Coomaraswamy, Ananda Kentish

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Coomaraswamy, Ananda Kentish

(ä'nəndä` kĕn`tĭsh ko͝omä'rəswä`mē), 1877–1947, art historian, b. Ceylon (now Sri Lanka). Raised in London by an English mother, he returned to Ceylon in his early 20s. After 1917 he became the first keeper of Indian and Islamic arts in the Museum of Fine Arts, Boston. He was one of the first scholars to recognize the importance of Rajput painting. His first major work, Mediaeval Sinhalese Art (1908), expressed ideas upon which he would elaborate in other writings throughout his life. He stressed the spiritual nature of Indian art and furthered the view that art was produced through meditative yogic practice. In his book Am I My Brother's Keeper? (1947), he expressed some of his perceptions concerning the disparities between Western institutions and Asian thought. He promoted the role of the art object as transmitter of philosophical and religious content. Among his other books are Dance of Siva (1918), History of Indian and Indonesian Art (1927), Elements of Buddhist Iconography (1935), and The Transformation of Nature in Art (3d ed. 1956).

Bibliography

See the bibliography of his writings in I. K. Bharatha, ed., Art and Thought (1947); his selected letters, ed. R. P. Coomaraswamy and A. Moore, Jr. (1989).

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I am reminded immediately of Ananda Coomaraswamy, philosopher, art historian and curator of Asian art at the Boston Museum of Fine Art and his discussions of the eminence of life and the handmade.
The documentation here does not guide us to Gill's correspondence with Ananda Coomaraswamy in which he entertained a theological justification for his predilections: he was given to understand that in Hindu art sexual union was to be appreciated as divine gift.
All three artists studied the ideas of visual perception and aesthetics explored in depth by the philosopher Ananda Coomaraswamy (1877-1947) in his 1934 writing, The Transformation of Nature in Art.
Some lives of influential writers born in the 19th century, including Ananda Coomaraswamy and Rabindranath Tagore, are included, but the majority of the essays are devoted to 20th- and 21st- century writers.
Ananda Coomaraswamy died sixty years ago, in the summer of 1947.
Ananda Coomaraswamy was born in Colombo, Sri Lanka, in 1877.
Scaturendo da questa complessa sinergia intertestuale di voci poetiche e prospettive teoriche, La parola infetta concede senza dubbio priorita ai suoi principali referenti, Artaud e Bataille, Dante e Leopardi, Baudelaire, Block e Lautremont, chiamando contemporaneamente in causa la critica contemporanea della modernita, da Julia Kristeva ad Ananda Coomaraswamy e Rene Guenon.
Striving for the widest possible compass, Mehrotra sadly admits that four more commissioned chapters failed to be submitted on time--those on art historian Ananda Coomaraswamy, on "The Pulp Artists," on "The Historian as Author," and on "a discussion of periodicals, journals and little magazines.
But using the texts to understand the images is a methodology taught to us primarily, as so much else, by Ananda Coomaraswamy.
The first cultural context shows Ananda Coomaraswamy in his own, intricate conceptual tandava-dance between East and West.
4) Dr Pratapaditya Pal informs me that Auguste Rodin was the first Western artist to take a serious interest in Shiva Nataraja (and that this prompted Ananda Coomaraswamy to write on the deity for the European and American reader).
4) The image-linga is, however, not traceable, reminding us of the image-linga illustrated by Ananda Coomaraswamy (figure 2), which was already missing when he published his History of Indian and Indonesian Art in 1927.