The title page of this book opens with an ancient inscription found on the Kailasanatha (Shiva) temple in Elora, from the 8th century A.D. - Wonderful! O, how could I have ever done it? This, at the same time suggests an artistic attitude and a philosophy of art creation that is quite modern, because "the subject" displays a rather modern concept of creative self-awareness. This seems to be in accord with the modern notion and self-awareness of the man-creator, as developed in Europe, starting in Renaissance times. But the author recognizes his creative power in a form of surprise, and self-awareness, which do not belong to the "subjectivist" sense of the modern subject, who started the modern times assuring himself that he has the right to subdue and "win over" nature. The Indian subject has a more modest attitude - the man creator is an equal member (not superior one, with special rights) of the total chain of being, of the overall, endless creation, going on from times without beginning.
In the introductory part a basic statement concerning Indian tradition is developed as follows. It is a great risk to identify views developed in the long run in India, with just one side, or basic standpoint, because Indians have tested and developed various life styles, philosophies, and religious concepts - from severe and uncompromising asceticism, to sublime hedonism; belief into reincarnation, and belief that there is only one life, which is never repeated again; an urgent sense of deliverance, and patient bearing of endless repeating cycles of lives, until the end of time and universe, which they calculated (again in a modern fashion) in billions of years.
This book challenges two statements developed by some historians of culture and literature - that India did not develop the subject concept, and had no tragic sense of life, and thus, no tragedy as a literary form, or concept. The second statement is questioned and proved as groundless in the last chapter - "Sense of Tragedy and Transcendence" - by examples from the Indian epic and individual poetry of the middle age, which bring proof that the tragic sense of life was definitely present in Indian art, but it was matched by the concept of illusion (maya), and sense of transcendence, or liberation, through various means, including art. Therefore, one of the Kasmiri aestheticians could say: "Praise lord Shiva, the omniscient poet, who created the three worlds, in order that we can behold them, and attain the ultimate bliss."
The main part of the book focuses on the spiritual symbolism of the Indian tradition, in which art had its share. Among the analyzed spiritual symbols are included simple symbols (like fire, sun, wheel, lotus etc.), complex symbols (like veil-illusion, maya), and (iconic) symbols (like those related to Hindu gods, or the Buddha smile).
The concept of creation in Indian art is related to the concept of "inner light" (which gives the title of this study) - this concept was also recently used in a comparative study on Ajanta and Sopocani by Om Upadhya, who considers inner light as a comparative link between the two creative traditions.
The second concept important for Indian art is purification, because it is one of the spiritual goals that links various spiritual practices and is considered as one of the ultimate goals of art. The third concept (which is included into the wider context of Kasmiri esthetics - whose main concepts are analyzed in a separate chapter) is peace of mind ({anta-rasa), which is considered as the highest among various "juices" (rasa) that can be produced, and experienced (tasted) through art.
Mandala symbolism is analyzed considering the important contribution to this subject by C. G. Jung. The symbol of mandala is compared with its opposite - the labyrinth symbol. In the final analysis the cosmogramme contemplation from Goethe's Faust is compared with mandala contemplation, in order to accentuate and explain the "Faustian dilemma," important for the Indian, as well as European mind.
The chapter on "Love Mysticism" relates the concept of love (in all its forms) as developed in Indian religion, mysticism, and art.