Cakravartin

SYMBOLS and signs, whether verbal, musical, dramatic or plastic, are means of communication. The references of symbols are to ideas and those of signs to things. (…) The language of traditional art—scripture, epic, folklore, ritual, and all the related crafts—is symbolic; and being a language of natural symbols, neither of private invention, nor established by conciliar agreement or mere custom, is a universal language. The symbol is the material embodiment, in sound, shape, colour or gesture as the case may be, of the imitable form of an idea to be communicated, which imitable form is the formal cause of the work of art itself. It is for the sake of the idea, and not for its own sake, that the symbol exists: an actual form must be either symbolic - of its reference, or merely an unintelligible shape to be liked or disliked according to taste. (…) The scholar of symbols is often accused of “reading meanings” into the verbal or visual emblems of which he proposes an exegesis. On the other hand, the aesthetician and art historian, himself preoccupied with stylistic peculiarities rather than with iconographic necessities, generally avoids the problem altogether; in some cases perhaps, because an iconographic analysis would exceed his capacities. We conceive, however, that the most significant element in a given work of art is precisely that aspect of it which may, and often does, persist unchanged throughout millennia and in widely separated areas; and the least significant, those accidental variations of style by which we are enabled to date a given work or even in some cases to attribute it to an individual artist.

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