# René Grousset

René Grousset (5 September 1885 – 12 September 1952) was a French historian who was curator of both the Cernuschi Museum and the Guimet Museum in Paris and a member of the prestigious Académie française. He wrote several major works on Asiatic and Oriental civilizations, with his two most important works being Histoire des croisades et du royaume franc de Jérusalem (1934–1936) and The Empire of the Steppes: A History of Central Asia (1939), both of which were considered standard references on the subject.

## Quotes

* In the high plateau of eastern Iran, in the oases of Serindia, in the arid wastes of Tibet, Mongolia, and Manchuria, in the ancient civilized lands of China and Japan, in the lands of the primitive Mons and Khmers and other tribes of India-China, in the countries of the Malaya-Polynesians, in Indonesia and Malay, India left the indelible impress of her high culture, not only upon religion, but also upon art, and literature, in a word, all the higher things of spirit...
** Farther India and the Malay Archipelago (Volume II): attributed at
** Grousset, Rene, The civilizations ofthe East New York, London, A. A. Knopf, 1931-1935 Vol. II, Vol 11 p.245-6 and Chapter - Farther India and the Malay Archipelago p 275-343
* There is an obstinate prejudice thanks to which India is constantly represented as having lived, as it were, hermetically sealed up in its age-old civilization, apart from the rest of Asia. Nothing could be more exaggerated. During the first eight centuries of our era, so far as religion and art are concerned, central Asia was a sort of Indian colony. It is often forgotten that in the early Middle Ages there existed a ‘Greater India,’ a vast Indian empire. A man coming from the Ganges or the Deccan to Southeast Asia felt as much at home there as in his own native land. In those days the Indian Ocean really deserved its name.
** Farther India and the Malay Archipelago (Volume II): attributed at
** Grousset, Rene, The civilizations ofthe East New York, London, A. A. Knopf, 1931-1935 Vol. II, Vol 11 p.245-6 and Chapter - Farther India and the Malay Archipelago p 275-343
* Universal art has succeeded in few materialization of the Divine as powerful and also as balanced. ... the greatest representation of the pantheistic god created by the hands of man.... Never have the overflowing sap of life, the pride of force superior to everything, the secret intoxication of the inner god of things been so serenely expressed.""The three countenances of the one being are here harmonized without a trace of effort. There are few material representations of the divine principle at once as powerful and as well balanced as this in the art of the whole world. Nay, more, here we have undoubtedly the grandest representation of the pantheistic God ever made by the hand of man .. .Indeed, never have the exuberant vigor of life, the tumult of universal joy expressing itself in ordered harmony, the pride of a power superior to any other, and the secret exaltation of the divinity immanent in all things found such serenely expressed."
** Grousset, Rene, The civilizations of the East New York, London, A. A. Knopf, 1931-1935 Vol. II, p. 252 - 53 824Renou, Marie Simone. The India I love. Introd. by Jean Guehenno. Photos. by lean-Louis Nou. Translated from the French by Ruth WhIpple Fermaud New York, Tudor Pub. Co. [1969, c1968] p. 88-93
* Whether he be surrounded or not by the flamming aureole of the Tiruvasi (Pabhamandala) - the circle of the world which he both fills and oversteps - the King of the Dance is all rhythm and exaltation. The tambourine, which he sounds with one of his right hands, draws all creatures into this rhytmic motion and they dance in his company. The conventionalized locks of flying hair and the blown scarfs tell of the speed of this universal movement, which crystallizes matter and reduces it to powder in turn. One of his left hands holds the fire, which animates and devours the worlds in this cosmic whirl. One of the God's feet is crushing a Titan, for "this dance is danced upon the bodies of the dead", yet one of the right hands is making a gesture of reassurance (abhayamudra), so true it is that, seen from the cosmic point of view ... the very cruelty of this universal determinism is kindly, as the generative principle of the future. And, indeed, on more than one of our bronzes the King of the Dance wears a broad smile. He smiles at death and at life, at pain and at joy, alike, or rather, his smile is death and life, both joy and pain ... From this lofty point of view, in fact, all things fall mto their place, finding their explanation and logical compulsion. Here art is the faithful interpreter of a philosophical concept. The plastic beauty of the rhythm is no more than the expression of an ideal rhythm. The very multiplicity of arms, puzzling as it may seem at first sight, is subject in tum to an inward law, each pair remaining a model of elegance in itself, so that the whole being of the Nataraja thrills with a magnificent harmony in his terrible joy. And as though to stress the point that the dance of the divine actor is indeed a sport, (lila) - the sport of life and death, the sport of creation and destruction, at once infinite and purposeless - the first of the left hands hangs limply from the arm in the careless gesture of the gajahasta (hand as the elephant's trunk). And lastly, as we look at the back view of the statue, are not the steadiness of these shoulders which uphold world, and the majesty of this Jove-like torso, as it were a symbol of the stability and immutability of substance, while the gyration of the legs in its dizzy speed would seem to symbolize the vortex of phenomena.
** Grousset, Rene, The civilizations of the East New York, London, A. A. Knopf, 1931-1935 Vol. II, p. 252 - 53