Victory BGC is a church in Bonifacio Global City that exists to honor God and make disciples. It is a member of Victory Philippines and under Every Nation Churches and Ministries.
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תוכן מסופק על ידי Reza Shah-Kazemi. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Reza Shah-Kazemi או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
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GREEN KNIGHT MULTIMEDIA PODCAST
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תוכן מסופק על ידי Reza Shah-Kazemi. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Reza Shah-Kazemi או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
::From Mythology to Cosmology and Spirituality:: The best way of encapsulating the central motif, the particular constellation of ideas that motivated the production of this company and the philosophy underlying this project is the following quotation from one of our great teachers Dr. Martin Lings, otherwise known as Shaykh Abū Bakr Sirāj al-Dīn, who died in 2005 at the age of 96 ; “Our aim is to express some of the universal truths which lie at the heart of all religions” quoted from the preface of his book The Book of Certainty. Part of our aim and part of what driven us is trying to re-present the legacy of Dr. Lings and there by the Perennial Philosophy in the English language with the emphasis of the audio access. We want people to be able to hear on themes of perennial philosophy , comparative religion, and the deeper aspect of the mystical path in the traditions and to do this in a way that will be accessible on the internet through the spoken word with the emphasis of going back to tradition. In a certain way this new medium can be used in a postmodern way to actually go back to the pre-modern realities, to traditional realities and to traditional ways of expressing this wonderful truth that have been giving to all of us by the Almighty through all of our traditions and cultures.
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261 פרקים
סמן הכל כלא נצפה...
Manage series 2898061
תוכן מסופק על ידי Reza Shah-Kazemi. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Reza Shah-Kazemi או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
::From Mythology to Cosmology and Spirituality:: The best way of encapsulating the central motif, the particular constellation of ideas that motivated the production of this company and the philosophy underlying this project is the following quotation from one of our great teachers Dr. Martin Lings, otherwise known as Shaykh Abū Bakr Sirāj al-Dīn, who died in 2005 at the age of 96 ; “Our aim is to express some of the universal truths which lie at the heart of all religions” quoted from the preface of his book The Book of Certainty. Part of our aim and part of what driven us is trying to re-present the legacy of Dr. Lings and there by the Perennial Philosophy in the English language with the emphasis of the audio access. We want people to be able to hear on themes of perennial philosophy , comparative religion, and the deeper aspect of the mystical path in the traditions and to do this in a way that will be accessible on the internet through the spoken word with the emphasis of going back to tradition. In a certain way this new medium can be used in a postmodern way to actually go back to the pre-modern realities, to traditional realities and to traditional ways of expressing this wonderful truth that have been giving to all of us by the Almighty through all of our traditions and cultures.
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261 פרקים
כל הפרקים
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GREEN KNIGHT MULTIMEDIA PODCAST
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1 Śiva and Brahmā in the Mahābhārata - Dominique Wohlschlag 26:20
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A Conversation with Dominique Wohlschlag In this dialogue, Reza asks Dominique a particular question about the roles of Śiva and Brahmā in the Mahābhārata. Additionally, he inquires why we refer to Vaiṣṇavites and Śivaites but don’t seem to have a corresponding category of Brahmānites. Dominique Wohlschlag is a specialist in medieval romance languages and previously taught Latin at the Collège de Genève. With an extensive background in Indian studies, he has offered courses on Sanskrit and Indian Civilization at various Swiss institutions and has worked with the Geneva Ethnography Museum. His scholarly contributions include three translations of Indian poets (Jayadeva, Bhartrihari, Vidyâkara) and numerous interpretative analyses of Hindu scriptures. In addition, Wohlschlag has also written several books on the Hindu tradition with two of them available in the link below for those interested in exploring this rich tradition further. The Queen and the Avatar The Great War of the Dark Age: Keys to the Mahābhārata…
Spiritual Gems Short readings from the books of Frithjof Schuon. © World Wisdom, Inc. Readings by Reza Shah-Kazemi Linten to all Epesoides here https://thegreenknight.org/spiritual-gems/
Following the thread Sensation of Eternity-Notes on Islam by Ivan Aguéli Reading by Reza Shah-Kazemi Listen to more Podcast on our website https://thegreenknight.org/following-the-thread/
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Spiritual Gems Short readings from the books of Frithjof Schuon. © World Wisdom, Inc. Readings by Reza Shah-Kazemi Linten to all Epesoides here https://thegreenknight.org/spiritual-gems/
Following the thread Sensation of Eternity-Notes on Islam by Ivan Aguéli Reading by Reza Shah-Kazemi Listen to more Podcast on our website https://thegreenknight.org/following-the-thread/
Essential Quran Letting the Quran Speak for Itself: Reading a selction of verses from the Quran Reading by Reza Shah-Kazemi Ch-17 Al-Isra Listen to more Podcast on our website https://thegreenknight.org/essential-quran/
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Spiritual Gems Short readings from the books of Frithjof Schuon. © World Wisdom, Inc. Treasures of Buddhism-P60 Readings by Reza Shah-Kazemi Linten to all Epesoides here https://thegreenknight.org/spiritual-gems/
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Essential Quran Letting the Quran Speak for Itself: Reading a selction of verses from the Quran Readings by Reza Shah-Kazemi Ch-17 Al-Isra Listen to more Podcast on our website https://thegreenknight.org/essential-quran/
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1 Lord Naṭarāja the Cosmic Dancer - by Sarah Magalhães 29:29
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In this episode Sarah will explain some of the symbolic meanings behind the iconography of Lord Shiva Nataraj, the cosmic dancer which simultaneously portrays the fluidity of this continuous movement of existence reverberating within the stillness of Consciousness. Then she will allude some of the meanings behind the dancing of the cosmic creation with the five divine activities or the five-fold dances in which they are paradoxically temporal and timeless. Finally, with Sarah, we will be introduced transforming power of life; Tāṇḍava and the non-dual Kashmir Shivaism tradition where they consider the Heart of Shiva to be in a state of perpetual movement. “His form is everywhere, all-pervading in His Shiva-Shakti. Chidambaram is everywhere. As Shiva is all and omnipresent, everywhere is Shiva’s gracious dance made manifest. By His Grace, his five-fold dances are temporal and timeless. This is the sacred dance of Uma-Sahaya. He dances with Water, Fire, Wind and Ether. Thus, our Lord dances ever in the court. Visible to those who pass over Māyā and Mahāmāyā (illusion and super-illusion), Our Lord dances, His eternal dance” Ananda Coomaraswamy. Podcast Code: xFPlZ1g3MbmxRGf2WKnX…
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1 Saraswatī the Goddess of Intellect - Sarah Magalhães 38:30
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In this series of talks, Sarah will take us to India where we learn with here more about the spiritual import of Hindu dance from a Traditional prespictive. Inspired by the writtings of Frithjof Shoun, particularly on sacred art, she will read a passage of her choice from Shoun's books where she will illustrate the main ideas of the text with the help of the dramatic art of ancient India, bringing into evidence the relationship between form and intellection in the sacred gestures and mudras of Hindu dance. In this episode we will talk about the Goddess of Intellect... Saraswatī. She has been known as the goddess of knowledge, music, art, wisdom, and learning. She is the inspiration of the poet, the vision of the artist, the sound heard by the musician and the lightning inspiration of the seeker. A Bharatnāṭyam performance and an interview with #guru Dr. Sucheta Chapekar explaining the concept of Saraswatī representing Jñānamārga, the Path of Knowledge, will follow at the end of this presentation. Click on the transcibe file download which could help follow the video. For those who listen on the podcast audio, the transcribe will show when you click on "Notes". #transcribe file : https://thegreenknight.org/wp-content/uploads/2023/04/Saraswati-the-Goddess-of-Intelect.pdf Watch the #recording on our website here https://thegreenknight.org/sarah-magalhaes/ For news and new releases directly to your inbox, sign up to our #newsletter 👇 https://thegreenknight.org/contact/ #podcast #podcasting #podcaster#greenknight #spirituality #spiritualawakening #spiritual #spiritualitä #theology #hindu #saraswati #podcast #podcasting #podcaster#greenknight #greenknights #art #artprint #celticart #celtic #theology #comparativereligion #geometricart #sirgawainandthegreenknight #lovequotes #poem #theology #comparativereligion #sacredgeometry #sacredart #patrick #tombree #art #artistsoninstagram #artofinstagram #artist #spirituality #spiritualawakening #spiritual #spiritualität #martinlings #westminsterabbey #anthonyball #canon #bishop #alchemy #hindu #dance #hinduism #hindi #SarahMagalhães…
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1 Beauty in Traditional Arts - Sarah Magalhães 27:53
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Revelation and the function of Beauty in Traditional Arts By Sarah Magalhães Today we will becontemplating on Traditional Arts. To awaken the sense of beauty, I have selected a few passages from Art From the Sacred to the Profane: East and West, writings of Frithjof Schuon, edited by Catherine Schuon and extracts from the chapter: The Degrees of Art in Esoterism as a Principal and as a Way. I propose to elucidate the function of revelation in the artistic process of a practitioner of traditional arts and to answer some important questions related to the role of art and Beauty in human life as receptacles of Truth. To express the ideas discussed through a visual medium, a traditional Bharat Natyam dance performance will follow at the end of this presentation. ? What is the most effective way to communicate Beauty, the vehicle of saving Truth? ? What is the most appropriate way to convey the metaphysical nature of things through the beauty of forms? ? How can we provoke the same state of contemplativeness in the other by realizing a “contemplative disinterestedness” in the act of creation ? ? How can traditional art become an "upaya", a "provisional means" to convey metaphysical truths ? These questions are relevant for any field of traditional arts. There are many aspects of sacred expressions such as writing, recitation, calligraphy, painting, architecture, sculpture, clothing, pottery, dance, music… My experience, in particular, refers to the sense of the sacred in the art of gesture and sacred dance. However, the practitioner of any field of traditional art and the appreciators of art will find resonance with the ideas discussed here. Introduction: Traditional art proposes in its mode of operation an homogeneous worldview, being an integral expression of the social, religious, ethical, practical and spiritual dimensions of existence. Thus, this kind of art is a natural expression of life. It has the power to hold together several streams of a specific culture and to express its true values. In our present times we no longer have the traditional framework of existence, but still the blessings transmitted by tradition allows the serious seeker in the field of art to experience its essence. Art, conceived in a traditional way, encompasses all aspects of life, expressing higher values, revealing truth and metaphysical wisdom. In this context, art assumes a very different role from the superficial modern approach in which art is considered mere entertainment or just merchandise. On the other hand, the traditional approach to art is that of a metaphysical and religious phenomenon, which is intrinsically connected with Revelation. Art is thus, none other than a channel for revelation of the sacred content of a particular religion. Being rooted on symbols provided by Revelation, traditional arts has a function related to esoterism as it reveals the metaphysical and mystical meanings inherent in the cannons established by tradition. Thus, the creative process is an experience connecting earthly existence with transcendence; encompassing man’s personality as a whole in which the Unified Reality beyond forms, once realized in depth becomes gnosis, where intellection meets Revelation. As in the medieval conception: "Ars sine scientia nihil est”, which means that the practice of art without knowledge is nothing, establishes that the creative process must be rooted in knowledge, reason and established principles. The creative activity must be guided by three principles: intuition of metaphysical realities, understanding by which the intellect grasps the universal symbolism and “sciencia”, the skill necessary to realize the work. Thus, this kind of art requires discrimination, rigor of practice and dedication to tradition, as it includes specific knowledge and definite principles to be mastered. Likewise one acquires a skill of realizing the union of the knower with what he knows, which allows, spontaneously, the activity of creation to happen. The artist has to surpass himself through the mastery of the artform in its aspect of contemplation and action. Art becomes an exercise of purifying the mind by the contemplation of divine models, leading the mind back to its original Reality. In this process the artist realizes his own essence, or what he should be or become, expressing his ultimate purpose in life. Creation is thus a sacrament as says Coomaraswamy; a necessity of life and its mission is to express, through beautiful forms, spiritual values, whether these are cosmic aspects, saving truths or liberating beauty. I quote Schuon: “Sacred art is first of all the visible and audible form of Revelation and then also its indispensable liturgical vesture. The form must be an adequate expression of its content; in no case should it contradict it, it cannot be abandoned to the arbitrary decisions of individuals, to their ignorance and their passions.” “No art in itself is a human creation; but sacred art has this particularity, that its essential content is a revelation, that it manifests a properly sacramental form of heavenly reality, such as the icon of the Virgin and Child, painted by an angel… or such as the statue of Shiva dancing or the painted or carved images of the Buddhas, Bodhisattvas, and Taras.” Avalokiteshvara, bodhisattva of Mercy, Nepal, c. 12th century In this iconographic image, we can note that the weight of the body of the bodhisattva is slightly moved to the left leg allowing the right foot to be lifted up over the ground, suggesting the possibility of liberating oneself from the samsarik earthly existence. What is the most effective way to communicate Beauty, the vehicle of saving Truth? Beauty is a direct expression of Truth. In order to restore the fall inherent in existence and to convey the saving Truth, the contemplation of aesthetic expressions manifesting celestial intentions is indeed an effective way to awaken the sense of divine Beauty. Thus, the true purpose of art is to become a support for the contemplation of God. Consequently, the beauty expressed in the artwork is above all that of the soul of the artist, alchemically transformed by the creative process, and finally exteriorized in his work. Any beauty has three aspects in all: truth, goodness and bliss, as shown in the Hindu formula: Satyam Shivam Sundaram. The worth of the work of art will reflect the qualities of truth, beauty and goodness of God’s creation. Something universal which can be felt by the heart, which has a meaning, but is not understood by reason alone. The aesthetic influence which emanates from such artwork conforming to truth, beauty and goodness provokes a contemplative state of mind as it reverberates in the heart like the remembrance of our origin. The beauties of this world can exteriorize the soul attracting to its objects of perception. However, there is a possibility of appreciating an external object as a means of spiritualizing beauty. This is the mystery of “Exteriorization in view of Interiorization” as thought by Schuon, in which the sensible beauty, which would exteriorize the soul, becomes a spiritual access to the heart by the attraction of the inward pole, or God’s grace. Far from this perspective, is the aesthetic pleasure that emanates from most of the modern and profane artwork, which is a kind of forgetting of the stress of life in an irreverent way. Such creations are often inspired by the subconsciousness of the artist. This free inspiration being disconnected from the quest of truth, only expresses the psychological states of mind of the artist, revealing the narrow scope of his individuality. I quote Schuon: “Sacred art is made as a vehicle for spiritual presences, it is made at one and the same time for God, for angels, and for man; profane art on the other hand exists only for man and by that very fact betrays him.” On the other hand, in the light of the Philosophia Perennis, the understanding of a traditional artwork becomes a path to reveal the mysteries of the Universe, the universality of existence. We come back to the land of the spirit and to divine Beauty. I quote Schuon: “It is the spiritual element or the connection with what transcends the element of beauty in the world, that reveals the roots of beauty itself. Beauty as uncreated, before manifestation is Divine Beauty and this is the root of manifested beauty.” “It is important to understand, first of all, that the purpose of art is not a priori to induce aesthetic emotions, but to transmit, together with these, a more or less direct spiritual message, and thus suggestions emanating from, and leading back to, the liberating truth.” Qutab Minar minaret or the "Victory Tower" 1199-1220, Delhi, India The ascending motion of forms in sacred architecture reminds us of our final destination. What is the most appropriate way to convey the metaphysical nature of things through the beauty of forms? Traditional art must have a purpose, it must serve the needs of our material and spiritual existence. Dealing directly with the sacred, traditional arts is a powerful means to actualize the recollection of spiritual realities through the liberating grace inherent in the exactness of forms, leading thus as Schuon mentions, to an “integral aesthetics which reveals not only the beauty that can be sensed, but also the spiritual foundations of this beauty”. Thus, the sense of the beautiful comes from aesthetic discrimination, that is to say from the understanding of forms. This awareness of forms is directly related to discrimination of Reality. However, one must have a purified heart to access the intuition of essences and to express it; the same is required from the appreciator of such kind of art. The beauty sensed coming from an artwork, must in some way awaken the recollection of our originary state of perfection, something which reminds us of the state of harmony, completeness, expansion and goodness. In this sense, the function of traditional art is to awaken the sense of the sacred through the correct form, revealing the esoterism of its symbols and becoming thus, a powerful means to reveal the consciousness of theophanies. I quote Schuon on this topic: “When we relate beauty to its transcendental and metaphysical plane, beauty has the role of a spiritual awareness in connection with contemplation and internalizing remembrance of the Divine.” Detail of a panel in Kailash Temple Ellora, 756 – 773 C.E. Maharashtra, India Woman is the prototype of earthly beauty par excellence. As her essence in the metacosm, she manifests the overflowing qualities of abundance, goodness and generosity. The transparency in this carved image challenges the nature of stone, which is transmuted into a fine tissue, suggesting the delicacy of femininity. How can we provoke the same state of contemplativeness in the other by realizing a “contemplative disinterestedness” in the act of creation ? Understanding and relating the spiritual life to the artistic process, the artist becomes an instrument, a universal receptacle for the divine breath. As he consecrates himself to his art, he becomes a Kala-Yogi , “a yogi of art” or a manifestation of the un-manifest; void of himself, he contemplates and expresses the wide scope of Reality through beautiful forms. Contemplation and activity are two natural aspects of life. Contemplation or wonder of life, enables the soul to rest in its transcendental nature. As the real nature of man is his godlike essence, this natural process of rest enables one to retreat from the world and to contemplate the Self. Through contemplation, the intellect reveals symbols which illuminate his creation. Like a reflection on a mirror, the creative power of Reality acts and creates through him. In this process, contemplation and action becomes a unique reality that enables the artist to forget his empirical “I” and act as pure substance; fashioning the artwork as he fashions himself. Emptied of everything, he becomes the spiritual content which is pure ananda, bliss. The result of this process has the power of efficiently transmitting ananda, the joy of existence; deeply touching those to whom the work is addressed, as ananda is the substratum of Reality, encompassing all. Here lies, the secret of effectiveness of spiritual influences, conveyed through realization of the Self, by a means of an intelligible work of art. I quote Schuon: “There is something in our intelligence which wants to live in repose, something in which the conscious and the unconscious meet in a kind of passive activity, and it is to this element that the lofty and easy language of art addresses itself. The language is lofty because of the spiritual symbolism of its forms and the nobility of its style; it is easy because of the aesthetic mode of assimilation.” Detail of the Buddhist Temple of the Emerald Buddha Wat Phra Kaew, 1783 on the grounds of the Grand Palace in Bangkok, Thailand The musicality of the golden details of the roof suggests and indicates our luminous ascension to Heavens How can traditional art become an "upaya", a "provisional means" to convey a metaphysical truth? Upaya in Sanskrit refers to expedient means or "skill in means". The practice of a traditional art exposes the artist to be involved with symbols of a celestial order which nourishes his imagination and life. One must not confuse a symbol with a mere analogy, expression of some rational or irrational possibility of imagination. Traditional symbols unveils the essence of archetypes and allows the imagination to perceive the real analogy between the immaterial and the material aspects of Reality. To be able to represent the ineffable, the un-manifest of a metaphysical reality by means of the formal, the practitioners may use their own specific methods or techniques in accordance with tradition, that fit the message to be conveyed. The exercise of skill to which it refers, upaya or the ability to adapt one's message to the audience, is of enormous importance. The words technique and art have distinct functions. Technique being understood as the mode of producing something material by means of a specific instrument, rule and purpose, and art as the mode of producing, presumably, the “immaterial” and never entirely foreseen before, if we understand art as not only representing naturalistic expressions. By observing a work of art and analyzing what it produces of "immaterial", one can thus distinguish what is truly art and what is merely technique. What they express as "immaterial" or what they contain beyond the simple material content is the "inner vision" or the fruit of the cultivation of inwardness and this is the subtle aspect that has to be conveyed to the appreciator. To be able to suggest and materialize the subtle aspect of Reality, one must become it by means of absorbing the Real. Becoming an upaya, in the sense of conveying the “imaterial” into sensible forms, traditional arts in its varied manifestations provides a provisional means to bring down immediate awareness of metaphysical realities beyond the mere naturalistic aspect of things. When an artistic expression has the power to make the subtle primordial essence of things manifest, it enables the soul to expand out of the boundaries of worldly existence, opening a door to perceive a deeper interpretation of life. This is the meaning of a symbol. Be it painting the infinitude of the blue sky, sculpting the meditative semblance of a bodhisattva or representing the rhythm of the ocean in a noble calligraphy, a perfect symbol always reveals a true aspect of Reality, transcending a mere naturalistic expression. In this way, traditional arts becomes an upaya, a provisional means to efficiently awaken the sense of archetypes. I quote Schuon: “Traditional art derives from a creativity which combines heavenly inspiration with ethnic genius, and which does so in the manner of a science endowed with rules and not by way of individual improvisation. “ ars sine scientia nihil” . The work of the artist or craftsman comprises two perfections, namely perfection of surface and perfection of depth. At surface level, the work must be well done, in conformity with the laws of the art and the demands of the style; in depth, it must be able to communicate the reality which it expresses. This explains why traditional art is related to esoterism as regard its form and to spiritual realization as regards to its practice; for the form expresses the essence and an understanding of the form awakens the need to transcend it with a view to its essence or archetype. The artist in fashioning the work–the form–fashions himself; and as the purpose of the form is to...…
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1 Mudras as symbols of the universe -The Spiritual import of Hindu Dance PART (1) by Sarah Magalhães 23:12
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Mudras as symbols of the universe —The spiritual import of Hindu dance (Form and Essence in Frithjof Schuon’s writings, and its direct analogy and application to the sacred gestures of Hindu dance and dramatic art.) By Sarah Magalhães Outline of Presentation: ? Read selected passages from: Chapter 4: Concerning Forms in Art, The Transcendent Unity of Religion, pg. 61 Edition Quest Books, Chennai, India 2005 ? I propose to illustrate the main ideas of the text with the help of the dramatic art of ancient India, bringing into evidence the relationship between form and intellection in the sacred gestures of Hindu dance. ? Present a brief introduction of some concepts of Traditional Hindu dance and retrace the origin of these gestures coming from the ancient Vedic rituals. Elucidate the distinction between Mudras in Yoga Tradition and Hasta in dance tradition. ? Comment and illustrate the text with the Viniyogas which are the meanings given to the various symbolic gestures, the-Hastas- I have chosen significant Viniyogas which elaborate metaphysical principles and religious offerings. I will perform them along with the recitation of the shloka, explaining its meaning. I- Introduction Indian classical dance — a visual expression of Hindu thought Art in India is deeply connected with its philosophy, the rich heritage of Hindu tradition. Hindu dance, issued from the Ancient Indian drama, is a visual expression of Hindu thought expressed through visual form. It directly conveys metaphysics and the religious aspect of life through the science of gestures, the mudras. These sacred gestures provide an immediate understanding of the religious ethos of India. Modern Society lacks epitomes and normative models to uplift mankind. The technological invasion with its impact of an abnormal mentality divorced from the sense of the sacred influences mankind leading man to destructive behavior on earth. Sanskrit theater as the total art-form uniting heaven and earth Ancient Drama in India was meant to provide models and prototypes to society. Indian theater is thus a mirror of the life of good people, those who live in excellence. In India, drama is known as Natya Veda or The Fifth Veda conceived by Lord Brahma, the creator, to teach righteousness (dharma) to society. On earth, sage Bharata claimed to have received the knowledge of theater by integrating speech from the ?g Veda, music from the Sama Veda, acting from the Yajur Veda, and emotion from the Atharva-Veda. As the Vedas were strictly reserved to the Brahmins, a fifth Veda was created to convey the Vedic teachings to one and all in a simple way, through the science of gestures recreating thus, good behavior with an aesthetic-ethical significance. Drama was accepted as the ‘total art form’ that united acting, dance, poetry, music, fine arts, human values, and practically all other concerns of life in order to sustain and nourish a heavenly world, (alaulika) through the aesthetic experience, rasa. Mudras in the Hindu holy worship In the religious domain, the execution of the paradigmatic Vedic sacrifice may itself be interpreted as a hieratic form of theater. In the same order, Bharata’s theater claimed to be modeled on the ‘originary’ unifying principle of the solemn Vedic sacrifice. The symbolic gestures in dance tradition are known as coming directly from the ancient Vedic rituals when dance was an integral part of the holy worship in temples. The Vedic hymns and mantras or mystical syllables form the foundation of the Hindu holy worship. Traditionally, the recitation of hymns and mantras are sometimes accompanied by specific hand gestures which are called “mudras”. Mudra is a mystic gesture of the hands symbolizing the power of action. The word “mudra” denotes a seal. It puts a finishing touch revealing a specific meaning connected to the mantra. Here, there is an affinity between sacred gesture and sacred sound, creating a link between body and mind. The Hastas in the tradition of Hindu dance In dance tradition, mudras are called hastas. According to the ancient scripture “Abhinaya Darpana '' authored by Nandikeshwara, 28 single hand gestures are called Asamyukta Hastah and 23 united or combined hands gestures are called Samyukta Hasta. Show the meanings with gestures These combination of hand gestures may denote the Gods and Goddesses (Brahma, Vishnu, Shiva, Saraswati, Lakshmi, Parvati etc ), the four different castes (Brahmana, Kshatriya, etc.), the planets (sun, moon, etc.), the rivers (Ganga, Yamuna, etc.), animals ( the peacock, the serpent, the deer ) and so on. The various meanings of these gestures will be explored through the Viniyogas at the end of this presentation. What is Viniyoga? Viniyoga as thought in “Abhinaya Darpana '' provides the meanings that translate the poetic universe of mythology as well as philosophical thoughts into symbolic hand gestures. Some of these gestures are intrinsically connected with ritualistic action found in pujas ( the sacred offerings) revealing the religious backgrounds of Hinduism. Others describe the wonders of creation, the beauty of nature and the universal emotions experienced by human beings. The relationship between Form and Essence or (body action and intellection), reveals the power of these sacred gestures, as a means for propitiating intellectual contemplation. These symbolic gestures and postures may represent particular states of consciousness (bh?vas) which are directly conveyed through visual and auditory means actualizing these states of higher consciousness in the minds of the devotees, stimulating religious worship and providing a support for spiritual contemplation. To elucidate the relationship of Form and Essence in Schuon’s writing in connection with the sacred gestures of Hindu dance, I have chosen the chapter: Chapter 4: Concerning Forms in Art — The Transcendent Unity of Religion pg. 61 If the importance of forms is to be understood it is necessary to appreciate the fact that it is the sensible form that, symbolically, corresponds most directly to the Intellect, by reason of the inverse analogy connecting the Principe and manifested orders.* *"Art," said St. Thomas Aquinas, "is associated with knowledge." In consequence of this analogy, the highest realities are most clearly manifested in their remotest reflections, namely, in the sensible or material order and herein lies the deepest meaning of the proverb '"Extremes meet""~ to which one might add that it is for this same reason that Revelation descended not only into the souls of the Prophets, but also into their bodies, which presupposed their physical perfection. {Rene Guenon (''Les deux nuits.." Etudes traditionnelles. April and May, 1939) in speaking of the lay/at a/-qadr. night of the "descent" (tanzll) of the Koran, points out that this night, according to Muhyi 'd-Din ibn ‘Arabi's commentary, is identified with the actual body of the Prophet. What is particularly important to note is the fact that the "revelation" is received not in the mind but in the body of the being who is commissioned to express the Principle. "And the Word was made flesh." says the Gospel ("flesh.. and not "mind") and this is but another way of expressing under the form proper to the Christian Tradition, the reality that is represented by the lay/at al-qadr in the Islamic Tradition. } (So here, the human body assumes the Revelation of the Logos. In the Islamic tradition, the night of descent or the “Revelation” is identified with the body of the Prophet; he is the incarnation of divine Perfection whereas in the Cristian tradition, the logos become flash in the person of Jesus Christ. In Hindu tradition, we have the iconographic gods and goddesses which are the various expressions of Para Brahma, (the nirguna aspect of reality). Their bodies ( the saguna aspect) represent several divine attributes. Each deity reveals a particular aspect of the divinity by means of specific sacred gestures. I resume the text: Sensible forms therefore correspond with exactness to intellections, and it is for this reason that traditional art has rules that apply the cosmic laws and universal principles to the domain of forms, and that, beneath their more general outward aspect, reveal the style of the civilization under consideration; this style in its turn rendering explicit the form of intellectuality of that civilization. (One of the aspects of the formal intellectuality in Hinduism can be well represented through the concept of Nataraja, the Cosmic dancer who creates the universe while dancing. The various gestures of creation are thus symbols of metaphysical prototypes which recreate life ritualistically, through the science of dramatic art.) “All works of art on earth are an imitation of the art of the Devas” (Aitareya Brahmana) Let’s see how we apply “Form and Essence” in the symbolic gestures of Hindu Dance This same principle : “Extreme meets' 'is found in the ritualistic gestures of devotion which brings to the body, intellection of prototypes made form in a specific gestural language identifying the idea with what it signifies. I quote Schuon: “Forms, intellections: the whole of traditional art is founded upon this correspondence”, on Aesthetics and symbolism in art and nature. And “The reflection of the supra-formal in the formal is not the formless but on the contrary strict form. The supra-formal is incarnated in a form that is at once “logical” and “generous”, hence in beauty” (Spiritual Perspectives and Human Facts.) Springing from metaphysics, these gestures are symbolical while being descriptive of an ontological reality. Metaphysical knowledge being in its essence supra-individual and universal proceeds from pure Intelligence which is direct and not discursive. Language is not perfectly apt to convey Essences, which are supra-formal. However, the human body being a direct vehicle for the Spirit, ontologically participates in supra-formal realities through the sacred geometry of the body, manifesting formal attitudes that are powerful means to convey in a direct and not discursive manner, the very essences of archetypes, man being the Logos. I quote in French: “ Les extremes se touchent — Le Supra sensible se matérialisant dans une forme particulière pour exprimer l’essence supra sensible de la forme”. '"Extremes meet”" Now, to illustrate these ideas in a direct and not discursive manner, I will recite and perform some Viniyogas to illustrate visually the relationship of Form and Essence. Recite and perform Anjali Viniyoga with its meaning. The first hasta exposed in this ancient text and which precedes the ritualistic dance is called Anjali, both hands held together in front of the heart. While worshiping God, it creates a temple in the human body, with the hands above the head, as a “Shikara” or “Vimana, the summit of the Hindu temples. The body becomes the sacred space for the performance of this art form ? Anjali Viniyoga: —- Salutation Deavata Guru Vipar?nam Namaskarieshwanu Kramaat Karye: Shiro, Mukho, Urastho, Viniyoganjali Budaihi The meaning given in Abhinaya Darpana is: (Used for the salutation to God, to the Guru and to the learned ones. We hold Anjali hasta above the head for the gods, in front of the face for the Guru and in front of the chest for the learned ones.) Comment: Through these sacred gestures the practitioner becomes the form of the formless realizing the identity between the knower and the known in the unity of his being. Identifying the knower with what he knows, the human body becomes an instrument for self-knowledge. The performance of these gestures may lead to higher states of consciousness that they symbolize, as the human body here is a channel connecting the intellective idea to the manifested form it assumes in a process of bodily-intellectual alchemy. The body assumes diagrams which reveal the very essence of archetypes, translating them in a theological approach related to the revealed tradition. Metaphysical knowledge becomes theological knowledge revealing the esoteric nature of religion manifested through a religious symbolism. I quote Schuon: “Forms allow a direct and “plastic” assimilation of the truths—or realities—of the spirit. The geometry of the symbol is steeped in beauty, which in turn and in its own way is also a symbol. The perfect form is that in which truth is incarnate in the rigor of the symbolic formulation and in the purity and intelligence of the style”. (Spiritual Perspectives and Human Facts) Watch more work for Sarah @sarahmagalhaes-Hindudance Watch the #recording on our website here https://thegreenknight.org/sarah-magalhaes/ For news and new releases directly to your inbox, sign up to our #newsletter 👇 https://thegreenknight.org/contact/ #podcast #podcasting #podcaster#greenknight #spirituality #spiritualawakening #spiritual #spiritualitä #podcast #podcasting #podcaster#greenknight #greenknights #art #artprint #celticart #celtic #theology #comparativereligion #geometricart #sirgawainandthegreenknight #lovequotes #poem #theology #comparativereligion #sacredgeometry #sacredart #patrick #tombree #art #artistsoninstagram #artofinstagram #artist #spirituality #spiritualawakening #spiritual #spiritualität #martinlings #westminsterabbey #anthonyball #canon #bishop #alchemy #hindu #dance #hinduism #hindi #SarahMagalhães…
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1 Mudras as symbols of the universe -The Spiritual import of Hindu Dance PART (2) by Sarah Magalhães 17:13
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By Sarah Magalhães Recite and perform: ? Kapotha Hasta Viniyoga. —- Religious Respect Praname Guru Sambhashe Vinayangi Krteshwayam (The form of this mudra is analogous to the form of the heart and this is held in the center of the chest where the noblest inner attitudes should manifest in hierarchic relationships.) (To offer pranams, respectful salutation to the guru as a mark of acceptance; to show politeness and respect while talking to elder people; to show modesty while being praised.) Making use of rational modes related to aspects of devotion, respect and worship in social relationships, the mudras become symbols to describe and convey knowledge of a greater degree, such as universal concepts which must be properly assimilated, into knowledge of a sensible order. In this alchemy, the relationship of Form and Essence in the performance of the mudras translates in a visual expression, the spiritual ethos of Hinduism. Recite and perform: —- ? Pushpaputa Hasta Viniyoga. Offering (All the meanings of this hasta are related to worship and ritual ) Neeranjenavidhou , Vaari phala digrahane picha Sandyayaam Arghyadanecha, Mantrapushpecha Yujyate (Small lamp on a plate for worship, to hold, to receive a coconut which is a symbol of auspiciousness and a divine offering; ritual to be offered in the morning and in the evening; to take water for the ocean and to offer again to the ocean —whatever you get or learn from the guru you must add to it give back to its source ; offering of mantras ) Whereas metaphysic proceeds from intellectual intuition, religion proceeds from Revelation. The sacred gesture extracts the essence of metaphysics and reveals its beauty through the revelation of a religious form. Thus, these sacred gestures are a direct and active participation in divine Knowledge with the whole body as a unity of physical body, mind and soul. The human body being the microcosm is a reflection of the macrocosm in its way of operation. Thus, the sacred gesture awakens a knowledge which is inscribed in the innermost essence of man and comes up to life through mimesis of a real ritual. The performance of these holy gestures acts as a way of extinction. A way of liberating oneself from the cosmic Maya through the cosmic Maya, the body itself, in this case. Recite : ? Uttsanga Hasta Viniyoga - Respect in the social domain (Now we come to a more secular aspect of life. These Viniyogas explicit social action and attitudes in daily life related to self-respect.) Aalinganecha, Lajjayam, Angadadipradarshane Balam Shikshane chayam Uttsango Yujate Karaha (Embracing; shyness; to show the ornaments in the upper part of the arms; teaching children to be poised) In the domain of social life, the mudras are signs for recognition of ethical values. The sacred gesture enshrines a specific form that corresponds to an idea in the realm beyond form. Reasons explain discursively through language. The Intellect knows intuitively. In this sense, the mudra is a seal or a symbol of an idea - an intellection translated into body substance. ? Shivalinga Viniyogastu Tatsieiva Shivalingasya darshane (Refers to the Supreme Principle) To show Shivalinga as two Principles. Purusha and Prakriti Sacred gestures reveal forms proper to actualize the spiritual content of a particular religion, as they are transmitter of intellectual intuitions. In this way, esoterism manifests on exoterism by the medium of sensible forms. Thanks to their symbolism translated into an immediate and universal language; these forms are channels for conveying a religious doctrine. In this way, esoterism infuses an intellectual quality into the devotional domain of the tradition. ? Shakatam Raakshasaa Bhinaye praya Shakato Viniyujyate (To show demons) (To show evil and immediately this is followed by the attributes of the protector and preserver: Lord Vishnu.) ? Shankha Hasta Viniyoga Shankadishu prayojioyam ilia hu Bharata dayaha (To show the Conch of Lord Vishnu) The sound of the shankha refers to the sacred Om sound, thus it symbolizes eternal creation. The Conch of Lord Vishnu also signifies knowledge which dispels the darkness of ignorance. ? Chakra Hasta Vinyioga Chakrahasta Savigneya Chakrarte Viniyujate (To show the Chakra of Lord Vishnu) The weapon to destroy demons. The relation between form and essence becomes intellectually evident and is communicated to the spiritual community by symbolic means designed to awaken in them the latent knowledge about essences that they eternally bear within themselves. Through dramatic art pervaded by the ray of Revelation, which is none other than the ray of the Intellect revealed through sacred symbols, it expresses the doctrine of goodness and leads the community back to higher values established in society. Conclusion: The intrinsic relationship between Form and Essence allows metaphysical and universal truths to be translated into a dogmatic language of symbols providing an immediate understanding of the core of a particular religion. A symbol is not merely a form but a means of conveying a reality and a deep truth of a transcendental nature. They are thus charged with a power that awakens our conscience. By contemplating them, we establish an immediate connection with what they convey. Thus, symbols when understood in its profound meaning allow us to leave the rational plane and to reach the universal. It enables us to leave the realm of particularity, provoking a liberating state of Oneness. Almost like a magical instant, symbols awakens in the depths of our souls, that which is inscribed in our hearts since eternity, the very essence of archetypes. The power of symbols are such that we could consider them as immaterial talismans. In this sense, they are efficient transmitters of an everlasting heritage of ancient knowledge. An example of this, can be seen in Hindu dance, which is an expression of a higher religious intuition, bringing to the body substance, the intuition of Essences. ( ) In a sense, this art is a kind of “ Song of the Essences” materialized in the human body. To conclude I will perform a shloka to show how these gestures are used in a devotional verse of praise. Perform and then explain: Through the symbolism of the three powers of life: creation, preservation and destruction, represented by Lord Brahma, Vishnu and Shiva, the guru is seen as the whole universe incarnated; but in reality Guru is ParaBrahma itself. In this shloka, the concept of guru is equated to the possibility of transcending oneself in the cycles of existence (creation, preservation and destruction) and realizing Parabrahma which is the sole Reality. Shloka for honoring the Guru Guru Brahma Guru Vishnu Guru Devo Maheshwara Guru sakshat ParaBrahma Tasmai Shri Gurave Namahah Thank you for this opportunity of sharing this noble art of ancient India A transcibe file of the recording will be availabe to download to help follow the video. for those who listen on the podcast audio, the transcribe will show when you click on "Notes". Watch more work for Sarah @sarahmagalhaes-Hindudance Watch the #recording on our website here https://thegreenknight.org/sarah-magalhaes/ For news and new releases directly to your inbox, sign up to our #newsletter 👇 https://thegreenknight.org/contact/ Podchaser vgUxMMrR5jdcFYt8lezJ #podcast #podcasting #podcaster#greenknight #spirituality #spiritualawakening #spiritual #spiritualitä #podcast #podcasting #podcaster#greenknight #greenknights #art #artprint #celticart #celtic #theology #comparativereligion #geometricart #sirgawainandthegreenknight #lovequotes #poem #theology #comparativereligion #sacredgeometry #sacredart #patrick #tombree #art #artistsoninstagram #artofinstagram #artist #spirituality #spiritualawakening #spiritual #spiritualität #martinlings #westminsterabbey #anthonyball #canon #bishop #alchemy #hindu #dance #hinduism #hindi #SarahMagalhães…
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1 Alchemical Reflections on Moses and Al-Khidr story in the Koran-Part (1) The Two Seas 32:32
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Speaker: Guy Ogilvy In this dialogue with Reza, Guy will take us through a journey with Moses and the Green Man - Al Khidr where Moses found him at the meeting of the two seas following a sign of the fish that was brought back to life and burrowed into the sea! The story is portrayed in the Koran, chapter 18 ‘The Cave’ or Al-Kahf starting from verse 60... Watch the #dialogues on our website here https://thegreenknight.org/guy-ogilvy/ For news and new releases directly to your inbox, sign up to our #newsletter 👇 https://thegreenknight.org/contact/ #podcast #podcasting #podcaster#greenknight #spirituality #spiritualawakening #spiritual #spiritualitä #podcast #podcasting #podcaster#greenknight #greenknights #art #artprint #celticart #celtic #theology #comparativereligion #geometricart #sirgawainandthegreenknight #lovequotes #poem #theology #comparativereligion #sacredgeometry #sacredart #patrick #tombree #art #artistsoninstagram #artofinstagram #artist #spirituality #spiritualawakening #spiritual #spiritualität #martinlings #westminsterabbey #anthonyball #canon #bishop #alchemy…
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1 Alchemical Reflections on Moses and Al-Khidr story in the Koran-Part (2) The Parting! 23:40
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Speaker: Guy Ogilvy In this dialogue with Reza, Guy will take us through a journey with Moses and the Green Man - Al Khidr where Moses found him at the meeting of the two seas following a sign of the fish that was brought back to life and burrowed into the sea! (PART-2) The story is portrayed in the Koran, chapter 18 ‘The Cave’ or Al-Kahf starting from verse 60... Watch the #dialogues on our website here https://thegreenknight.org/guy-ogilvy/ For news and new releases directly to your inbox, sign up to our #newsletter 👇 https://thegreenknight.org/contact/ #podcast #podcasting #podcaster#greenknight #spirituality #spiritualawakening #spiritual #spiritualitä #podcast #podcasting #podcaster#greenknight #greenknights #art #artprint #celticart #celtic #theology #comparativereligion #geometricart #sirgawainandthegreenknight #lovequotes #poem #theology #comparativereligion #sacredgeometry #sacredart #patrick #tombree #art #artistsoninstagram #artofinstagram #artist #spirituality #spiritualawakening #spiritual #spiritualität #martinlings #westminsterabbey #anthonyball #canon #bishop #alchemy…
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