jinarajadasa, c - art as a factor in the souls evolution (ap50)

7/28/2019 Jinarajadasa, C - Art as a Factor in the Souls Evolution (AP50)

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ADYAR PAMPHLETSNo. 50

Art


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hbl, brtl Storage1064Art as a factor in the soul's evol

From the Proceedings of the Federation of the European Sectionsof the Theosophical Society, London, J.905.


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ADYAR PAMPHLETSNo. 50

Art as a Factor in the SouPsEvolution

/C. JIJSTARAJADASA

February 1915

THEOSOPHICAL PUBLISHING HOUSEAdyar, Madras, India


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as a cdfactoii in tluj $imW(tolntionAll real Art is the disimprisoned soul of Fact.Carlyle

It is difficult to define Theosophy with a phrasebut were one asked so to define it, perhaps one couldhardly do better than say that it is a way oflooking at the universe and man from the standpointof their Creator. To look at everything from thestandpoint of Grod and not of manthis is the giftthat the Divine Wisdom bestows on those that cherishher. Hence it is that there is nothing in life that isnot interesting to the Theosophist ; the speck of dust onthe ground, and the glowing nebulae in the heavensthat are to form solar systems, the tiny living cellwith its untold mysteries, and the Elder Brothers ofour race that are the glory of our humanityall thesehave their message for him and tell him somethingof Theosophy. Science, Art, Religion, and Philosophy,every conceivable branch of knowledge, is but a


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means whereby he gains a glimpse of the Divine Wis-dom that is the manifestation of the mind of God.With this old and jet ever new synthesis of life'sactivities to guide his vision, man looks on the universewith new eyes ; he holds in his hands the key to theriddle of the universe, and even if when veil after veilis lifted there must be veil upon veil behind, yeteach raising of a veil will only add glory to his vision.With the first true glance into the real meaning of

life that comes with the study of Theosophy in itsmodern presentation, three facts will ever standinsistent before the consciousness of man. Of thesethe first is that everywhere in the universe, at everyconceivable point in space, and yet outside it all,there is a Consciousness, the expression of whose Willis the universe visible and invisible. Call it by whatname we will, the fact is the same; God, AbsoluteSpirit, Divine Lawthese are merely so many differentways of conceiving this truth. We may regardGod, the one Consciousness behind all things, withmany a philosopher as Pure Being, or as the EternallyHoly from the standpoint of religion ; it will be theaim of this paper to point out the significance of yetanother aspect as the Infinitely Beautiful.

It is this aspect that the divine Plato revealed tothe world; and the few in Persia and India thatfollow the mystical philosophy of the Sufis still attestto this day that it has not been altogether for-gotten.


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Furthermore, this consciousness or being of Godmanifests itself in the universe, we are told, in atrinity of threefold activity, symbolised in diverseways in the world-religions ; of these many trinities,which are symbols, one is taken for the purpose ofthis paperthat of Power, Wisdom and Mind. Usu-ally this trinity is thought of as Power, Wisdom andLove ; but Mind is here substituted for Love for thefollowing reasons. As the words are here used adifference exists between Mind and Wisdom; mind itis that gathers facts of consciousness, analyses them,synthesises them, and thus slowly comes to certainconclusions, and finally to generalisation

; through theworkings of the mind there arises knowledge, as dis-tinct from wisdom. But wisdom does not analyse orsynthesise; the thing or law is known by another pro-cess, whose faint manifestation among us now is theintuition ; it is known from within and not from with-out. When wisdom works, for an instant the dualitybetween the knower and the thing known ceases, andthe new fact of consciousness is gained from within.Wisdom, then, is the second aspect of the Trinity.

But in reality Wisdom is, to our consciousness, aflashing back and forth between a duality of Beautyand Love. There may be knowledge of a thing orperson through the working of the mind, throughreason, through judgment ; but the wisdom of it ariseswhen through a flash of what to us is love therearises a momentary identification of knower and


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known, and with that the sensing of the Pattern orArchetype, the Beautiful-in-itself, of which the thingknown is a particular manifestation. Beauty, then,cannot be separated from Love, nor Love from Beauty,for they are the inseparable dual manifestations intime and space of Wisdom.The second great fact that is understood with the

true vision of life is that everything in the universe isdirected by intelligence. We realise that the schemeof life and activity that we call evolution is theresult of a conscious direction ; and that this directionis in accordance with a Plan made by a Master Mind.Facts of evolution from this standpoint assume a newsignificance, for evolution is the realisation in ourworld of consciousness of this divine Plan. Natureis not, then, blindly working to produce formsthat will adapt themselves to changing conditions,but it is chaos that is being slowly and laboriouslymoulded into a cosmos after a Pattern that exists fromthe beginning of things.

This pattern is Plato's World of Ideas, in whichexist the archetypes of things. In one of its aspectsit is Kant's world of the things-in-themselves, out ofspace, time and causality; it is, too, the Divine Mindof Berkeley. What the general concept is to theparticular, such is the relation of the archetypal worldto our world of time and space.

Before the beginning of evolution, the Divine Mindconceives the archetypes of forms in which the divine


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life is to manifest ; but before man's consciousnesswhich is an expression of that life can exist in full self-consciousness in the archetype, it must first slowlybe conscious on a lower realm in the several mani-festations of that archetype. Let us consider, forinstance, what seems an evident fact, that it is in thescheme of evolution that the human soul is to beclothed in the future in an ideal form, perfectlybeautiful and a full expression of the life within. TheDivine Mind conceives the archetypal form, andthence it exists as an absolute reality in the Worldof Ideas. But a long process of evolution has to begone through before this aim can be realised, andthe human soul in full consciousness can take thearchetypal form itself as its vehicle. First, thearchetype is brought down from the World of Ideasinto lower regions ; when this happens, the archetype,that is the reality at the back of a general concept,at once manifests itself as many particulars ; formsthen are to be built up in matter with these particularmanifestations as models. Furthermore, as self-con-sciousness in the human soul is first developed in thelowest realms of matter, these particular types willthere appear; they will, perhaps, be hardly recognis-able as particulars, for the virgin matter is difficult tomould and the forms will be of the roughest andcrudest. But slowly, race after race, the guiding in-telligences modify these crude manifestations one afteranother so as to perfect them ; and thus the human


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6consciousness is taught to pass from a vehicle of oneparticular type to that of another and so slowlyonwards to life in the archetype itself.

This, then, is the reason, when we consider thehuman form, that we can trace its broad outlines inthe lowest vertebrata and the planning for it in yetearlier forms ; the slow laborious march of evolutionthrough one kingdom of nature after another, and inthe human, through one race after another, is all butthe work of teaching the divine life, that at our stageis the human soul, to grow in power, till it shall beable to exist in the archetypal form itself and so standin the presence of God the Father as His perfectSon.

Similarly, too, just as there exists as the perfectvehicle of man's consciousness the archetypal form towhich we are marching, so also are there archetypesbehind all particulars, whether they be forms, emo-tions, or thoughts ; and the work of evolution is totrain man to live in these archetypal ideas and emo-tions, and not in their particulars, and so realise hisdivinity.

Three facts, it was stated, stand clearly before thestudent of Theosophy ; of these, two have been mention-ed first, that there is in the universe behind all forceand matter a Consciousness, omnipresent and eternallybeneficent, call it by what names we will and, second,that this Consciousness has at the beginning of thingsmade a plan in accordance with which evolution is


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being guided. The third follows from these two, andit is that man's duty is to understand what is this Planand work in harmony with it, for his progress andhappiness lie in that alone. It is the understandingof the Plan and the harmonious working with it thatis the theme of this paper, showing in what way Artmay be a means.Now man, the child of God, is made in the image of

God ; and just as there is in the Unity of the DivineConsciousness a trinity of manifestation, three similaraspects are found in man also. The divine trinity ofPower, Wisdom and Mind, Father, Son and Holy Ghost,finds its reflection in man as Spirit, Intuition and Intel-ligence. In the growth of the soul the expansion ofconsciousness proceeds from below and hence the firstto manifest in man is Intelligence ; and then what isdesignated by the term Intuition, which embodies initself not only a sense of unity through love, but alsothe essence of Intelligence ; and finally, when manapproaches perfection, Spirit manifests in all its power,containing within itself all that was the life and soulof Intuition and Intelligence.Man's duty is to work with the divine Plan. But

at first man's soul is but feebly conscious, with butlittle intelligence, and he finds himself united to ananimal of much power that has been slowly builtfor him through the ages through the long processof evolution. The body and its energies are thevehicle of the soul, but they have come from the animal


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8world, bringing with them the animal tendencies ofself-assertion and selfishness and the strong instinctfor the need of a struggle for existence and self-preservation. Were man left alone to evolve byhimself at this stage, progress would be infinitesimal,and indeed there would be far more a reversion toanimal brutishness than an evolution to human virtue.But man is not left alone to evolve ; teachers and

lawgivers, the perfected men of a past age, with aknowledge of the divine Plan, now appear and directthe growth of the souls of men. At first, verylargely, an element of fear comes in the rules ofguidance, for the only thing that the savage knows isthat pain is to be avoided; he ha.s only intelligenceworking in him, and only this can be appealed to ;and the guiding rules are of such a nature that evenhis dim intelligence can assent to them, seeing howaccording to them transgression and pain follow inquick succession. There is, nevertheless, in himintuition, a higher faculty than intelligence ; it isfeeble, only a spark that has just come from theflame. This is a far more potent factor in the soulthan the intelligence, and even at this early savagestage an appeal is made to this nascent G-odheadwithin. Hence there are proclaimed to him dictatesof altruism, proved more false than true within thelimited experience of the dawning intelligence, suchas, " Hatred ceases only by love," " Return evil withgood," " Love thy enemies "; and we shall find that in


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almost every savage community there exists or hasexisted this teaching of altruism, generally attributedto some mythical hero or god.We must not forget this fact, that always in man,even at the lowest, there is within him somethingthat can respond intuitively to the highest code ofethics and give assent thereto, though it may bealmost impossible to put it into practice ; it is thisthat shows the possibility that a human soul mayevolve through good alone to possess in perfectionand strength all those qualities of heart and mindthat normally are strengthened, but not originated,in the struggle with temptation and evil. " There isa natural melody, an obscure fount, in every humanheart. It may be hidden over and utterly concealedand silencedbut it is there. At the very base ofyour nature, you will find faith, hope, and love. Hethat chooses evil refuses to look within himself, shutshis ears to the melody of his heart, as he blinds hiseyes to the light of his soul. He does this becausehe finds it easier to live in desires. But underneathall life is the strong current that cannot be checked ;the great waters are there in reality. "

Slowly man evolves through experience. At firstmany experiences are required to teach him one law

;

he has but the intelligence to work with, and manyisolated experiences does he go through before thererises in his mind the generalisation that is the law ofconduct or the truth of nature. Life after life he

2


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10lives on earth making slow progress, slowly-generalising, one at a time, the immutable laws ofthings. At first, carried away by the impetuosity ofthe desires of his earthly garment, he is unjust tomany, and through that reaps much suffering, theresult of his injustice to others; but slowly therearises in his mind the idea of justice as a law of hisbeing. Again, too, being the slave of " the will tolive," and with a fierce thirst for sensation, he goesto extremes, recoiling from excess of one kind ofsensation or emotion to excess of other kinds,suffering much in the process and learning bat little;but still gradually, as the outcome of his experiencesof pleasure and pain, there arises within him an-other law of being, temperance. Similarly, too,through refusal to recognise the just bounds thatare imposed upon him by the eternal laws, throughimpatience to obtain what is not yet his due, hebrings suffering on others by these means, and him-self suffering in return, he slowly learns patiencepatience to plan and to achieve and to suffer withoutcomplaining.Each of the virtues that the man learns throughout

his many lives becomes a law of his being ; it is ageneralisation from many particular experiences, butwhen once generalised is his own for ever, a part ofhimself ; and in so far as he thus generalises, he getsa glimpse of the divine Plan in which the generalisa-tions exist as archetypal ideas.


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We now see the usual method of evolution; manlearns the immortal virtues through experience. Butexperience is a slow teacher, for many particularexperiences, requiring perhaps many lives on earth,are needed to instil into the man's soul one truth;is this the only method of building into our innernatures the virtues of Loyalty, Honour, Purity,Sincerity, and the others ? Were there no othermethod, evolution would achieve too little at theexpense of much energy dissipated.

There is, however, another way. Man has not onlythe one aspect of intelligence ; there is a higher oneof intuitionBuddhi is the name we give to it in ourTheosophical studies. Beauty and love are its dualmanifestation, but through either it is awakened.When, then, a man lives his lives on earth andloves a few here and there with whom he comes intoeontact, the Buddhi, the soul of intuition, grows with-in him. For love, in truth, manifests the immortalitywithin, for it is a desire for the everlasting possessionof the good and the beautiful.

Here, then, is a new factor to help his evolution.Intuition transcends reason; wisdom comes fromits exercise, not merely knowledge, as from mind

;

intuition generalises from within and not fromwithout, not through many particulars, but bysensing the archetype itself. We see thus a newmethod of realising the virtues, through theirarchetypes, the divine Ideas themselves, a method


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12by which evolution can be hastened by anticipatingexperience. Man thenceforward begins to live in theeternal.Now we can understand the place of Art as a factor

in the soul's evolution. Art, in its highest manifest-ation, always deals with the archetypes. " Its onesource is the knowledge of Ideas ; its one aim thecommunication of this knowledge" (Schopenhauer).Music, the Drama, Poetry, Sculpture, Painting, andthe other branches of Art, in so far as they show ustypes of life and form, are true manifestations of Art yin so far as they fall short of this, they are but play-ing with fleeting shadows.The divine Ideas are archetypes of natural things,

objects and forms that manifest in the orderly processof nature, as a result of the unseen forces that guideevolution the beauty in them is a reflection of thebeauty of the archetypes. We have, however, manythings of man's manufacture that may be beautifullovely designing and ornamentation, work in silverand gold.Now it does not follow that because we postulate

the Idea, or archetype, for such a natural object as atree or a flower, that there is of a necessity an arche-type for an artificial manufactured article like a chairor a table or a book ; nevertheless these latter may bebeautiful, if in them the . artist tries to embody reflec-tions of several concepts of the archetypal world, suchas gruee, rhythm, harmony.


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13When the artist deals with a natural thing, he must

try to sense the archetype ; if he paints a rose, hemust suggest to us through its species the particularconception, a rose, and through that the archetypalidea, flower, an eternal concept ; does he merely painta handthen the more it suggests to us the archetypalhand the more beautiful it will be. And here we seethe true significance of genius. It is the ability ofthe human soul to come into touch with the World ofIdeas. But it is not the artist alone who is a geniusthe philosopher with his broad generalisations, thepure-hearted saint in his lofty contemplation, thelover who through human loves rises to one divine,all live in a realm where "eternity affirms theconception of an hour," for genius "is the powerof giving expression to the unexhausted forms ofcreation potentially existing in the mind of theCreator ".The true function of Art is to put us in touch witharchetypal concepts, and true art in reality does so.

Sculpture tells us of grace, that " proper relation ofthe acting person with the action," and reveals to usthe " idea " of the figure. Painting shows us morethe character of the mind, and depicting passions andemotions shows the soul in its alternations betweenwilling and knowing ; historical painting, again,through particular individuals, that have helped therace by the nobility of their conduct, suggests to ustypes of men and women ; portrait painting, though


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14there may be a faithfulness in portraying a livingindividual, is yet only great when through the personon the canvas a type can be suggested or hinted at,sometimes merely the particular manifestation of anarchetype in humanity. In painting, landscapepainting perhaps brings us nearer to the world ofideas through the beauties of nature. It may be thesimple picture of a sunset, but the artist will be greatif, through the harmonj^ of light and colour, he cansuggest to our intuition the " archetypal sunset " withits many more dimensions than we can cognise now.With paintings of seas and mountains, lakes and dells,he can teach us to see Nature as she is, as the Mirrorof the Divine Mind.

Poetry has much in common with sculpture andpainting. It deals with concepts, depicting themwith the music of words, with metre and rhythm as aveil to awaken our deeper intuitions to penetratebehind. The true poet reflects the archetypal ideasin the mirror of his own experience, real or imaginary.He looks on the world, and his genius enables him tosee the reflections of the archetype around him,and he tells us of joy and sorrow, hope and despair,typical and universal, in the hearts of all men; hegives us the abiding truths which so often vanish inthe critical analysis of the lower mind. In epic poetry,the poet shows the heroes of antiquity as types ofmen, and a Ulysses or a King Arthur, moving aboutwith an atmosphere of his own, makes us dimly feel


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15that there must be and there will be always such menin our midst. In lyric poetry, the poet becoming himselfa mirror to reflect typical emotions in others, feeling"them as it were, himself, sings of men as he sees themwith those " larger, other eyes " than ours.No branch of Art, perhaps, except Music, can help

man to rise to higher levels than the Drama. Forthe drama shows the inner conflict in man. The truedramatist fastens on fleeting reflections of archetypesin humanity, materialises them, and then on the stagemakes them live ; and through these types he soundsfor us the deep notes in humanitythe pain that isnot uttered, the temptations that beset men, theirfailures and successes, the destiny that makes effectfollow inexorably upon cause, and the purification ofthe human soul through self-sacrifice. For a fewhours we are to forget ourselves, and, like the gods,watch mankind in its struggles. We contemplatelife, impartially and impersonally, through these typeson the stage, and begin to understand life as it is,and not as we think it is. And as before, the nearerthe dramatist in his creation comes to types inhumanity, the greater he is. The types of menand women in ^Eschylus and Sophocles, those thatthe prolific genius of Shakespeare has createdfor us, Tannhauser, Wotan, Brunnhilde, Siegfried,Amfortas, Kundry and Parsifal from the mind ofWagnerall these are ever in humanity ; and ourknowledge of them gives us a larger view of life.


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16Through watching their experiences, too, we anticipateexperiences for ourselves, thus hastening evolutionand passing on swifter to the goal. Looking atthe world through the eyes of the dramatist, wemay ourselves become " serene creators of immortalthings".With architecture and music we come, as in land-

scape painting, to the more impersonal manifestationsof Art. Architecture and music are closely allied,and the description of architecture as " frozen music,"shows us the relation. For architecture is harmonyin space as music is harmony in time. A great workof architecture is like a musical thought-form thatdescends from on high and becomes materialised instone. It puts us in touch with the realm of Ideasby telling us the laws of proportionvisible not onlyin the one building alone but also in the wholeuniverseby giving us concepts of gravity, rigidity,rhythm, harmony, by making us understand " thebass notes of nature ".But what shall be said of the greatest of all the artsMusic ? In ways not possible to other branches of

Art, music makes us feel our immortality. It tell usof the archetypal world directly, of things of thatworld without their veils; tells of sorrow, not mineor yours, but Sorrow itselfGod's Sorrow, if youwill ; of love, not mine or yours, not of this individualor that, but love of Love ; for music is the soul ofArt and talks to us with the language of God.


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17Sorrow is hard to bear, and doubt is slow to clear,Each sufferer says his say, his scheme of the

weal and woe

:

But God has a few of us whom He whispers in the ear The rest may reason and welcome : 'tis wemusicians know.

True art, then, will always call forth a response inman from the higher intuition, the Buddhi, whoseheritage is the archetypal world. Ifc will alwayssuggest . something of the world of Ideas. Art, fromthis standpoint, is always didactic, can never be any-thing else. It does not necessarily teach us ourknown ideas of ethics ; but it will always show to ourintuitions how to look at man and the world from thestandpoint of God, that is, in their true relations. Itwill teach us to " cast out the self," the true aim ofEthics, Religion and Philosophy. Art, then, is a meansfor the quickening of the Buddhi, whence come swiftgeneralisations from within of the meaning of life'sactivities, and the hastening of evolution.

Art can help the evolution of man in another way.Sooner or later in the endless life of the growingsoul, there comes a time when an inner change takesplace within him; life loses its old attractions for him,and he seeks for something more abiding than theworld can offer him. He has come to the end ofthe " Path of Out-going " and begins to treadthe " Path of Return." There is the " reversal ofmotives," and he yearns for things eternal. If he hasin his previous lives loved beautiful things, not


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18merely through the senses, but rather through his in-tuitions, then, slowly, without violent transitions andwithout deep inner struggles, he passes from hislife of worldliness, and enters upon the higher way.For the higher path is not so radically different fromthat lower where it was pleasant to live and lovebeautiful things ; the higher is but the lower trans-formed into one of absolute beauty and happiness,without the dross of mortality that made all thingslovable transient so that they fell short of our desire.Truly it might be said of the new life of eternalbeauty,

I plucked a rose, and lo ! it had no thorn.Further as the man grows to his fuller life through

Art, he grows from within, as the flower grows, andthere is a harmonious development of all the facultiesof the soul, not losing in breadth what he gains inintensity. He grows to be a harmonious and " music-al " soul. He treads, swiftly as surely,

the Middle Road, whose CourseBright Reason traces and soft Quiet smoothes.

No longer a creature vacillating between changing" moods," his key-note of character now will beSophrosyne, sound-mindedness, health of heart ; andthrough love of the sciences and fair philosophies, helearns how to blend all human feelings and thoughtsu into an immortal feature of perfection ".But more wonderful than all these is the vision he

gains of the divine Plan ; he becomes a knower of the


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19inner nature of things ; he feels and thinks archetypal,the truly " ideal/ 5 emotions and thoughts. Throughthem he sees in what ways he can become a co-workerwith God, how he may be God's messenger onearth to tell of Heaven. A greater happiness thanthis is not possible to any man, and it is this thatcomes to him through Art.Yet Art is not the end. Man has in him a moreGod-like aspect than intuition ; it is Atma, Spirit.

Through the exercise of intuition Spirit will revealitself ; and what Art is to the dreary view of life ofthe unevolved man, so will the Spirit-aspect of life beto Art. Of this we know nothing; and yet do weperhaps discern a reflection of that undreamed-of viewof life in the lives of a Buddha and a Christ ? Hasnot every utterance from them an archetypal charac-ter, flashing forth into many meanings in our minds ?Do they not seem to live a life that is a symbol,every event of their lives being, as it were, a symbolof some deep living truth in the Eternal Mind of theMost High ? Is it not to this new aspect of life thatArt itself is but the threshold ?Who but the greatest of artists can tell us of thatglory that shall be revealed ? Yet, till we come tothat day, we have Art to guide us on our way. " DieKunst, O Mensch, hast du allein "Art that shalllead a man's feelings and not follow them, that shallmake him free- willing, in the image of his Maker.For Art is life at its intensest, and reveals the beauty


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20and worth of all human activities ; and yet it shall bethe mission of Art, now and for ever, to show menthat Life, even in all its fullness, is like " a dome ofmany-coloured glass," reflecting but broken gleamsof "the white radiance of Eternity ".

The Vasanta Press, Adyar, Madras.


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THE ADYAR PAMPHLETSVol. II

13. Elementary Lessons on Karma.14. The Fundamental Idea of Theosophy.15. The Life of Buddha and Its Lessons.16. Education in the Light of Theosophy.

Annie BesantBhagavan DasH. S. OlcottAnnie Besant

Subba Rao and Nobin BannerjiAnnie Besant

19. Occultism, Semi-Occultism and Pseudo-Occultism.Annie Besant

The Law of Cause and Effect.Mysticism.Aspects of the Christ.The Spirit of Zoroastrianism.

17. On the Bhagavad-Gita.18. The Future Socialism.

24. The Brotherhood of Religions.

C. W. LeadbeaterAnnie BesantAnnie BesantH. S. OlcottAnnie :Besant

Vol. HI25. Some Difficulties of the Inner Life. _ Annie Besant26. The Yision of the Spirit. C. Jinarajadasa27. Yegetarianism in the Light of Theosophy. Annie Besant28. Correspondences between the Planes. Dr. Van Hook29. The Influence of the East on Religion. R. Heber Newton30. Communication between Different Worlds. Annie Besant31. The Twelve Signs of the Zodiac. T. Subba Rao32. Theosophy and Its Evidences. Annie Besant33. Yegetarianism and Occultism. C. W- Leadbeater34. England and India. Annie Besant35. The Influence of Theosophy on the Life and Teachings

of Modern India Gyanendranath Chakravarti36. Investigations into the Superphysical Annie Besant


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THE ADYAR PAMPHLETSVol. IV

37. Theosophy and Christianity Annie Besant38. The Religion of Goethe. Dr. F. Otto Schrader39. Ancient Egyptian Magic. H. P. Blavatsky40. The Reality of the Invisible and the

Actuality of the Unseen Worlds. Annie Besant41. The Smaller Buddhist Catechism.

C. W. Leadbeater and C. Jinarajadasa42. A Word on Man, His Nature and His Powers. Annie Besant43. The Inner Purpose of the Theosophical Society.

Annie Besant44. Indian Students and Politics. G. S. Arundale B.A., LL.B.45. Spiritual Life for the Man of the World. Annie Besant46. On Moods. Annie Besant47. Buddhism. Dr. F. Otto Schrader48. Spirituality and Psychism Gyanendranath Chakravarti

Vol. V49. " Spirits " of Yarious Kinds H. P. Blavatsky50. Art as a Factor in the Soul's Evolution C. Jinarajadasa

Annual Subscription : Rs. 1-8 or 2s. or 50c. Postage Free.Single Copy : Ans. 2 or 2d. or 4c. Postage Extra.

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jinarajadasa, c - art as a factor in the souls evolution (ap50)

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