Changes

...knowledge of technique and careful and long assiduous practice are needed, as in art and music.<ref>http://incarnateword.in/cwsa/27/wanting-to-learn#p1</ref>

''A.''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? I have known some who had very little training and skill and yet through Yoga acquired a fine capacity in writing and painting. Two examples I can cite to you. One was a girl who had no education whatever; she was a dancer and danced tolerably well. After she took up Yoga, she danced only for friends; but her dancing attained a depth of expression and beauty which was not there before. And although she was not educated, she began to write wonderful things; for she had visions and expressed them in the most beautiful language. But there were ups and downs in her Yoga, and when she was in a good condition, she wrote beautifully, but otherwise was quite dull and stupid and uncreative. The second case is that of a boy who had studied art, but only just a little. The son of a diplomat, he had been trained for the diplomatic career; but he lived in luxury and his studies did not go far. Yet as soon as he took up Yoga, he began to produce inspired drawings which carried the expression of an inner knowledge and were symbolic in character; in the end he became a great artist.

''Q. Can those who have a sense of 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. One will always be generous and magnanimous in all circumstances. But as men are made of many different pieces...For instance, I was thinking about all the artists I knew—I knew all the greatest artists of the last century or the beginning of this century, and they truly had a sense of beauty, but morally, some of them were very cruel. When the artist was seen at his work, he lived in a magnificent beauty but when you saw the gentleman at home, he had only a very limited contact with the artist in himself and usually he became someone very vulgar, very ordinary. Many of them did, I am sure of it. But those who were unified, in the sense that they truly lived their art—those, no; they were generous and good. <ref>http://incarnateword.in/cwm/06/17-march-1954#p34</ref>

''Q. What will come out of it?''

''A.'' If it is necessary, it will be done. But fundamentally, these are things in the making. For, the advantage of modern times and specially of this hideous commercialism is that everything is now mixed up; that things from the East go to the West, and things from the West to the East, and they influence each other. For the moment this creates a confusion, a sort of pot-pourri. But a new expression will come out of it—it is not so far from its realisation. People cannot intermix, as men today are intermixing, without its producing a reciprocal effect. For instance, with their mania of conquest, the nations of the West which conquered all sorts of countries in the world, have undergone a very strong influence of the conquered countries. In the old days, when Rome conquered Greece it came under the influence of Greece much more than if it had not conquered it. And the Americans—all that they make now is full of Japanese things, and perhaps they are not even aware of it. But since they occupied Japan, I see that the magazines received from America are full of Japanese things. And even in certain details of objects received from America, one now feels the influence of Japan. That happens automatically. It is quite strange, there always comes about a sort of equilibrium, and he who made the material conquest is conquered by the spirit of the vanquished. It is reciprocal. He made the material conquest, he possesses materially, but it is the spirit of the conquered one who possesses the conqueror.

''Q. How is it that in people occupied with scientific studies artistic imagination is lacking? Are these two things opposed to each other?''

''A.'' Not necessarily.

''''Q. In general?''

''A.'' They do not belong to the same domain. It is exactly as though you had what is called "a torchlight", a small beacon-light in your head at the place of observation. Scientists who want to do a certain work turn the beacon in a particular way, they always put it there and the beacon remains thus: they turn it towards matter, towards the details of matter. But people with imagination turn it upward, because up above there is everything, you know, all inspirations of artistic and literary things: this comes from another domain. It comes from a much more subtle domain, much less material. So these turn upward and want to receive the light from above. But it is the same instrument. The others turn it downwards, and it is just a lack of gymnastic skill. It is the same instrument. It is the same power of a luminous ray upon something. But as one has made it a habit of concentrating it in a certain direction, one is no longer supple, one loses the habit of doing things otherwise.