I taught a lot of art history, especially Chinese, Japanese, and Indian. But the painting classes came back. The nudes came back. Not so much the still lifes. So now our department is the worst department, partly because it has the worst facilities.
Sannyas means dropping the fight with the river, going with the river, allowing the river to take you, learning the art of let-go. Those two small, simple words 'let', 'go', define the very spirit of sannyas. Then one can say 'Let thy kingdom come, thy will be done.' Then one withdraws one's will, and the moment you withdraw your will your life becomes immensely rich. Suddenly the whole is with you, and we can be victorious only when the whole is with us.
The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.
A prince must not have any objective nor any thought, nor take up any art, other than the art of war and its ordering and discipline; because it is the only art that pertains to him who commands. And it is of such virtue that not only does it maintain those who were born princes, but many times makes men rise to that rank from private station.
...a genuine work of art, can never be false, nor can it be discredited through the lapse of time, for it does not present an opinion but the thing itself.
I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?
We cannot enter into alliances until we are acquainted with the designs of our neighbors. We are not fit to lead an army on the march unless we are familiar with the face of the country.
No one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfillment.
Tolerance of diversity is imperative, because without it, life would lose its savor. Progress in the arts, in the sciences, in the patterns of social adjustment springs from diversity and depends upon a tolerance of individual deviations from conventional ways and attitudes.
Good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.