Studies and Sketches – A Review

STUDIES AND SKETCHES: A REVIEW

(We have great pleasure in publishing the following letter from Sir C. P. Ramaswami Aiyer to Sri K. Chandrasekharan–Editor)

Delisle, Ootacamund

Jan., 26, 1951.

My dear Chandrasekharan,

In the bright and bracing winter sunshine of the Nilgiri Hills and on the Republic Day, I completed the perusal of your ‘Studies and Sketches’. ¹

You have perceived and sought to express the two truths that are so often forgotten or ignored–namely that the longer one lives and studies life and literature, the more does it become clear that behind everything that is precious stands the personality of the individual (our ancients enunciated the truth by the statement that the monarch is the maker of his age). It is not the period or the moment that makes the man but the man who creates the age. Nextly, there is no question that in the words of that baffling genius Oscar Wilde, the two supreme arts are “Life and Literature–Life and the perfect expression of life”. With Literature and on the same pedestal stand the arts–architecture, painting and above all music. Rightly did Pater exclaim, “All art constantly aspires towards the condition of music.”

In what you have consistently and often half consciously uttered, you have felt that to realise our age and its workings, one must realise all the past ages which have contributed to its making.

And, above all, you have exemplified the maxim in which I firmly believe that even a so-called ‘Critic’ cannot be ‘fair’ in the normal meaning of that word. It is only regarding matters that do not intrest a person that he gives what is called a “really unbiased opinion”. Almost always such opinions are futile. It has been remarked that only an auctioneer can equally admire all schools of art.

It is abundantly clear that in the appraisal of Rabindranath Tagore’s Symbolism and suggestiveness, of Jawaharlal Nehru’s reflectiveness and philosophy and the individuality and glamour of Dr. Rangachari, your portrayal is that of an admirer out and out. Fine though it be, I appreciate more the restrained and delicate handling of themes like Sir Sivaswami Iyer and Pandit Malaviya whose little mannerisms and petty foibles are hinted at without losing sight of their essential nobility and significance.

Your unflinching adherence to “the things that are more excellent” and condemnation of the spurious and meretricious elements of recent-manifestations have been exhibited in the fine sketch of Rukmini Devi rightly called by you the “tireless sentinel” and of Balasarasvati,
the last reminder of the great tradition of Nrittta and Abhinaya.

But to me the two finest studies are those of Ananda Coomaraswami and of the ‘mystic and musician.’ In the latter is contained a fine analysis of the Adi Kavi’s synthesis of Sahitya and Sangita culminating in a breathlessly enthusiastic resume of Sri Tyagaraja’s devotional artistry. The former essay vindicates Coomaraswamy’s position as one of the earliest and most authentic champions and interpreters of our artistic heritage in the domains of sculpture, painting and music. His exposition of sadrisya quoted by you is an instance of the originality and validity of his views.

Before I conclude, I must pay a tribute to the remarkable combination of candour and appreciation that you have exhibited in the performance of a peculiarly difficult task–the task of dealing even in snatches with the personality and life-history of your father–so dynamic and tempestuous and yet so tender and essentially humble in outlook.

Pray accept my sincere congratulations and my best wishes and also my apologies for the belated fulfillment of my promise to review your book.

Yours sincerely,

C. P. RAMASWAMI AIYAR

¹ Published by S. Viawanathan, Central Art Press, 11, Menichol Road, Chetput, Madras. Price Re. l.8.0)