Leo Tolstoy's the Concept of Art in the Perspective of Buddhist Art

Abstract

In discussing the nature of art, Leo Tolstoy defines art as expression and communication—an affective transmission between the artist and the audience, mediated through the artistic work as the language of emotion. For Tolstoy, genuine art entails the heartfelt communication of emotional experience, and the more intensely and sincerely these emotions are conveyed, the more artistic value the work possesses. Emotions and feelings are therefore not merely content, but essential instruments in the creation and reception of art. From the perspective of Buddhist aesthetics (Buddhasilpa), however, art is conceived not only as expression but as a vehicle of intellectual and moral cultivation—art as expression and experience. Here, artistic creation is instrumental in fostering a system of ethical reflection and disciplined practice, aiming toward the realization of goodness (kusala), beauty (subha), and truth (sacca) as an integrated whole. The ultimate goal is the pacification of emotional disturbances and the attainment of inner peace through wisdom-infused creativity. Given this foundation, the present study investigates whether Tolstoy’s conception of art bears affinity with the principles of Buddhist aesthetics and, conversely, in what ways they diverge. The research affirms that both perspectives converge on key moral concerns: the promotion of compassion, virtue, and social harmony, as well as the aspiration for the moral elevation of humanity. However, the divergence lies in their respective teloi. While Tolstoy emphasizes the emotional depth and sincerity of artistic experience, Buddhist aesthetics aims toward the revelation of suffering (dukkha), spiritual insight, and the cessation of suffering through disciplined contemplative engagement. Thus, for Tolstoy’s theory of art to transcend emotional attachment and reach a higher dimension of spiritual awareness, this study proposes an integrative approach that synthesizes his views with the philosophical foundations of Buddhist art.