Re: ஆநந்த குமாரஸ்வாமி

[N. Ganesan]

சிறீதரன் எழுதினார்:
> பல்லாண்டு காலமாக கொழும்பில் இருந்து வந்த சேர் ஆனந்த குமாரசுவாமி மாவத்தை
>என்ற சாலையின் பெயர் அண்மையில் அகற்றப்பட்டு சிங்களப் பெயர் சூட்டப்பட்டுள்ளது.
> அன்புடன் > சிறீதரன்

அன்பின் சிறீதரன்,

நீங்களோ, அல்லது இன்னொரு சிறப்பான மொழிபெயர்ப்பாளரோ இந்தக் காணொளியை
மொழிபெயர்த்துத் தாருங்களேன்.
Cosmopolitanism and Modernism: How Asian Visual Culture Shaped Early
Twentieth Century Art and Literature in London
http://vimeo.com/38423406
முத்தமிழ் என்கிறோம். இந்திய மொழிகளின்
வட, தென் மொழிகளின் இயல், இசை, நாட்டியம் - சிற்பம், சித்திரம் சொல்லும்
பாஷையை மேலைநாடுகளுக்கு சிறந்த முறையில் அறிமுகப்படுத்திய மேதை
ஆனந்தா. அவர் குடும்பத்தின் 15000 நூல்கள் ஆவனங்கள், நகர்படங்கள் ...
எல்லாம் டெக்சாஸ் வந்துவிட்டன. எல்லாவற்றையும் இலவசமாக இணையத்தில்
அளிக்கச் சொல்லி உயில் எழுதிவிட்டனர். க. கைலாசபதி ஆனந்த குமாரசாமி
பற்றி எழுதிய கட்டுரை கிடைக்குமா? கிடைத்தால் நூலகம் தளத்தில்
ஏற்றுங்கள்.

ஈழப்போர் 2009-ல் பலாத்காரமாகச் சிங்கள ராணுவத்தால் முடிவுற்றபோது,
தமிழரை ஆனந்த குமாரசாமி கேம்ப், அருணாசலம் கேம்ப், ராமனாதன் கேம்ப்
என்றே சிறையில் அடைத்தனர். :(

சில ஆண்டுகளுக்கு முன் சிங்களர் இணைய தளத்தில் அவர்கள் கலையின்
பெருமையை உலகுக்கு எடுத்துச் சொன்ன ஆனந்தகுமாரசாமி பற்றி
எழுதியிருந்தனர். கவிஞர் சிற்பி அவர்களுக்கு அனுப்பிய தொகுப்பில்
நன்ராயிருந்தது. இன்று அதை யாரும் படிக்க இயலாத நிலையில்
ஆக்கியுள்ள கொடுமையைக் காண்கிறேன். இது போலத்தான்
கொழும்பில் அவரது பேரிலான சாலைப் பெயரை அழித்ததும்.

ஆயிரத்துக்கும் மேலான நூல்களும், கட்டுரைகளும் இயற்றிய
தமிழினம் தந்த மேதை (Polymath https://en.wikipedia.org/wiki/Polymath)
ஆனந்தா. அவரைத் தமிழ் டாவின்சி அல்லது இந்திய மறுமலர்ச்சி
மாமனிதர் (Indian Renaissance Man) என்றழைக்கலாம்.
காந்திஜி போன்றோருக்கு உடையில் இந்தியராக வழிகாட்டியவர்
அவரே. மெஜாரிட்டி மைனாரிட்டியை அழித்தலைப் பற்றி 1907லே
எழுதியுள்ளார். அவர் எது ஆகாது என உலகுக்கு அறிவுறுத்தினாரோ
அதையே இன்று சிங்கள அரசாங்கம் செய்துவிட்டது. தமிழக
முதல்வர், எதிர்க்கட்சி தலைவர்கள் இந்தியா அப்படிப்பட்ட
இலங்கையில் நடக்கும் காமன்வெல்த் மாநாட்டுக்கு செல்லக் கூடாது
எனச் சொல்கிறார்கள். அதன் விளைவு என்ன? கச்சத்தீவை
திரும்பிப் பெற தமிழக முதல்வர் எடுக்கும் முயற்சிகள் போற்றத்
தக்கவை. முதன்முதலில் 1974-ல் ஈரோட்டில் இது பற்றிய
மாநாட்டினை நடத்தி கச்சத்தீவு பிரச்சினை பற்றி எழுதியவர்
முதல்வரால் உவேசா விருது முதலில் பெற்ற புலவர் செ. இராசு
ஐயாதான் என்பது நினைவுக்கு வருகிறது.

மகரவிடங்கர்-கொற்றவை தம்பதி பற்றி நான் ஆராய,
மகரம் பற்றி ஆனந்தகுமாரசுவாமி தொடங்கின ஆய்வுகள்
ஊக்குவித்தன. மீனும், விடங்கரும் விராவிய சமயத்தைத்
சிந்து சமவெளி காட்டுகிறது. ஆனந்தா வாழ்ந்தபோது
கண்டுபிடிக்கப்பட்ட சிந்து சமவெளி நாகரிகம். அப்போது
ஆர்ட் ஹிஸ்டரியில் அதிகம் தெரியாத துறை,
ஐராவதமும், பார்போலாவும் சிந்து முத்திரைகளை
ஆனந்த குமாரசாமி மறைந்த பின் தான் தொகுத்தனர் அன்றோ?
இன்றிருந்தால் சிந்துவுக்கும் தொல்திராவிட ஜனங்களுக்கும்
உள்ள உறவுகளைச் சிறப்பாக எழுதியிருப்பார். என்போன்றோர்
ஆய்வுகளை ஊக்குவித்தும், பாராட்டியும் எழுதியிருப்பார்.

வெ.சா. எழுதிய ஆனந்த குமாரசாமி கட்டுரை பற்றி
பென்னேசுவரன் பதிவில் காணலாம்:
http://sanimoolai.blogspot.com/2007/06/blog-post_153.html

நா. கணேசன்

Ananda Coomaraswamy (1877 - 1954)

by Andrew Scott
© CDN Thursday, 22 August 2002

'Where ever there is
knowledge,
Where ever there is virtue,
Where ever there is beauty,
He will find a home'.

Ananda Coomaraswamy was born 125 years ago on August 22, 1877 at
Kollupitiya. His mother was English and his distinguished father, Sir
Muttu Coomaraswamy, was a devoted Hindu and the first Hindu to be
called to the English Bar. Ananda Coomaraswamy's father died while
Ananda was very young and as a result young Coomaraswamy was brought
up in England from where he ultimately graduated in geology from the
University of London. He served in Sri Lanka as an active geologist
and mineralogist and achieved recognition as a renowned scientist by a
series of very impressive discoveries.

Later he became the curator of the Boston Museum of Fine Arts and died
in 1947 at the age of 70. As an energetic young man Ananda
Coomaraswamy played a dominant role in the regeneration of the Sri
Lankan culture at the turn of this century. He was an ardent
nationalist who sometimes directed his attacks on the materialism of
the West. Ananda Coomaraswamy had an utter contempt for both
europeanised Indians as well as europeanised Sri Lankans. He once
remarked that these europeanised Indians and Sri Lankans were Indian
or Sri Lankan only by name.

What he said about India and the decadent Indian culture at that time
is rightly applicable to present Sri Lanka. He always pointed out that
schools and churches hastened the decay of eastern culture and
remarked: "If you teach a man that what he has thought right is wrong,
he will be apt to think that what he has thought wrong is right".

Ananda Coomaraswamy's views on politics too were much varied as his
noble ideas about art. He was a nationalist in outlook and he always
pointed out the great danger to which nationalism may eventually lead.
He elaborated on his warnings in one of his early essays of genius,
'Young India' and advocated that nationalism should positively
contribute to resolve problems that face the whole wide world, and no
longer merely those of a single race or continent.

His clear intellect ranged over many varieties of subjects such as
petrology, philosophy, metaphysics, music, iconography, philology and
art. His knowledge of the indigenous arts and crafts was unexcelled
and he was even called 'the greatest orientalist of all time'.

In Ananda Coomaraswamy was harmoniously blended both Eastern and
Western culture and whether he wrote on politics or poetry, on myths
or on metaphysics he wrote with erudition. Whether it was Plato or the
Upanishads, the Bible or the Baghavad Gita, the Koran or the
Tripitaka, Ananda Coomaraswamy was imbibed with the true spirit of
their noble teachings. Taken in the broadest sense he was a truly
cultured man. Ananda Coomaraswamy who, as mentioned earlier, began
life as a scientist and attained its giddy heights was also keenly
interested and equally competent to stress the importance of literacy.
He was one of the rare Sri Lankans who emphasised that literacy is an
essential commodity for the cultural resurgence of a nation. One of
his essays, 'Borrowed Plumes' first published in Kandy in 1905 was his
maiden literary effort. It reflects the deep thoughts of a youthful
genius.

In this essay he describes very movingly the destruction of native
life under foreign domination. This is an interesting essay which
should be read and re-read how specially in view of the serious
efforts being presently made to reactivate this country's cultural
heritage. Those who have not yet read Borrowed Plumes have missed a
glorious piece of literature which spurs national enthusiasm too. It
rings with choice sentences such as "Sometimes I think the eastern
spirit is not dead, but sleeping, and may yet play a great part in the
world's spiritual life".

Ananda Coomaraswamy's writings have a vital message for men and
nations everywhere who are interested to preserve their moral and
cultural integrity. He placed a high value both on his dignity and
freedom as well as on the dignity and freedom of others and his
independence of spirit and thought continues to inspire us even today.
He is very much alive today as he was in the past and his spirit
continues to speak to all those who believe that their future rests on
the preservation of the individual regardless of race, religion,
nationality or social status.

His greatly absorbing and colossal work Medieval Sinhalese Art, for
which he collected material when on his long circuits remains a
monumental volume in this sphere while from rocks and stones to art
and culture, from culture to man and society itself he was an
authority as well as a dynamic source of inspiration. There is no
doubt that his simple and noble life will continue to inspire the Sri
Lankans for many more years.

As a young man of 23 he saw his fist paper on 'Ceylon Rocks and
Graphite' in print in the quarterly journal of the Geological Society
and by the time he died he had completed writing more than 500
publications including the bulky monuments like Medieval Sinhalese Art
and History of Indian and Indonesian Art. For the 14th edition of
Encyclopedia Britannica he contributed 8 articles and edited the
English words of Indian origin in Webster's New International
Dictionary. His books and memoirs, articles and monographs, were
published in India, Sri Lanka, England America, France, Germany and
Holland.

On his 125th birth anniversary let us remember him as a Sri Lankan who
attained international eminence as a philosopher of art and art
historian, as an expositor of oriental art and philosophy, as a
traditionalist thinker, as sociologist, educationist, a knowledgeable
commentator of comparative religion, erudite writer and above all as
an essayist with the touch of a prophet. To us who are living in the
modern world sundered by broken harmonies Dr. Ananda Coomaraswamy's
life serves well as a model that should be emulated.

Ananda Coomaraswamy (1877-1947)

(@ http://www.movinghere.org.uk/)

Ananda Coomaraswamy has been described as a prophet of a new age, a
kala-yogi (fine arts yoga exemplar), philosopher and theologian. He
was born in Ceylon (now Sri Lanka) in 1877 and was the son of the
famous Sri Lankan legislator and philosopher Mutu Coomaraswamy and
English woman Elizabeth Beeby. It is thought that Ananda embodied an
enormous amount of both his mother and father's traditions, and it is
for this reason that he was able to be one of the greatest
commentators on western and eastern cultural comparison and, in the
international sphere, one of the most well-known Sri Lankan scholars
that has ever lived.

Ananda was taken to live in England by his mother in 1879 when he was
two years old as at this time her health was poor. His father also had
hopes of entering British politics. However, Ananda's father died
within two years of his birth and Ananda was brought up by his mother,
sister and grandmother in Kent. Ananda was educated at University
College London and received a doctorate of science.

Ananda's first work endeavours took him to Sri Lanka where he did much
work on the geology of the country as Director of the Mineralogical
Survey (1903-1906). But, like his father, Ananda's interests took him
far beyond his initial scientific training. Ananda showed an interest
in a wide range of aspects of life in Sri Lanka, and used the
opportunities arising in his scientific fieldwork to learn widely
about the country's social and cultural situation.

Ananda founded the highly influential Ceylon Social Reform Society in
1905 with the help of Sinhalese and Tamil leaders of the day. The
organisation's aims were to attack denationalisation, protect national
traditions and customs, and promote the use of national languages.
Linking the Sri Lankan struggles with those of India were of utmost
importance to Ananda, as was his concern at the loss of eastern
traditions to those of the west, both themes which were to continue to
be vitally important to his work throughout his life. Ananda was a
prolific writer and one of the greatest of his works was written at
this time (1905), 'Burrowed Plumes'. In this work he argues powerfully
for the Sri Lankans developing a sense of their own traditions and
national culture, promoting a complete nationalism in dress and
manners.

Ananda left Sri Lanka in 1908 and included a 3 month tour of India on
his return journey to England. He was attracted back to England
because of the wider fields of study available there. Here he became
part of an artistic community in the Cotswolds, owning and running his
own printing press known as Kelmscott Press and continuing to write
extensively across many areas. As well as studying widely, Ananda also
wrote in many different languages. Ananda became renowned for being
one of the world's greatest exponents of oriental art, comparative
religion and aesthetics.

Ananda moved to Boston in 1917 and became the curator-creator of the
Indian collection of the Boston Museum of Fine Arts, a position he
continued in until his death in 1947. He produced a prodigious amount
of scholarly research during this period and in so doing had a deep
influence in particular on American thinking in aesthetics,
metaphysics and religion.

Although he only spent a few years of his life in Sri Lanka, Ananda
has continued to be revered long after his death for the contribution
he made to the country and the Asian region generally. He is seen as
being a vital exponent of traditional values, reawakening the east to
its own traditions, and challenging the intrusion on eastern values by
the expansion of western society.

BIBLIOGRAFÍA SUMARIA DE ANANDA KENTISH COOMARASWAMY

La bibliografía de A K. Coomaraswamy es vastísima y publicada
originalmente en inglés en general. Su hijo, Rama P. Coomaraswamy ha
censado 627 libros y artículos en una bibliografía sin pretenciones
exhaustivas. Nos limitamos, por tanto, a señalar sus obras más
importantes publicadas en volúmenes. Existe un índice de las obras: "A
Catalogue of the Special Exhibition of Paintings, and Books en Honour
of the Birth Centenary of Ananda K Coomaraswamy", National Museum,
Nuova Delhi 1976, actualizado en 1981. Recientemente se ha publicado
una Working bibliography of A. K C. in Ceylon, por Rama Coomaraswamy,
Books of India, Londres y una "Selected Bibliography" en Sources of
Wisdom, volumen conmemorativo a cargo del ministerio de Asuntos
Culturales de Sri Lanka, Colombo 1981. La bibliografía más completa
es, sin embargo, "Ananda K. Coomaraswamy, Bibliography/Index", a cargo
de Rama P. Coomaraswamy, Prologos Books, Berwick-upon-Tweed, Gran
Bretaña, 1988, edición revisada de la “Selected Bibliography” de 1981.

LIBROS

1.- The Deeper Meaning of the Struggle, Essex House Press, Broad
Campden, 1907.

2.- Mediaeval Sinhalese Art, Essex House Press, Broad Campden, 1908.
2ª. ed. revisada y ampliada, Nueva York ,1956.

3.- The Aims of Indian Art, 1908.

4.- The Message of the East, Ganesh Press, Madrás, 1908.

5.- Essays in National Idealism, Colombo Apothecaries Co. Ltd.,
Colombo, 1909.

6.- The Indian Craftsman, prefacio de C. R. Ashbee, Probsthain,
Londres, 1909.

7.- Indian Drawings, India Society, Essex House Press, Londres, 1910.

8.- Selected Examples of Indian Art, Essex House Press, Broad Campden,
1910. Reimpresión: Today & Tomorrow's Printers & Publishers, Nueva
Delhi, 1971.

9.- Art and Swadeshi, Ganesh Press, Madrás, 1911.

10.- Indian Drawings: 2ªserie, Chiefly Rajput, India Society, Essex
House Press, Londres, 1912.

11.- The Arts and Crafts of India and Ceylon, Foulis, Edimburgo, 1913.
Reimpresión: Noonday Press, Nueva York, 1964. Traducción española:
Artes y oficios de la India y Ceilán, Aguilar, Madrid, s. f. Trad.
Francesa: Les Arts et les Métiers del´Inde et de Ceylan, 1924

12.- Bronzes from Ceylon, chiefly in the Colombo Museum, 1914.

13.- Myths of the Hindus & Buddhists, en colaboración con Sister
Nivedita, Harrap, Londres, 1913. Reimpresión: Dover Publications,
Inc., Nueva York, 1967. Trad. española: Mitos y leyendas hindúes y
budistas, M. E. Editores, Madrid, 1995 (traducción de Diana Gibson).
Trad. italiana: Miti dell'India e del buddismo (con Suor Nivedita)
(trad. de A. Odierno), Laterza, Bari 1927 (edizione anastatica),
Laterza, Bari 1980, con una nota de Raniero Gnoli.

14.- Vishvakarma: Examples of Indian Architecture, Sculpture,
Painting, Handicraft, First Series: One Hundred Examples of Indian
Sculpture, Introduction by Eric Gill, Luzac, Londres, 1912-14.
Reimpresión: Munshiram Manoharlal, Nueva Delhi, 1978.

15.- Buddha and the Gospel of Buddhism, Putnam, Nueva York, 1916.
Reimpresión: Harper & Row, Nueva York, 1964. Trad. española: Buda y el
Evangelio del Budismo, Paidós, Buenos Aires, 1969. Paidós Ibérica,
Barcelona, 1989. (trad. de Enrique Franchi). Trad. italiana: Buddha e
la dottrina del Buddhismo (introd. y traducción de G. Sassi), Luni
Editrice, Milano 1994.

16.- Rajput Painting, 2 vol., Oxford University Press, Londres, 1916.
Reimpresión: Motilal Banarsidass, Nueva Delhi, 1977.

17.- The Mirror of Gesture: Being the Abhinaya Darpana of
Nandikesvara, por A. K. Coomaraswamy y Gopala Kristnayya Duggirala,
Harvard University Press, Cambridge, Mass., 1917. 2ª ed. con nueva
introducción: Nueva York, 1936. Reimpresión: Munshiram Manoharlal,
Nueva Delhi.

18.- The Dance of Siva, Sunwise Turn Press, Nueva York, 1918. Ed.
revisada: Sagar Publications, Nueva Delhi 1976. Trad. española: La
danza de Shiva, Siruela, Madrid, 1996 (incompleto, sólo se incluyen
los artículos referentes al arte). Trad. francesa: Madeleine Roland:
La Danse de Shiva, con un prólogo de Romain Roland, Rieder, Paris
1918. Reimpresión: Editions Awac, Rennes 1979. Trad. italiana: La
danza di Siva. Arte e civiltà dell'India, Luni Editrice, Milano 1997.

19.- Catalogue of the Indian Collections in the Museum of Fine Arts,
Boston, Part I: General Introduction - Part II: Sculpture, Boston
Museum of Fine Arts, 1923. Reimpresión: Bharatiya Publishing House,
Delhi, Varanasi, 1978;

20.- Introduction to Indian Art, Theosophical Publishing House,
Madrás, 1923. Reimpresión: Munshiram Manoharlal, Nueva Delhi, 1969.
trad. francesa: Pour comprendre l'art Hindou Bossart, Paris, 1926,
(trad. de Jean Buhot). Reimpresión: Editions Awac, Rennes 1979.
Traducción italiana: Introduzione all'arte e alla mitologia dell'India
(prefacio de A. Schwarz, trad.de P. Caracchi y F. Garnero), La
Salamandra, Milano 1984.

21.- Catalogue of the Indian Collections in the Museum of Fine Arts,
Boston. Part 4: Jaina Paintings and Manuscripts, Boston, 1924.

22.- Bibliographies of Indian Art, Boston Museum of Fine Arts,
Boston, 1925.

23.- Catalogue of the Indian Collections in the Museum of Fine Arts,
Boston. Part 5: Rajput Painting, Boston, 1927.

24.- History of Indian and Indonesian Art, Karl W. Hiesemann, Leipzig,
1927; Goldston, Londres; Weyhe, Nueva York. Reimpresión: Dover
Publications, Inc., Nueva York 1965. Reimpresión: Munshiram
Manoharlal, Nueva Delhi, 1972.

25.-The Origin of the Buddha Image, «Art Bulletin», IX, 4, 1927.
Reimpresión: Munshiram Manoharlal, Nueva Delhi, 1972, 1980.

26.- Yaksas, I, Smithsonian Miscellaneous Collections, Washington,
1928. Reimpresión (junto a Yaksas II): Munshiram Manoharlal, Nueva
Delhi, 1971, 1993.

27.- Catalogue of the Indian Collections in the Museum of Fine Arts,
Boston. Part 6: Mughal Painting, Boston, 1930.

28.- Yaksas, II, Smithsonian Institution Publication, 1931.
Reimpresión (junto a Yaksas I): Munshiram Manoharlal, Nueva Delhi,
1971.

29.- Introduction to the Art of Eastern India, 1932.

30.- A New Approach to the Vedas: An Essay in Translation and
Exegesis, Luzac, Londres, 1933. Nueva edición: The Vedas, Essays en
Translation and Exegesis, Prologos Books, Beckenham, 1976. Trad.
francesa: Une nouvelle approche des Vedas. Essai de traduction et
d'exégèse, Arché, Milano, 1994.

31.- The Transformation of Nature in Art, Harvard University Press,
Cambridge, Mass., 1934. (2ª ed. 1935), Reimpresión: Dover
Publications, Nueva York 1956. Trad. española: La transformación de la
naturaleza en arte, Kairós, Barcelona, 1997 (trad. de P. R.). Trad.
italiana: La trasfigurazione della natura nell'arte (introducción y
traducción de Grazia Marchianò), Rusconi, Milano 1976.

32.- Elements of Buddhist Iconography, foreword by Walter E. Clark,
Harvard University Press, Cambridge, Mass., 1935. Reimpresión:
Munshiram Manoharlal, Nueva Delhi, 1972, 1979.

33.- Spiritual Authority and Temporal Power en the Indian Theory of
Government, American Oriental Society, New Haven, (Connecticut), 1942.
Reimpresión: Kraus, Millwood, NY; trad. francesa: Autorité Spirituelle
et Pouvoir Temporel dans la perspective indienne du gouvernement,
Arché, Milano, 1985 (trad. de Michel Boutet). Próxima trad. italiana
en Luni Editrice.

34.- Hinduism and Buddhism, Philosophical Library, Nueva York, 1943.
Reimpresión: Greenwood Press, Westport, 1971. Trad. española:
Hinduismo y Budismo, Paidós, Barcelona, 1997 (trad. de Agustín López y
María Tabuyo). Trad. francesa: Hindouisme et Bouddhisme, Gallimard,
París. Trad. italiana. Induismo e Buddismo (trad. de Ubaldo Zalino),
Rusconi, Milano, 1973, 1987.

35.- Why Exhibit Works of Art?, Luzac, Londres, 1943; reimpreso con el
título: Christian and Oriental Philosophy of Art, Dover, Nueva York,
1956. Nueva edición: Munshiram Manoharlal, N. Delhi. Trad. española:
La filosofía cristiana y oriental del arte, Taurus, Madrid, 1980
(trad. de Esteve Serra). Trad. italiana: Come interpretare un'opera
d'arte (introducción y trad. de G. Marchianò), Rusconi, Milano 1977

36.- Figures of Speech or Figures of Thought: Collected Essays on the
Traditional or «Normal» View of Art, (Second Series), Luzac, Londres,
1946, retomado casi totalmente en el volumen luego señalado con el nº
40.

37.- The Religious Basis of the Forms of Indian Society, 1946
(folleto).

38.- Am I My Brother's Keeper?, The John Day Company, Nueva York,
1947. Reimpresión con el título The Bugbear of Literacy, 1949, 2ª ed.
ampliada, 1979, Arno Press, Nueva York. Trad. italiana: Sapienza
orientale e cultura occidentale (trad. de L. Fenoglio), Rusconi,
Milano 1975, 1988.

39.- Time and Eternity, en «Artibus Asiae», serie monográfica,
suplemento nº 8, Ascona, Switzerland. Reimpresión: Munshiram
Manoharlal Publishers, Nueva Delhi 1988. Trad. española: El tiempo y
la eternidad, Taurus, Madrid, 1980 (trad. de Esteve Serra). Kairós,
Barcelona, 1999 (trad. de Pedro Rodea). Trad. francesa: Le Temps et l
´Eternité, Dervy-Livres, París, 1976 (trad. de Gerard Leconte). Trad.
italiana: Tempo ed Eternità (trad. de R. Rajko), Luni Editrice, Milano
1996.

40.- The Living Thoughts of Gotama The Buddha, con I. B. Horner,
Cassel, Londres, 1948. Trad. francesa: La Pensée de Gotama le Buddha,
1949.

41.- Selected Papers I / Traditional Art and Symbolism, a cargo de
Roger Lipsey, Princeton University Press, Princeton, 1977.

42.- Selected Papers II / Metaphysics, idem.

43.- On the Traditional Doctrine of Art, Golgonooza Press, Ipswich,
1977. Editado como libro aparte: Sobre la doctrina tradicional del
arte, Olañeta, Palma de Mallorca, 1983 (trad. de Esteve Serra)

44.- Selected Letters of Ananda Coomaraswamy, Oxford University Press,
Oxford, 1988.

45.- What is Civilization? And Other Essays, éd. Rama Coomaraswamy,
con prefacio de Seyed Hossein Nasr, Golgonooza Press, ipswich, 1989.

Through his writings, Ananda Coomaraswamy (1877-1947) revealed himself
as a great art critic, philosopher and historian of our time. In the
words of his wife, Dona Luisa, "The extraordinary production in art
history, aesthetic theory, social criticism, comparative religion,
symbolism and metaphysics of this man is astounding. He had
intellectual powers with which few men of his generation could
compare". Besides being an enlightening influence in the West, he was
also instrumental in the East's awakening to the beauty of its own
tradition.

Coomaraswamy's publications comprise many voluminous books, and a very
large range of pamphlets, articles, critical reviews, translations and
letters published in different countries. Indeed, a glance at the
list of his writings would make one wonder whether one is looking
through the Catalogue of a Library or the works of a single
individual. Out of this corpus, 12 books have already been published
by IGNCA. They are :

1. Selected letters of Ananda Coomaraswamy, Edited by Alvin Moore, Jr;
and Rama P. Coomaraswamy (1988). The letters included in the volume,
published for the first time, reveal the being of this uncompromising
man, who believed in no theories or ideologies, political or
philosophic issues. Combining scientific precision with his own
sensitivity, Coomaraswamy addresses himself to the discipline of
history, philosophy, arts and crafts.

2. What is Civilisation (1989): The essays comprising the volume ask
fundamental questions, which are both piercing and incisive. In one
unbroken sweep, a vast spectrum of Western and Eastern Civilisations
is covered.

3. Time and Eternity (1990): Coomaraswamy propounds that though we
live in Time, our deliverance lies in Eternity. All religions make
this distinction between what is merely "everlasting" or "perpetual"
and what is eternal.

4. Essays in Early Indian Architecture, Edited by Michael W. Meister
(1992): Coomaraswamy's probing analysis of texts and sculpted reliefs
in order to reconstruct the extraordinary wooden architecture of early
India was not only an act of great scholarship, but also a foundation
on which further histories of India's exceptional architectural
tradition have all been constructed.

5. Spiritual Authority and Temporal: Power in the Indian Theory of
Government, Edited by Keshavaram N. Iengar and Rama P. Coomaraswamy
(1993): The Indian theory of Government is expounded on the basis of
the textural sources. The welfare of the community depends upon the
obedience and loyalties of the subjects to the dual control of the
King and Priest, that of the King to the Priest, and that of all to
the principle of an Eternal Law-Dharma-as King of Kings.

6.Yaksas: Essays in the Water Cosmology, Edited by Paul Schroeder
(1993): The origin of the Yaksas is examined in the context of Vedic,
Brahmanical and Upanisadic literature, along with the non-Aryan and
pre-Aryan preoccupation with the concept. Dealing with the
interpretation levels of artistic motif, Coomaraswamy delved deeper to
unfold the water cosmology.

7. Thirty Songs From the Punjab and Kashmir, Eidted by Prem Lata
Sharma (1994): The songs were recorded by Mrs. Alice Coomaraswamy,
with Introduction and translation by Ananda Coomaraswamy. She had
studied Indian classical music from Ustad Abdul Rahim of Kapurthala,
and later she transcribed the thrity songs learnt by her in staff
notations.

8. Vidyapati Padavali (1994): Vidyapati Thakur's wreath of songs on
the theme of courtship of God and Soul under the names of Radha and
Krishna, was translated by Coomaraswamy and Arun Sen, from original
Maithili. The spiritual significance lies in Radha depicted as a
village girl in love play with divinity and Krishna, not a historical
figures, but infinity incarnate, the principle of unity and totality.

9. Essays in Architectural Theory, Edited by Michael W. Meister
(1995). This volume presents in consecutive form the essays that best
represent Coomaraswamy's rapidly developing thinking on the
hermeneutics of architecture, - its "why" not "how".

10. The Transformation of Nature in Art, Edited by Kapila Vatsyayan
(1995): In this volume, Coomaraswamy attempts to explain the theory
behind medieval European and Asiatic art, especially art in India.
The first principle of his theories is that art does not exist for its
own sake; it exists as a means to some religious conditions or
experience.

11. Hinduism and Buddhism, Eidted by Keshavarama N. Iengar and Rama P.
Coomaraswamy (1999): The two essays are authoritative expositions of
the teachings of these religions as understood by those who practised
them rather than as understood by scholars and comparative
religionists who studied and reviewed them from without.

12. The Perception of the Vedas, Edited by Vidya Nivas Misra (2000):
Coomaraswamy's stuides of the Vedas and Upanishads, published in a
variety of American, European and Indian Journals, have been arranged
in this volume in relations to some aspect or the other of Vedic text
as one integrated perception.

The following books are already in the press in advanced stages of
publication, and are expected to be published between March 31 and
June 30, 2001.

1. Essays on Jaina Art, Edited by Richard Cohen.
2. Essays on Geology and Mineralogy, Edited By A. Ranganathan and K.
Srinivasa Rao.
3. Bibliography of Ananda Coomaraswamy, Compiled by James Crouch.
4. Elements of Buddhist Iconography, Edited by Krishna Deva.
5. Essays on Music, Edited by Prem Lata Sharma.
Necessary material for the following volumes has been collected and
after careful editing, press copies will be prepared.

1. Essays on Swadeshi.
2. Essays on Education.
3. Essays on Women.
4. Mirror of Gesture : Abhinaya Darpan of Nadikesvara.
Other titles are also being identified and relevant material being
collected for publication. Lastly, two unpublished manuscripts have
been given to us by his son Dr. Rama P. Coomaraswamy, which after
careful editing will also be published. They are :

1. The Early Iconography of Sagittarius and
2. Concerning Sphinxes.

On May 11, 4:22 pm, Sri Sritharan <ksthar...@hotmail.com> wrote:
> அந்தக் காணொளியைப் பகிர்ந்தமைக்கு நன்றி கணேசன். நல்ல அருமையான தகவல்களும் புகைப்படங்களும் உள்ளன.
>
> > கூர்ந்து கவனித்தால் தந்தையை சிங்களர் என்கிறார் :) அவ்வளவு மறதி.
> > சிங்களரும், பணக்கார தமிழரும் ஊடாடிய காலம் அது - கொழும்பில்.
>
> ஆனந்த குமாரசுவாமி முதல் மனைவி எதெல் மேரி என்பவருடனான மணமுறிப்பை அடுத்து இலங்கை திரும்பிய நிலையில் சிங்களப் பெண் ஒருவரைத் திருமணம் புரிந்தார். இவர்களுக்கு இரண்டு பிள்ளைகளும் பிறந்தார்கள். 1917 ஆம் ஆண்டுக்குப் பின்னர் பொசுட்டனுக்குப் புலம் பெயர்ந்த பின்னர் டோனா லூசா என்ற அர்ச்சென்டினப் பெண்ணைத் திருமணம் புரிந்தார். இவர்களுக்குப் பிறந்தவர் தான் மரு. ராமா பொன்னம்பலம் குமாரசுவாமி. இவர் 2006 சூலை 19 இல் பொஸ்டனில் காலமானார்.
>
> பல்லாண்டு காலமாக கொழும்பில் இருந்து வந்த சேர் ஆனந்த குமாரசுவாமி மாவத்தை என்ற சாலையின் பெயர் அண்மையில் அகற்றப்பட்டு சிங்களப் பெயர் சூட்டப்பட்டுள்ளது.
>
> அன்புடன்
>
> சிறீதரன்
>
>