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<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></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></ref></span>
<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></ref></span>
<div 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></ref></div>
<span style="background-color:transparent;color:#000000;">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></ref></span>
<span style="background-color:transparent;color:#000000;">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></ref></span>

Revision as of 17:52, 15 August 2018

Read Summary of Aesthetic Sense

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) [1]

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) [2]

What is Aesthetic Sense?

The Perception of Beauty

It is the consciousness of beauty. Aesthetic means that which concerns beauty, art. There are people, for example, who move around in life 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) [3]

The Experience of Ananda

By aesthesis is meant a reaction of the consciousness, mental and vital and even bodily, which receives a certain element in things, something that can be called their taste, Rasa, which passing through the mind or sense or both, awakes a vital enjoyment of the taste, Bhoga, and this can again awaken us, awaken even the soul 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.
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. [4]

A True and Wide Consciousness

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. [5]

For instance, if your consciousness is limited to one place, that is, it is a national consciousness (the consciousness of any one country), what is beautiful for one country is not beautiful for another.

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) [6]
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. (The Mother, 9 February 1955) [7]

Artistic taste is pleased with beautiful things and is itself beautiful.[8]

Stages of Aesthesis

We have a sense of beauty and love beauty without even knowing why, and there are things which give the sense of beauty without our knowing why, without our reasoning. It is instinctive. He (Sri Aurobindo) says that this is the infrarational stage of the aesthetic sense. (The Mother, 1 June 1955) [9]
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.
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. [10]
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) [11]

Where is the Aesthetic Sense Situated?

In the Physical Plane

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. [12]

… 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) [13]

When we rise high enough, we discover that these four aspects unite with each other in a single consciousness, full of love, luminous, powerful, beautiful, containing all, pervading all. [14]

In the Vital Plane

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) [15]
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) [16]
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) [17]

In the Mental Plane

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. [18]

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. [19]

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… [20]

In the Spiritual Plane

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... [21]
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. [22]
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) [23]

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. [24]

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. [25]

Why is it Important to Have Aesthetic Sense?

But the way the world is organized, people without aesthetic needs go back 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 beauty that would be like the surroundings natural to a certain degree of development. (The Mother, 25 March 1970) [26]

The 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; the trouble about the present ones is that they are not really Asuras, but beings of the lower vital world, violent, brutal and 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 need of new springs of life. [27]

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. [28]

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. [29]

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) [30]

Aesthetic Sense and Yoga

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) [31]
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) [32]
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. [33]
Art, poetry, music are not Yoga, not in themselves things spiritual any more than philosophy either is a thing spiritual or science…

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 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. [34]

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. [35]

Aesthetic Sense and The “Converted” Vital

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) [36]

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) [37]

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. [38]

Aesthetic Sense in Education

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. [39]

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. [40]

Aesthetic Sense and Ethics

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) [41]

Can those who have a see of beauty also become cruel? 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) [42]

Shame has admirable results and both in aesthetics and in morality we could ill spare it; but for all that it is a badge of weakness and the proof of ignorance. [43]

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. [44]

Aesthetic Sense and The Divine

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. [45]

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) [46]

…if you go deeply enough, you can perceive Sachchidananda, which is the principle of Supreme Beauty. Secondly, you see that everything in the manifested universe is relative, 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 ugliness. [47]

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. [48]

I look at a rose, a thing that contains such a concentration of spontaneous 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. (The Mother, 8 October 1966) [49]

...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) [50]

When is One’s Aesthetic Sense Used?

In Expression

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. [51]

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) [52]

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. [53]

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. [54]

There are not only aesthetic values but life-values, mind-values, soul-values, that enter into Art. [55]

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 viśvarasa 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. [56]

What does "the beauty of the hideous" mean?It is always the same realisation presented from different angles, expressed through various experiences: the realisation that everything is a manifestation of the Supreme, the Eternal, the Infinite, immutable in his total perfection and in his absolute reality. That is why, by conquering our mind and its ignorant and false perceptions we can, through all things, enter into contact with this Supreme Truth which is also the Supreme Beauty and the Supreme Love, beyond all our mental and vital notions of beauty and ugliness, the good and the bad. [57]

Expression through Art - Painting & Poetry

… "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 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) [58]

The mistake of the artist is to believe that artistic production is something that stands by itself and for itself, independent of the rest of the world. Art as understood by these artists is like a mushroom on the wide soil of life, something casual and external, not something intimate to life; it does not reach and touch the deep and abiding realities, it does not become an intrinsic and inseparable part of existence. True art is intended to express the beautiful, but in close intimacy with the universal movement. (The Mother, 28 July 1929) [59]

The true painting aims at creating something more beautiful than the ordinary reality. [60]

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) [61]

… art must act as a revealer and teacher of this divine beauty in life; that 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 beauty in matter. And thus, if it does that, art can be a means of realisation of beauty, and at the same time a teacher of what beauty ought to be, that is, art should be an element in the education of men's taste, of young and old, and it is the teaching of true beauty, that is, the essential beauty which expresses the divine truth. (The Mother, 28 October 1953) [62]

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. [63]

True art means the expression of beauty in the material world. In a world wholly converted, that is to say, expressing integrally the divine reality, art must serve as the revealer and teacher of this divine beauty in life. [64]

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. [65]

Expression Through Worship - Dance, Music and Metaphor

Supreme art expresses the Beauty which puts you in contact with the Divine Harmony. [66]

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) [67]

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 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 universal forces and realities. That is how these pantheons came into existence, like the Greek or Egyptian pantheon or else the pantheon of India. (The Mother, 16 May 1956) [68]

All these gods are representations which Sri Aurobindo calls "aesthetic and intellectual"―a way of conceiving the universe. (The Mother, 16 May 1956) [69]

"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. (The Mother, 1 August 1956) [70]
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. [71]

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. (The Mother, 28 July 1929) [72]

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? [73]

In Perception

20—God had opened my eyes; for I saw the nobility of the vulgar, the attractiveness of the repellent, the perfection of the maimed and the beauty of the hideous. [74]

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? [75]

There is a certain state of Yogic consciousness in which all things become beautiful to 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, 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 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 way. 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;


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.

Perceiving Art - Painting & Poetry

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.[78]

Are there people who have not been affected by this vital impurity and who appreciate beauty in a subtle aesthetic way only?Yes, certainly. Artists who have trained their mind to a purely aesthetic look at beauty and beautiful things—for one instance. There are many others also, who have a sufficiently developed refinement of the aesthetic sense not to associate it with the crude vital wish for possession, enjoyment or sensual contact. [79]

The aesthetic and impersonal vision of things can develop into the sight of the Divine Beauty everywhere which is in its nature entirely pure. [80]

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. [81]

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) [82]

How Can One Cultivate Aesthetic Sense?

… in this order: consciousness first, then the vital (mainly from the aesthetic point of view, but a study of sensations as well) , then the mind, then spiritual realization. And in between the vital and mental phases came the brief period of occultism, serving both as a transition and a basis for spiritual development.
(The Mother, 28 July 1962)



When they speak of God, think of Him as "something else," they think that He cannot be weak, ugly or imperfect—they think wrongly, they divide, they separate… Perfection is something which lacks nothing.

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. [85]

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 ascending progressive movement, without any relapse, that is to say, quite the contrary to what happens in ordinary life. Naturally, this presupposes a kind of perfection, this presupposes a kind of unity, this presupposes that the different aspects of the Supreme can be manifested and, of course, an exceptional beauty, a total harmony and a power strong enough to command obedience from the forces of Nature.
(The Mother, 18 July 1961)


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) [87]

Intellectual 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; in fact in order to become part of the spiritual consciousness the intellectual and aesthetic delight has also to change and become something higher. But all things that have a rasa cannot be kept. There is a rasa in hurting and killing others, the sadistic delight, there is a rasa in torturing oneself, the masochistic delight—modern psychology is full of these two. Merely having a rasa is not a sufficient reason for keeping things as part of the spiritual life. [88]

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. [89]


Pure sense of beauty can be acquired only through a great purification. [90]

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 sensational nature the dull aesthesis, the limited range of response, the insensibility to beauty, all that makes in man the coarse, heavy and vulgar spirit.
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.


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") . Or maybe in the vital something has begun to enjoy the experience: "How 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, somewhere. You will always find one of 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 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 experience? Or rather which is too weak, too hard, too rigid to be able to follow the movement?... 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 cannot resist it.

(The Mother, 26 April 1951) [93]


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 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 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 imagination.

(The Mother, 3 September 1958) [94]

Be sincere and absolute in your consecration to the Divine and your life will become harmonious and beautiful. [95]

Without outer and inner discipline, one can achieve nothing in life, 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 themselves.

(The Mother, 23 June 1934) [96]


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) [97]
For the universal soul all things 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 of a thing and its taste. It is because we do not seek the essence of the thing in its contact with us, 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 is to say, blank inability to seize the essence, are the forms taken by the Rasa… If we could be entirely disinterested in mind and heart and impose that detachment on the nervous being, 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 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…
Certainly, this aesthetic reception of contacts is not a precise image or reflection of the pure delight which is supramental and supra-aesthetic; for the latter would eliminate sorrow, terror, horror and disgust with their cause while the former admits them: but it represents partially and imperfectly one stage of the progressive delight of the universal Soul in things in its manifestation and it admits us in one part of our nature to that detachment from egoistic sensation and that universal attitude through which the one Soul sees harmony and beauty where we divided beings experience rather chaos and discord….
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.[98]

In the view of old philosophies pleasure and pain are inseparable like intellectual truth and falsehood and power and incapacity and birth and death; therefore the only possible escape from them would be a total indifference, a blank response to the excitations of the world-self… In the freer and higher movements there is demanded of us only a limited and specialised equality and impersonality proper to a particular field of consciousness and activity while the egoistic basis of our practical life remains to us; in the lower movements the whole foundation of our life has to be changed in order to make room for impersonality, and this the desire-soul finds impossible.[99]

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.[100]


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-possession 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. [101]

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)


But if one deeply feels the beauty of Nature and communes with her, that can help in widening the consciousness.

(The Mother, 9 November 1969) [103]

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.
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.

(The Mother, 25 January 1956) [105]

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. [106]

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.  

Beauty does not get its full power except when it is surrendered to the Divine. [108]

Recommended Practices

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) [109]

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) [110]

First of all, to be in such a state of purity and beauty that you do not perceive ugliness and evil—it is like something that does not touch you because it does not exist in you. second step is to 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. [111]

"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) [112]

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 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, almost all end in a failure—for a very simple reason, it is much more easy to fall than to rise.
(The Mother, 26 February 1951)


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) [114]

Let beauty be your constant ideal.The beauty of the soul

The beauty of sentiments

The beauty of thoughtsThe beauty of the actionThe beauty in the workSo that nothing comes out of your hands which is not an expression of pure and harmonious beauty.

Spiritual beauty has a contagious power. [115]

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) [116]

Copy many beautiful things, but try even more to catch the emotion, the deeper life of things. [117]

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. [118]

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. [119]

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