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354 As the artisan starts with the mental image (of the object to be produced) and translates it into physical form by his bodily activity and thus is one with it, so also the Self starts with the mental counterpart of kurma and is therefore one with
(355)
जह चिट्ठ कुव्वतो उ सिप्पिओ णिच्चदुक्खिओ होइ ।
तत्तो सिया अणण्णो तह चिट्ठतो दुही जीवो ॥ ३५५ ॥ Jaha chiltam kuvvanto vu sippivo nichcha dukkhivo hoyı Tattosiya apannotaha chitthanto•duhi jivo
यथा चेष्टा कुर्वाणस्तु शिल्पिको नित्यदु खितो भवति ।
तस्माच्च रयादनन्यस्तथा चेष्टमानो दुखी जीव ॥३५५।। 355 As the artisan making an effort (to translate the mental image into physical form) always suffers thereby and is therefore one with that suffering, so also the Self that acts as stimulated by impure mental states undergoes suficing and becomes one with
COMMENTARY A casual observation of an artist at work will give us the following particulars The metal or marble which he is going to shape, the instruments used therefore, his dexterity in handing those instruments and the final value which he obtains for the finished product, all these facts are external to the nature of the artist who remains distinct from all the external facts But instead of such a casual observation if we try to understand the creative activity of the artist then we have a different account of the process The artist starts with the vision of the object which he is going to make His creative activity consists in shaping out of the shapeless metal or marble a figure exactly answering to his men tal image With this object in view he sets about to work Thus looked at from the inner side of the artist's mind, his whole activity is a continuous identical process of expressing in the form of metal or marble what he has in his mind The method of his work and the instruments employed all become auxiliary and sub-servient to this one process by which the artist transforms his idea into an objective figure - Here the artist cannot be differentiated
