In the late 1940s, art historian and writer Ananda Coomaraswamy was curator in the department of Asiatic Art at the Boston Museum of Fine Arts and built the first large collection of Indian art in the United States. His writings in the field of perennial philosophy and the Traditionalist School included complex essays collating symbols of ancient wisdom and metaphysics from widely diverse cultures including Indian, Islamic, Chinese, Hellenic, and Christian sources. He wrote that the seven rays of the sun appear in both Hindu and Christian symbolism, representing similar concepts, and in particular the symbolism of the seventh ray that "corresponds to the distinction of transcendent from immanent and of infinite from finite." He added that of "our Axis of the Universe (skambha, divo dharuna, etc.) and Islamic Qutb ..... The seventh ray alone passes through the Sun to the suprasolar Brahma worlds, "where no sun shines" ( ' all that is under the Sun being in the power of Death, and all beyond immortal '). "
In the late 1940s, art historian and writer Ananda Coomaraswamy was curator in the department of Asiatic Art at the Boston Museum of Fine Arts and built the first large collection of Indian art in the United States. His writings in the field of perennial philosophy and the Traditionalist School included complex essays collating symbols of ancient wisdom and metaphysics from widely diverse cultures including Indian, Islamic, Chinese, Hellenic, and Christian sources. He wrote that the seven rays of the sun appear in both Hindu and Christian symbolism, representing similar concepts, and in particular the symbolism of the seventh ray that "corresponds to the distinction of transcendent from immanent and of infinite from finite." He added that of "our Axis of the Universe (skambha, divo dharuna, etc.) and Islamic Qutb ,” the seventh ray alone passes through the Sun to the suprasolar Brahma worlds, "where no sun shines" ( “ all that is under the Sun being in the power of Death, and all beyond immortal ”).
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