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The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artist; they analyze the role of traditional culture in enriching art; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures.
Ananda Coomaraswamy (1877-1947) was one of the most famous scholars of Indian art, culture, and religion. He served for many years as the Keeper of Indian and Islamic Art at the Boston Museum of Fine Arts, establishing one of the most impressive collections of oriental artifacts in the world. This anthology contains thematically arranged excerpts from his many writings, letters, and speeches, making it a uniquely accessible collection of his wisdom and insight. It is richly illustrated with over 140 black-and-white historical photographs and paintings.
Ananda K. Coomaraswamy was engaged in the world not only as a scholarly expositor of traditional culture and philosophy, but also as a radical critic of contemporary life.
The renowned Sri Lankan metaphysician presents his enlightening insight into the essential kinship between Hinduism and Buddhism. In this probing work, Ananda K. Coomaraswamy examines the foundational myths and spiritual underpinnings of Hinduism and Buddhism. Discarding the Western narrative of philosophical divergence, Coomaraswamy instead explores the essential unity between these two major religions. In his perspective, one is merely an outgrowth of the other. Dividing the book into two parts, Coomaraswamy begins each section with an overview of each religion’s foundational myths. The section on Hinduism then covers concepts such as karma, maya, reincarnation, sacrifice, and caste. In the section on Buddhism, he demonstrates that Buddha never intended to start a new religion, but to deepen the spiritual understanding of the existing one.
An engaging and authouritative biography of one a remarkable man who has left a lasting impression on art in the world
This volume provides a first-hand survey of the arts and literature during a crucial period in modern culture, 1915–1924. Pound was then associated with such germinal magazines as BLAST, The Little Review, The Egoist, and Poetry; he was discovering or publicizing writers such as Robert Frost, Hilda Doolittle, T. S. Eliot, and James Joyce; and he was championing the painters Wyndham Lewis and William Wadsworth as well as the sculptors Jacob Epstein, Henri Gaudier-Brzeska, and Constantin Brancusi. Pound wrote to John Quinn—a New York lawyer, an expert in business law, and a collector of unusual taste and discrimination—about these artists and many more, urging him to support their journals, collect their manuscripts, and buy and exhibit their paintings and sculptures. Quinn at one time owned manuscripts of Ulysses and The Waste Land, Brancusi’s sculpture Mlle. Pogany, and Picasso’s painting Three Musicians. Yet he was often skeptical about the value of new schools of art, such as Vorticism, and disturbed by the outspokenness of authors such as Joyce. Pound’s letters are unusually tactful when he counters Quinn’s doubts and explains the premises of experimental art. Pound’s letters to Quinn are touched with his characteristic humor and wordplay and are especially notable for their lucidity of expression, engendered by Pound’s deep respect for Quinn.
Philosopher, author, and lecturer Alan Watts (1915–1973) popularized Zen Buddhism and other Eastern philosophies for the counterculture of the 1960s. Today, new generations are finding his writings and lectures online, while faithful followers worldwide continue to be enlightened by his teachings. The Collected Letters of Alan Watts reveals the remarkable arc of Watts's colorful and controversial life, from his school days in England to his priesthood in the Anglican Church as chaplain of Northwestern University to his alternative lifestyle and experimentation with LSD in the heyday of the late sixties. His engaging letters cover a vast range of subject matter, with recipients ranging from High Church clergy to high priests of psychedelics, government officials, publishers, critics, family, and fans. They include C. G. Jung, Henry Miller, Gary Snyder, Aldous Huxley, Reinhold Niebuhr, Timothy Leary, Joseph Campbell, and James Hillman. Watts’s letters were curated by two of his daughters, Joan Watts and Anne Watts, who have added rich, behind-the-scenes biographical commentary. Edited by Joan Watts & Anne Watts