THE AIMS AND METHODS OF INDIAN ART. 31

."sarne-sightedriess explains to us the seeming paradox,
Hinduism and Buddhism, with their ideals of renunciation
have like Mediaeval Christianity been at once the inspira-
tion and the stronghold of art.

Symbolism must be briefly spoken of. Most familiar,
but often more exclusively of religious than of artistic
significance, is the use of concrete attributes and symbols,
such as the serpent garland, the trisula and the tiger skin
of the verses quoted. More subtle is the symbolism of
posture of body or position of the hands : the body in
.activity or in repose, the hands beseeching, granting ^
destroying, or in some posture of uttermost abstraction.
These symbolisms compose an expressive art speech so
easily understood by those familiar with it, that the
religious end may be attained even where the artistic
value of an image may be small. In greater work they
serve both to define and to explain ; the mysticism of
Oriental a,rt is always expressed in definite forms.

India is wont to suggest the eternal and inexpressible
infinities in terms of sensuous beauty. The love of man for
woman or for nature are one with his love for God.
Nothing is common or unclean. All life is a sacrament,
no part of it., more so than another, and there is no part of
it that may not symbolize eternal and infinite things. In
this great same-sightedness the opportunity for art is
great. But in this religious art it must not be forgotten
that life is not to be represented for its own sake, but for
the sake of the Divine expressed in and through it. It is
laid clown : —

u It is always commendable for the artist to draw the
images of gods. To make human figures is wrong, or even
xtnholy. Even a misshapen image of God is always better
than an image of man, however beautiful " (Sukracarya).