Ananda K. Coomaraswamy is an art critic and spokesperson for the perennial philosophy of Plato, Plotinus, Bonaventura, Aquinas, Meister Eckhart and the Upanishads. There is not a word in these nine essays about the aesthetic theories by authors writing at the same time as Coomaraswamy, writers such as John Dewey, George Santayana, or Ernest Gombrich. Why? Because Coomaraswamy does not have the slightest interest in aesthetics or aesthetic experience. To have a clear understanding of Coomarasway's foundational and key ideas about art, here are several quotes from his main essay in this collection. Beneath each quote is my own brief commentary.
"The artist is not a special kind of man, but every man who is not an artist in some field, every man without a vocation, is an idler." Coomaraswamy tells us in traditional societies the artist is not a special kind of man but every man is a special kind of artist.
Think here of a medieval cathedral that was built by vast numbers of craftsmen who wouldn't think of signing their work. He rebels against our modern world were we make a sharp distinction between an artist (the special kind of man) painting his artwork to be displayed in a museum and the factory worker (an ordinary or `un-special' kind of man) on the assembly line. Thus, Coomaraswamy says, "Industry without art is brutality."
"The practice of art can never be, unless for the sentimentalist who lives for pleasure, an 'art for art's sake', that is to say a production of 'fine' or useless objects only that we may be delighted by 'fine colors and sounds'. The greater part of our boasted 'love of art' is nothing but the enjoyment of comfortable feelings."
For Coomaraswamy, the fine colors of impressionist painters like Monet, Cezanne, Renoir, and Seurat are only that, fine colors, the aesthetic surface of life, where the viewer is encouraged to `love art' and enjoy comfortable feelings. These fine colors are a world away from the metaphysical and spiritual ideas represented by statues in a medieval monastery or an ancient Buddhist temple.
"It is just insofar as we do now see only the things as they are in themselves, and only ourselves as we are in ourselves, that we have killed the metaphysical man and shut ourselves up in the dismal cave of functional and economic determinism."
Here Coomaraswamy observes how we in our modern technological world of high specialization have shattered the wholeness of our spiritual inner selves; our everyday life of activity (making of things) and interaction with the world is not an expression of our total human nature, but rather is reduced to mere function and utility. The art produced in such a society also reflects this alienation. One can imagine what must have gone through Coomaraswamy's mind when viewing Duchamp's Fountain (a porcelain urinal) or a painting of Max Ernst or Pablo Picasso.
"Our conception of art as essentially the expression of a personality, or whole view of genius, our impertinent curiosities about the artist's private life, all these things are the products of a perverted individualism and prevent our understanding of the nature of medieval and oriental art."
How many biographies and commentaries have been written on the life of Picasso, Jackson Pollock, Andy Warhol? Coomaraswamy would not be impressed; rather, he would see all such writing as so much obsession with personality and an expression of perverse individualism. What would be at the absolute opposite end of the artistic spectrum from Coomaraswamy's philosophy? How about three quotes from Andy Warhol - 1) Art is what you can get away with. 2) An artist is a person who produces things that people don't need to have. 3) I am a deeply superficial person.
"We have emphasized that art is for the man, and not the man for art: that whatever is made only to give pleasure is a luxury and that the love of art under these conditions becomes a mortal sin."
I recommend a careful reading of this collection of Coomaraswamy's essays. You don't necessarily have to entirely agree with his philosophy of art to appreciate his perspective on how art was integrated into traditional societies and how our modern world has gone off in other directions.
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