11 de septiembre de 2011
2 de septiembre de 2011
Aum ॐ
is the sound that is not made by any two things striking together.
the sound of the energy of the universe of which all things are manifestations. the sound of the radiance of god.
all words are simply fragments of Aum.
"a" - waking consciousness. ego consciousness. duality. Aristotelian logic: a is not (not a).
"u" - dream consciousness. when you dream you are surprised by your dream, yet your dream is you. you, as subject, are surprised by your self as object. you seem to be two, you and your dream, but you are one. subject and object are the same. this is the midway point to transcendance, to realize relationship as identity. gods, heavens and hells are the cosmic aspects of dreams. and dreams are the personal aspect of myths.
"m" - deep dreamless sleep. consciousness.
silence.
the sound of the energy of the universe of which all things are manifestations. the sound of the radiance of god.
all words are simply fragments of Aum.
the four stages of ॐ
"a" - waking consciousness. ego consciousness. duality. Aristotelian logic: a is not (not a).
"u" - dream consciousness. when you dream you are surprised by your dream, yet your dream is you. you, as subject, are surprised by your self as object. you seem to be two, you and your dream, but you are one. subject and object are the same. this is the midway point to transcendance, to realize relationship as identity. gods, heavens and hells are the cosmic aspects of dreams. and dreams are the personal aspect of myths.
"m" - deep dreamless sleep. consciousness.
silence.
1 de septiembre de 2011
jesus as bodhisattva
"the idea of the bodhisattva is the one who out of his realization of transcendence participates in the world. that-s the idea of the christ, in his love for the world coming to be crucified, participating in the crucifixion... intentionally... with joy. what's the invitation of christ? the invitation is joyful participation in the sorrows of the world... if you read it this way. there is a wonderful dialogue here, when you think of the christ in the way of the buddha. these are two folk emphasis of the same elementary idea. the buddha tells you "you are it", alright, what's the invitation of christ? the invitation of christ is joyful participation, "come in to the crucifixion with joy, not fear, not desire". and it's a rapture."-joseph campbell
9 muses
goddesses who inspire the creation of literature and the arts. They were considered the source of the knowledge, related orally for centuries in the ancient culture, that was contained in poetic lyrics and myths. The compliment to a real woman who inspires creative endeavor is a later idea.
Muse Domain Emblem
Calliope Epic poetry Writing tablet
Clio History Scrolls
Erato Love poetry Cithara (lyre family)
Euterpe Song and poetry Aulos (like a flute)
Melpomene Tragedy Tragic mask
Polyhymnia Hymns Veil
Terpsichore Dance Lyre
Thalia Comedy Comic mask
Urania Astronomy Globe and compass
Harmony or the three graces
Goddesses of charm, beauty, nature, human creativity and fertility. from youngest to oldest: Aglaea ("Splendor"), Euphrosyne ("Mirth"), and Thalia ("Good Cheer").
Hans Baldung Grien
alemania 1541-1544
oleo en tabla
museo del prado
Hans Baldung Grien
alemania 1541-1544
oleo en tabla
museo del prado
Two semi-nude youths hold a book from which one is reading. On the right, a third youth holds a lute in his hand, and has a viola at his feet. Three nude children complete the scene. The one in the foreground has a swan and a piece of sheet music. A snake wound around a tree in the background completes this allegorical representation whose complex reading alludes to life's pleasures: beauty, music and reading. Its interpretation becomes clearer when seen with its companion The Ages of Man and Death
Death, with his hourglass and broken spear, leads an old woman by the arm. She, in turn, seeks to drag along a young woman at the height of her beauty. A baby lies sleeping on the ground, alongside an owl. A desolate and eerie landscape serves as the sinister setting. Christ appears in the sky, and there is a cross in the sun.
This painting and its companion, Harmony or The Three Graces (P2219) belong to the artist's last period. Together they describe a complex but clear moralizing allegory that alludes to the fragility of human existence in general, and the destruction of beauty in particular. This one is characterized by a tenebrous Germanic expressionism that tends to move the viewer in the manner of a vanitas, a reminder of the brevity of life.
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