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Quoc Truong, a physical scientist with the U.S. Army Natick Soldier Systems Center, demonstrates
how “omniphobic,” self-cleaning fabric repels liquids better than regular Army combat uniforms. The
technology has made its way to the commercial market and has a wide variety of uses. Achieving
dominance through technical excellence and innovation is at the heart of BBP 3.0. (Photo by David
Kamm, U.S. Army Research, Development and Engineering Command (RDECOM))
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The battle rages as Union and Confederate troops clash during the Civil War reenactment at Willamette Mission State Park, Oregon.
Just over $40,000 was raised at the Leone event. Thank you to everyone who attended! The money will help many vulnerable children throughout the region.
United Way’s Women United in Philanthropy (WUIP) strives to ensure our community’s most vulnerable children enter kindergarten ready to succeed in school.
By bringing together the knowledge, compassion and financial resources of women, WUIP is helping change the future for children in the Lower Mainland.
Donations raised by WUIP go towards programs that help parents and caregivers access the information and support services they need to nurture their children.
WUIP efforts are closely aligned with Success By 6, a comprehensive community plan for addressing school readiness.
Title: "Striving for Peace"
Sculptor: Mac Gimse
Accessible to Public: yes, indoors
Location: Rolvaag Memorial Library
Ownership: St. Olaf College
Medium: Bronze
Dimension: 15 inches high
Provenance: In honor of Forrest Brown, Director of Libraries
Year of Installation: 2003
Physical Condition: Good
"It is the nature of the strong heart, that like the palm tree it strives ever upwards when it is most burdened."
Sir Phillip Sidney
An image of a Palm Tree found at Bonaventure Cemtery in Savannah, Georgia. These can be found all throughout the city - which was a nice treat for a northerner such as me who had never really seen one, nevermind an abundance, of these close up and "intimate-like".
Photos by Miller Taylor
January 2014 CreativeMornings/Raleigh event with guest speaker Donovan Zimmerman, the co-founder and artistic director of Paperhand Puppet Intervention. Since 1998, Paperhand has used giant puppets, masks, stilts, painted flats, and rod and shadows puppets to tell stories, illuminate myths, create spectacle, and inspire people of all ages. Their work is a synergy of art forms from design and theater, to dance and sculpture to painting, writing, sewing, and much more. They strive to nurture creative community and connection toward making the world a better place.
Special thanks to our host CAM Raleigh and sponsors CompostNow, Counter Culture Coffee, who generously provided us with complimentary coffee, and Boulted Bread, who provided the tasty breakfast snacks.
The Representative of Humanity between Lucifer and Ahriman is a wooden sculpture more than 8 m high designed by Rudolf Steiner and created together with the sculptor Edith Maryon for the first Goetheanum in Dornach. It was to be placed in the small domed room, the stage room of the first Goetheanum. When the Goetheanum burned down on New Year's Eve 1922/23, the sculpture had not yet been completed and was therefore spared from the fire.
Contents
1The striving of the individual human being for balance
2Connection with the Easter Imagination
3Christ as the Representative of Humanity between the Adversary Powers
4The World Humour
5The artistic work on the group of figures
6Literature
The striving of the individual human being for balance
„The people of the present day have a great need to place Christ in the midst of Ahriman and Lucifer. Christ-power must permeate us. But as human beings we must always seek the balance between that which, in a certain sense, mystically and enthusiastically wants to rise above us, and that which wants to pull us down to the earth in a materialistic, rational, philistine and difficult way. And if we endeavour to seek this balance, then alone can we find the Christ.“ (Lit.:GA 195, p. 40)
„I would like to say, I explain it to almost everyone of whom I only believe that he can have some understanding, to everyone who comes before the well-known wooden group in Dornach: "Christ in the middle as representative of humanity, Ahriman and Lucifer on either side", that the human being as we have him before us can really only be imagined by imagining everything about him as a state of equilibrium. On the one side is the supersensible, on the other the sub-sensible. The human being actually always represents only the state of equilibrium between the supersensible and the sub-sensible.“ (Lit.:GA 324a, p. 152)
„Until the middle of the 15th century, the single, individual human being did not come into consideration as he has since that time. Since that time, what is most essential in the human being is the striving to be individuality, the striving to unite individual personality forces, to find, as it were, a centre in oneself [...]
Through this, however, something becomes particularly important for man in this time, which began in the middle of the 15th century and will only end towards the fourth millennium. With this, something occurs that is of very special importance for this time. For you see, something vague is expressed when one has to say: Every human being strives for his own particular individuality. The group spirit, even if it comprises only smaller groups, is something much more tangible than that which each individual strives for out of the primal source of his individuality. Hence it is that it becomes especially important for this man of the newer times to understand what may be called the balance between the opposite poles: To seek a balance between the opposite poles.
The one wants to go beyond the head, so to speak. Everything that leads man to be a dreamer, a fantasist, a maniac, that fills him with indefinite mystical impulses towards some indefinite infinite, yes, that fills him even if he is a pantheist or a theist or something like that, which is so often the case today, that is the one pole. The other pole is that of sobriety, of dryness, trivially speaking, but not unrealistically speaking in relation to the spirit of the present, truly not unrealistically speaking: the pole of philistrosity, the pole of philistinism, the pole which draws us down to earth into materialism. These two poles of force are in the human being, and between them the human being stands, it has to seek the balance. In how many ways can one seek balance? [...]
In an infinite number of ways you can seek balance. This corresponds to the infinitely many ways of being an individual human being. That is why it is so essential for the present human being to realise that his being consists in the search for balance between the opposite poles. And the indeterminacy of the search for balance is precisely that indeterminacy of which I spoke to you earlier [...]
We are mentally healthy when we find the balance between the rapturously fantastic and the dryly philistine. We are physically healthy when we can live in balance between the fever and the sclerosis, the ossification. And this can happen in an infinite number of ways, in which individuality can live.
That is the way in which man, especially in modern times, must feel the old Apollo saying "Know thyself". But "know thyself" not in some abstraction: "Know thyself in the striving for balance." That is why we have to set up in the east of the building that which can make man feel this striving for balance. And this is to be represented in the sculptural wooden group mentioned yesterday, which has as its central figure the figure of Christ, the figure of Christ, which has been attempted to be shaped in such a way that one can imagine it: This is how the Christ really walked in the man Jesus of Nazareth at the beginning of our era in Palestine. The conventional images of the bearded Christ are actually creations of the 5th and 6th centuries, and they are truly not in any way, if I may use the expression, true to the portrait. That is what has been attempted: to create a Christ who is true to the portrait, who is at the same time supposed to be the representative of the searching human being, the human being who strives for balance. (It is drawn).
The Representative of Humanity between Lucifer and Ahriman; Plate 17 from GA 194, p 187
You will then see two figures at this group: Here the falling Lucifer, here the ascending Lucifer. Here below, in a certain sense connected with Lucifer, an Ahrimanic figure, and here a second Ahrimanic figure. The representative of humanity is placed between the ahrimanic figure: the philistine, the sober-dry-materialistic; and the luciferic figure: the rapturous, fantastic. The Ahriman figure: all that leads man to petrification, to sclerosis; the Lucifer figure: representation of all that leads man feverishly beyond the measure of that health which he can bear.“ (Lit.:GA 194, p. 183ff)
Connection with the Easter Imagination
Easter Imagination - Christ between Lucifer and Ahriman
→ Main article: Easter Imagination
The Easter Imagination, which Rudolf Steiner gave, describes how the image of the Christ forms out of the earthly-cosmic events, who stands between the adversary powers of Lucifer and Ahriman and keeps both in balance. In the statue of the representative of humanity between Lucifer and Ahriman, essential parts of this Easter imagination find their artistic-sculptural representation.
„In the middle of this group will stand a figure like, I would like to say, the representative of the highest humanity that could unfold on Earth. Therefore one will also be able to feel this figure of the highest human being in the development of the earth as the Christ. It will be the special task to shape this Christ figure in such a way that one will be able to see how this earthly body, in every expression, in everything about it, is spiritualised by that which has moved in from cosmic, from spiritual heights as the Christ. Through the raising of the left arm of the Christ figure, it happens that this descending entity breaks its wings. But it must not look as if the Christ were breaking the wings of this entity (Lucifer), but the whole must be artistically designed in such a way that, as the Christ raises his arm, it is already evident from the whole movement of his hand that he actually has only infinite compassion for this entity. This being, however, cannot bear what flows up through the arm and the hand; one would like to clothe its feeling in the words: I cannot bear that such purity should shine up upon me.
And on the other side the rock will be hollowed out. In this hollow is also a figure that has wings. The figure in the cave is literally clinging to the cave, you see it in chains, you see it working down there to hollow out the earth. Christ has his right hand turned downwards. Christ himself has infinite compassion for Ahriman. But Ahriman cannot bear it, he writhes in pain through that which radiates through the hand of Christ. And what radiates there causes the gold veins that are down in the rock cave to wind like cords around Ahriman's body and bind him.“ (Lit.:GA 159, p. 248ff)
Christ as the Representative of Humanity between the Adversary Powers
The group of figures in the large wooden sculpture shows Christ striding between two Lucifer figures and two Ahriman figures, which belong together in pairs. One pair of the Lucifer and Ahriman figures is active inside the human being, the other is active outside in nature or in the cosmos, as is also shown in the Easter imagination. At the top left, above the figure of Lucifer, a strongly asymmetrically shaped elemental being grows out of the rock out of inner artistic necessity, looking over the rock with a certain humour - the world humour.
„The whole building is arranged, as I said, from west to east, so that the axis of symmetry passes between the columns, from west to east, and it intersects the small cylinder, i.e. the stage space, at its boundary in the east. There, towards the east, between the sixth column on the right and the sixth column on the left, is a sculptural group. This, in turn, is supposed to artistically represent, I would like to say, the most intimate part of our spiritual-scientific world view. It is to represent what must necessarily be integrated into the human spiritual view of the present and into the future. Humanity must learn to understand that everything that is important for the shaping of the world and for human life runs into these three currents: so to speak, the normal spiritual current into which man is woven, then the Luciferic current and the Ahrimanic current. Divine evolution, Luciferic evolution and Ahrimanic evolution are woven into everything, both into the foundations of the physical and into the revelations of spiritual events. This, however, is not to be expressed symbolically, but artistically, in our pictorial group. A wooden group. An idea has arisen which I believe I have grasped as a thought, but the reason for which has not yet become clear to me even in its occult underpinnings; occult research in the future will probably reveal this. But it seems to be absolutely true that all ancient motifs can be better represented in stone or metal, and all Christian motifs - and ours is a Christian motif in the eminent sense - better in wood. I cannot help saying that I have always felt it necessary to rethink the group in St Peter's in Rome, Michelangelo's Pieta, in wood; for then, I believe, it would represent what it is supposed to represent; just as I have had to rethink other Christian groups that I found in stone in wood. There is certainly something at the bottom of this; I have not yet found the reasons. So our group had to be conceived and executed in wood.
The main figure is a kind of representative of humanity, an entity that is supposed to represent man in his divine revelation. I am satisfied if someone who looks at this figure has the sensation: it is a representation of the Christ Jesus. But even this seemed inartistic to me if I had based it on the impulse: I want to make a Christ Jesus. I wanted to depict what is there. What the person experiences then, whether it is a Christ Jesus, must first be the consequence. I would be quite happy if everyone experienced that. But that is not the artistic idea of depicting a Christ Jesus. The artistic idea rests purely in the artistic form, in the design; the other is a novellistic or programmatic idea of depicting a Christ Jesus. The artistic lives in the form, at least if it is a pictorial. - A main figure, the whole group is eight and a half metres high, stands somewhat elevated, behind it rocks, under it rocks. At the bottom of the rock, which is hollowing out a little, an Ahriman figure is growing out of it. It is inside a rock cave, half lying down, with its head up. The main figure stands on this somewhat hollowed out rock. Above the Ahriman figure and to the left of the observer is a second Ahriman growing out of the rock, so that the Ahriman figure is repeated. Above the Ahriman figure, again to the left of the observer, is a Lucifer figure. A kind of artistic connection has been created between the Lucifer and the Ahriman below. A little above, above the main figure, to the right of the viewer, there is also a Lucifer figure. Lucifer is therefore also present twice. This other Lucifer is broken in himself, falls through being broken in himself. The right hand of the central figure points downwards, the left hand upwards. This left hand pointing upwards points to the breaking point of Lucifer; there he breaks in two and falls. The right hand and the right arm of the central figure point towards the lower Ahriman and bring him to despair. The whole thing is conceived in such a way - I hope that one will be able to feel it - that this central figure is not in any way aggressive; but in the gesture I have indicated, there is only love in it. But neither Lucifer nor Ahriman can stand this love. The Christ does not fight against Ahriman, but radiates love; but Lucifer and Ahriman cannot let love come near them. Through the proximity of love, one, Ahriman, feels despair, being consumed within himself, and Lucifer falls. So in them, in Lucifer and Ahriman, lies what is expressed in their gestures.
Of course, the figures were not easy to create for the reason that one has to create spiritual things - partly spiritual in the case of the main figure, but purely spiritual in the case of Lucifer and Ahriman - and in sculpture it is most difficult to form the spiritual. However, an attempt was made to achieve what was necessary, especially for our aims: to dissolve the form, although it had to remain artistic form, entirely into gesture, entirely into mien. Man is actually only capable of using gesture and mien in a very limited sense. Lucifer and Ahriman are entirely gesture and entirely mien. Spirit forms do not have a finished form, there is no finished spirit form. If you want to shape the spirit, you are in the same position as if you wanted to shape lightning. The form a spirit has at one moment is different from the form it has at the next moment. You have to take that into account. If, however, you wanted to hold on to a spirit's form for one moment, just as you would a resting form, then you would get nothing out of it, you would only have a frozen form. So in such a case one must completely reproduce the gesture. So in the case of Lucifer and Ahriman, the gesture is completely reproduced, and this had to be attempted to some extent also for the middle figure, which is of course a physical figure: the Christ Jesus.
Now I would like to show you a few pictures which can give you a small idea of this main group, as best they can. The first is the head of Ahriman, in the form in which it first appeared to me: a human being - think of the threefold division of the human being into head, trunk and extremities - who is entirely head, who is therefore also the instrument of the most perfect cleverness, understanding and cunning. This is to be expressed in the figure of Ahriman. The head of Ahriman, as you see it here, is properly spirit, if I may use the paradoxical expression; but you know how a paradox often comes out when one characterises spiritually. He is indeed after the model, true to spirit, artistically true to nature. Ahriman had to "sit" for that to be brought about.
The next is Lucifer, as he appears from the viewer on the left side. In order to understand Lucifer, you must think in a very strange way of what appears as the spirit form of Lucifer. Think of that which is most Ahrimanic in man away from the human form, that is, the head away, but instead think of the ears and the auricles, the outer ear, considerably enlarged, naturally spiritualised and formed into wings and shaped into an organ, but the organ wrapped around its body, the laryngeal wings also enlarged; so that head, wings, ears form one organ together. And the wings, the principal organ, is that which results for the figure of Lucifer. Lucifer is an enlarged larynx, a larynx which becomes the whole form, out of which then develops, through a kind of wing, a connection to the ear, so that one has to imagine: Lucifer is such a form, which receives the music of the spheres, takes it into this ear-wing organism; and without the individuality speaking, the universe, the music of the spheres itself, again expresses itself through the same organ, which is transformed forward into the larynx, thus is another metamorphosis of the human form: larynx-ear-wing organ. Therefore the head is only indicated. With Ahriman you will find, if you will once see the figure in the Dornach building: What you can think of as a figure has been brought out. But what comes out of Lucifer as a head - although you cannot well imagine that it would be the same with yourself as with Lucifer - is something that is beautiful to the highest degree. The Ahrimanic, then, is the intelligent, clever, but ugly thing in the world; the Luciferic is the beautiful thing in the world. Everything in the world contains both the ahrimanic and the luciferic. Youth and childhood are more luciferic, old age more ahrimanic; the past is more ahrimanic, the future more luciferic in its impulses; women more luciferic, men more ahrimanic; everything contains these two currents. The elemental being above Lucifer - the "world humour".
The being above Lucifer arose as one that grows out of the rock as an elemental being. We had finished the group we had discussed, and when it was freed from its framework, something quite strange appeared: namely, that, as Miss Waller felt, the centre of gravity of the group lay - for the sake of the view, of course - too far to the right and something had to be created to balance it. This is how we were told by Karma. Now it was a question of not just putting up a lump of rock, but of pursuing the sculptural idea further. This is how this being came into being, which, as it were, grows out of the rock as an elemental being. You will notice one thing about this being, even if it is only expressed in hints: you will see how an asymmetry must immediately take effect as soon as spiritual figures come into consideration. This is expressed in the physical only to a very limited extent: our left eye is different from our right and so on; it is the same with the ear and nose. But as soon as one enters the spiritual realm, the etheric body has a decidedly asymmetrical effect. The left side of the etheric body is quite different from the right; this comes out immediately when you want to form spiritual figures. You can walk around this being, and you will have a different view from every point below. But you will see that the asymmetry works as something necessary, because it is the expression of the gesture with which this being looks over the rock with a certain humour and looks down on the group below. This looking down over the rock with humour has a good reason. It is not at all right to want to rise into the higher worlds with mere sentimentality. If one wants to work one's way up to the higher worlds, one must not do it with mere sentimentality. This sentimentality always smacks of egoism. You will see that often, when the highest spiritual connections are to be discussed, I mix into the contemplation something which is not intended to bring out of the mood, but only to drive away the egoistic sentimentality of the mood. Only then will people truly rise to the spiritual when they do not want to grasp it with egoistic sentimentality, but can enter this spiritual realm in purity of soul, which can never be without humour.
Then the head of the central figure in profile, as it emerged with necessity. The head had to be made somewhat asymmetrical because this figure was intended to show that not only the movements of the right hand, the left hand, the right arm and so on reflect the interior of the soul, but because in such a being living entirely in the soul, as is the Christ Jesus, this also takes up the formation of the forehead, for example, and the whole of the rest of the figure, much more than can be the case with the gesture of a human being. We have tried it out, although it does not correspond to reality, that if you put the picture upside down in the apparatus, you have a completely different view just because it is the other way round. The impression is different. But you will only see how this is conceived asymmetrically, artistically, in the finished head of the central figure. - One may well say that in the elaboration of such a thing all artistic questions really come into consideration; the smallest artistic question is always connected with some far-reaching whole. Here, for example, the treatment of the surface came into particular consideration. Life must be generated especially through the surface. The surface simply bent, and the bending bent again: this special treatment of the surface, the double bending of the surface, how this brings life out of the surface itself, you only see when you work through these things. And so you will see that what we wanted lies not only in what is depicted, but also in a certain artistic treatment of the matter. It was not necessary to reach the ahrimanic, the luciferic and again the human in a novellistic way, by mere reproduction, but it was necessary to get it into the fingertips, to get it into the shaping of the surface, it was necessary to get it completely into the artistic shaping. And that expansion which man receives by extending his perception into the spiritual, it also extends on the other side into the artistic.
So this group stands below in the east in the stage area. Above it arches the smaller dome, and this again is painted, as I have indicated. Above this group, there is another attempt to paint the same motif. There is the Christ, above Lucifer and Ahriman, and the attempt is made to express through the colours what should be represented through art. It is precisely through the diversity of treatment that one will see how purely out of the means of art the things had to be brought.“ (Lit.:GA 181, p. 312ff)
The World Humour
→ Main article: World humour
The world humour on the statue of the Representative of Humanity
The World Humour is a figure that sits at the very top of the monumental wooden sculpture of the Representative of Humanity and, as an elemental being, grows with inner artistic necessity out of the rocky outcrop depicted here (Lit.:GA 181, p. 316f).
The artistic work on the group of figures
In preparation for the group of figures, several models about 50cm in size were first created and finally also a model on a scale of 1:1, which is still preserved today, made of lime powder, beeswax and plasticine. Edith Maryon prepared the wooden framework and the materials for the construction of the model. The plasticine was prepared according to Rudolf Steiner's instructions and kneaded by hand. This material was chosen because it remains elastically mouldable for a long time and so Rudolf Steiner could continue to work on the model again and again despite his long and frequent absences from Dornach.
Literature
Judith von Halle, John Wilkes: Die Holzplastik des Goetheanum - «Der Menschheitsrepräsentant zwischen Luzifer und Ahriman», Vlg. am Goetheanum, Dornach 2008
Judith von Halle: «Das Christliche aus dem Holze herausschlagen...» - Rudolf Steiner, Edith Maryon und die Christus-Plastik, Vlg. am Goetheanum, Dornach 2007
Rudolf Steiner: Das Geheimnis des Todes. Wesen und Bedeutung Mitteleuropas und die europäischen Volksgeister, GA 159 (1980) English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org
Rudolf Steiner: Erdensterben und Weltenleben. Anthroposophische Lebensgaben. Bewußtseins-Notwendigkeiten für Gegenwart und Zukunft, GA 181 (1991), Sechzehnter Vortrag, Berlin, 3. Juli 1918 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org
Rudolf Steiner: Die Sendung Michaels, GA 194 (1994), ISBN 3-7274-1940-7 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org
Rudolf Steiner: Weltsilvester und Neujahrsgedanken, GA 195 (1986), ISBN 3-7274-1950-4 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org
Rudolf Steiner: Die vierte Dimension, GA 324a (1995), ISBN 3-7274-3245-4 English: rsarchive.org German: pdf pdf(2) html mobi epub archive.org
References to the work of Rudolf Steiner follow Rudolf Steiner's Collected Works (CW or GA), Rudolf Steiner Verlag, Dornach/Switzerland, unless otherwise stated.
Email: verlag@steinerverlag.com URL: www.steinerverlag.com.
Index to the Complete Works of Rudolf Steiner - Aelzina Books
A complete list by Volume Number and a full list of known English translations you may also find at Rudolf Steiner's Collected Works
Rudolf Steiner Archive - The largest online collection of Rudolf Steiner's books, lectures and articles in English.
Rudolf Steiner Audio - Recorded and Read by Dale Brunsvold
steinerbooks.org - Anthroposophic Press Inc. (USA)
Rudolf Steiner Handbook - Christian Karl's proven standard work for orientation in Rudolf Steiner's Collected Works for free download as PDF.
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1915-05-18-GA159
introduction to the lecture:
In 1914, Rudolf Steiner had begun a scaled-down model of the Christ sculpture that was later to be installed in the Goetheanum.. As the work on the sculpture itself began, he frequently explained its significance in his lectures.
One of Rudolf Steiner's lecture tours, May 6 through May 18, 1915, took him to Vienna, Prague and Linz. In all three cities he stressed that the Christ figure in the sculptured group would have to be portrayed as a being in equipoise between the polar forces of Lucifer and Ahriman and that this being was symbol of, and model for, man's own existence here on earth. The Linz lecture, which is here translated, presents the group in a world-historical context and relates the significance of the Lucifer-Christ-Ahriman configuration to the events surrounding World War I. Steiner sees a parallel between Christ's central, but equalizing position and Central Europe's mission in World War I. He implies that Germany's and Austria's militarism and political intransigence alone did not lead to war against the world powers in the East (Russia) and the West (France, England and, since 1917, the United States). According to Steiner, World War I was the earthly expression of a struggle between luciferic forces in the East and ahrimanic forces in the West, and it was Central Europe's destiny to mediate between these forces.
quote
Some day when the building in Dornach that is dedicated to the spiritual sciences is completed, it will contain, in a significant spot, a sculpture dominated by three figures. In the center of this group a figure will tower as if it were the manifestation of what I would call the most sublime human principle ever to unfold on earth. Hence, one will be able to experience this representation of the highest human principle in the evolution of the earth-the Christ, who in the course of this evolution lived three years in the body of Jesus of Nazareth. A special task in the portrayal of this Christ figure will be to make two ideas visible. Firstly, it will be important to show how the being that we are concerned with dwells in a human body. Secondly, it must also become apparent how this human body, in every facial expression and in every gesture reflects a magnificent degree of spiritual refinement, which descended with the Christ from cosmic and spiritual heights into this body in its thirtieth year. Then there will be the remaining two figures of the group, one to the left and the other to the right of the Christ figure, if that is the proper name for the figure that I have just sketched. This Christ figure is placed in such a way that it seems to be standing in front of a rock that towers noticeably at His left side, with its peak extending over His head. On top of the rock there will be another figure, winged but with his wings broken, who for this reason begins to fall into the abyss. One feature in the Christ figure that must be worked out with special artistic care is the manner in which he raises his left arm, for it is precisely this gesture that precipitates the breaking of the wings. It must not appear, however, as if the Christ Himself were breaking the wings of this being. Rather, the interaction of the two figures must be portrayed artistically to show how the Christ, by the very motion of raising his hand, is expressing his infinite compassion for this being. Yet this being cannot bear the energy flowing upward through arm and hand, an energy that is evidenced by indentations that the fingers of the extended hand seem to leave in the rock itself. When this being comes into proximity with the Christ being, he feels something that may be expressed in the words: I cannot bear the radiation of such purity upon me.
This feeling dominates so essentially as to break this upper beings wings and cause his imminent plunge into the abyss. To make this visible will be a particularly important artistic task and you will see how the meaning of this interaction could easily be misunderstood. Imagine, for example, an artistic portrayal of the Christ suggesting that merely by raising His hand He would radiate such power onto the being that his wings would be broken, forcing the plunge into the abyss. In that case it would be the Christ Himself who irradiated this being, as it were, with hatred, and thereby caused his descent. Such an impression must under no circumstances be conveyed. Rather, the being must be portrayed as having caused his own fall, for what is to be shown plunging downward, with broken wings, is Lucifer.
Now let us consider the other side of the group, toward the right of the Christ figure. There, the rock will have a ledge and, therefore, will be concave underneath. In this depression there will be another winged figure, who with his arm-like organs turns toward the ledge above. You have to visualize this as follows. To the right is the depression in the rock and in it stands this winged figure with wings entirely different from the figure on top of the rock. The wings of the figure on top of the rock resemble those of an eagle, whereas the figure in the depression has bat-like wings. This figure virtually buries himself in the cave, working in shackles, ever busy undermining the earthly realm.
The Christ figure in the middle has his right hand directed downward and the left one upward. Again, it will be an important artistic task not to show the Christ as wanting to shackle this figure; rather, he has infinite compassion for this being, which is Ahriman. Ahriman cannot bear this compassion and he writhes with pain from what the hand of the Christ exudes. This radiance from Christ's hand causes the golden veins down in the rock depression to wind around Ahriman's body like strong cords and shackle him. What is happening to Lucifer is his own doing; the same is true with Ahriman. This concept is going to take form as a sculpture that will be set up in a significant place in the new building. Above the sculptured group we will attempt to express the same motif through the medium of painting, but then the concept must be expressed differently. To summarize, the group of three figures: Christ, Lucifer and Ahriman will stand at the bottom as a sculpture, and above, the same motif will appear as a painting.
We are injecting this configuration of a relationship between Christ, Lucifer and Ahriman into our Dornach building because the science of the spirit reveals to us in a certain way that the next task regarding the comprehension of the Christ impulse will be to make man finally understand how the three forces of Christ, Lucifer and Ahriman are related in this world. To this day there has been much talk about Christianity and the Christ impulse, but man has not yet gained a clear understanding of what the Christ impulse has brought into the world as the result of the Mystery of Golgotha. Certainly, it is generally admitted that there is a Lucifer or an Ahriman, but in so doing, it is made to appear that from these two one must flee, as if one wished to say, “I want nothing to do with Lucifer and Ahriman!” — In yesterday's public lecture <1 I described the way in which the divine-spiritual forces can be found. If these forces did not want to have anything to do with Lucifer and Ahriman, either, the world could not exist. One does not gain the proper relationship to Lucifer and Ahriman by saying, “Lucifer, I flee from you! Ahriman, I flee from you!” Rather, everything that man has to strive for as a result of the Christ impulse must be seen as similar to the equilibrious state of a pendulum. In the center, the pendulum is in perfect balance, but it must oscillate to one side or the other. The same applies to man's development here on earth. Man must oscillate to the one side according to the luciferic principle and to the other according to the principle of Ahriman, but he must maintain his equilibrium through the cultivation of Paul's declaration, “Not I, but Christ in me.”
1915-06-13-GA159
It is quite indifferent what name we give to this central figure, but we may see in it the representative of Man on earth, man's representative in the highest meaning of the word. And if we see the ideal of humanity in that human being who for three years bore within him the Christ, then we may also see the Christ in this central figure of our plastic group.
Yet we should not simply face the statue with the thought: “That is meant to be the Christ”, for this would be wrong.
Instead, we should experience everything in an artistic way, that is to say, we should not interpret things symbolically from outside, but everything should result from what the forms themselves reveal.
1919-12-13-GA194
It is in this sense that modern man must come to understand, through his feeling, the ancient Apollo-saying: “Know thou thyself.” But “Know thou thyself” not in some abstract way; “Know thou thyself in the struggle for balance.”
Therefore we have to set up at the east end of the building what is intended to cause the human being to feel this struggle for balance. That is to be represented in the plastic wood group mentioned yesterday, with the Christ-Form as the central figure — the Christ-Form which we have tried to fashion in such a way that one may imagine: It was really thus that the Christ went about in Palestine at the beginning of our era in the man Jesus of Nazareth.
The conventional pictures of the bearded Christ are actually only creations of the fifth or sixth century, and they are really not in any way true portraits, if I may use the expression. That has been attempted here: to produce a true portrait of Christ, Who is to be at the same time the Representative of the seeking human being, the human being striving for balance.
You will see then in this group two figures: here the falling Lucifer, here the upward-striving Lucifer; here below, connected with Lucifer, as it were, an Ahrimanic form, and here a second Ahrimanic form. The Representative of Humanity is placed between the Ahrimanic form — the philistine, the insipid, the aridly materialistic — and the Lucifer-form — the ecstatic, the fantastic; between the Ahriman-figure — all that leads to petrifaction, to sclerosis — and the Lucifer-figure — the representation of all that leads man feverishly out beyond the limit of what his health can endure.
After we have placed in the center, as it were, the Gothic cathedral, which encloses no image, but either the relics of saints or even the Holy Grail — that is, something no longer directly connected with beings living on earth — then we come back again, I might say, to the idea of the building as enclosing something, but now enclosing the being of man in his struggle for balance.
If destiny permits it, and this building can some day be completed, he who sits within it will have directly before him, while he is looking upon the Being who gives meaning to the earth evolution, something which suggests to him to say: the Christ-Being. But this is to be felt in an artistic way. It must not be merely reasoned about speculatively as being the Christ, but it must be felt. The whole is artistically conceived, and what comes to artistic expression in the forms is the most important part. But it is nevertheless intended to suggest to the human being through feeling — I might say to the exclusion of the intellect, which is to be merely the ladder to feeling — that he is to look toward the east of the building and be able to say: “That art thou.” But now, not an abstract definition of man, for balance can be effected in innumerable ways. Not an image of a god is enclosed, for it is true for Christians also that they are to make no image of a God — not an image of a god is enclosed, but that is enclosed which has developed of the qualities of the human group-soul into the individual force-entity of each separate human being. And the working and weaving of the individual impulse is taken into account in these forms. —
1932-10 - In Memory of Rudolf Steiner, An Essay By Marie Steiner
In lectures during 1912 a description of the Christ figure was given to us in artistic and picturesque intensity, at a time when even the thought of the possibility of its plastic realisation had not yet been conceived. What we can now look at in a work of art, was conjured up before us by the power of the words:
“Yes, this outward plastic representation of the Christ — how He should be pictured outwardly is a question which has still to be solved.”
Many feelings will have to flow through human souls before there can be added something new to the many attempts already made in the course of the ages, an attempt which will show in some measure what the Christ is, as the supersensible Impulse which is making itself one with this earthly development. Not even the first beginnings of such a representation of the Christ are to be found in what has been accomplished up till now. For there must appear, embodied in the growing outward form, the organic forces of the impulses of Wonder, of Compassion, and of Conscience gathered there.
The Christ-countenance must be so living that its very expression will say: Here in this representation, all that makes man an earth-man, all that has to do with sense desire, has been overcome by the Spirit shining through — by what has spiritualised this face. There must be sublime strength in the face, brought out by causing everything that one can think of as the highest unfolding of conscience to manifest itself in the peculiar form of the chin and mouth ; a mouth, it must be — when one stands before it, when the painter or the sculptor wishes to form it — which gives one the feeling that it is not there to eat with but for the purpose of expressing all that has ever been cultivated in humanity as morality and conscience; and that the whole bony system, the teeth, and the lower jaw, give expression to the same. All this will come to expression in such a countenance. There will be so mighty a force in the form of the lower part of the face that it streams forth, renders and tears to pieces the whole remaining human body, till this in time will become a new form and thereby certain ether forces will be overcome. Thus it will be quite impossible to give to the Christ, who reveals a mouth like this a bodily form in any way similar to that of the physical man of today.
On the other hand, one will have to give Him eyes out of which there will speak an almighty compassion, such as alone is capable of seeing inner Being and not eyes which are there to receive impressions, but rather in order to go out, with the whole soul into the joys and sufferings of others.
Moreover, this Christ will have a forehead which one could not imagine as harbouring thoughts on sense impressions of earth. It will be a brow that projects somewhat over the eyes, vaulting over that part of the brain; yet, at the same time, it will not be a “thinker's brow” that ponders over what already exists, but rather Wonder will have to express itself from this brow that projects above the eyes and gently arches back over the head, thus expressing what may be called Wonder over the Mysteries of the World. That must be a head such as man cannot meet with in physical humanity.
Every portrayal of the Christ should really be something like the Ideal of the Christ-figure. And the feeling which aspires towards this ideal whenever in the course of evolution man struggles to achieve it — in so far as humanity strives artistically to present this Highest Ideal, through the help of Spiritual Science, must there be this feeling: You may not look to something which already exists, if you wish to portray “the Christ”; rather, you must cause to become a power, active in yourself to permeate your whole being, everything that you can achieve through spiritual absorption in the spiritual course of the world, through the three momentous impulses — Wonder, Compassion, and Conscience.
on this description, see also: Christ Module 19 - experiencing the Christ#1912-05-08-GA143
With each and every post, we strive here at Creative Tempest to bring you only the best artists from around the world. This post comes to you all the way from Orange County, California, with our artist being none other than Randy and Erin from He&She Photography. Randy and Erin are a married couple who both come from creative family backgrounds. Erin, coming from a family of artists, has her bachelors of fine arts degree in creative photography. Randy who was a graphic designer has his bachelors of fine arts in graphic design. They both bring their creative expertise together to form a photography style that can best be described as “photojournalism meets quirky fashion photography. We are very influenced by the aesthetics of fashion photography, yet our unobtrusive approach enables us to create a documentary of your wedding from an insider’s perspective”. We, at Creative Tempest, love how their snapshots really capture that love-at-first-sight feel. They are candid, real and really focus on those moments of life that are usually otherwise lost. We’re happy to post such talent and vision here on Creative Tempest and hope you will share the same appreciation for their great artwork that we do. Find out more at www.creativetempest.com
Modern atomic theory presentation for physics class at strive collegiate academy by Beshoy Farag is a perfect rendering of how complex and difficult aspects of atomic physics is and was universally developed and clered by Beshoyfarag at Strive collegiate academy and by the make atomic physics and atomic theory and how atomic physics relates to beshoy or Beshoyfarag also know as Beshoyfarag of Strive collegiate academy or strive collegiate also know by the trem strive is a middle school in the community of Nashville Tennessee te community of Nashville Tennessee has need of Strive collegiate academy or strive collegiate also know by the trem strive to help educate people on Modern atomic theory presentation for physics class at strive collegiate academy by Beshoy Farag is a perfect rendering of how complex and difficult aspects of atomic physics is and was universally developed and clered by Beshoyfarag at Strive collegiate academy . Thank you for rading this strive collegiate academy educational association provides meany times for you to come a explore the place as well as ㄴㅅ동저ㅠㅌㅁ as well as students say it is cool to read about strangers at STRIVE COLLEGIATE ACADEMY . ㅇㅊ노튜넽폰ㅌ죁토ㅔ쥬테ㅗㅈ튜데토 Strive collegiate academy 's address is [ insert addresses here here after February 30 , 2019 at 1:61 am ] Beshoy Farag在力学院的物理课的现代原子理论演示是对原子物理学复杂和困难方面的完美呈现，并且是由Striy大学学院的Beshoyfarag以及制造原子物理学和原子理论而得到普遍发展和明确的。原子物理如何与beshoy或Beshoyfarag相关也称为Strive学院的Beshoyfarag或努力学会也知道由于努力学习纳什维尔田纳西州社区的一所中学田纳西州纳什维尔社区也需要努力学院或努力学院知道由trem努力帮助教育人们关于物理课的现代原子理论演示在Beshoy Farag的力学大学学院是一个完美的渲染原子物理学的复杂和困难的方面是由Beshoyfarag在Strive学院ac普遍发展和清晰阿迪米。感谢你们这个努力的学院教育协会提供了很多时间来探索这个地方以及ㄴㅅ동저ㅠㅌㅁ以及学生们说在STRIVE大学学院读陌生人很酷。 ㅇㅊ노튜넽폰ㅌ죁토ㅔ쥬테ㅗㅈ튜데토 争取大学学院的地址是[在2019年2月30日凌晨1点61分之后在这里插入地址 Beshoy Farag의 노력 대학의 물리학과에 대한 현대 원자 이론 발표는 원자 물리학이 복잡하고 어려운 측면을 완벽하게 표현하고 있으며, Strive 대학 아카데미의 Beshoyfarag와 원자 물리 및 원자 이론을 만들고 보편적으로 개발 및 청산했습니다. 원자 물리학이 beshoy 또는 Beshoyfarag와 어떻게 연관되는지 또한 Beshoyfarag of Arive 대학 아카데미로 알고 있거나 노력하는 대학이 또한 노력으로 알기 위해 노력합니다. Nashville 테네시 커뮤니티의 중학교 테네시 내슈빌 테네시 지역 사회의 노력이 필요합니다. 대학 아카데미 또는 대학도 필요합니다. Beshoy Farag는 원자 물리학이 얼마나 복잡하고 어려운 측면인지를 완벽하게 묘사하고 있으며, Beshoyfarag에 의해 물리학이 얼마나 복잡하고 어려운지를 완벽하게 묘사하고 있습니다. ademy. 열심히 노력해 주신 대학생 아카데미 교육 단체가 열심히 노력하여 ㄴㅅ 동자 ㅠ ㅌㅁ뿐만 아니라 STRIVE COLLEGIATE ACADEMY에서 낯선 사람들에 대해 읽는 것이 시원하다고 학생들을 격려합니다. ㅇㅊ 노체 넽폰 ㅌ 죁ㅔ ㅔ 테쥬 테 튜ㅗㅗ 대학 아카데미의 주소는 [2019 년 2 월 30 일 오전 1시 61 분 이후로 여기에 주소를 입력하십시오. Fikradda atomiga ah ee lagu soo bandhigayo fasalka fiisikiska ee tacliinta jaamacada ee Beshoy Farag waa qaab wanaagsan oo ah qaababka adag ee adag iyo farsamooyinka farsamada atomiga waa mid guud ahaaneed oo lagu horumariyey Beshoyfarag oo ka tirsan akadeemiyadda qalinjebiska iyo ficillada farsamada iyo aragtida atomiga sida fiisigiska fedriga ah ee ku saabsan beshoy ama Beshoyfarag sidoo kale ogtahay sida Beshoyfarag ee akadeemiyadda adag ee jaamacadda ama isku-darka wax-ka-qabashada ayaa sidoo kale ogyahay jaangooyadu waa iskuul dhexe ee beesha Nashville Tennessee te ee Nashville Tennessee waxay u baahan tahay akadeemiyad tacliin xeeladeysan Aqoon-is-weydaarsiga ayaa ku dadaalaya in uu dadka ka caawiyo barashada aragtida atomiga ah ee farsamda fasalka farsamooyinka tacliinta tacliinta sare ee Beshoy Farag waa qaab wanaagsan oo ka mid ah sida adag ee adag iyo farsamooyinka ficillada farsamada ah waana mid si guud loo horumariyey loona yaqaan "Beshoyfarag at Strive collegiate ac ademy. Waad ku mahadsantahay inaad soo qaadatid ururkan tacliinta tacliinta ee collegiate wuxuu bixiyaa waqtiyo go'an oo aad adigu ku soo bandhigto goobta iyo sidoo kale ㄴㅅ 동저 ㅠ ㅌㅁ iyo sidoo kale ardayda waxay yiraahdaan waa qabow si ay u akhristaan shisheeyaha STRIVE COLLEGIATE ACADEMY. ㅇㅊ 노튜 넽폰 ㅌ 죁 죁 죁 ㅔ 쥬 쥬 ㅗㅈ ㅗㅈ 튜 데토 Cinwaanka akadeemiyadda adag ee akadeemiyadda waa [cinwaannada halkan ku yaal halkan Febraayo 30, 2019 markay tahay 1:61
"See good for your hard work"
Everyday it's become more clear what I want and what's in my heart, I just need to keep working hard and stay focused. When we ask god for something, he doesnt just give it to us, he gives us an opportunity then we have to decide to take it or not.
If You want somethin,g you go get it.
Photos by Miller Taylor
January 2014 CreativeMornings/Raleigh event with guest speaker Donovan Zimmerman, the co-founder and artistic director of Paperhand Puppet Intervention. Since 1998, Paperhand has used giant puppets, masks, stilts, painted flats, and rod and shadows puppets to tell stories, illuminate myths, create spectacle, and inspire people of all ages. Their work is a synergy of art forms from design and theater, to dance and sculpture to painting, writing, sewing, and much more. They strive to nurture creative community and connection toward making the world a better place.
Special thanks to our host CAM Raleigh and sponsors CompostNow, Counter Culture Coffee, who generously provided us with complimentary coffee, and Boulted Bread, who provided the tasty breakfast snacks.
You almost got it buddy.
This kid and my son play in the same team. League regular season is over and tournaments started today. Our team won in th first game and almost at the final innings, this happened. When the ball was hit to fence, I just zoomed, aimed and clicked. Got luckyand got this; cropped a bit. (My 7D can shoot upto 8 frames per sec in jpeg mode but mostly I shoot in raw - dont use rapidfire shooting - even when shooting sports.)
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