Ananda Coomaraswamy

Life

Ananda Kentish Coomaraswamy was born in Colombo, British Ceylon, now Sri Lanka, to the Ceylon Tamil legislator and philosopher Sir Muthu Coomaraswamy of the Ponnambalam–Coomaraswamy family and his English wife Elizabeth Beeby. His father died when Ananda was two years old, and Ananda spent much of his childhood and education abroad.

Coomaraswamy moved to England in 1879 and attended Wycliffe College, a preparatory school in Stroud, Gloucestershire, at the age of twelve. In 1900, he graduated from University College London (UCL), with a degree in geology and botany. On 19 June 1902, Coomaraswamy married Ethel Mary Partridge, an English photographer, who then traveled with him to Ceylon. Their marriage lasted until 1913. Coomaraswamy's field work between 1902 and 1906 earned him a doctor of science for his study of Ceylonese mineralogy, and prompted the formation of the Geological Survey of Ceylon which he initially directed. While in Ceylon, the couple collaborated on Mediaeval Sinhalese Art; Coomaraswamy wrote the text and Ethel provided the photographs. His work in Ceylon fueled Coomaraswamy's anti-Westernisation sentiments. After their divorce, Partridge returned to England, where she became a famous weaver and later married the writer Philip Mairet.

By 1906, Coomaraswamy had made it his mission to educate the West about Indian art, and was back in London with a large collection of photographs, actively seeking out artists to try to influence. He knew he could not rely on museum curators or other members of the cultural establishment – in 1908 he wrote "The main difficulty so far seems to have been that Indian art has been studied so far only by archaeologists. It is not archaeologists, but artists ... who are the best qualified to judge of the significance of works of art considered as art." By 1909, he was firmly acquainted with Jacob Epstein and Eric Gill, the city's two most important early Modernists, and soon both of them had begun to incorporate Indian aesthetics into their work. The curiously hybrid sculptures that were produced as a result can be seen to form the very roots of what is now considered British Modernism.

Coomaraswamy then met and married a British woman Alice Ethel Richardson and together they stayed on a houseboat in Srinagar in Kashmir. Commaraswamy studied Rajput painting while his wife studied Indian music with Abdul Rahim of Kapurthala. When they returned to England, Alice performed Indian song under the stage name Ratan Devi. Alice was successful and both went to America when Ratan Devi did a concert tour. While they were there, Coomaraswamy was invited to serve as the first Keeper of Indian art in the Boston Museum of Fine Arts in 1917. The couple had two children, a son, Narada, and daughter, Rohini.

Coomaraswamy divorced his second wife after they arrived in America. He married the American artist Stella Bloch, 20 years his junior, in November 1922. Through the 1920s, Coomaraswamy and his wife were part of the bohemian art circles in New York City, Coomaraswamy befriended Alfred Stieglitz and the artists who exhibited at Stieglitz's gallery. At the same time, he studied Sanskrit and Pali religious literature as well as Western religious works. He wrote catalogues for the Boston Museum of Fine Arts and published his History of Indian and Indonesian Art in 1927.

After the couple divorced in 1930, they remained friends. Shortly thereafter, on 18 November 1930, Coomaraswamy married Argentine Luisa Runstein, 28 years younger, who was working as a society photographer under the professional name Xlata Llamas. They had a son, Coomaraswamy's third child, Rama Ponnambalam (1929-2006), who became a physician and convert at age 22 to the Roman Catholic Church. Following Vatican II, Rama became a critic of the reforms and author of Catholic Traditionalist works. He was also ordained a Traditionalist Roman Catholic priest, despite the fact that he was married and had a living wife. Rama Coomaraswamy studied in England and then in India, learning Hindi and Sanskrit. Became a psychiatrist in the United States, he was an opponent of Pope John Paul II and remain a wider correspondent of mother Teresa of Calcutta, whose first healing attribution was recognised by John Paul II in 2002.

During his long career, Coomaraswamy was instrumental in bringing Eastern art to the West. While at the Boston Museum of Fine Arts, he built the first substantial collection of Indian art in the United States. In 1933, Coomaraswamy's title there changed from curator to Fellow for Research in Indian, Persian, and Mohammedan Art.

After Coomaraswamy's death, his widow, Doña Luisa Runstein, acted as a guide and resource for students of his work.

Contributions

Coomaraswamy made important contributions to the philosophy of art, literature, and religion. In Ceylon, he applied the lessons of William Morris to Ceylonese culture and, with his wife Ethel, produced a groundbreaking study of Ceylonese crafts and culture. While in India, he was part of the literary circle around Rabindranath Tagore, and he contributed to the "Swadeshi" movement, an early phase of the struggle for Indian independence. In the 1920s, he made discoveries in the history of Indian art, particularly some distinctions between Rajput and Moghul painting, and published his book Rajput Painting. At the same time, he amassed an unmatched collection of Rajput and Moghul paintings, which he took with him to the Museum of Fine Arts, Boston, when he joined its curatorial staff in 1917. Through 1932, from his base in Boston, he produced two kinds of publications: brilliant scholarship in his curatorial field but also graceful introductions to Indian and Asian art and culture, typified by The Dance of Shiva, a collection of essays that remain in print to this day. Deeply influenced by René Guénon, he became one of the founders of the Traditionalist School. His books and essays on art and culture, symbolism and metaphysics, scripture, folklore and myth, and still other topics, offer a remarkable education to readers who accept the challenges of his resolutely cross-cultural perspective and insistence on tying every point he makes back to sources in multiple traditions. He once remarked, "I actually think in both Eastern and Christian terms—Greek, Latin, Sanskrit, Pali, and to some extent Persian and Chinese." Alongside the deep and not infrequently difficult writings of this period, he also delighted in polemical writings created for a larger audience—essays such as "Why exhibit works of art?" (1943).

In his book The Information Society: An Introduction (Sage, 2003, p. 44), Armand Mattelart credits Coomaraswamy for coining the term 'post-industrial' in 1913.

Methodology

Coomaraswamy was a firm believer in the comparative method. The analysis of both texts and symbols across a wide variety of cultures and time periods allowed him to see below the surface of local interpretations and religious exclusivism to locate the bedrock of tradition. By tradition, he meant that which has been handed down from time beyond memory.

The folk has thus preserved, without understanding, the remains of old traditions that go back sometimes to the indeterminably distant past, to which we can only refer as “prehistoric”. Had the folk beliefs not indeed been once understood, we could not now speak of them as metaphysically intelligible, or explain the accuracy of their formulations.

His extensive knowledge of ancient languages allowed him access to primary sources and his understanding of metaphysics helped him discern the deeper meanings that other scholars often missed. Given the specialisation and compartmentation of knowledge that was part of the Western academic tradition, his efforts were not always appreciated. He expressed some of his feelings in a letter to Graham Carey:

What the secular mind does is to assert that we (symbolists) are reading meaning into things that originally had none: our assertion is that they are reading out the meaning. The proof of our contention lies in the perfection, consistency and universality of the pattern in which these meanings are united.

His criticism of the academic world was centered around a number of related issues. First, the academic method, by itself, was ill-equipped to deal with the way in which ideas where transmitted in non-literate cultures, due to an over-reliance on written documentation. Too much was left out.

By “folklore” we mean the whole and consistent body of culture which has been handed down, not in books but by word of mouth and in practice, from time beyond the reach of historical research, in the form of legends, fairy tales, ballads, games, toys, crafts, medicine, agriculture, and other rites, and forms of social organisation, especially those that we call “tribal.” This is a cultural complex independent of national and even racial boundaries, and of remarkable similarity throughout the world.

Traditional symbolism

One of Coomaraswamy's most important contributions was in his study of the language of symbolism contained in images.

To have lost the art of thinking in images is precisely to have lost the proper linguistic of metaphysics and to have descended to the verbal logic of “philosophy.

His study of traditional symbols had taught him that symbols were meant to express ideas and not emotions and that a study of “styles” and “influences” would reveal little of significance.

An adequate knowledge of theology and cosmology is then indispensable to an understanding of the history of art, insofar as the actual shapes and structures of works of art are determined by their real content. Christian art, for example, begins with the representation of deity by abstract symbols, which may be geometrical, vegetable, or theriomorphic, and are devoid of any sentimental appeal whatever. An anthropomorphic symbol follows, but this is still a form and not a figuration; not made as though to function biologically or as if to illustrate a text book of anatomy or dramatic expression. Still later, the form is sentimentalised; the features of the crucified are made to exhibit human suffering, the type is completely humanised, and where we began with the shape of humanity as an analogical representation of the idea of God, we end with the portrait of the artist's mistress posing as the Madonna and a representation of an all-too-human baby; the Christ is no longer a man-God, but the sort of man we can approve of.

In keeping with his traditionalist stance, he saw this process as one of gradual decay in which the human life world began to encroach gradually on the divine with an attendant growth of sentimentality and loss of meaning. He was fond of quoting the curator, John Lodge: “From the Stone Age until now, quelle dégringolade.”

Coomaraswamy spent a lot of his time documenting themes and images that appeared to be very old, given their widespread distribution. Major areas of study included:

Solar symbolism

Perennial philosophy

He was described by Heinrich Zimmer as "That noble scholar upon whose shoulders we are still standing." While serving as a curator to the Boston Museum of Fine Arts in the latter part of his life, he devoted his work to the explication of traditional metaphysics and symbolism. His writings of this period are filled with references to Plato, Plotinus, Clement, Philo, Augustine, Aquinas, Shankara, Eckhart, Rumi and other mystics. When asked how he defined himself foremost, Coomaraswamy said he was a "metaphysician", referring to the concept of perennial philosophy, or sophia perennis.

Along with René Guénon and Frithjof Schuon, Coomaraswamy is regarded as one of the three founders of Perennialism, also called the Traditionalist School. Several articles by Coomaraswamy on the subject of Hinduism and the perennial philosophy were published posthumously in the quarterly journal Studies in Comparative Religion alongside articles by Schuon and Guénon among others.

Although he agrees with Guénon on the universal principles, Coomaraswamy's works are very different in form. By vocation, he was a scholar who dedicated the last decades of his life to "searching the Scriptures". He offers a perspective on the tradition that complements Guénon's. He was extremely perceptive regarding aesthetics and wrote dozens of articles on traditional arts and mythology. His works are also finely balanced intellectually. Although born in the Hindu tradition, he had a deep knowledge of the Western tradition as well as a great expertise in, and love for, Greek metaphysics, especially that of Plotinus, the founder of Neoplatonism.

Coomaraswamy built a bridge between East and West that was designed to be two-way: among other things, his metaphysical writings aimed at demonstrating the unity of the Vedanta and Platonism. His works also sought to rehabilitate original Buddhism, as he believed that the distance (i.e. differences) between Buddhism and Hinduism was artificially created by Western Indologists. In his book, Hinduism and Buddhism, he wrote:

The more superficially one studies Buddhism, the more it seems to differ from the Brahmanism in which it originated; the more profound our study, the more difficult it becomes to distinguish Buddhism from Brahmanism, or to say in what respects, if any, Buddhism is really unorthodox.

Thought and major works

Coomaraswamy’s intellectual work spanned Indian art, symbolism, religion, and philosophy. He emphasised the metaphysical and spiritual foundations of traditional cultures and critiqued modern industrial and materialist perspectives in contrast to what he saw as the integrated worldview of traditional societies. His major writings include The Dance of Shiva, Hinduism and Buddhism, and the address The Religious Basis of the Forms of Indian Society (1946), in which he articulated his understanding of Indian social institutions in religious and philosophical terms.

Views on caste and social order

In The Religious Basis of the Forms of Indian Society, Coomaraswamy interpreted the traditional Indian social order, including caste (varṇa), not merely as a hierarchy of status but as an expression of metaphysical principles and vocational responsibilities. He described caste divisions as “born of the Sacrifice” and linked them to the idea that qualities and operations are distributed according to divine or cosmic order, rather than racial or purely economic logic. He framed the notion of sva-dharma (one’s own duty) as the basis for social roles and argued that institutions reflect an application of metaphysical doctrine and are stable because they encode an accepted cosmic pattern. Coomaraswamy criticised modern conceptions of equality and criticised reducing human vocation to jobs determined by economics, asserting that abolishing caste in favour of such models would “not be a solution, but much rather a dissolution.”

Works

For a complete bibliography, see James S. Crouch, A Bibliography of Ananda Kentish Coomarswamy. Indira Gandhi National Center for the Arts, Manohar, New Delhi, (2002).

Corrigenda to the above volume see at Corrigenda to A Bibliography of Ananda Kentish Coomaraswamy.

Extensive bibliography was also compiled by the author's son:

Ananda Kentish Coomaraswamy: A Working Bibliography, compiled by Dr. Rama P. Coomaraswamy (New Delhi: Lalit Kala Academi, n.d.) [1]

Traditional art

"A Plea for the Teaching of Indian Music in Ceylon", Journal of the Ceylon University Association, I, No.2 (Colombo 1906)

Elements of Buddhist Iconography, Harvard University Press, 1935.

Figures of Speech or Figures of Thought?: The Traditional View of Art, (World Wisdom 2007)

Introduction To Indian Art, (Kessinger Publishing, 2007)

Buddhist Art, (Kessinger Publishing, 2005)

Guardians of the Sundoor: Late Iconographic Essays, (Fons Vitae, 2004)

History of Indian and Indonesian Art, (Kessinger Publishing, 2003)

Teaching of Drawing in Ceylon (1906, Colombo Apothecaries)

The Indian Craftsman (1909, Probsthain: London)

Voluspa; The Sibyl's Saying (1909, Essex House Press, London)