{"id":2390,"date":"2013-07-13T01:41:18","date_gmt":"2013-07-13T01:41:18","guid":{"rendered":"http:\/\/localhost\/?p=2390"},"modified":"2013-07-13T01:41:18","modified_gmt":"2013-07-13T01:41:18","slug":"71-reviews-south-indian-bronzes-vol-01-early-cultural-writings","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/01-early-cultural-writings\/71-reviews-south-indian-bronzes-vol-01-early-cultural-writings","title":{"rendered":"-71_Reviews – South Indian Bronzes.htm"},"content":{"rendered":"
\n\n\n
\n\t\t\t<\/p>\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\t“South Indian Bronzes” <\/font>
\n\t\t\t1 <\/sup><\/font>
\n\t\t\t<\/b><\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\tT<\/font><\/b>HE DISCOVERY
\n\t\t\t<\/b>of Oriental Art by the aesthetic mind \t\t\tof Europe is one of the most significant intellectual phenomena of the times. It is one element of a general change \t\t\twhich has been coming more and more rapidly over the mentality of the human race and promises to culminate in the century to \t\t\twhich we belong. This change began with the discovery of Eastern thought and the revolt of Europe against the limitations of \t\t\tthe Graeco-Roman and the Christian ideals which had for some centuries united in an uneasy combination to give a new form \t\t\tto her mentality and type of life. The change, whose real nature could not be distinguished so long as the field was occupied by \t\t\tthe battle between Science and Religion, now more and more reveals itself as an attempt of humanity to recover its lost soul. \t\t\tLong overlaid by the life of the intellect and the vital desires, distorted and blinded by a devout religious obscurantism the soul in \t\t\thumanity seems at last to be resurgent and insurgent. The desire to live, think, act, create from a greater depth in oneself, to know \t\t\tthe Unknown, to express with sincerity all that is expressible of the Infinite, this is the trend of humanity’s future. A philosophy, \t\t\ta literature, an Art, a society which shall correspond to that which is deepest and highest in man and realise something more \t\t\tthan the satisfaction of the senses, the desire of the vital parts and the expediencies and efficiencies recognised by the intellect \t\t\twithout excluding these necessary elements, these are the things humanity is turning to seek, though in the midst of a chaotic \t\t\tgroping, uncertainty and confusion.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tAt such a juncture the value of Eastern Thought and Eastern \t\t\tArt to the world is altogether incalculable. For their greatness <\/font>
\n\t\t\t<\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\t1 By O. C. Gangoly. Published by the Indian Society of Oriental Arts, Calcutta. Sold by Thacker, Spink and Co., Calcutta, and Luzac and Co., 46, Great Russell Street, London.  
\n\t\t\t<\/font>
\n\t\t\t<\/span><\/p>\n

<\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 576<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\tis that they have never yet fallen away from the ancient truth, the truth of the Soul; they have not gone out of the Father’s \t\t\thouse to live on the husks of the sense and the life and the body; they have always seen in the mind and body only instruments \t\t\tfor the expression of that which is deeper and greater than its instruments. Even intellect and emotion had for them only a \t\t\tsecondary value. Not to imitate Nature but to reveal that which she has hidden, to find significative forms which shall embody \t\t\tfor us what her too obvious and familiar symbols conceal, has been the aim of the greatest Art, the Art of prehistoric antiquity \t\t\tand of those countries and ages whose culture has been faithful to the original truth of the Spirit. Greek culture, on the other \t\t\thand, deviated on a path which led away from this truth to the obvious and external reality of the senses. The Greeks sought \t\t\tto use the forms of Nature as they saw and observed them, slightly idealised, a little uplifted, with a reproduction of her best \t\t\tachievement and not, like modern realism, of her deformities and failures; and though they at first used this form to express an \t\t\tideal, it was bound in the end to turn to the simple service of the intellect and the senses. Mediaeval Art attempted to return to a \t\t\tdeeper motive; but great as were its achievements, they dwelt in a certain dim obscurity, an unillumined mystery which contrasts \t\t\tstrongly with the light of deeper knowledge that informs the artistic work of the East. We have now throughout the world a \t\t\tsearch, an attempt on various lines to discover some principle of significant form in Art which shall escape from the obvious
\n\t\t\tand external and combine delight with profundity, the power of a
\n\t\t\tmore searching knowledge with the depth of suggestion, emotion and ecstasy which are the very breath of aesthetic creation. The search has led to many extravagances and cannot be said to \t\t\thave been as yet successful, but it may be regarded as a sure sign and precursor of a new and greater age of human achievement.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tThe Oriental Art recognised in Europe has been principally that of China and Japan. It is only recently that the aesthetic \t\t\tmind of the West has begun to open to the greatness of Indian creation in this field or at least to those elements of it which are \t\t\tmost characteristic and bear the stamp of the ancient spiritual  
\n\t\t\t<\/font><\/span><\/p>\n

<\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 577<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\tgreatness. Indian Architecture has indeed been always admired, but chiefly in the productions of the Indo-Saracenic school which
\n\t\t\tin spite of their extraordinary delicacy and beauty have not the
\n\t\t\told-world greatness and power of the best Hindu, Jain and Buddhistic work. But Indian sculpture and painting have till recently been scouted as barbarous and inartistic, and for this reason, \t\t\tthat they have, more than any other Oriental work, deliberately remained in the extreme of the ancient symbolic conception of \t\t\tthe plastic Arts and therefore most entirely offended the rational and imitative eye which is Europe’s inheritance from the Hellene. \t\t\tIt is a curious sign of the gulf between the two conceptions that an European writer will almost always fix for praise precisely on \t\t\tthose Indian sculptures which are farthest away from the Indian tradition, -as for instance the somewhat vulgar productions of \t\t\tthe Gandhara or bastard Graeco-Indian school or certain statues which come nearest to a faithful imitation of natural forms but \t\t\tare void of inspiration and profound suggestion.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tRecently, however, the efforts of Mr. Havell and the work \t\t\tof the new school of Indian artists have brought about or at least commenced something like a revolution in the aesthetic \t\t\tstandpoint of Western critics. Competent minds have turned their attention to Indian work and assigned it a high place in
\n\t\t\tthe artistic creation of the East and even the average European
\n\t\t\twriter has been partly compelled to understand that Indian statuary and Indian painting have canons of their own and cannot be judged either by a Hellenistic or a realistic standard. More \t\t\tsalutary still, the mind of the educated Indian has received a useful shock and may perhaps now be lifted out of the hideous \t\t\tbanality of unaesthetic taste into which it had fallen. Whatever benefits the laudable and well-meaning efforts of English \t\t\teducationists may have bestowed on this country, it is certain that, aided by the inrush of the vulgar, the mechanical and the \t\t\tcommonplace from the commercial West, they had succeeded in entirely vulgarising the aesthetic mind and soul of the Indian \t\t\tpeople. Its innate and instinctive artistic taste has disappeared; the eye and the aesthetic sense have not been so much corrupted \t\t\tas killed. What more flagrant sign of this debacle could there be  
\n\t\t\t<\/font><\/span><\/p>\n

<\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 578<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\tthan the fact that all educated India hailed the paintings of Raja Ravi Varma, an incompetent imitation of the worst European \t\t\tstyles, as the glory of a new dawn and that hideous and glaring reproductions of them still adorning its dwellings? A rebirth of \t\t\tIndian taste supporting a new Indian Art which shall inspire itself with the old spirit while seeking for fresh forms is now, \t\t\thowever, possible and it is certainly a great desideratum for the future. For nothing can be more helpful towards the discovery \t\t\tof that which we are now vaguely seeking, a new Art which shall no longer labour to imitate Nature but strive rather to find fresh \t\t\tsignificant forms for the expression of the Self.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tIt is necessary to this end that the wealth of their ancient \t\t\tArt should be brought before the eyes of the people, and it is gratifying to find that an increasing amount of pioneer work is \t\t\tbeing done in this respect, although still all too scanty. The book before us, Mr. O. C. Gangoly’s
\nSouth Indian Bronzes<\/i>, must rank \t\t\tas one of the best of them all. Southern India, less ravaged than the North by the invader and the vandal and profiting by the \t\t\thistoric displacement of the centre of Indian culture southward, teems with artistic treasures. Mr. Gangoly’s book gives us, in an \t\t\topulent collection of nearly a hundred fine plates preceded by five chapters of letterpress, one side of the artistic work of the \t\t\tSouth, -its bronzes, chiefly representing the gods and devotees of the Shaiva religion, -for the Shaiva religion has been as \t\t\tproductive of sublime and suggestive work in the plastic arts as has been the Vaishnava all over India of great, profound and \t\t\tpassionate poetry. This book is a sumptuous production and almost as perfect as any work of the kind can be in the present \t\t\tstate of our knowledge. <\/font>
\n\t\t\t<\/span><\/p>\n

\n\t\t\t
\n\t\t\tThere are certain minor defects which we feel bound to point \t\t\tout to the author. The work abounds with useful quotations from unprinted Sanskrit works on the rules and conventions \t\t\tof the sculptural Art, works attributed to Agastya and others; but their value is somewhat lessened by the chaotic system of \t\t\ttransliteration which Mr. Gangoly has adopted. He is writing for all India and Europe as well; why then adopt the Bengali \t\t\tsolecism which neglects the distinction between the b <\/i>and the v <\/i>of  <\/font><\/span><\/p>\n

\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 579<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\tthe Sanskrit alphabet or that still more ugly and irrational freak by which some in Bengal insist on substituting for the aspirate
\nbh <\/i>the English v<\/i>? Even in these errors the writer is not consistent; he represents the Sanskrit
\nv <\/i>sometimes by b <\/i>and sometimes by
\nv<\/i>, and bh <\/i>indifferently by v<\/i>, vh <\/i>or bh<\/i>. Such vagaries are disconcerting and offend against the sense of order and accuracy. It is \t\t\talways difficult to read Sanskrit in the Roman alphabet which is entirely unsuited to that language, but this kind of system or \t\t\twant of system turns the difficulty almost into an impossibility. We hope that in the important works which he promises us on \t\t\tPallava Sculpture and South Indian Sculptures Mr. Gangoly will remedy this imperfection of detail.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tThe first chapter of the letterpress deals with the legendary origins of South Indian art. It is interesting and valuable, but \t\t\tthere are some startlingly confident statements against which our critical sense protests. For instance, “it is
\nbeyond doubt<\/i> \t\t\tthat the two divisions of the country indicated by the Vindhya ranges were occupied by people essentially different in blood
\n\t\t\tand temperament." Surely the important theories which hold the whole
\n\t\t\tIndian race to be Dravidian in blood or, without assigning either an “Aryan” or “non-Aryan” origin, believe it to be homogeneous -omitting some islander types on the southern \t\t\tcoast and the Mongoloid races of the Himalaya, -cannot be so lightly dismissed. The question is full of doubt and obscurity.
\n\t\t\tThe one thing that seems fairly established is that there were at
\n\t\t\tleast two types of culture in ancient India, the "Aryan" occupying the Punjab and Northern and Central India, Afghanistan and perhaps Persia and distinguished in its cult by the symbols \t\t\tof the Sun, the Fire and the Soma sacrifice, and the un-Aryan occupying the East, South and West, the nature of which it is \t\t\tquite impossible to restore from the scattered hints which are all we possess. \t\t\t<\/font>
\n\t\t\t<\/span><\/p>\n

\n\t\t\t
\n\t\t\tAgain we are astonished to observe that Mr. Gangoly seems to accept the traditional attribution of the so-called Agastya \t\t\tShastras to the Vedic Rishi of that name. The quotations from these books are in classical Sanskrit of a fairly modern type, \t\t\tcertainly later than the pre-Christian era though Mr. Gangoly  
\n\t\t\t<\/font><\/span><\/p>\n

\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 580<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\ton quite insufficient grounds puts them before Buddha. It is impossible to believe that they are the work of the Rishi, husband \t\t\tof Lopamudra, who composed the great body of hymns in an archaic tongue that close the first Mandala of the Rig Veda. Nor \t\t\tcan we accept the astonishing identification of the Puranic Prajapati, Kashyapa, progenitor of creatures, with the father of the \t\t\tKanada who founded the Vaisheshika philosophy. It distresses us to see Indian inquirers with their great opportunities simply \t\t\tfollowing in the path of certain European scholars, accepting and adding to their unstable fantasies, their huge superstructures \t\t\tfounded on weak and scattered evidence and their imaginative “history” of our prehistoric ages. There is better and sounder \t\t\twork to be done and Indians can do it admirably as Mr. Gangoly himself has shown in this book; for the rest of the work, where \t\t\the has not to indulge in these obiter dicta<\/i>, is admirable and flawless. There is a sobriety and reserve, a solidity of statement \t\t\tand a sort of sparing exhaustiveness which make it quite the best work of the kind we have yet come across. The chapters on \t\t\tthe Shilpashastra and the review of the distribution of Shaivite and other work in Southern India are extremely interesting and \t\t\twell-written and the last brief chapter of criticism is perfect both in what it says and what it refrains from saying.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tMr. Gangoly’s collection of plates, 94 in number, illustrates Southern work in bronze in all its range. It opens with a fine \t\t\tKalasamhara and a number of Dancing Shivas, the characteristic image of the Shaivite art, and contains a great variety of figures; \t\t\tthere are among them some beautiful images of famous Shaivite bhaktas. A few examples of Vaishnava art are also given. In a \t\t\tcollection so ample and so representative it is obvious that there must be a good deal of work which falls considerably below the \t\t\tbest, but the general impression is that of a mass of powerful, striking and inspired creations. And throughout there is that \t\t\tdominant note which distinguishes Indian art from any other whether of the Occident or of the Orient. All characteristic \t\t\tOriental art indeed seeks to go beyond the emotions and the senses; a Japanese landscape of snow and hill is as much an \t\t\timage of the soul as a Buddha or a flame-haired spirit of the  
\n\t\t\t<\/font><\/span><\/p>\n

<\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 581<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\t\t\t<\/font><\/p>\n

\n\t\t\t
\n\t\t\tthunderbolt. Nature will not see herself there as in a mirror, but rather herself transformed into something wonderfully not \t\t\therself which is yet her own deeper reality. But still there is a difference, and it seems to lie in this that other Oriental art, \t\t\teven though it goes beyond the external, usually remains in the cosmic, in the limits of Prakriti, but here there is a perpetual \t\t\treaching beyond into something absolute, infinite, supernatural, the very ecstasy of the Divine. Even in work not of the best \t\t\tfinish or most living inspiration there is this touch which gives it a greatness beyond its actual achievement; rarely indeed does \t\t\tthe statuary fall into mere technique or descend entirely into the physical and external.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tIt is this tendency, as the author well explains, which causes and in a sense justifies the recoil and incomprehension of the
\n\t\t\taverage Occidental mind; for it comes to Art with a demand for the
\n\t\t\tsatisfaction of the senses, the human emotions, the imagination moving among familiar things. It does not ask for a god or for a symbol of the beyond, but for a figure admirably done with
\n\t\t\tscrupulous fidelity to Nature and the suggestion of some vision,
\n\t\t\timagination, feeling or idea well within the normal range of human experience.<\/font>2<\/sup><\/font>
\n\t\t\tThe Indian artist deliberately ignores all these demands. His technique is perfect enough; he uses sculptural \t\t\tline with a consummate mastery, often with an incomparable charm, grace and tenderness. The rhythm and movement of \t\t\this figures have a life and power and perfection which conveys a deeper reality than the more intellectualised and less purely
\n\t\t\tintuitive symmetries and groupings of the European styles. But these
\n\t\t\tbodies are not, when we look close at them, bronze representations of human flesh and human life, but forms of divine life, embodiments of the gods. The human type is exceeded, and \t\t\tif sometimes one more subtly and psychically beautiful replaces it, at other times all mere physical beauty is contemptuously \t\t\tdisregarded.
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\t2 This was the traditional standpoint, the view of Art dominant at the time of writing
\n\t\t\t<\/font>
\n\t\t\t<\/span>
\n\t\t\t
\n\t\t\tbut, though it still survives, it is no longer dominant. Art and aesthetics in Europe have swung round to an opposite extreme.<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 582<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n\t\t\tWhat these artists strive always to express is the soul and
\n\t\t\tthose pure and absolute states of the mind and heart in which the
\n\t\t\tsoul manifests its essential being void of all that is petty, transient, disturbed and restless. In their human figures it is almost always devotion that is manifested; for this in the Shaiva and Vaishnava religions is the pure state of the soul turned towards God. The power of the artist is extraordinary. Not only the face, \t\t\tthe eyes, the pose but the whole body and every curve and every detail aid in the effect and seem to be concentrated into the \t\t\tessence of absolute adoration, submission, ecstasy, love, tenderness which is the Indian idea of
\nbhakti<\/i>. These are not figures \t\t\tof devotees, but of the very personality of devotion. Yet while the Indian mind is seized and penetrated to the very roots of its \t\t\tbeing by this living and embodied ecstasy, it is quite possible that the Occidental, not trained in the same spiritual culture, would \t\t\tmiss almost entirely the meaning of the image and might only see a man praying.
\n\t\t\t<\/span><\/p>\n

\n\t\t\tThe reason becomes evident when we study the images of the gods. These deities are far removed indeed from the Greek and \t\t\tthe Christian conceptions; they do not live in the world at all, but in themselves, in the infinite. The form is, as it were, a wave in
\n\t\t\twhich the whole ocean of being expresses itself. The significance
\n\t\t\tvaries; sometimes it is unfathomable thought, sometimes the
\n\t\t\tself-restraint of infinite power, sometimes the self-contained oceanic surge of divine life and energy, sometimes the absolute immortal ecstasy. But always one has to look not at the form, but through and into it to see that which has seized and informed it. The \t\t\tappeal of this art is in fact to the human soul for communion with the divine Soul and not merely to the understanding, the \t\t\timagination and the sensuous eye. It is a sacred and hieratic art, expressive of the profound thought of Indian philosophy and \t\t\tthe deep passion of Indian worship. It seeks to render to the soul that can feel and the eye that can see the extreme values of
\n\t\t\tthe suprasensuous. <\/span><\/p>\n

\n\t\t\t
\n\t\t\tAnd yet there is a certain difference one notes
\n\t\t\twhich dis<\/font>tinguishes most of these southern bronzes from the sublime and majestic stone sculptures of the earlier periods. It is the note of<\/span><\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 583<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\n\t\t\tlyrism in the form, the motive of life, grace, rhythm. To use the terms of Indian philosophy, most art expresses the play of Prakriti; Buddhistic art in its most characteristic creations expresses the absolute repose of the Purusha; Hindu art tends \t\t\tto combine the Purusha and Prakriti in one image. But in the earlier stone sculptures it is the sublime repose, tranquil power, \t\t\tmajestic concentration of the Deity which the whole image principally represents even in poses expressive of violent movement; \t\t\tthe movement is self-contained, subordinated to the repose. We find the same motive in some of these bronzes, notably in the \t\t\twonderful majestically self-possessed thought and power of the Kalasamhara image of Shiva (Plate I);3<\/sup><\/font> but for the most part it is \t\t\tlife and rhythm that predominate in the form even when there is no actual suggestion of movement. This is the motive of the \t\t\tNataraja, the Dancing Shiva, which seems to us to strike the dominant note of this art; the self-absorbed concentration, the \t\t\tmotionless peace and joy are within, outside is the whole mad bliss of the cosmic movement. But even other figures that stand \t\t\tor sit seem often to represent only pauses of the dance; often the thought and repose are concentrated in the head and face, \t\t\tthe body is quick with potential movement. This art seems to us to reflect in bronze the lyrical outburst of the Shaivite and \t\t\tVaishnava devotional literature while the older sculpture had the inspiration of the spiritual epos of the Buddha or else reflects in \t\t\tstone the sublimity of the Upanishads. The aim of a renascent Indian art must be to recover the essence of these great motives \t\t\tand to add the freedom and variety of the soul’s self-expression in the coming age when man’s search after the Infinite need \t\t\tno longer be restricted to given types or led along one or two great paths, but may at last be suffered to answer with a joyous \t\t\tflexibility the many-sided call of the secret Mystery behind Life to its children.
\n\t\t\t<\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\t3 This refers to the plate in <\/i>South Indian Bronzes -Ed<\/i>
\n\t\t\t<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tPage \u2013 584<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

\n

\n

\n\t\t\t 
\n\t\t\t<\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\t3. Kalasamhara Shiva<\/span><\/p>\n

\t\t\t<\/font><\/p>\n

 <\/p>\n

\n

\n

\n

 <\/p>\n

\n

\n\t\t\t
\n\t\t\t<\/span><\/p>\n

\n\t\t\t <\/p>\n

\t\t\t<\/p>\n

\n\t\t\t 4. Sundaramurti, the Shaivite Saint<\/span><\/p>\n

<\/font>
\n\t\t\t<\/font>
\n\t\t\t<\/font>\n\t\t\t<\/td>\n<\/tr>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

“South Indian Bronzes” 1   THE DISCOVERY of Oriental Art by the aesthetic mind of Europe is one of the most significant intellectual phenomena of…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49],"tags":[],"class_list":["post-2390","post","type-post","status-publish","format-standard","hentry","category-01-early-cultural-writings","wpcat-49-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=2390"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2390\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}