It is because people around the world do not have any clear conception of the meaning of the word ‘morality’ that they hesitate sometimes to find any moral aspect in some samples of great art. Morality does not simply mean the sense of right and wrong as people understand it today. It means a system of standard of conduct approved by any particular society in a particular age. The moral views of the Spartans will not tally with the moral views of the Victorian Englishmen. People in the 20th century can hardly be expected to appreciate any moral sense in the nude statues of Greece or the murder of weak children in ancient Sparta People sometimes feel that there surely exist some types of art which only please for its own sake and not because they are intended to influence peoples life in any way. How wrong that notion is people can dimly begin to understand when they remember the great art evolves out of some strong emotions and is bound to inspire similar emotions in men and women other than the artists themselves. The artists are surely not divorced from the society and their art can hardly be entirely cut off from the current conduct of men and women. Only, people may fail to see the connection. Such is their pre-conceived conception of morality.

All art, it was truly said by Aristotle, is mimesis or representation of life. Indeed, it becomes difficult for us to understand the term, ‘representation’, unless people erase from their mind the idea that representation means photographic image. Art is on the other hand the artist’s view of a fact and not simply a faithful representation of it. Truth in art is, therefore, different. For some ‘the fundamental connection between art and morals still remains a mystery. A work of art is good because it is aesthetically good, because there is something in it which pleases immediately, and may be valued for its own sake. As representation of life art is bound to imitate even the ugly and the indecent features of life, though in a good way. The artist’s mind cannot be swayed by moral considerations. The immediate impact of art is what inspires the artist, the future effect is secondary.

The cave-dwellers in Spain in Altamira caves who painted the charging bison or the running deer, were painting something from real life and the connection with morality can only be found when we remember that in the life of those primitive people hunting was an essential part. It was again the intention to draw the attention of the Greek people to their rituals and to make them interested in their Gods and Goddesses that the statues of Apollo, Venus, Minerva, Jupiter and others were made. Art was there a handmaid to religion. As to their being nude, the reason is not so far to seek. In Greek life perfection of the physic was a cult. Here one may remember that the Gandhar Art which is the combination of Greek, Roman and Indian art.Indian art is the highest form of expression and exists for the sake of expression. Though art thoughts become visible. Back of forms are the desire the longing, the brooding creative instinct, the maternity of mind and the passion that give pose and swell, outline and colour.

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Art civilizes because it enlightens, develops, strengthens, ennobles. It deals with the beautiful, with the passionate, with the ideal. It is the child of the heart. To be great, it must deal with the human. It must be in accordance with the experience, with the hopes, with the fears, and with the possibilities of man. No one cares to paint a palace, because there is nothing in such a picture to touch the heart. It tells of responsibility, of the prison, of the conventional. It suggests a load—it tells of apprehension, of weariness and ennui. The Landscape Art a cottage, over which runs a vine, a little home thatched with content, with its simple life, its natural sunshine and shadow, its trees bending with fruit, its hollyhocks and pinks, its happy children, its hum of bees, is a poem—a smile in the desert of this world.

The great lady, in velvet and jewels, makes but a poor picture. There is not freedom enough in her life. She is constrained. She is too far away from the simplicity of happiness. In her thought there is too much of the mathematical. In all art one will find a touch of chaos, of liberty; and there is in all artists a little of the vagabond—that is to say, genius.

The Nude Art has rendered holy the beauty of woman. They have filled the heart of man with tenderness and worship. They have kindled reverence, admiration and love. The Venus de Milo, that even mutilation cannot mar, tends only to the elevation of our race. It is a miracle of majesty and beauty, the supreme idea of the supreme woman. It is a melody in marble. All the lines meet in a kind of voluptuous and glad content. The pose is rest itself. The eyes are filled with thoughts of love. The breast seems dreaming of a child.

The prudent is not the poetic; it is the mathematical. Genius is the spirit of abandon; it is joyous, irresponsible. It moves in the swell and curve of billows; it is careless of conduct and consequence. For a moment, the chain of cause and effect seems broken; the soul is free. It gives an account not even to itself. Limitations are forgotten; nature seems obedient to the will; the idea) alone exists; the universe is a symphony. Every brain is a gallery of art, and every soul is, to a greater or less degree, an artist. Prolific pictures and statues that now enrich and adorn the walls and niches of the world, as well as those that illuminate the pages of its literature, were taken originally from the private galleries of the brain.

The soul—that is to say the artist—compares the pictures in its own brain with the pictures that have been taken from the galleries of others and made visible. This soul, this artist, selects that which is nearest perfection in each, takes such parts as it deems perfect, puts them together, forms new pictures, new statues, and in this way creates the ideal.

To express desires, longings, ecstasies, prophecies and passions in form and colour; to put love, hope, heroism and triumph in marble; to paint dreams and memories with words: to portray the purity of dawn, the intensity and glory of noon, the tenderness of twilight, the splendour and mystery of night, with sounds; to give the invisible to sight and touch, and to enrich the common things of earth with gems and jewels of the mind—this is Art.

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