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Mircea Eliade Symbolism, the Sacred, and the Arts Edited by Diane Mircea Eliade Symbolism, the Sacred, and the Arts Edited by Diane Apostolos-Cappadona CROSSROAD · NEW YORK 1985 The Crossroad Publishing Company 370 Lexington Avenue, New York, N.Y. 10017 The Introduction and the following English translations— "The Symbolism of Shadows in Archaic Religions," "Reflections on Indian Art," "Sacred Architecture and Symbolism," "Barabudur, the Symbolic Temple," "From the Portuguese Journal, 1941-1943," "Folkloric Themes and Artistic Creation," "Marthe Bibesco and the Meeting of Eastern and Western Literature"— are copyright 1985 by The Crossroad Publishing Company. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of The Crossroad Publishing Company. Printed in the United States of America Library of Congress Cataloging in Publication Data Eliade, Mircea, 1907- Symbolism, the sacred, and the arts. Bibliography: p. Includes index. 1. Symbolism—Addresses, essays, lectures. 2. Arts and religion—Addresses, essays, lectures. I. Apostolos-Cappadona, Diane. II. Title. B L603. E45 1985 291.1'75 85-14037 ISBN 0-8245-0723-1 For Isamu Noguchi whose art transcends time.... [This page intentionally left blank.] Contents Acknowledgments ix Introduction: Mircea Eliade: The Scholar as Artist, Critic, and Poet xi Part I: Theories of Symbolism 1 1. The Symbolism of Shadows in Archaic Religion 3 2. Cultural Fashions and the History of Religions 17 3. Survivals and Camouflages of Myths 32 Part II: Art and the Sacred 53 1. Divinities: Art and the Divine 55 2. Masks: Mythical and Ritual Origins 64 3. Reflections on Indian Art 72 4. The Sacred and the Modern Artist 81 5. A Dialogue with Marc Chagall 86 Why Have We Become So Anxious? by Marc Chagall 86 Beauty and Faith by Mircea Eliade 91 6. Brancusi and Mythology 93 Part III: Sites of the Sacred 103 1. Sacred Architecture and Symbolism 105 2. Barabudur, the Symbolic Temple 130 3. From the Portuguese Journal, 1941-1944 143 -vii- Part IV: Literature and the Sacred 149 1. Folkloric Themes and Artistic Creations 151 2. Marthe Bibesco and the Meeting of Eastern and Western Literature 154 3. Eugene Ionesco and "The Nostalgia for Paradise" 164 4. Literary Imagination and Religious Structure 171 Bibliography 178 Photographic Credits 180 Index 181 -viii- Acknowledgments To PREPARE A COLLECTION OF ESSAYS by Mircea Eliade is a Promethean task on two accounts: the richness and vastness of the materials to be considered, and the stature of the scholar himself. I am deeply grateful to Professor Eliade for his interest, time, and encouragement in the preparation of this volume. I also wish to thank Mac Linscott Ricketts for his translations and critical additions to the bibliography. And I am happy to acknowledge the collaboration of my former student, Frederica Adelman, in the translation of several of the essays selected for this collection. Through the sponsorship of the 700-Series Committee of The George Washington University, I was able to co-chair a special seminar, "Mircea Eliade: The Scholar as Artist, Critic, and Poet," during the 1985 Spring Semester. I am indebted to my colleagues in that seminar: Thelma Z. Lavine, of the Department of Philosophy; Suzanne L. Simons, of the Department of Anthropology; Arthur Hall Smith, of the Department of Fine Arts; and, most especially, Alf Hiltebeitel, of the Department of Religion, who served as co-chair and shared with me the preparation and presentations. I would also like to acknowledge the students who participated in that seminar. In the best sense of what scholarship is about, it was a mutual endeavor in intellectual exchange. We were extremely fortunate to conclude the semester with Professor Eliade serving as scholar in residence. My own scholarship has benefited from the opportunities to present my "Eliade research" at several professional meetings. I am grateful to Thaddeus J. Gurdak, of West Virginia Wesleyan College, chair of the Spirituality East-West Session, College Theology Society 1981 Annual Meeting; Dennis E. Owen, of the University of Florida, chair of the Ritual Aspects of the Arts and Literature Session, American Academy of Religion 1982 Annual Meeting; and Albert C. Moore, of the University of Otago, chair of the Religion and Art Section of the XVth Congress of the International Association of the History of Religions. Of course, no publication is possible without the continued interest -ix- of those engaged in the business of publishing. I am pleased to acknowledge the continued support and critical admonitions of Werner Mark Linz and Frank Oveis of The Crossroad Publishing Company. I am especially grateful for their interest in bringing this collection of Professor Eliade's work to a larger audience. Finally, there are always those individuals whose intellectual and personal encouragement becomes paramount during the difficult moments when one is engaged in a project of this nature. Without the continued sustenance of the friendship and counsel of Dorothy Norman and Stephen Happel, I would have found it difficult, if not impossible, to complete this volume. In acknowledging intellectual and personal debts, perhaps the greatest of all is acknowledged in the dedication of this volume to Isamu Noguchi. Professor Eliade and I join in this dedication to one of the world's singular and universal artists whom we are both privileged to call friend. This volume then serves as some tangible acknowledgment of the vision that undergirds and unites our mutual tasks. Diane Apostolos-Cappadona The George Washington University Washington, D.C. -x- Introduction: Mircea Eliade: The Scholar as Artist, Critic, and Poet MAJOR WORK IS DISTINGUISHED by an intensity of inspiration and an overwhelming sense of personal vision. This merging of inspiration and vision permits the creation of a classic oeuvre whose creator is deemed to be a "master of his craft," or perhaps better, "a seminal mind." Such is the work of the historian of religions, Mircea Eliade. In his lifelong quest to understand the presence of the Sacred throughout human history, Eliade has been fascinated by two central themes: Creation and Time. He has examined the temporal structures and meanings of cosmogonic myths and rituals of initiation. His writings begin and end with an attempt to understand Creation and Time. At the moment of Creation, Time is first encountered; and from that encounter, light and matter come to be known. Eliade is both a historian and a writer. He advocates the primacy of cosmogonic myths for the understanding of Creation and Time. As a writer, he is an artist: one who creates an aesthetic interpretation of reality which allows for the temporary suspension of the traditional sense of time and space. Eliade's world includes the scholarly and the creative, or as he refers to it, the diurnal and the nocturnal imagination: I said to myself that my spiritual equilibrium—the condition which is indispensable for any creativity—was assured by this oscillation between the research of a scientific nature and the literary imagination. Like many others, I live alternatively in a diurnal mode of the spirit and in a nocturnal one. I know, of course, that these two categories of spiritual activity are interdependent and express a profound unity, because they have to do with the same "subject"— man or, more precisely, with the mode of existence in the world specific to man, and his decision to assume this mode of existence. 2 For Eliade, artists succeed in circumventing fate. 3 They suspend the traditional perception of time and space by the act of "making," an act in which we share through participating in the environment of that artwork. During the moments of artistic creation, artists fulfill the -xi- fundamental human instinct for transcendence. The craving to be freed from the limitations of one's humanness is satisfied by the experience of passing over into the Other. Momentarily tasting transcendence, artists break the iron band of individuality and experience universality. They are freed not only from the limitations of human individuality and fallibility but also from human frailty and, precisely the most powerful form of that frailty, death. Artistic creation suspends Time. Eliade's mode of artistic creation is verbal: he is a writer of essays, fiction, and literary criticism. 4 But his words are not simply words. They are, as David Tracy has so astutely pointed out, words of manifestation. Eliade's words express the existential dimension of the cosmic and ritual character of Christianity. His are words that manifest logos; words that are grounded in and that create an experience. As Tracy suggests, Eliade's choice of words of manifestation distinguishes him from other contemporary religious thinkers. 5 Mircea Eliade is a poet in the fullest Heideggerian sense of the word. He deconceals and reveals the presence of Being, thus making it possible for one to find a place of dwelling in this world in the time between the gods. 6 And this Eliade is able to do not simply because he lives both diurnally and nocturnally with the ever-present manifestation of the Sacred. For him, then, the sacramental possibility of the natural order is always present. As an artist and as a historian of religions, he seeks to make that presence more accessible to others. Whether he is functioning as a historian of religions or as a litté rateur, Eliade is first and foremost a story-teller. Here he stands in the tradition of the mythologists of the archaic and folk traditions that he has studied with such passion. The stories he tells heal and reveal, suspend time and space, presence a dimension of cosmic sacredness. One of his favorite stories, which is in the genre of a homecoming story, is that of Rabbi Eisik of Cracow.
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