Rosa Meditativa by Salvador Dali

The Rose Meditative painting is something of an enigma coming from a painter whose works are primarily the stuff of dream and nightmare. Absent are the stretched forms and crutches signifying the paranoiac method. Instead we have a pretty picture. Here Dali seems to be showing off his painting skills at a time when many famous artists (including Dali himself) were painting in a much more abstract manner. Perhaps he was preparing himself for the Homage to Surrealism Exhibition which his friend Andre Breton had asked the artist as well as Joan Miro to exhibit in and represent Spain. The painting itself is reminiscent of a natural Om symbol hanging against the sky above a desolate landscape. This work was completed the same year that Dali published his “Nuclear Mysticism” manifesto titled “Anti-Matter”. Commenting on this newfound belief in science, DNA, and nuclear physics the artist had this to say, “In the Surrealist period I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today the exterior world and that of physics, has transcended the one of psychology. My father today is Dr. Heisenberg. It is uncertain how this piece fits into either the paranoiac method or the nuclear mysticism practices. The following quote sums this particular style of Dali’s, “The surrealists saw in Dali the promise of a breakthrough of the surrealist dilemma. Many of the surrealists had broken away from the movement, feeling that direct political action had to come before any mental revolutions. Dali put forth his “Paranoic-Critical method” as an alternative to having to politically conquer the world. He felt that his own vision could be imposed on and color the world to his liking so that it became unnecessary to change it objectively.” from the New York Times obituary, January 24, 1989 issue. Perhaps the rose was a message of love to a year that saw the world embroiled in revolution. To find out more about Dali visit Fundacio Gala-Salvador Dali a wonderful website run by the estate of Salvador Dali about the museum and the artist’s final home in Dali’s birthplace of Figueras in Spain.

The painting is simple and beautiful. The poster of this painting was bought by my very good friend. She saw something in it and from moment to moment I can see what she saw.  The beauty of the painting is hidden not inside the rose that arrogantly hangs above in the clear blue sky, but between two people standing face to face in the desert. The desert is empty and there is no water, but there are two strangers and there is a connection between them. Nobody sees it but them. I almost can feel it with my eyes…

The Golden Pillar

Comparison between “I” and “i”- self which stands for small selfish. I am sitting inside the lotos, small and dark.  When I am growing through my spine, the golden axis, I become “I”, that stands for large and enternal. Small “i” of personality is a mixture of different energies, the large “I” of consciousness is a pure ligt of spirit.

Now,  if I pull myself physically from small “i” of self to larger “I”. I literally stretch my hand towads the ceiling and look out. Pull myself towards the Earth and towards the sky simultaneously. In physical level, it stands for stretching, but on the metaphysical or sacred level it looks as I am building a pillar around a golden string.

 

I = OM…

In the pictures of the series “Ashes and Snow”, human bodies are internally connected with the animals. When you look at them, you clearly feel and see as love moves and propels through their bodies. The internal light and silence flow freely from picture to picture. It engages your inner feelings and stops the dialogue that your mind has with itself. It has your body as it becomes more relaxed and supple. All the limits and boundaries are washed away by the water, rain and human tears. Murmuring of the drops follow you all the time. Water invigorates you.

Synchrony of movements, synchrony of feelings create this mutual stream of consciousness that heals your body and your soul. Your spirit is integrated in the Wholeness of Universe. Then, it releases you.

Silent speech of your heart moved by the earthly beauty. These images go deep inside your heart, they are reflected there. It is impossible to say whether you are moved by the image into another sphere or the image goes inside the opening created in your heart. Something that was hidden before your eyes were open.

All those images are about sacredness and the fragility of life. There is something divine in clarity and strength of every posture and movement. Humans on those images succumbed to the nature and found internal peace and harmony inside it. When I look at them, I feel the bitter-sweet tenderness of life. Closely to my breath, those images are very personal to me. They reveal the fragility of my own body and soul. I almost touch the different angles of human soul, a part of something vast and graceful.

The other aspect of those images is feeling of coldness that overcomes the figures represented in those works of art. The world grows colder and colder every year, leaving this feeling of despair and longing for love and warmth. Not surprisingly, all the images are rendered in black and white, sepia colors. They touch our consciousness and they touch our heart leaving delicate traces of light behind it.

from www.brightcove.tv posted with vodpod

The divine light

I have learned that a divine veil seperates the material wold from the spiriual world. Here the picture that I have found:

 

However, if you use meditation such as Merkabah meditation (if you want you can read this quite comprehensive article about it - http://www.diamondenergetics.com/Content/3877), you can reconnect these two worlds of your material and spiritual self and remove the duality of your existence.

In Ancient Egypt, this primal pattern was called the Mer-Ka-Ba. It was actually three words, not one. Mer meant a kind of light that rotated within itself. Ka meant spirit, in this case referring to the human spirit. And Ba meant the human body — though it also could mean the concept of Reality that spirit holds. And so the entire word in ancient Egypt referred to a rotating light that would take the spirit and the body from one world into another.

Paprika Trailer - Brightcove

Once upon a time, I dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of following my fancies as a butterfly, and was unconscious of my individuality as a man. Suddenly I awoke, and there I lay, myself again… Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming that I am a man. - Chuang-Tzu, 3rd century BC

from www.brightcove.tv posted with vodpod

Les Rois du Monde

 

Roméo, Benvolio, Mercutio:R: Les rois du monde vivent au sommet
Ils ont la plus belle vue mais y a un mais
Ils ne savent pas ce qu’on pense d’eux en bas
Ils ne savent pas qu’ici c’est nous les roisB: Les rois du monde font tout ce qu’ils veulent
Ils ont du monde autour d’eux mais ils sont seuls
Dans leurs châteaux là-haut, ils s’ennuient
Pendant qu’en bas nous on danse toute la nuit{Refrain:}
Nous on fait l’amour on vit la vie
Jour après jour nuit après nuit
A quoi ça sert d’être sur la terre
Si c’est pour faire nos vies à genoux
On sait que le temps c’est comme le vent
De vivre y a que ça d’important
On se fout pas mal de la morale
On sait bien qu’on fait pas de malM: Les rois du monde ont peur de tout
C’est qu’ils confondent les chiens et les loups
Ils font des pièges où ils tomberont un jour
Ils se protègent de tout même de l’amourR et B: Les rois du monde se battent entre eux
C’est qu’y a de la place, mais pour un pas pour deux
Et nous en bas leur guerre on la fera pas
On sait même pas pourquoi tout ça c’est jeux de roisR, B et M: Nous on fait l’amour on vit la vie
Jour après jour nuit après nuit
A quoi ça sert d’être sur la terre
Si c’est pour faire nos vies à genoux
On sait que le temps c’est comme le vent
De vivre y a que ça d’important
On se fout pas mal de la morale
On sait bien qu’on fait pas de mal {au Refrain}…

Lady in red

Mother Earth- Within Tempation

Berserke

          

When we say that we are going beserk, we may not realize how extreme a state this might be. Our adjective comes from the noun berserker, or berserk, which is from the Old Norse word berserkr, “a wild warrior or champion.” Such warriors wore hides of bears, which explains the probable origin of berserkr as a compound of *bera, “bear,” and serkr, “shirt, coat” These berserkers became frenzied in battle, howling like animals, foaming at the mouth, and biting the edges of their iron shileds. Berserker is first recorded in English in the early nineteeth century, long after these wild warriors ceased to exist.  

It is interesting also to note that in the High Elvish (Quenya) language created by Tolkien, linguistic and very successful creative writer, the word blood is known as Serke.

Bead

 

The connection between a bead and the Old English word bed or gebed, “prayer,” from which it derives, is in the Christian practice, begun in the Middle Ages, of keeping count of prayers by mean of beads threaded on a string. Telling one’s beads- or saying one’s prayers- with the aid of a rosary was such a common way of praying that the Middle English descendant of the Old English word gradually became the word for the counter as well as the prayer that was counted. By modern times bead no longer meant “prayer” at all but had been extended to signify other small round objects, such as drops of water.