Cakravartin

This article was written by Arthur Osborne and is taken from the January 1964 edition of the journal ‘Mountain Path’ available at www.ramana-maharshi.org

Despite the secular spirit which swept over Europe at the Renaissance and has spread to the rest of the world in the present century, it would still be true to say that the greater part of the world’s art and poetry has been religious in inspiration and origin. Why?

It has been suggested that the reason is simply that in past ages the churches have been the principal or only patrons; that, however, is a shallow explanation, looking at the past through modern spectacles. It does not explain why Hindu life and literature were dominated for centuries by the great religious epics (and let us remember that the Greeks also considered the Homeric poems the basis of their religion, although they show little of the profundity of the Hindu epics). It does not fit the Taoist painters, who were largely amateurs in no need of a patron, or the sculptors and painters of Buddhist cave temples, at Ajanta and elsewhere, who were world-renouncers. It would be laughed at by the Persian poet-saints who scandalised the orthodox. It does not even apply to the great temples of Mediaeval India or the gothic cathedrals of Christendom, in complying with whose intricate symbolism and shaping whose exquisite figures the builders were hammering out the lineaments of their own true nature. Continue reading »

“Juan (János) Moricz, our compatriot, met in Ecuador, Peru and the Amazonas such Indian tribes the members of which he could speak Hungarian with. In their legends they keep the awareness and knowledge of their many thousands of years’ old past and their kinship and connections with other peoples alive. Nobody has been able to refute Moricz’ discoveries, on the contrary, the Spanish for political and economical reasons have levelled heavy attacks against Moricz.”

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