GREEN KNIGHT MULTIMEDIA PODCAST

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/

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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...

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/

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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

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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/

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#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

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

Ch-9

Vs: 33, 51, 72, 102-105, 112, 128, 129.

Ch-10

Vs: 9, 10, 11, 12, 19, 24, 25, 30, 31, 44, 45, 47-49, 57, 62-64, 108-109.

In this dialogue with Reza, Guy will take us through a journey with Dhu al-Qarnayn, otherwise known as Alexander the Great, and dive in the alchemical symbolism of the story of him trying to protect his people from Gog & Magog using iron and copper. The story is portrayed in the Koran in chapter 18 ‘The Cave’ or Al-Kahf verses 83 to 99.

Watch the #dialogues on our website here

https://thegreenknight.org/dhu-al-qarnayn/

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#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

Speaker: Guy Ogilvy

In this dialogue with Reza, Guy will take us through a journey with Dhu

al-Qarnayn, otherwise known as Alexander the Great, and dive in the

alchemical symbolism of the story of him trying to protect his people

from Gog & Magog using iron and copper. The story is portrayed in

the Koran in chapter 18 ‘The Cave’ or Al-Kahf verses 83 to 99, please

see translation below.

83 They will ask thee of Dhul-Qarneyn. Say: I shall recite unto you a

remembrance of him.

84 Lo! We made him strong in the land and gave unto every thing a road.

85 And he followed a road

86 Till, when he reached the setting place of the sun, he found it setting in a muddy spring, and found a people thereabout: We said: O Dhul-Qarneyn! Either punish or show them kindness.

87 He said: As for him who doeth wrong, we shall punish him, and then he will be brought back

unto, his Lord, who will punish him with awful punishment!

88 But as for him who believeth and doeth right, good will be his reward, and We shall speak unto him a mild command.

89 Then he followed a road

90 Till, when he reached the rising place of the sun, he found it rising

on a people for whom We had appointed no helper therefrom.

91 So (it was). And We knew all concerning him.

92 Then he followed a road

93 Till, when he came between the two mountains, he found upon their hither side a folk that scarce could understand a saying.

94 They said: O Dhul-Qarneyn! Lo! Gog and Magog are spoiling the land. So may we pay thee tribute on condition that thou set a barrier between us and them?

95 He said: That wherein my Lord hath established me better

(than your tribute). Do but help me with strength (of men), I will set between you and them a bank.

96 Give me pieces of iron--till, when he had

levelled up (the gap) between the cliffs, he said: Blow!--till, when he

had made it a fire, he said: Bring me molten copper to pour thereon.

97 And (Gog and Magog) were not able to surmount, nor could they pierce (it).

98 He said: This is a mercy from my Lord; but when the promise of my Lord

cometh to pass, He will lay it low, for the promise of my Lord is true.

99 And on that day we shall let some of them surge against others, and the

Trumpet will be blown. Then We shall gather them together in one

gathering.

Koran Surat Al-Kahf (The Cave) 18: 83 to 99, translation by Marmaduke Pickthall

Watch the #dialogues on our website here

https://thegreenknight.org/dhu-al-qarnayn/

For news and new releases directly to your inbox, sign up to our

#newsletter 👇

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#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

READINGS BY REZA SHAH-KAZEMI

Short readings from the books of Frithjof Schoun

Linten to all Epesoides here

https://thegreenknight.org/spiritual-gems/

The worth of man lies in his consciousness of the absolute .Man is made for what he is able to conceive the very ideas of absoluteness and transcendence prove both his spiritual nature and the supra, terrestrial character, all of his tests.

In fact, what separates man from divine reality is better thin partition. God is infinitely close to man, but man is infinitely far from God. This partition for man is a mountain man stands in front of a mountain, which he must remove with his own hand. It digs away the earth, but in vain, the mountain remains, man.

However, goes on digging in the name of God and the mountain vanishes. It was never there. .