Ananda K. Coomaraswamy Knihy

Ánanda Kéntiš Muthú Kumárasvámí byl světoznámý indolog, znalec orientálního umění, historik světových náboženství a metafyzik. Cejlonský původ ho vedl k národní hrdosti a buditelství. Během své hvězdné akademické kariéry byl uchvácen naukou perennialismu a myšlenkou totožného metafyzického jádra všech náboženství světa. Rozvíjení a aplikování této nauky zasvětil celý zbytek svého života. Ve své pozdní knize s názvem Čas a věčnost se Kumárasvámí zabývá chápáním protikladnosti pomíjivého světského času a nepomíjivé božské věčnosti. Analyzuje je v učeních hinduismu, buddhismu, starořecké filosofie, islámu a křesťanství a neopomíjí ani verše moderních mystiků. Objevuje jednotné a nadkulturní učení o věčnosti přítomné v okamžiku, v božském Nyní, jež je vždy na dosah pro ty, kdo ho hledají, a jehož dosažení je vrcholem duchovní snahy a stavem osvícení podle všech náboženských tradic.

Formerly known as 'Why Exhibit Works of Art?', this book is a study of Christian and Eastern arts. The book is a collection of articles written by Coomaraswamy, which were published in reputed art journals and pamphlets, and notes of reviews of different artists published in New York, Boston, Paris, Calcutta, and London.

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The book is highly recommended to students, instructors, museologists, and research scholars interested in Indian arts.

Ananda K. Coomaraswamy, a prominent authority on global religious traditions, offers profound insights into art, culture, and metaphysics in this expanded edition of his 1949 work. It features an additional article, "The Bugbear of Democracy, Freedom, and Equality," which enhances the exploration of complex themes. This collection stands out as an enlightening contribution to English literature, reflecting the author’s deep understanding and interpretation of significant philosophical concepts.

The book delves into Indian music with in-depth analysis, exploring its cultural significance. It also addresses the status of Indian women and the impact of Sahaja philosophy, while reflecting on the intellectual community and the perspectives of Indian youth. Themes of individualism are examined, providing a comprehensive look at contemporary Indian society.

The author writes further that Gandhara art is Indic, and not European. This book is highly recommended for scholars and researchers interested in Buddhist art.

His works were influenced by the Traditionalist and Perennial Schools of Philosophy. He authored several books which were based on the traditional arts, metaphysics, and social criticism. He was also the curator of Indian art at the Boston Museum of Fine Arts.

Besides, Coomaraswamy offers his commentary based on the philological aspect, as the writers of the Vedas did not have previous knowledge of metaphysics, but had developed ontological knowledge from the existing Sanskrit sources.

Similarly, both Coomaraswamy and Horner also discuss the issues of heresiology, dhamma for the common folk, sacrifices, treatment of animals, and familial and societal responsibilities from Buddha's perspective.