View allAll Photos Tagged IMMANENCE
Pumice Plain (and a glimpse of Spirit Lake), Mount Saint Helens Volcanic Monument, Washington
Like this snowy landscape, I've been feeling quiet of late, with not much new to photograph, and the words I usually enjoy adding to my posts muffled somewhere under the demands of work and life. But I am hoping that like the energy of the active volcano that lies beneath the snow in this place, the energy of inspiration will start flowing again soon...
"Immanence": oeuvre de Yoan Capote
Warning : ALL RIGHTS RESERVED : do not use my images without my EXPLICIT permission
All my images are protected by PIXSY and COPYTRACK.
I come in the little things,
Saith the Lord;
-- From the poem Immanence by Evelyn Underhill
This is exactly where I found this little red/orange and white feather in my yard while looking for flowers to photograph.
Sakralbauten sind die Königsklasse der Architektur. Die Kombination aus Raum, Material und Licht erzeugt die besondere Atmosphäre für das Innekehren. Zeitgenössische Sakralbauten müssen zum einen der baulichen Tradition und Symbolik der jeweiligen Glaubensrichtung folgen und haben zum anderen aufgrund ihrer Strahlkraft das Potenzial, Architekturentwicklung mitzugestalten. Die neue Kirche in Poing zeigt dies in Vollendung. Das Grundstück liegt in einem jungen, stetig wachsenden Stadtteil von Poing, begrenzt durch eine stark befahrene Ausfallstraße und einen Grünzug mit Weiher.
Der skulpturale Kirchenbau positioniert sich eigenständig und dank seiner großen Öffnungen zugleich einladend in dieser heterogenen städtebaulichen Situation. Ein breiter, leicht abfallender Platz vor dem südöstlich liegenden Haupteingang schafft die dramaturgische Vorlage für das hoch aufsteigende, gefaltete Kirchendach.
Der geschosshohe Sockelbereich ist aus monolithischen Wänden in Nagelfluh errichtet, dessen eingeschlossene Kiesel eine dezente Vielfarbigkeit erzeugen. Darüber thront eine expressive Dachform, die mit 15.000 schneeweißen, dreidimensionalen Keramikkacheln verkleidet ist. Die beiden Ebenen symbolisieren Erde und Himmel, Immanenz und Transzendenz. Das Thema wird im Innenraum fortgeführt und um die Wirkung des einfallenden Lichts ergänzt. Drei große Oberlichter, ein Sinnbild der Dreifaltigkeit, beleuchten gezielt die liturgischen Orte. Die Unter-seiten der steilen Dachscheiben sind weiß gekalkt, was die diffuse Lichtverteilung begünstigt. Ein gewaltiges Raumkreuz überspannt den gesamten Raum. Es trägt das Gebäude symbolisch wie auch konstruktiv.
Abstrakte Formgebung und geschickte Modellierung mit Licht erzeugen eine Atmosphäre, die dem In-die-Höhe-Streben historischer Sakralbauten vergleichbar ist. Statt der Überladung des Raums mit religiösen Gemälden und Figuren besticht das Gebäude durch seine subtile Symbolik und Kargheit, die den Besucher zwingt, sich mit sich selbst zu befassen. Diese Kirche muss man aushalten können. Zugleich bieten bodentiefe Verglasungen am Eingang und hinter dem Taufbereich eine Möglichkeit, sich der Strenge des Raums und der Konzentration der Andacht zu ent-ziehen. Der Blick kann über den Weiher schweifen, während ab und an unterhalb des Taufbeckens ein Radler vorbeihuscht.
Sacred buildings are the premier class of architecture. The combination of space, material and light creates a special atmosphere for contemplation. Contemporary sacred buildings must, on the one hand, follow the architectural tradition and symbolism of the respective faith and, on the other hand, have the potential to help shape architectural development due to their charisma. The new church in Poing demonstrates this to perfection. The site is located in a young, steadily growing district of Poing, bordered by a busy arterial road and a green corridor with a pond.
The sculptural church building stands independently and, thanks to its large openings, is also inviting in this heterogeneous urban setting. A wide, gently sloping square in front of the main entrance on the south-east side creates the dramatic backdrop for the towering, folded church roof.
The storey-high base area is constructed of monolithic walls made of Nagelfluh, whose enclosed pebbles create a subtle multicolour effect. Above it towers an expressive roof shape clad with 15,000 snow-white, three-dimensional ceramic tiles. The two levels symbolise earth and sky, immanence and transcendence. The theme is continued in the interior and complemented by the effect of the incoming light. Three large skylights, symbolising the Trinity, illuminate the liturgical areas in a targeted manner. The undersides of the steep roof panels are whitewashed, which promotes diffuse light distribution. A huge spatial cross spans the entire room. It supports the building both symbolically and structurally.
Abstract design and skilful modelling with light create an atmosphere comparable to the upward striving of historical sacred buildings. Instead of overloading the space with religious paintings and figures, the building captivates with its subtle symbolism and austerity, which forces visitors to engage with themselves. This church is not for everyone. At the same time, floor-to-ceiling windows at the entrance and behind the baptismal area offer an opportunity to escape the austerity of the space and the concentration of worship. The gaze can wander over the pond, while every now and then a cyclist whizzes past below the baptismal font.
Quelle : bda-bund. de
As I personally identify with much of spiritual teachings, vibrational truth and theory, this moment meant a lot to me.
I'd recently been going through some tough periods in my life and I was there sat on a park bench admiring the clouds when this appeared right above my head. Some may laugh, well, that's for you, but for me I felt comfort and hope in this form of energetic expression. I don't of course assume I am some chosen one, I simply apply the meaning and acknowledge the event as a form of respect.
Oh and I am not even remotely religious! ;)
I hope everyone's week is going well, I appreciate everyone's support and as always, thank you :)
In his spiritual journey toward union with God, Merton experienced three main transformations of consciousness: 1) from that of a nonbeliever to a Roman Catholic with an awareness of God’s presence in the church; 2) from a traditional view of contemplation to a modern view of contemplation with an awareness of God’s presence in people; and 3) from a solely Western Christian consciousness to a universal religious consciousness with an awareness of God’s immanence in the created order.
-Thomas Merton’s encounter with Buddhism and beyond: his interreligious dialogue, inter-monastic exchanges, and their legacy / Jaechan Anselmo Park, OSB.
“learning to lose ourselves in the understanding of [our] weakness and deficiency can help us to become true contemplatives.”
-Thomas Merton, Seeds of Contemplation (Norfolk, CT: New Directions, 1949), 108
My wild river reflection...!!!
Constantly changing every moment, my wild river make me discover who i am ... photography is definitely a philosophical art for me ...!!! Ü
An impressionnist photo safari concentrated mainly on a daily basis (or almost) on my small piece of planet of 55 000 square feet …!!!
A Thoreau "waldennienne" approach …!!!
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L'immanence...!!!
Reflet de ma rivière sauvage …!!!
En constante transformation à chaque instant, ma rivière sauvage me fait découvrir qui je suis… la photographie est définitivement un art philosophique pour moi…!!!
Un safari photo impressioniste au quotidien concentré essentiellement (ou presque) sur un petit morceau de planète de 55 000 pieds carrés ...!!!
Une démarche "waldennienne" à la Thoreau …!!!
Incurable Answers.
تجرد الإخفاقات الضمنية الناشئة للعيش الناشئ انعكاسات بسيطة ومحتويات نقية ومتميزة من الأفكار الأساسية المتميزة بعيدًا عن الحقائق,
intériorité identité connaissance dogmatisme assurances immanence soi ruse observation activités signification indiquant la conscience,
enaid sylweddol yn pennu cynnwys crynodrwydd cynnwys Mae sgematigau yn cynnig sefyll ffurfiol ffurfiol brodorol gan fynegi angenrheidiau mewnol,
înțelegerea punctelor natură existență înțelegerea problemelor sunete străine definirea legilor fixe mișcările devenind noțiuni raționalitate generală,
λογικές μεταβάσεις επιστημονικές μέθοδοι εκθέσεις εξωτερική αφήγηση διαισθήσεις υποτιθέμενες μορφές επαναστατικές ομιλίες απαιτεί προσοχή,
Bestimmungen lästig formalistisch absorbierend Denken Bewusstsein Argumentationsfähigkeit Freiheit Bemühungen spontane Natur Eitelkeit Verstand,
内在する感動的な注目に値するアイデア比率論的回答差別化された内容添付された基礎偶然の特性議論の下での述語命題昇華された発見述語命題昇華した調査結果.
Steve.D.Hammond.
Stillness… how strange it is. How strange it can be.
We all return ultimately to stillness, but in the pursuit of ‘life’, we abhor it. Yet, when life stalls, paradoxically, at least for me, it is the stillness of the outdoors that hinges life back to being bearable. Such stillness is quaint. They don’t have a name. But, they shroud us like clouds during fading lights. Like mountains, they provide reassurances against forces of erosion.
Let me share with you two such moments of stillness from our recent Colorado trip.
In the beautiful Rocky Mountain National Park, the Alpine visitor center has a glass-wall that looks down from 11,796 feet into the stunning Fall river basin to the east. NPS has put in a couple of couches/benches by these walls that are seldom used by hasty visitors. When we were there after driving up the nostalgic one-way Old Fall river road, Rishabh sat on one of those benches while I habitually chatted up the park ranger. After my conversation with the ranger ended, Rishabh asked me to sit next to him on the couch by the glass wall. I did and leaned back on the comfortable seat. In front of us, the blue sky was busy passing an armada of puffy, overweight cloud-balls to nowhere, whereas the land beneath – the cirque – was grossly overdressed in her autumn attire. Looking straight into this scene, Rishabh calmly rested his head on my shoulder. I felt his leaning and the father in me teared up a soupçon inside. Joy erupted into stillness of the hinging kind and despite pressing talons of my realities, everything felt peaceful in the world past that huge glass-wall.
The second such moment happened later in the day, when Rishabh and I stood next to each other at the gorgeous Gore Range overlook at 12,048 feet and watched the fading light play with mountains and their cloud curtains like kittens and wool-balls. He showed me the panaroma he had captured on my iPhone. When I praised his image and told him I was going to replicate his frame, he smiled ear to ear. Joy spurted again, but this time, the stillness borrowed heavily from those mountains and filled me with – in Peter Matthiessen's words – 'a light-filled immanence, shimmering and breathing, and yet so fleeting that it left me breathless and in pain'. Sweet pain.
”испокону мы в зле да шепоте
под иконами в чёрной копоти ...” V.V.
”som små drenge
der ikke har spist
grøden op og er bange
for ders mor” B. Andersen
Look familiar? Hell ya, it does! That is because it is a direct homage to this chap here: Richard S. Warner (Visionheart). And of course, the whole TumbleWorld thing is his also...I merely being a curious visitor who just happened to board the wrong train...
Upon exiting the terminus, eyes wide with wonder, I encountered a direct assault upon all seven or eight of my senses. A parallel universe seemed to be swapping back-slaps and high-fives with reality that caused me to shiver all the way from Thangordängüm to ૠિ૭ુૐ. For heaven's sake, I couldn't put my feet down solidly on anything that even remotely felt like terra firma. My very existence lay asunder and shattered way up there on the thirteenth floor of that building to the left. I watched - wonder acquiescing to alarm - as I swayed whooooa! To one side, then whooooa! To the other and shouting into the cascading silence like a man possessed of two lives, neither of which were his own, "The Quantum Age has arrived...it has arrived!" In a last ditch attempt to save myself and my other self, I crawled back into the station, heaving and gasping, peering through bleary eyes for something, anything "real" to grab on to...luckily, there was a Tim Hortons, so I grabbed a medium dark roast and made the doors of the train just before they closed. There was a teenage girl with blaring ear buds, standing just inside and I said to her, "Phew! That was close." She blankly looked at me for a second then back to her phone. I stared for a moment, finally turning to find myself a seat.
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Of course, no homage to Mister Visionheart would be complete without some kind of music link and thus, as surely nothing would be more appropriate than the soaring, heavenly tones of the Ozrics.
Music Link: Ozric Tentacles - "Changa Masala" from their album, "Technicians of the Sacred"
www.youtube.com/watch?v=a3Qof8RyjFw
View Large on Black.
© Paul B0udreau ( Copycat ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
[a photography book / libro de fotografía, fernando prats]
ADD TO CART / AGREGAR A LA CESTA
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Also available from www.lulu.com/product/tapa-blanda/whe(re)n/14317757
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Prologue in french, english, spanish and catalan written by jef safi with translations by Alicia Pallas and Carles Viñas.
Size: 25 cm x 20 cm. Full color(ed). Soft cover.
Prólogo en francés, inglés, castellano y catalán, escrito por Jef Safi con traducciones de Alicia Pallas y Carles Viñas.
Tamaño: 25 cm x 20 cm. Todo color. Tapa blanda.
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ISBN: 978-1-4461-5698-8.
*
"Toutes ces images agissent et réagissent les unes sur les autres dans toutes leurs parties élémentaires selon des lois constantes de la nature. (...) J'appelle matière l'ensemble des images, et perception de la matière ces mêmes images rapportées à l'action possible d'une certaine image déterminée, mon corps." C'est ainsi que Bergson introduit l'immanence de la lumière relativement au corps qui la perçoit, dès les premières pages de "Matière et Mémoire". Est-ce à dire que Fernando nous suggère ici des fragments lumineux du plan d'immanence ou les révélations obscures d'un de ses plans de composition ? Avec cette emphase la question semble se perdre entre éblouissement et aveuglement. Tentons néanmoins d'y répondre avec discernement . .
'pictosophons !" (from the prologue, by jef safi)
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“Todas esas imágenes actúan y reaccionan unas sobre las otras en todas sus partes elementales de acuerdo con las leyes constantes de la naturaleza. (…) Yo llamo materia al conjunto de imágenes, y percepción de la materia a estas mismas imágenes referidas a la acción posible de una cierta imagen determinada, mi cuerpo”. De este modo Bergson introduce la inmanencia de la luz en relación con el cuerpo que la percibe, desde las primeras páginas de “Materia y memoria”. ¿Quiere esto decir que Fernando nos sugiere aquí los fragmentos luminosos de un plano de inmanencia o las revelaciones oscuras de uno de sus planos de composición? Con tal énfasis, la pregunta parece perderse entre el deslumbramiento y la obcecación. Intentemos no obstante responder con discernimiento…
¡pictosofemos!…”
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"All these images act and react upon each others in all their elementary parts according to constant laws of nature. (...) I name matter all theses images and I name perception of matter these same images referred to the possible action of one determined image among them, my body." Thus Bergson introduces the immanence of the light relatively to the body receiving it, in the first pages of "Matter and Memory". Does this mean that Fernando suggests here some luminous fragments of the plane of immanence or the dark revelations of one of his planes of composition ? So emphasized the question seems to be lost between dazzle and blindness. Nevertheless, let's try to respond with discernment . .
'pictosophizing ! "
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“Totes aquelles imatges actuen i reaccionen unes sobre les altres en totes les seves parts elementals d’acord amb les lleis constants de la natura (...) Jo anomeno matèria al conjunt d’imatges, i percepció de la matèria a aquestes mateixes imatges referides a l’acció possible d’una certa imatge determinada, el meu cos”. D’aquesta manera Bergson introdueix la immanència de la llum en relació al cos que la percep, des de les primeres pàgines de “Matèria i memòria”.
¿Vol dir això que Fernando ens suggereix aquí els fragments lluminosos d’un pla d’immanència o les revelacions obscures d’un dels seus plans de composició? Amb aquest èmfasi, la pregunta sembla perdre’s entre l’enlluernament i l’obcecació. Intentem no obstant respondre amb discerniment...
pictosofem!"
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1st legend : Exploring akiruna's visions of common things which are the more exquisite .. as surely as Monk's wrong notes are the more sounded !
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Outlining a Theory of General Creativity .. on a 'Pataphysical way
Entropy ≥ Memory . Creativity ²
Study of the day:
Nirvana SQ : Is there anything left that must be hidden ?
fernando prats : is there anything that must not be hidden but at once not showed-off ?
jef safi : My point-of-view is that art is often trapped in its narcissism ; ego-obsessed to be shown, art forgets that it hides. Even if it is written, sounded, pictured, sculpted, spoken, . . even if it is pictosophized, . . each point-of-view on anything hides the rest of the universe,
and at once, each point-of-view on anything (contains, wraps, ) envelops the rest of the universe !
The "hiding/showing" dualism will inherit from the "subject/object" one, as long as the "being/otherness" will remain its plane of consistency.
Let's try to ask a new way : Is there anything left that must be envelopped ?
. . hmm . . I'm feeling you're now guessing it, . . must . . is the question !
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[...] chaque "moi" est un "point de vue" sur le monde, chaque "moi" exprime le "monde entier" de son propre "point de vue" ; au sens où le "monde entier" n’existe pas hors des "points de vue" qui l’expriment. La "ville" n’existe pas hors de l’ensemble des "points de vue" sur la "ville". C’est une belle idée, . . la ville c’est ça, c’est l’ensemble des points de vue sur la ville. [...] Chaque "moi" contient (enveloppe) la totalité du "monde" . . [...] . . pour chacun de ces "moi", Leibniz qui ne se satisfait pas du petit ilot subjectif de la res cogitans de Descartes, crée un concept pour désigner "chaque moi" qui pense la totalité du monde possible. Leibniz l'appelle la "monade". Chaque "monade" exprime (enveloppe) la totalité du monde.
Each "self" is a "point of view" on the world, each "self" expresses the "world" from his own "point of view", in the sense that the "world" doen't exist out of the "points of view" that give it an expression. The "city" doesn't exist outside of all "points of view" on the city. It is a beautiful idea . . the city is all the "points of view" on the city. [...] Every "self" contains (wraps) the entire "World". . [...]. . For each of these "self", Leibniz who don't meet the too small subjective island of the res cogitans of Descartes, creates a concept to designate "each self" who thinks the entire possible world. Leibniz called him the "monad". Each "monad" expresses (wraps) the entire world.
(Gilles Deleuze - Cinéma - cours 41 du 17/05/1983 à PARIS 8)
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my bigHuge Flickr DNA . . neither for forensic analysis nor any positive discrimination !
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[ F11 ] . . my complete random recto-perso collection . . [ F11 ]
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Either / Or
Shadowgraphs; A pshychological pastime. As explained by Søren Kierkegaard.
Or
Sein und Dasein. As explained by Martin Heidegger.
Either
Beyond good and evil; Prelude to a phylosophy of the future. As explained by Friedrich Nietzsche.
Take your pick. Existentialism is al about free choice.
We're here visiting Existential
The holiness of the real
Is always there, accessible
In total immanence. The nodes
Of transcendence coagulate
In you, the experiencer,
And in the other, the lover.
Kenneth Charles Marion Rexroth (22 Dec. 1905 – 6 June 1982) American poet
Anzy-Le-Duc church, Saône-et-Loire 71
South transept
“The transparency of consciousness entails the immanence and the absolute certainty of the object.” M. Merleau-Ponty
Rolleiflex 3.5 F + Carl Zeiss Planar 75/3,5
Bergger PANCRO400 (badly developed) > ILFOSOL3 1+9
EPSON PERFECTION V500 photo
Hasidism, sometimes Hasidic Judaism (Hebrew: חסידות, translit. hasidut, [χaˈsidus]; originally, "piety"), is a Jewish religious group. It arose as a spiritual revival movement in contemporary Western Ukraine during the 18th century, and spread rapidly throughout Eastern Europe.
Today, most affiliates reside in Israel and the United States. Israel Ben Eliezer, the "Baal Shem Tov", is regarded as its founding father, and his disciples developed and disseminated it. Present-day Hasidism is a sub-group within Ultra-Orthodox ("Haredi") Judaism, and is noted for its religious conservatism and social seclusion. Its members adhere closely both to Orthodox Jewish practice – with the movement's own unique emphases – and the traditions of Eastern European Jews, so much so that many of the latter, including various special styles of dress and the use of the Yiddish language, are nowadays associated almost exclusively with Hasidism.
Hasidic thought draws heavily on Lurianic Kabbalah, and, to an extent, is a popularization of it. Teachings emphasize God's immanence in the universe, the need to cleave and be one with Him at all times, the devotional aspect of religious practice, and the spiritual dimension of corporeality and mundane acts. Hasidim, the adherents of Hasidism, are organized in independent sects known as "courts" or dynasties, each headed by its own hereditary leader, a Rebbe. Reverence and submission to the Rebbe are key tenets, as he is considered a spiritual authority with whom the follower must bond to gain closeness to God. The various "courts" share basic convictions, but operate apart, and possess unique traits and customs. Affiliation is often retained in families for generations, and being Hasidic is as much a sociological factor – entailing, as it does, birth into a specific community and allegiance to a dynasty of Rebbes – as it is a purely religious one. There are several "courts" with many thousands of member households each, and hundreds of smaller ones. As of 2016, there were over 130,000 Hasidic households worldwide, about 5% of the global Jewish population.
The Holocaust hit the Hasidim, easily identifiable and almost unable to disguise themselves among the larger populace due to cultural insularity, particularly hard today represent 5% of the Jewish population worldwide
There is a Hasidim population in Stamford Hill, London
One cannot understand the meaning of the divine Message without knowing the nature of the human receptacle; he who understands man, understands all the supernatural and cannot help but accept it. Now man is made to contemplate the Absolute starting from contingency; the Absolute is conscious of Itself in Itself, but It also wishes to be conscious of Itself starting from another than Itself; this indirect vision is a possibility necessarily included in the Infinitude belonging to the Absolute. In consequence it could not not be realized; it is necessary that there be a world, beings, men.
To contemplate the Absolute starting from the contingent is correlatively to see things in God and to see God in things, in such a manner that they do not take us away from God and that on the contrary they bring us near to Him; this is the reason for the existence of man, and from it ensue existential rights as well as spiritual duties.
Man in principle has the right to the satisfaction of his elementary needs and to the enjoyment of a congenial ambience, but he has this right only in view of his vocation of knowing God, whence derives his duty to practice the disciplines that contribute directly or indirectly to this knowledge.
The worth of man lies in his consciousness of the Absolute, and consequently in the integrality and the depth of this consciousness; having lost sight of it by plunging himself into the world of phenomena viewed as such (this is prefigured by the fall of the first couple), man needs to be reminded of it by the celestial Message.
Fundamentally, this Message comes from "himself:' not of course from his empirical "I" but from his immanent Ipseity, which is that of God and without which there would be no "1'', whether human, angelic, or any other; the credibility of the Message results from the fact that it is what we are, both within ourselves and beyond ourselves. In the depths of transcendence is immanence, and in the depths of immanence, transcendence.
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From the Divine to the Human by Frithjof Schuon
Titre alternatif : De la "poire d'angoisse" au "clysoir" . .
Other alternative : Whe(re)n Donald meets Margaret . .
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
"Usus, Fructus, Abusus" sont les trois éléments constitutifs du "droit de propriété". L'Usus est le droit d'usage. Le Fructus, le droit d'en percevoir les fruits. L'Abusus, le droit d'en disposer quelle que soit la manière : troquer, dénaturer, escamoter, détruire, blanchir, disperser, etc. Alors quand la propriété se fait "lucrative", le Fructus peut se faire juteux et l'Abusus . . honteux. ( jef φafi )
"Usus, Fructus, Abusus" are the three constitutive elements of the "right of ownership". Usus is the right to use something. Fructus, the right to perceive the fruits of the exploitatin of this thing. Abusus, the right to dispose of it in any way: bartering, denaturing, retracting, destroying, bleaching, dispersing, etc. So when such ownership rules are "lucrative", the Fructus can be juicy and the Abusus . . shameful.
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Qu'est-ce que la micro-politique néolibérale ? La ruse (que l'on pourrait appeler "manipulation invisible" en hommage à Adam Smith ), c'est de faire en sorte que des micro-choix individuels travaillent involontairement à faire advenir "en détail", un ordre social que la plupart des gens n'aurait sans doute pas choisi s'il leur avait été présenté "en gros".
( Madsen Pirie - Propos rapporté par Grégoire Chamayou dans "La société ingouvernable", une généalogie du libéralisme autoritaire" - La fabrique 2o18 )
What is neoliberal micro-politics? The ruse (which could be called "invisible manipulation" in homage to Adam Smith), is to ensure that individual micro-choices work involuntarily to bring about "in detail", a social order that most People would probably not have chosen if it had been presented to them "wholesale". ( Madsen Pirie )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
God is Immanent in Humans
Keeping Holy the Holy days in Havana's Cathedral
The interior of the Cathedral is relatively austere and neoclassical rather than baroque,thanks to a radical 19th-century neoclassical makeover.The vaulted ceilings and the massive stone pillars are still there and the frescoes above the altar,painted by the Italian artist Giuseppe Perovani,date from the late 1700s ; the paintings and other frescoes that adorn the side walls,are copies of originals by Murillo and Rubens,painted by the French painter J.Baptiste Vermay.
☼ ڿڰۣ-ڰۣ— 🌻🌻🌻 இڿڰۣ-ڰۣ இڿڰۣ-ڰۣ— 🌻🌻🌻 இ ڿڰۣ-ڰۣ— ☼
- the Prayer of the Heart in the Catedral de San Cristóbal -
"And the peace of God, which surpasses all comprehension, which transcends all understanding, will guard your hearts and your minds." Philippians 4:7
According to a person’s degree of spiritual maturity,the prayer can be either active or contemplative.In the latter case,it becomes a true intrapersonal prayer to "God-by-Whatever-Name",we reach out and touch our immanent deity and the heart is transformed by Grace ...
“Deep down in every human heart is the serene desire to communicate with the Supreme Power.” Mother Teresa
Shortly after,I - found myself - in Mother Teresa of Calcutta Garden looking for the Greek Orthodox church in Old Havana.
Memorable moments,both Culturally and Spiritually and without Prejudices and Ideological Blindfolds ...
" Join Faith to Reason,as far as possible." Boethius
PS : With the greatest respect for various dogmas and religions,
which all co-exist in a state of ongoing dialogue with their divine immanence.William Grassie calls it "Religion from the Inside",and it is perhaps better to draw a sharp distinction between beliefs and faith.
" God made so many different kinds of people; why would God allow only one way to worship ?" Martin Buber
"The true meaning of religion is thus not simply morality, but morality touched by emotion." Matthew Arnold
"The principal thing in this world is to keep one's soul aloft."
Gustave Flaubert
I think it would be supreme if we had a Religion based on the Unity of all Faiths and the Unity of Humanity.Don't you think ?
To all of you who are creative thinkers & to those who have an ecumenical disposition and a latitudinarian attitude ...
”but when I found myself at the foot of a hill,
at the edge of the world’s beginning, down in the valley,
where I first felt my heart plunged deep in fear, ...” Dante Alighieri
THE MYSTERY OF THE VEIL
The Veil can be thick or transparent, unique or multiple; it veils or it unveils, violently or gently, suddenly or progressively; it includes or it excludes, and it separates thus two regions, one inward and one outward. All these modes are manifested in the microcosm as well as in the macrocosm, or in the spiritual life as well as in the cosmic cycles.
The impenetrable Veil covers from sight something that is too sacred or too intimate; the veil of Isis suggests the two relationships, since the body of the Goddess coincides with the Holy-of-Holies.
The "sacred" refers to the divine aspect of "Majesty"; the "intimate" for its part refers to "Beauty"; blinding Majesty and intoxicating Beauty.
The transparent Veil, on the contrary, communicates both the sacred and the intimate, like a sanctuary that opens its door, or a bride who gives herself, or a bridegroom who welcomes and takes possession.
When the Veil is thick, it hides the Divinity: it is made of the forms that constitute the world, but these are also the passions within the soul; the thick Veil is woven out of sensorial phenomena around us and passional phenomena within us; and be it noted that an error is a passional element to the extent that it is serious and that man is attached to it.
The thickness of the Veil is both objective and subjective, in the world and in the soul: it is subjective in the world in so far as our minds fail to penetrate to the essence of forms, and it is objective in the soul in the sense that passions and thoughts are phenomena.
When the Veil is transparent, it reveals the Divinity: it is made of forms in so far as these communicate their spiritual contents, whether we understand them or not; in an analogous fashion, the virtues allow the Divine Qualities to shine through, while the vices indicate their absence, or their opposites, which comes to the same thing. The transparency of the Veil is both objective and subjective, which can be understood without difficulty after what has just been said; for if on the one hand forms are transparent (not in respect
of their existence but in respect of their messages), on the other hand it is our mind which makes them transparent by its penetration.
Transcendence thickens the Veil; immanence renders it transparent, either in the objective world or in ourselves, through our awareness of the underlying Spirit. From quite a different standpoint, however, the understanding of transcendence is a phenomenon of transparency, while on the contrary the brutish enjoyment of what is offered to us by virtue of immanence, is obviously a phenomenon of thickening.
There are iridescent silks in which two opposed colours appear alternately on the same surface, depending on the position of the material; this play of colours evokes cosmic ambiguity, namely the mixture of"nearness" and "distance" (we might also say of greatness and smallness) that characterizes the fabric of which the world is made and of which we ourselves are made. This brings us to the question of the subjective attitude of man before the objective ambiguity of the world.
The noble man, and consequently the spiritual man, sees in positive phenomena the substantial greatness and not the accidental smallness, but he is indeed obliged to discern smallness when it is substantial and when, in consequence, it determines the nature of the phenomenon.
The base man, on the contrary, and sometimes the simply worldly man, sees the accidental before the essential and gives himself over to the consideration of the aspects of smallness which enter into the constitution of greatness, but which cannot detract from its greatness in the least degree, except in the eyes of the man who is himself made of smallness.
The two iridescent colours, it goes without saying, can have an exclusively positive meaning: activity and passivity, rigour and gentleness, strength and beauty, and other complementarities.
The universal Veil comprises a play of contrasts and shocks, and also and even more profoundly and more really, a play of harmony and love.
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Frithjof Schuon: Esoterism as Principle and as Way - The Mystery of the Veil
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Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
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Image: Chakrasamvara and consort Vajravarahi
This powerful depiction of Chakrasamvara embracing his yogini consort Vajravarahi is a highly energized visualization, such as would have been experienced by an advanced tantric master. These are key deities in the Vajrayana system, uniting two of the most powerful ideas in esoteric Buddhism, wisdom, embodied in Vajravarahi, and compassion, the essence of Chakrasamvara. His name, which translates as Circle of Bliss, embodies the powerful union of these two fundamentals tenets of Buddhism.