ANANDA COOMARASWAMY ANNOTATED BIBLIOGRAPHY (Annotated Bibliography Sample)

Name Course Date Institution ANANDA COOMARASWAMY ANNOTATED BIBLIOGRAPHY Ananda K. Coomaraswamy. An open Letter to the Kandyan chiefs, 1905 Using letters, Coomaraswamy addresses the Kandyan chiefs regarding their power and influence in the districts. This is because they are responsible for managing the temple funds. They use their authority to protect the Buddhist building just like they treat the secular ones. Ideally, Buddhism is a living force among the society. Thus, the Kandyan chiefs cannot overlook the significance of Buddhist buildings in the region. Although the letter addresses the chief, the author appeals to the Sinhalese people to protect ancient buildings. The community also has a role to take care of old building including the Viharas, ambalams, and privates houses. Most ancient houses were erected in the 18th century. Change attributed to industrial revolution replaced Gothic architecture with the building of all sorts as evidenced in Europe. The Kandyan style of architecture comprised of Hindus features, which did not last longer. Ideally, architecture is needed for it expression, the cooperation of different arts including the silversmith, painter, carpenter, stonemason and blacksmith to produce structures of harmonious and lovely character is needed. The author compares the old and the new building in Kandy. He noted that the steady competence of Kandyan artist faded away. This is attributed to changes such industrial revolution. The terrible nature of modern building doesn’t pose any permanent harm. However, the less renovation of ancient works destroyed valuable history. In the old building, wall painted acted as the picture wall. Reading gods and heroes stories were easy. Currently, the painting of the workmen is seen as stupid. They are replaced with modern paintings of clocks and street lamps among others. Thus, the grave jeopardy of imprudent redecoration will increase with an increase in renovation fund. Viharas walls are decorated with pictures such as Wessantara Jataka, Madridewi and two children and Sutasoma Jakata among others done more than 100 years. The pictures are entirely drawn using flat decorative style powered by yellow, red, black, white and greenish gray colors made by artists. Little attention and care characterize the nature of preservation. Hanging stones, the leaking roof, and incomplete painting is the nature of historical buildings. As a show of appreciation of great work of artists and historical value, the chiefs ought to preserve at least one building. Instead, the buildings are either neglected or poorly repaired (Coomarswamy). The impact of the historical site includes attraction sites have been overlooked in most countries. In worst case scenarios, people destroy the sites for personal interest. The high rise in the population growth people grabs public land for personal use. Further, the industrial revolution in the name of proving employment to the youth has resulted in the destruction of historical sites. Thus, the book well connects to the modern society. The advocacy for the renovation of historical sites is a worthy cause in the contemporary society. Coomaraswamy, Ananda K. The Oriental View of Woman. Broad Campden: Essex House Press, 1910. Print. The fate of a woman is not a new phenomenon globally. Ananda begins by acknowledging that speaker and writers assume that women occupy a lower position in the past and present. He further pointed that women are classified based on Western and Eastern perspective. Other than civilization history, Christianity in European imposed upon women inferior position. Paul was responsible for the low spiritual status of woman in the Christian. Other than the Bible, influential Asian philosophers based in Europe do not support women. For instance, Ibn-rushd advocates that the society should hinder women from unleashing all the resources they possess. Thus, the role of a woman is to bear and feed children (Coomarswamy 7). Servitude hinders woman from using their capacity to achieve great things. This is the solo reason why women are gifted with great moral qualities, which dry like plant. They opt to burden their husbands. Since the number of women is twice that of men, women are unable to make a living. Although Germany tried to empower women, remarks from philosophers contributed significantly towards degradation of woman reform. The society believes that women should die of childbirth. A comparison between the East and West religion standoff suggest the inferior position of a woman. I concur with Amanda’s believe that women and men are equal. However, it is unfortunate that between the age of twenty and forty, most women focus on bearing children. Thus, women freedom revolves around having children. He advocates for reform of social status in both the East and West (Coomarswamy 8). Although gender equality found it route in most countries, the modern society still degrades the girl child. Female gentle mutilation is primitive actions that affect the modern woman especially in the African countries. Thus, this book is very critical in the modern society. Ananda K. Coomaraswamy. The art and craft of India and Ceylon, 1913 Meister Eckhart’s view of art elaborates the kinship theory between Indian aesthetics and old Christian. Coomaraswamy borrows heavily from Eckhart’s works and Indian analogies. Referencing several pieces of literature by Sanskrit, the following essays provide details views of Indian art. The essays do not merely quote from other literature, but they interpret and provide correction of misunderstandings and mistranslations of the past. The author shows that particular art conception forms an integral part of Indian life and thought from Vedas onward. This does not include extreme Buddhist, Jain asceticism, and Mohammedanism. The author also shows the same formation dominated in medieval European contemplation and Chinese. The Indian theory briefly explains that art should be based on a purpose other than just individual self-expression or enjoyment. Thus the most important goal is to express religious and metaphysical principles best described using symbolizing phenomena. The author used Chinese theory to supplement Indian theory. The first theoretical principle ascertained that art exists as means of religious experience or conditions. In the first chapter, Ananda focuses on the theory of art in Asia. In the same chapter, he also contends that Indian artist barely seeks a fantasy of nature. Instead, they strive hard to create a real suggestion of the character portrayed by a subject. In the second chapter, the author examines aesthetics attributed to medieval European in the content of 14th century Meister Eckhart and German mystic. The subsequent chapters investigate using Indian texts Coomaraswamy brings out the psychology of the Indian analysis of art. In the last chapter, the origin, as well as the use of art in India, is discussed (Coomarswamy 15). Ananda K. Coomaraswamy: Jaina Art, 1914 Coomaraswamy books feature crucial information regarding Jainism, Jaina text, and Jaina Iconography. He ascertained that Jaina is not only the oldest but the most recognized Indian paintings. The paintings are accessible in Indian school of art, which is based on old traditions. He also noted that manuscript rich in Jaina bhandaras based in Western India were readily available. Due to lack of chronological presentation of information, thought about the intention of Jain style were cut short. Based on that fact, Coomaraswamy observed and recommended the consideration of aesthetic aspect (Coomaraswamy 12). Jaina art features both male and female types of physical. The author observed a sword edged noise, which was also the characteristic of Orissan sculpture and Nepalese bronze medieval. In part four, Jaina paintings were illustrated using Jaina manuscripts. The 1924 paintings were more comprehensive featuring quality styles. In terms of theme, Lives of Mahavira among others were common. Today, Jaina paintings are scarce. Thus, this book will be helpful in understanding useful and valuable historical projects. Coomaraswamy, Ananda K. L' albero, la ruota, il loto. Elementi di iconografia buddhista, 1918 The title translates to ‘The shaft, the wheel, the lotus, Elements of Buddhist iconography.’ The author explains the trees of life that awaken the liberation knowledge. The lotus flower symbolized the Buddha’s royal throne, while the wheel is a symbol of ancient solar. The Vajra denotes a thunderbolt diamond, which is at the brilliant core of the heart. The diamond possesses true knowledge. In this book, the author explains that the wheel, Lotus flower and the shaft are essential symbols of Buddhism. The book further explains that it is impossible to separate religious experience form aesthetic experience. This is because the isolation has no value. He further supports the self-realization and contemplation as part of Buddhist convention. In this case, Buddha image must portray some basic values. Coomaraswamy, Ananda Kentish: The Dance of Siva. New York: Sunwise Turn Press, 1918. Siva also known is the king of Actors or the lord of dance using cosmos as his theater. Everybody enjoy his dance accompanied by drum. The several dances symbolize manifestation of primal rhythmic energy. The presence of Aryan hill god was a sign of great motif attached to art or religion. He stated, “Irrespective of the source of Siva’s dance, it became in time the clearest image of the activity of God which any art or religion can boast off.” (Coomarswamy). The three popular dances include Hima- layas, featuring a godly chorus. The mother of the world is placed on the golden throne featuring precious gems, the Sulapani dances. The Sarasvati, Indra, and Vishnu plays the vind, flute and drum respectively. Tandava is the second well-recognized dance of Siva. The dance is performed in the burni...