19
individual is not the support of man/the human, we leave the world of ends and
means and come to the world of holism”.
46
If Nirmal assigns such possibilities to literature, and more generally to art,
as opposed to the philosopher or the mystic, it is because art in a modern society
may assume a function similar to that of myth in a traditional society. This is
especially true for the conception of time and motion, so different in the non
modern and in the modern mentalities (cf. supra). Contemplating the stone
sculptures in Elephanta, Nirmal says: “in art there is this immobile speed (sthir
âveg) where we live in a single time / together, simultaneously, in time and past,
life and death, history and eternity (…). It is as if Shiv had centered on his face
the male power and the beauty of Shakti, both (centered) on a peaceful, detached,
fix point – in an extraordinary fusion
47
-- which is not simply a halt, but it is such
an invisible point (bindu) where all motions stop moving”
48
. As the mythic view-
point, the aesthetic view-point for Nirmal is connected with the wish for worldly
life and desire, made as much precious as the abstract path of the philosopher or
the mystic. Hence his protagonists, very much human, suffering and soothing their
pain by the discovery of contemplation, but never totally relinquishing the world
of humanity, pain and happiness, memory, events and forms (ie: the world of
maya). This passion of life (âveg) is simply transcended by decantation through
the fix gaze of a contemplating gaze into its stable, ultimate or focal, point (aTal
bindu).
Now, the last question is how much Indian is this world-view, and
symmetrically how much Western is the opposite one (the world of segmentation,
units, distinctive categories, logical oppositions, positive orientation, history, etc.).
In other words, how solid is the opposition East/West, terms that Nirmal keeps
using as commodities although he repeatedly suggests that the holistic view may
not be a unique property of India (Dh. p.24). It is obvious that the “western”
values have to a considerable degree been integrated in the Indian way of looking
– leading to a kind of schizophrenic stand, which the author illustrates in a
striking way when describing his visit to Bharat Bhavan in Bhopal: on one side
the tribal art displaying myth-like creations, on the other the avant-gardist wing
46
… to hamen sahsâ lagegâ mâno ham ikâiyon kî duniyâ se nikalkar sambandhon kî duniyâ men
cale âe hain. Yahân sab jîv aur prâNî ek-dûsre men antargumphit hain, anyonyâshrit hain, na keval
ve prâNî jo prâNvân hain, balki ve cîzen bhî jo ûpar se niSprâN (inanimate) dikhâyî detî hain. Is
antargumphit duniyâ men cîzen âdmiyon se juRî hain, âdmî peRon se, peR jânvaron se, jânvar
vansaspati se, aur vanaspati âkâsh se, bârish se, havâ se. Ek jîvant, prâNvân, pratipal sans letî,
spandit hotî huî sriSTi – apne men sampûrN sriSTi jiske bhîtar manushya bhî hai, kintu
mahatvapûrN bât yah hai ki manuSya sriSTi ke kendr men nahî hai, sarvopari nahîn hai, sab cîzon
kâ mâpdaND nahîn hai; vah sirf sambandhit hai aur anpne sambandh men vah svâyatt ikâî nahîn
hai, jise ab tak ham vyakti mânte âe the, balki vah vaise hî sampûrN hai jaise dûsre jîv apne
sambandhon men sampûrN hain, jis tarah manuSya sriSTi kâ dhyey nahîn hai usî tarah manuSya
kâ dhyey vyakti honâ nahîn hai, ham sâdhan aur sâdhyon kî duniyâ se nikalkar sampûrNtâ kî
duniyâ men â jâte hain (Dh p. 25-6).
47
Literally “absorption”: tanmaytâ, a technical term and concept in classical aesthetics.
48
Kalâ men vah sthir âveg hai, jahân ham ek sâth, ek hî samay men kâl aur kâlâtît, jîvan aur
mrityu, itihâs aur shâshvat men bâs karte haiN (…) Shiv ne mâno apne chehare par puruS ke
vaibhav aur shakti ke saundarya donon ko ek shânt, nirvaiyaktik, aTal bindu par kendrit kar lyâ hai
– ek asâdhâran tanmayatâ men – jo mahaz Thahrâv nahîn hai, balki vah ek aisâ adrishya bindu hai,
jahân sab gatiyân nishcal ho jâtî hain Dh p. 14.