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Additional info for Man and Time: Papers from the Eranos Yearbooks (Bollingen Series)
In this sense, the timelessness of art can be experienced only by an enhanced consciousness, for what figure of Christ can be fully understood without knowledge of Christianity, what Buddha without Buddhism, what Shiva without the Hindu conception of cosmic cycles? Is then the stage of transcendent art an illusion? Can we really know nothing more than the relation of the work of art to ourselves and to its own time? And is the most we can say of an artist that, if we disregard the eternity of the archetype he represented, he was a hair's breadth in advance of his own time?
Here, too, we are the heirs of a tradition which taught us to see, hear, and experience anew. Where there is new knowledge of man, new art will be discovered, and the eternal in the art of the past will be discovered afresh. In this sense, the timelessness of art can be experienced only by an enhanced consciousness, for what figure of Christ can be fully understood without knowledge of Christianity, what Buddha without Buddhism, what Shiva without the Hindu conception of cosmic cycles? Is then the stage of transcendent art an illusion?
A similar conflict dominates the relation of the artist to his collective and his time. If he is driven to compensate for the cultural canon, there is an implication that he has been captured by it and has survived and transcended it in himself. Only by suffering, perhaps unconsciously, under the poverty of his culture and his time can he arrive at the freshly opening source which is destined to quench the thirst of his time. In other words, the creative man (though often this is not evident) is deeply bound up with his group and its culture, more deeply than the common man who lives in the security of the cultural shell, and even more deeply than the actual representatives of this culture.