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 ters of the futuristic imagination in the Western World.

And the creative art endeavors of Young India's futurists are neither mere calls for "Back to the Past" nor harangues inciting to "Down with the West," as superficial observers or professional spiritualitarians would seem to read in the literary proclamations of the school. These are but the initial surgings of a dynamic shakti (energy) that had been pent up for a century and a half,—in its sadhana (effort) toward achieving the assimilation of this cosmic neo-eclecticism of the modern world; so that a synthetic stage of cultural sva-raj (self-determination) may ultimately evolve, on which Asia will be enabled, as of old, freely to move and to strive, to un-make and to make,—boldly to borrow and to lend as an in-