perfect puritythrough desire that he does this, it is through taste, intensityculture, infinite passion the development of the sense of seeking makes them a means sight and the appreciation of God-possession beauty. And usually artists who are real artists and love their art and live in one or the sense of beauty, seeking beauty, are people who don't have many relations of unity with the divine Beingdesires. All aim They live in their own way at the sense of a union or unity growth not only visual, but of the human soul with the supreme Spiritappreciation of beauty. There is a great difference between this and people who live by their impulses and desires. <ref>http://incarnateword.in/cwsacwm/2407/the23-principlefebruary-of-the-integral-yoga1955#p4p5</ref></span>

<span style="color:#000000;">The world is full of things that are not pleasing or beautiful, but that is no reason why one should live in a constant feeling of repulsion for these things. All feelings of shrinking and disgust and fear that disturb and weaken the human mind can be overcome. A Yogi has to overcome these reactions; for almost the very first step in Yoga demands that you must keep a perfect equanimity in the presence of all beings and things and happenings. (The Mother, 30 June 1929) <ref>http://incarnateword.in/cwm/03/30-june-1929#p5</refcenter>~</spancenter>

<span style="color:#000000;">But if one deeply feels For the universal soul all things and all contacts of things carry in them an essence of delight best described by the beauty Sanskrit aesthetic term, rasa, which means at once sap or essence of Nature a thing and communes its taste. It is because we do not seek the essence of the thing in its contact with herus, but look only to the manner in which it affects our desires and fears, our cravings and shrinkings that grief and pain, imperfect and transient pleasure or indifference, that can help is to say, blank inability to seize the essence, are the forms taken by the Rasa… If we could be entirely disinterested in widening mind and heart and impose that detachment on the consciousness. (The Mothernervous being, 9 November 1969) <ref>http://incarnateword.the progressive elimination of these imperfect and perverse forms of Rasa would be possible and the true essential taste of the inalienable delight of existence in all its variations would be within our reach…We attain to something of this capacity for variable but universal delight in/cwm/16/9the aesthetic reception of things as represented by Art and Poetry, so that we enjoy there the Rasa or taste of the sorrowful, the terrible, even the horrible or repellent; and the reason is because we are detached, disinterested, not thinking of ourselves or of self-november-1969#p4</ref></span>defence (''jugupsā''), but only of the thing and its essence…

<span style="color:#000000;">It Certainly, this aesthetic reception of contacts is through not a love and adoration precise image or reflection of the All-beautiful pure delight which is supramental and Allsupra-blissful, aesthetic; for the All-Goodlatter would eliminate sorrow, the Trueterror, horror and disgust with their cause while the spiritual Reality former admits them: but it represents partially and imperfectly one stage of love, that the approach is made; progressive delight of the aesthetic universal Soul in things in its manifestation and emotional parts join together to offer the soul, the life, the whole it admits us in one part of our nature to that detachment from egoistic sensation and that universal attitude through which they worshipthe one Soul sees harmony and beauty where we divided beings experience rather chaos and discord…. <ref>http://incarnateword.in/cwsa/22/the-triple-transformation#p15</ref></span>

<span style="color:#000000;">There is nothing which gives you a joy equal The full liberation can come to that of gratitude. One hears us only by a bird singsimilar liberation in all our parts, sees a lovely flower, looks at a little child, observes an act of generosity, reads a beautiful sentencethe universal aesthesis, looks at the setting sun, no matter what, suddenly this comes upon you, this kind universal standpoint of emotion—indeed so deepknowledge, so intense—that the world manifests the Divine, that there is something behind the world which is the Divineuniversal detachment from all things and yet sympathy with all in our nervous and emotional being. (The Mother, 25 January 1956) <ref>http://incarnateword.in/cwmcwsa/0821/25delight-of-existence-januarythe-1956solution#p61p14</ref></span>

<span style="background-color:transparent;color:#000000;">The eye of his will must look beyond to a purity of divine being, a motive of divine will-power guided by divine knowledge of which his perfected nature will be the engine, yantra. That must remain impossible in entirety as long as the dynamic ego with its subservience to the emotional and vital impulses and the preferences of the personal judgment interferes in his action. A perfect equality of the will is the power which dissolves these knots of the lower impulsion to works. This equality will not respond to the lower impulses, but watch for a greater seeing impulsion from the Light above the mind, and will not judge and govern with the intellectual judgment, but wait for enlightenment and direction from a superior plane of vision. <ref>http://incarnateword.in/cwsa/24/the-perfection-of-equality#p9</refcenter>~</spancenter>

<span style="color:#000000;">We make a distinction between In the view of old philosophies pleasure and pain are inseparable like intellectual truth and beautyfalsehood and power and incapacity and birth and death; but there can therefore the only possible escape from them would be an aesthetic response to truth also, a joy in its beautytotal indifference, a love created by its charm, a rapture in blank response to the finding, a passion in excitations of the embrace, an aesthetic joy in its expression, a satisfaction of love in world-self… In the giving freer and higher movements there is demanded of it us only a limited and specialised equality and impersonality proper to others. Truth is not merely a dry statement particular field of consciousness and activity while the egoistic basis of facts or ideas our practical life remains to or by us; in the intellect; it can be a splendid discovery, a rapturous revelation, a thing lower movements the whole foundation of beauty that is a joy for ever. The poet also can our life has to be a seeker and lover of truth as well as a seeker and lover of beauty. It can give changed in order to beauty its most splendid passion of luminous form make room for impersonality, and this the consciousness that receives it a supreme height and depth of ecstasydesire-soul finds impossible. <ref>http://incarnateword.in/cwsa/2721/the-overminddouble-aesthesissoul-in-man#p63p10</ref></span>

<span stylecenter>~</center> The ethical mind becomes perfect in proportion as it detaches itself from desire, sense suggestion, impulse, customary dictated action and discovers a self of Right, Love, Strength and Purity in which it can live accomplished and make it the foundation of all its actions. The aesthetic mind is perfected in proportion as it detaches itself from all its cruder pleasures and from outward conventional canons of the aesthetic reason and discovers a self existent self and spirit of pure and infinite Beauty and Delight which gives its own light and joy to the material of the aesthesis. <ref>http://incarnateword.in/cwsa/24/purification-intelligence-and-will#p10</ref> ==By Devotion =="background Devotion selects the emotional and aesthetic powers of the soul and by turning them all God-ward in a perfect purity, intensity, infinite passion of seeking makes them a means of God-colorpossession in one or many relations of unity with the divine Being. All aim in their own way at a union or unity of the human soul with the supreme Spirit. <ref>http:transparent//incarnateword.in/cwsa/24/the-principle-of-the-integral-yoga#p4</ref>  <center>~</center> The world is full of things that are not pleasing or beautiful, but that is no reason why one should live in a constant feeling of repulsion for these things. All feelings of shrinking and disgust and fear that disturb and weaken the human mind can be overcome. A Yogi has to overcome these reactions;colorfor almost the very first step in Yoga demands that you must keep a perfect equanimity in the presence of all beings and things and happenings. <ref>http://incarnateword.in/cwm/03/30-june-1929#p5</ref>  <center>~</center> But if one deeply feels the beauty of Nature and communes with her, that can help in widening the consciousness. <ref>http://incarnateword.in/cwm/16/9-november-1969#p4</ref>  <center>~</center> It is through a love and adoration of the All-beautiful and All-blissful, the All-Good, the True, the spiritual Reality of love, that the approach is made; the aesthetic and emotional parts join together to offer the soul, the life, the whole nature to that which they worship. <ref>http://incarnateword.in/cwsa/22/the-triple-transformation#p15</ref>  <center>~</center> There is nothing which gives you a joy equal to that of gratitude. One hears a bird sing, sees a lovely flower, looks at a little child, observes an act of generosity, reads a beautiful sentence, looks at the setting sun, no matter what, suddenly this comes upon you, this kind of emotion—indeed so deep, so intense—that the world manifests the Divine, that there is something behind the world which is the Divine. <ref>http://incarnateword.in/cwm/08/25-january-1956#000000p61</ref>  <center>~</center> The eye of his will must look beyond to a purity of divine being, a motive of divine will-power guided by divine knowledge of which his perfected nature will be the engine, yantra. That must remain impossible in entirety as long as the dynamic ego with its subservience to the emotional and vital impulses and the preferences of the personal judgment interferes in his action. A perfect equality of the will is the power which dissolves these knots of the lower impulsion to works. This equality will not respond to the lower impulses, but watch for a greater seeing impulsion from the Light above the mind, and will not judge and govern with the intellectual judgment, but wait for enlightenment and direction from a superior plane of vision. <ref>http://incarnateword.in/cwsa/24/the-perfection-of-equality#p9</ref>  <center>~</center> We make a distinction between truth and beauty;"but there can be an aesthetic response to truth also, a joy in its beauty, a love created by its charm, a rapture in the finding, a passion in the embrace, an aesthetic joy in its expression, a satisfaction of love in the giving of it to others. Truth is not merely a dry statement of facts or ideas to or by the intellect; it can be a splendid discovery, a rapturous revelation, a thing of beauty that is a joy for ever. The poet also can be a seeker and lover of truth as well as a seeker and lover of beauty. It can give to beauty its most splendid passion of luminous form and the consciousness that receives it a supreme height and depth of ecstasy. <ref>http://incarnateword.in/cwsa/27/the-overmind-aesthesis#p63</ref>  <center>~</center> Beauty does not get its full power except when it is surrendered to the Divine. <ref>http://incarnateword.in/cwm/15/beauty#p10</ref></span>

<span style="color:#000000;">There is but one remedy: that signpost must always be there, a mirror well placed in one's feelings, impulses, all one's sensations. One sees them in this mirror. There are some which are not very beautiful or pleasant to look at; there are others which are beautiful, pleasant, and must be kept. This one does a hundred times a day if necessary. And it is very interesting. One draws a kind of big circle around the psychic mirror and arranges all the elements around it. If there is something that is not all right, it casts a sort of grey shadow upon the mirror: this element must be shifted, organised. It must be spoken to, made to understand, one must come out of that darkness. If you do that, you never get bored. When people are not kind, when one has a cold in the head, when one doesn't know one's lessons, and so on, one begins to look into this mirror. It is very interesting, one sees the canker. "I thought I was sincere!"—not at all. (The Mother, 1 April 1953) <ref>http://incarnateword.in/cwm/05/1-april-1953#p10</ref></span>

<span style="color:#000000;">The greatest obstacle to the transformation of one's own character is hypocrisy. If you always keep this in mind when dealing with a child, you can do him a lot of good. Of course, you must not sermonise or lecture him, etc. You should simply make him understand that there is a nobility in the being, a great purity, a great love of beauty, which is so powerful that even the most wicked and criminal people are forced to acknowledge a truly beautiful or heroic or selfless act. (The Mother, 6 January 1951) <ref>http://incarnateword.in/cwm/15/6-january-1951#p28</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">First The greatest obstacle to the transformation of all, to be one's own character is hypocrisy. If you always keep this in such mind when dealing with a state of purity and beauty that child, you can do not perceive ugliness and evil—it is like something that does not touch him a lot of good. Of course, you because it does must not exist in you. <ref>http://incarnatewordsermonise or lecture him, etc.You should simply make him understand that there is a nobility in/cwm/10/aphorism-49#p5</ref></span><span style="background-color:transparent;color:#000000;">The second step is to be positively conscious the being, a great purity, a great love of the supreme Good and supreme Beauty behind all thingsbeauty, which sustains all things is so powerful that even the most wicked and enables them to exist. When you see Him, you criminal people are able forced to perceive Him behind this mask and this distortion; even this ugliness, this wickedness, this evil is acknowledge a disguise of Something which is essentially truly beautiful or good, luminous, pureheroic or selfless act. <ref>http://incarnateword.in/cwm/1015/aphorism6-january-491951#p9p28</ref></span>

<span style="background-color:transparent;color:#000000;">"It is a pity my arms are too thin or my legs are too long or my back is not straight or my head is not quite harmonious", if one said: "It must be otherwise, my arms must be proportionate, my body harmonious, every form in me must express a higher beauty", then one will succeed… "Why! that disharmony I had in my face is disappearing; that sign of brutality, unconsciousness which was in my expression, it is going away." And then ten years later you don't recognise yourself any longer. (The Mother, 17 June 1953) <ref>http://incarnateword.in/cwm/05/17-june-1953#p39</refcenter>~</spancenter>

<span style="color:#000000;">It is infinitely more difficult to tell a story beautiful from beginning to end than to write a story ending with a sensational event or a catastrophe. Many authorsFirst of all, if they had to write be in such a story which ends happily, beautifully, would not be able to do it—they state of purity and beauty that you do not have enough imagination for perceive ugliness and evil—it is like something that. Very few stories have an uplifting ending, almost all end does not touch you because it does not exist in a failure—for a very simple reason, it is much more easy to fall than to riseyou. (The Mother, 26 February 1951) <ref>http://incarnateword.in/cwm/0410/26aphorism-february-195149#p23p5</ref></span>

<span style="color:#000000;">And if you know how to tell yourself a story in this way, and if it is truly beautiful, truly harmonious, truly powerful and well co-ordinated, this story will be realised in your life. (The Mother, 18 April 1956) <ref>http://incarnateword.in/cwm/08/18-april-1956#p56</refcenter>~</spancenter>

... be positively conscious of the supreme Good and supreme Beauty behind all things, which sustains all things and enables them to exist. When you see Him, you are able to perceive Him behind this mask and this distortion; even this ugliness, this wickedness, this evil is a disguise of Something which is essentially beautiful or good, luminous, pure. <span style="backgroundref>http://incarnateword.in/cwm/10/aphorism-color:transparent;color:49#000000;">Let beauty be your constant ideal.The beauty of the soulp9</spanref>

<span style="background-color:transparent;color:#000000;"center>The beauty of sentiments~</spancenter>

<span style="background-colorIt is a pity my arms are too thin or my legs are too long or my back is not straight or my head is not quite harmonious", if one said:transparent;color:#000000;">The beauty of thoughtsThe beauty of the actionThe It must be otherwise, my arms must be proportionate, my body harmonious, every form in me must express a higher beauty ", then one will succeed… "Why! that disharmony I had in the workSo my face is disappearing; that nothing comes out sign of your hands brutality, unconsciousness which was in my expression, it is not an expression of pure and harmonious beautygoing away." And then ten years later you don't recognise yourself any longer.</span>

<span style="background-color:transparent;color:#000000You are all, here, youthful matter;">Spiritual you must know how to profit by it—and not for petty, selfish and stupid reasons but for the love of beauty has a contagious power, for the need of harmony. <ref>httphttps://incarnateword.in/cwm/1205/arts17-june-1953#p3p39,p40</ref></span>

<span style="color:#000000;">When a child is full of enthusiasm, never throw cold water on it, never tell him, "You know, life is not like that!" You should always encourage him, tell him, "Yes, at present things are not always like that, they seem ugly, but behind this there is a beauty that is trying to realise itself. This is what you should love and draw towards you, this is what you should make the object of your dreams, of your ambitions." (The Mother, 31 July 1957) <ref>http://incarnateword.in/cwm/09/31-july-1957#p8</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">Copy many It is infinitely more difficult to tell a story beautiful thingsfrom beginning to end than to write a story ending with a sensational event or a catastrophe. Many authors, if they had to write a story which ends happily, beautifully, would not be able to do it—they do not have enough imagination for that. Very few stories have an uplifting ending, but try even almost all end in a failure—for a very simple reason, it is much more easy to fall than to catch the emotion, the deeper life of thingsrise.</span><span style="background-color:transparent;color:#0066cc;"><u><ref>http://incarnateword.in/cwm/1204/arts26-february-1951#p38p23</ref></u></span>

<span style="background-color:transparent;color:#000000;">Why do you want to do the details? That is not at all necessary. Painting is not done to copy Nature, but to express an impression, a feeling, an emotion that we experience on seeing the beauty of Nature. It is this that is interesting and it is this that has to be expressed, and it is because you have the possibility of doing this that I encourage you to paint. <ref>http://incarnateword.in/cwm/12/arts#p49</refcenter>~</spancenter>

<span style="background-color:transparent;color:#000000;">There is, behind all things, And if you know how to tell yourself a divine beautystory in this way, a divine harmony: and if it is with this that we must </span><span style="backgroundtruly beautiful, truly harmonious, truly powerful and well co-color:transparent;color:#000000;">come into contact; it is ordinated, this that we must expressstory will be realised in your life. <ref>http://incarnateword.in/cwm/1208/arts18-april-1956#p60p56</ref></span>

<center>~</center> Let beauty be your constant ideal.The beauty of the soul The beauty of sentiments The beauty of thoughts. The beauty of the action. The beauty in the work. So that nothing comes out of your hands which is not an expression of pure and harmonious beauty. Spiritual beauty has a contagious power. <ref>http://incarnateword.in/cwm/12/arts#p3</ref>  <center>~</center> When a child is full of enthusiasm, never throw cold water on it, never tell him, "You know, life is not like that!" You should always encourage him, tell him, "Yes, at present things are not always like that, they seem ugly, but behind this there is a beauty that is trying to realise itself. This is what you should love and draw towards you, this is what you should make the object of your dreams, of your ambitions." <ref>http://incarnateword.in/cwm/09/31-july-1957#p8</ref>  <center>~</center> Copy many beautiful things, but try even more to catch the emotion, the deeper life of things. <ref>http://incarnateword.in/cwm/12/arts#p38</ref>  <center>~</center> Why do you want to do the details? That is not at all necessary. Painting is not done to copy Nature, but to express an impression, a feeling, an emotion that we experience on seeing the beauty of Nature. It is this that is interesting and it is this that has to be expressed, and it is because you have the possibility of doing this that I encourage you to paint. <ref>http://incarnateword.in/cwm/12/arts#p49</ref>  <center>~</center> There is, behind all things, a divine beauty, a divine harmony: it is with this that we must come into contact; it is this that we must express. <ref>http://incarnateword.in/cwm/12/arts#p60</ref>  '''Content Curated by Aishwarya Dattani'''  {|class="wikitable" style= "background-color: #D1F7FFEFEFFF; width: 100%;"

Read Summary of '''Read Summary of [[Aesthetic Sense]]'''  Dear reader, if you notice any error in the paragraph numbers in the hyperlinks, please let us know by dropping an email at integral.edu.in@gmail.com