Concerning The Spiritual In Art Quotes

Colour is a power which directly influences the soul.

Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.

That is beautiful which is produced by the inner need, which springs from the soul.

The artist must have something to say, for mastery over form is not his goal but rather the adapting of form to its inner meaning.

The artist must be blind to distinction between 'recognized' or 'unrecognized' conventions of form, deaf to the transitory teaching and demands of his particular age.

With cold eyes and indifferent mind the spectators regard the work. Connoissers admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away. The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing.

There is only one road to follow, that of analysis of the basic elements in order to arrive ultimately at an adequate graphic expression.

The artist is not born to a life of pleasure. He must not live idle; he has a hard work to perform, and one which often proves a cross to be borne.

There is nothing sane, merciful, heroic, devout, redemptive, wise, holy, loving, peaceful, joyous, righteous, gracious, remotely spiritual, or worthy of praise where mass murder is concerned. We have been in this world long enough to know that by now and to understand that nonviolent conflict resolution informed by mutual compassion is the far better option.

That is beautiful which springs from inner need, which springs from the soul

To those that are not accustomed to it the inner beauty appears as ugliness because humanity in general inclines to the outer and knows nothing of the inner.

Art becomes so specialized as to be comprehensible only to artists, and they complain bitterly of public indifference to their work. Competition arises. The wild battle for success becomes more and more material. Small groups who have fought their way to the top of the chaotic world of art and picture-making entrench themselves in the territory they have won. The public, left far behind, looks on bewildered, loses interest and turns away.

(...) an inner feeling called "Stimmung" by the germans and best translated as sentiment (it is to be regreted that this word, sentiment, which is meant to describe the poetical efforts of an artist living soul, has been misused and finally, ridiculed. Was there ever a great word that the masses did not try immediatly to cheapen and desecrate?) (...)

A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art. And from this results that modern desire for rhythm in painting, for mathematical, abstract construction, for repeated notes of colour, for setting colour in motion.

That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography, as it deals not with events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind...The best that one can say of most modern creative art is that it is just a little less vulgar than reality, and so the critic, with his fine sense of distinction and sure instinct of delicate refinement, will prefer to look into the silver mirror or through the woven veil, and will turn his eyes away from the chaos and clamor of actual existence, though the mirror be tarnished and the veil be torn. His sole aim is to chronicle his own impressions. It is for him that pictures are painted, books written, and marble hewn into form.

Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks.

La intuición con la que nace el artistas es el talento evangélico que no debe enterrar. El artista que no utiliza sus dotes es un esclavo perezoso.

Today the guns are silent. A great tragedy has ended. A great victory has been won... A new era is upon us. Even the lesson of victory itself brings with it profound concern, both for our future security and the survival of civilization. The destructiveness of the war potential, through progressive advances in scientific discovery, has in fact now reached a point which revises the traditional concepts of war. Men since the beginning of time have sought peace... Military alliances, balances of power, leagues of nations, all in turn have failed, leaving the only path to be by way of the crucible of war. We have had our last chance. If we do not now devise some greater and more equitable system, Armageddon will be at our door. The problem basically is theological and involves a spiritual recrudescence and improvement of human character that will synchronize with our matchless advances in science, art, literature and all material and cultural developments of the past two thousand years. It must be of the spirit if we are to save the flesh.

In the ancient Indian Upanishads, the answer to the question “Who am I?” is “Tat tvam asi.” This succinct Sanskrit sentence means literally: “Thou art That,” or “You are Godhead.” It suggests that we are not namarupa—name and form (body/ego), but that our deepest identity is with a divine spark in our innermost being (Atman) that is ultimately identical with the supreme universal principle (Brahman). And Hinduism is not the only religion that has made this discovery. The revelation concerning the identity of the individual with the divine is the ultimate secret that lies at the mystical core of all great spiritual traditions. The name for this principle could thus be the Tao, Buddha, Cosmic Christ, Allah, Great Spirit, Sila, and many others.

he had to stand by while there proliferated in his own house such concepts as “the art of living thought” “the graph of spiritual growth” and “action on the wing”. he discovered that a biweekly ”hour of purification” was held regularly under his roof. he demanded an explanation. it turned out that what they meant by this was reading the poems of Stefan George together. Leo Fischel searched his old encyclopedia in vain for the poet’s name. but what irritated him most of all, old-style liberal that he was, was that these green pups referred to all the high government officials, bank presidents, and leading university figures in the Parallel Campaign as “puffed-up little men”. then there were the world-weary airs they gave themselves, complaining that the times had become devoid of great ideas, if there was anyone left who was ready for great ideas. that even “humanity” had become a mere buzzword, as far as they were concerned, and that only “the nation” or, as they called it, “folk and folkways” still really had any meaning. wiser than their years, they disdained “lust” and “the inflated lie about the crude enjoyment of animal existence” as they called it, but talked so much about supersensuality and mystical desire that the startled listener reacted willy-nilly by feeling a certain tenderness for sensuality and physical desires, and even Leo Fischel had to admit that the unbridled ardor of their language sometimes made the listener feel the roots of their ideas shooting down his legs, though he disapproved, because in his opinion great ideas were meant to be uplifting.

The art of the alchemist, whether spiritual or physical, consists in completing the work of perfection, bringing forth and making dominant, as it were, the “latent goldness” which “lies obscure” in metal or man. The ideal adept of alchemy was therefore an “auxiliary of the Eternal Goodness.” By his search for the “Noble Tincture” which should restore an imperfect world, he became a partner in the business of creation, assisting the Cosmic Plan. Thus the proper art of the Spiritual Alchemist, with whom alone we are here concerned, was the production of the spiritual and only valid tincture or Philosopher’s Stone; the mystic seed of transcendental life which should invade, tinge, and wholly transmute the imperfect self into spiritual gold. That this was no fancy of seventeenth-century allegorists, but an idea familiar to many of the oldest writers upon alchemy—whose quest was truly a spiritual search into the deepest secrets of the soul—is proved by the words which bring to an end the first part of the antique “Golden Treatise upon the Making of the Stone,” sometimes attributed to Hermes Trismegistus. “This, O Son,” says that remarkable tract, “is the Concealed Stone of Many Colours, which is born and brought forth in one colour; know this and conceal it . . . it leads from darkness into light, from this desert wilderness to a secure habitation, and from poverty and straits to a free and ample fortune.

That the analogy contains a grain of truth does not make it the less mischievous.

Cada cuadro encierra misteriosamente toda una vida, toda una vida con muchos sufrimientos, dudas, horas de entusiasmo y de luz. ¿Hacia dónde clama el alma del artista, si también participó en la creación? ¿Qué proclama? «Enviar luz a las profundidades del corazón humano es la misión del artista», dice Schumann. «El pintor es un hombre que sabe dibujar y pintar todo», dice Tolstoi.

Can it be that the ultimate chapter of this new era of democratic freedom is going to be deformed by this growing drift toward conformity encouraged by politics and sentimental education? If so then by what name shall our national American character be justly called? Doomed to beget only curiosities or monstrosities in art, architecture and religion by artists predominant chiefly by compliance with commercial expediency? Machine standardization is apparently growing to mean little that is inspiring to the human spirit. We see the American workman himself becoming the prey of gangsterism made official. Everything as now professionalized, in time dies spiritually. Must the innate beauty of American life succumb or be destroyed? Can we save truth as beauty and beauty as truth in our country only if truth becomes the chief concern of our serious citizens and their artists, architects and men of religion, independent of established authority?

Be anxious for no thing, be concerned about the state of your soul and that of your children, be concerned about God's work in the world; these are genuine concern but when it comes to the things in your life.....be not anxious. If God is for us who can be against us?

What’s wrong with technology is that it’s not connected in any real way with matters of the spirit and of the heart. And so it does blind, ugly things quite by accident and gets hated for that. People haven’t paid much attention to this before because the big concern has been with food, clothing and shelter for everyone and technology has provided these. “But now where these are assured, the ugliness is being noticed more and more and people are asking if we must always suffer spiritually and esthetically in order to satisfy material needs.

It is important to note that the missional church combines the concern for community development normally characterized by the liberal churches and the desire for personal and community transformation normally characterized by the evangelical movement. This blurring of the old lines of demarcation between theologies, doctrine, and ideology within the church makes the way open for much more integrated mission to occur. It’s like saying that we want to prepare like an evangelical; preach like a Pentecostal; pray like a mystic; do the spiritual disciplines like a Desert Father, art like a Catholic, and social justice like a liberal.

If our cultural lives are sick, it is likely to be an impediment to our spiritual lives. Much popular culture promotes a spirit of restlessness. That is likely to be an obstacle to prayer, to concerned reflection, and to attentiveness to the needs of others. Popular culture also has an extremely limited range of sensibilities. I have never heard a work of popular music that has the depth of poignancy of the opening bars of Brahms's 'German Requiem,' for example, with its text, 'Blessed are they that mourn, for they shall be comforted.' I learn something about mourning when I hear Brahms; I know of no similar lessons in popular music.

Idealism, particularly idealism of a cultural or artistic kind, has become such a rare phenomenon in the contemporary world that it may often be hard for us to feel our way into the spiritual background of much of the art, music, and literature that burst upon an unsuspecting European public in the last years of the 19th century and the early years of the 20th. It has become fashionable to suppose that what we have come to term variously “modern art”, “modern music”, or simply “modernism” took its origins in some collective artistic rejection of the styles and norms of the past, and in an adoption of a sceptical and anti-idealistic world view. While it is true that the “iconoclastic” movements of expressionism, futurism, dada, and early surrealism relied for much of their public impact on shock-tactics and a philosophy of ‘making it new’, a close study of their artistic programmes shows that their primary concern was less the destruction of the past than the reinterpretation of both past and present in terms of a visionary future, a hoped-for world in which the artist, like some divinely inspired child, would endow mankind with a new innocence, exorcising from it the demons of war, revolution, technology, and social organisation. Such a transformed humanity would be a worthy successor to the mankind of previous ages

Bernard undoubtedly was truly concerned with the well-being of the poor ... but the approach here is again largely from a monastic standpoint. It is not just a question of art or the care of the poor. It is also a question of debunking the traditional social justification of excessive art — that it was somehow similar to almsgiving ... In the same way that art for the honor of God is not the business of the monk since the monk has already offered the most precious gift one can to God, so there is no need for a rationale which sees these lesser gifts as a worthy form of honor for a monk to convey, a form of honor which as a spiritual undertaking is ultimately contradictory to the dictates of charity.

It is hard to overestimate the importance of the Catholic church’s value for European culture and for the whole world. It Christianized and civilized barbaric peoples and for a long time was the only guardian of science and art. Here the church’s cloisters were preeminent. The Catholic church developed a spiritual power unequaled anywhere, and today we still admire the way it combined the principle of catholicism with the principle of one sanctifying church, as well as tolerance with intolerance. It is a world in itself. Infinite diversity flows together, and this colorful picture gives it its irresistible charm (Complexio oppositorum). A country has seldom produced so many different kinds of people as has the Catholic church. With admirable power, it has understood how to maintain unity in diversity, to gain the love and respect of the masses, and to foster a strong sense of community. . . . But it is exactly because of this greatness that we have serious reservations. Has this world [of the Catholic church] really remained the church of Christ? Has it not perhaps become an obstruction blocking the path to God instead of a road sign on the path to God? Has it not blocked the only path to salvation? Yet no one can ever obstruct the way to God. The church still has the Bible, and as long as she has it we can still believe in the holy Christian church. God’s word will never be denied (Isa. 55:11), whether it be preached by us or by our sister church. We adhere to the same confession of faith, we pray the same Lord’s Prayer, and we share some of the same ancient rites. This binds us together, and as far as we are concerned we would like to live in peace with our disparate sister. We do not, however, want to deny anything that we have recognized as God’s word. The designation Catholic or Protestant is unimportant. The important thing is God’s word. Conversely, we will never violate anyone else’s faith. God does not desire reluctant service, and God has given everyone a conscience. We can and should desire that our sister church search its soul and concentrate on nothing but the word [1 Cor. 2:12– 13]. Until that time, we must have patience. We will have to endure it when, in false darkness, the “only holy church” pronounces upon our church the “anathema” (condemnation). She doesn’t know any better, and she doesn’t hate the heretic, only the heresy. As long as we let the word be our only armor we can look confidently into the future.

Theme is not imposed on the story but evoke from within it--initally an intuitive but finally an intellectual act on the part of the writer. The writer muses on the story idea to determine what it is in it that has attracted him, why it seems to him worth telling. Having determined that what interests him and what chiefly concerns the major character is the idea of nakedness (physical, psychological, perhaps spiritual), he toys with various ways of telling his story, thinks about what has been said before about nakedness (for instance, in traditional Christianity and pagan myth), broods on every image that occuurs to him, turning it over and over, puzzling on it, hunting for connections, trying to figure out--before he writes, while he writes, and in the process of revisions, what it is he really thinks. (How naked should we be or can we be? Is openness, vulnerability, a virtue or a defect? To what extent, with what important qualifications?) He finds himself bringing in black strippers, perhaps an Indian stripper, supported by imagery that recalls primitive nakedness. And so on. Only when he thinks out his story in this way does he achieve not just an alternative reality or, loosely, an imitation of nature, but true, firm art--fiction as serious thought.

Sufism is a vast and varied historical and civilizational phenomenon, touching upon poetic expression and sacred art, ethics and virtue, discipleship and spiritual guidance, humble service and spiritual practice, the nourishment of the heart and the illumination of vision. Yet all these many concerns coalesce ultimately to a single concern: that of the return to God. The way of this return is, at root, a matter of the ever-deepening inculcation of the reality of Divine Unity in one’s being, as expressed in one’s understanding, one’s presence and attention, and ultimately one’s very existence. This “Path of Unity” is none other than the central course of the entire tradition of Sufism. What

The spiritually-minded man putteth care of himself before all cares; and he who diligently attendeth to himself easily keepeth silence concerning others. Thou wilt never be spiritually minded and godly unless thou art silent concerning other men's matters and take full heed to thyself. If thou think wholly upon thyself and upon God, what thou seest out of doors shall move thee little. Where art thou when thou art not present to thyself?

By focusing on our spiritual power, we can change our bottom line from pure profit to one that includes compassion. We don’t need to get rid of profit. Compassion can bring financial and political success. I believe it is simply good business to include in our definition of the bottom line a consideration of all the effects we have on one another and on the planet. Businesses that intelligently combine profit making with integrity and concern for the world have happier employees and more satisfied customers, while making more money.

Dharma has no recognized founder, or prophet, or originator, other than the direct will and causeless overflowing grace of the Absolute. At one time Dharma was the sole expression of humanity’s yearning to stretch its hearts and intellects beyond the known world, and to intimately know and experience the source of all reality. Dharma was humanity’s attempt to incorporate the will of the transcendent Divine into the everyday, phenomenal concerns of this world, and to live and explore politics, economics, the arts, music, philosophy, literary expression, and life itself as an everyday, every-moment celebration of the omnipresent imminence of the Divine. When the rational and divinely inspired laws of Dharma governed the world, spirituality served as a source of unity, tolerance, joy, and mutual understanding. It is only with the later rise of the denominations that religion was then used to divide people, and to aggressively conquer others in the name of a god. Being thus a pre-religious phenomenon, Dharma serves as the spiritual foundation of all later denominational expressions of spirituality, and thus, by extension, as the very source of all important civilizations on earth. Dharma is the common heritage of all humanity, whether or not individual humans today are ready to acknowledge this fact or not. (p. 51)

One hesitates to mention Derain, for his beginnings, full of vitality and promise, have given place to a dreary compromise with Cubism, without visible future, and above all without humour. But there is no better example of the development of synthetic symbolism than his first book of woodcuts.

Simplicity–or rather discrimination of vision–is the trademark of the true Post-Impressionist. He observes and then selects what is essential.

the relationships in art are not necessarily ones of outward form, but are founded on inner sympathy of meaning.

when an ancient text describes “worldly concerns,” it is very important to understand that this is actually a geographic designation, not an existential one. The “world” really just encompassed the frenetic endeavors of life in the city, that place of hustle and bustle, lust and heartache, career and ambition, art and entertainment, government and politics. Deeply pursuing spiritual practice meant leaving the city behind.

Our aim in studying the Godhead must be to know God himself better. Our concern must be to enlarge our acquaintance, not simply with the doctrine of God’s attributes, but with the living God whose attributes they are. As he is the subject of our study, and our helper in it, so he must himself be the end of it. We must seek, in studying God, to be led to God. It was for this purpose that revelation was given, and it is to this use that we must put it. Meditating on the Truth How are we to do this? How can we turn our knowledge about God into knowledge of God? The rule for doing this is simple but demanding. It is that we turn each truth that we learn about God into matter for meditation before God, leading to prayer and praise to God. We have some idea, perhaps, what prayer is, but what is meditation? Well may we ask, for meditation is a lost art today, and Christian people suffer grievously from their ignorance of the practice. Meditation is the activity of calling to mind, and thinking over, and dwelling on, and applying to oneself, the various things that one knows about the works and ways and purposes and promises of God. It is an activity of holy thought, consciously performed in the presence of God, under the eye of God, by the help of God, as a means of communion with God. Its purpose is to clear one’s mental and spiritual vision of God, and to let his truth make its full and proper impact on one’s mind and heart. It is a matter of talking to oneself about God and oneself; it is, indeed, often a matter of arguing with oneself, reasoning oneself out of moods of doubt and unbelief into a clear apprehension of God’s power and grace.

What we are after is first noticing and then participating in the way the large world of the Bible absorbs the much smaller world of our science and economics and politics that provides the so-called worldview in which we are used to working out our daily concerns.

Thirteen Recurrent Domains of Human Concerns: Possible Breakdowns 1. BODY: health, sickness, injury, availability and unavailability for meetings and appointments. 2. PLAY or AESTHETICS: entertainment, recreation, art, and appreciation of art. 3. SOCIABILITY: opening new conversations, making new friends, maintaining friendships, breaking friendships, trusting what others say, establishing trust for yourself. 4. FAMILY: having children, education of children, marriage. 5. WORK: completing actions you have committed to take, doing your job. 6. EDUCATION: gaining competence, skill in some area. 7. CAREER: choosing a direction to take in life, choosing a career or profession to prepare for and follow. 8. MONEY or PRUDENCE: having sufficient money to support yourself, your salary, reputation among others you deal with. 9. MEMBERSHIP: participation in club, professional, organizational, or government institutions; gaining membership in societies, clubs, or other organizations; becoming a citizen. 10. WORLD: politics, the environment, other countries or cultures. 11. DIGNITY: self-respect, self-esteem, lack of self-esteem, conflicts between your standards of action and your actions. 12. SITUATION: disposition, temperament, outlook, emotions, judgments about “how things are going.” 13. SPIRITUALITY: philosophy, poetry, religion, humor (laughing about our nonacceptance of the facticity of life, not being burdened by it).

Domains of Human Concerns: Common Types of Possibilities For Action 1. BODY: exercise, medical checkups, traveling to an appointment. 2. PLAY or AESTHETICS: taking a vacation, going to the movies, going to an art museum, painting, putting a puzzle together. 3. SOCIABILITY: inviting a new person into a conversation, meeting an old friend, declaring a person trustworthy or untrustworthy. 4. FAMILY: getting married, sending children to college. 5. WORK: finishing a report, writing a letter. 6. EDUCATION: enrolling in a class, reading a book. 7. CAREER: choosing a major in college, getting a new job. 8. MONEY or PRUDENCE: investing money, bargaining for a new salary, buying health insurance. 9. MEMBERSHIP: joining a professional organization, becoming a citizen of a new country, founding a new club. 10. WORLD: working in a political campaign, visiting another country or culture.        11. DIGNITY: declaring pride in your work, declaring that your work is significant or insignificant, declaring standards of action for yourself to live up to.        12. SITUATION: declaring that your future is good or not good, declaring that you have more possibilities than you have been seeing, declaring that you have fewer possibilities in life than you supposed, discussing your possibilities with other persons. 13. SPIRITUALITY: reflecting on the facticity of life, going to church, philosophical discussions with others.

It has been said above that art is the child of its age. Such an art can only create an artistic feeling which is already clearly felt. This art, which has no power for the future, which is only a child of the age and cannot become a mother of the future, is a barren art. She is transitory and to all intent dies the moment the atmosphere alters which nourished her.

They must constantly negotiate among their own moral and spiritual instincts, the interests of their institutions, their personal concerns about their own salaries and retirement accounts, and professional and social status. In short, they must master the art of ethical compromise as a matter of vocational survival

The way to the supernatural lies through the natural.

painting, the world over, has struck a varied balance between the symbolic and realism. However, in the fifteenth century Western painting began to turn from its age-old concern with spiritual realities expressed in the form proper to it, towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside world. The decisive moment undoubtedly came with the discovery of the first scientific and already, in a sense, mechanical system of reproduction, namely, perspective: the camera obscura of Da Vinci foreshadowed the camera of Niepce. The artist was now in a position to create the illusion of three-dimensional space within which things appeared to exist as our eyes in reality see them. Thenceforth painting was torn between two ambitions: one, primarily aesthetic, namely the expression of spiritual reality wherein the symbol transcended its model; the other, purely psychological, namely the duplication of the world outside. The satisfaction of this appetite for illusion merely served to increase it till, bit by bit, it consumed the plastic arts. However, since perspective had only solved the problem of form and not of movement, realism was forced to continue the search for some way of giving dramatic expression to the moment, a kind of psychic fourth dimension that could suggest life in the tortured immobility of baroque art.a The

If so be ye have tasted that the Lord is gracious." 1 Peter 2:3 If:--then, this is not a matter to be taken for granted concerning every one of the human race. "If:"--then there is a possibility and a probability that some may not have tasted that the Lord is gracious. "If:"--then this is not a general but a special mercy; and it is needful to enquire whether we know the grace of God by inward experience. There is no spiritual favour which may not be a matter for heart-searching. But while this should be a matter of earnest and prayerful inquiry, no one ought to be content whilst there is any such thing as an "if" about his having tasted that the Lord is gracious. A jealous and holy distrust of self may give rise to the question even in the believer's heart, but the continuance of such a doubt would be an evil indeed. We must not rest without a desperate struggle to clasp the Saviour in the arms of faith, and say, "I know whom I have believed, and I am persuaded that he is able to keep that which I have committed unto him." Do not rest, O believer, till thou hast a full assurance of thine interest in Jesus. Let nothing satisfy thee till, by the infallible witness of the Holy Spirit bearing witness with thy spirit, thou art certified that thou art a child of God. Oh, trifle not here; let no "perhaps" and "peradventure" and "if" and "maybe" satisfy thy soul. Build on eternal verities, and verily build upon them. Get the sure mercies of David, and surely get them. Let thine anchor be cast into that which is within the veil, and see to it that thy soul be linked to the anchor by a cable that will not break. Advance beyond these dreary "ifs;" abide no more in the wilderness of doubts and fears; cross the Jordan of distrust, and enter the Canaan of peace, where the Canaanite still lingers, but where the land ceaseth not to flow with milk and honey.

to stand in front of some of his drawings or pictures gives a keener and more spiritual pleasure than any other kind of painting.

Arts of energy management and of combat are, of course, not confined to the Chinese only. Peoples of different cultures have practised and spread these arts since ancient times. Those who follow the Chinese tradition call these arts chi kung and kungfu (or qigong and gongfu in Romanized Chinese), and those following other traditions call them by other names. Muslims in various parts of the world have developed arts of energy management and of combat to very high levels. Many practices in Sufism, which is spiritual cultivation in Islamic tradition, are similar to chi kung practices. As in chi kung, Sufi practitioners pay much importance to the training of energy and spirit, called “qi” and “shen” in Chinese, but “nafas” and “roh” in Muslim terms. When one can free himself from cultural and religious connotations, he will find that the philosophy of Sufism and of chi kung are similar. A Sufi practitioner believes that his own breath, or nafas, is a gift of God, and his ultimate goal in life is to be united with God. Hence, he practises appropriate breathing exercises so that the breath of God flows harmoniously through him, cleansing him of his weakness and sin, which are manifested as illness and pain. And he practises meditation so that ultimately his personal spirit will return to the universal Spirit of God. In chi kung terms, this returning to God is expressed as “cultivating spirit to return to the Great Void”, which is “lian shen huan shi” in Chinese. Interestingly the breathing and meditation methods in Sufism and in chi kung are quite similar. Some people, including some Muslims, may think that meditation is unIslamic, and therefore taboo. This is a serious mis-conception. Indeed, Prophet Mohammed himself clearly states that a day of meditation is better than sixty years of worship. As in any religion, there is often a huge conceptual gap between the highest teaching and the common followers. In Buddhism, for example, although the Buddha clearly states that meditation is the essential path to the highest spiritual attainment, most common Buddhists do not have any idea of meditation. The martial arts of the Muslims were effective and sophisticated. At many points in world history, the Muslims, such as the Arabs, the Persians and the Turks, were formidable warriors. Modern Muslim martial arts are very advanced and are complete by themselves, i.e. they do not need to borrow from outside arts for their force training or combat application — for example, they do not need to borrow from chi kung for internal force training, Western aerobics for stretching, judo and kickboxing for throws and kicks. [...] It is reasonable if sceptics ask, “If they are really so advanced, why don't they take part in international full contact fighting competitions and win titles?” The answer is that they hold different values. They are not interested in fighting or titles. At their level, their main concern is spiritual cultivation. Not only they will not be bothered whether you believe in such abilities, generally they are reluctant to let others know of their abilities. Muslims form a substantial portion of the population in China, and they have contributed an important part in the development of chi kung and kungfu. But because the Chinese generally do not relate one's achievements to one's religion, the contributions of these Chinese Muslim masters did not carry the label “Muslim” with them. In fact, in China the Muslim places of worship are not called mosques, as in many other countries, but are called temples. Most people cannot tell the difference be

A most interesting example of the combination of this theology with aesthetic practice is found in the memoirs of the great twelfth-century abbot Suger, who made the church at St. Denis the first great work of the Gothic style in northern France. Suger has left us an unusual record of both the Platonic theology of art and his spiritual experience of finding God in the aesthetic. In the verses inscribed on the gilded cast bronze doors of the basilica, representing the passion and resurrection of Christ, he gives to the viewer this message concerning the purpose of the artwork: Whoever

A religious theory of society necessarily regards with suspicion all doctrines which claim a large space for the unfettered play of economic self-interest. To the latter the end of activity is the satisfaction of desires, to the former the felicity of man consists in the discharge of obligations imposed by God. Viewing the social order as the imperfect reflection of a divine plan, it naturally attaches a high values to the arts by which nature is harnessed to the service of mankind. But, more concerned with ends than with means, it regards temporal goods as at best instrumental to a spiritual purpose, and its standpoint is that of Bacon, when he spoke of the progress of knowledge as being sought for ‘the glory of the Creator and the relief of man’s estate.

The modern world represents in some respects an enormous improvement over the world in which our ancestors lived; but in other respects it exhibits a lamentable decline. The improvement appears in the physical conditions of life, but in the spiritual realm there is a corresponding loss. The loss is clearest, perhaps, in the realm of art. Despite the mighty revolution which has been produced in the external conditions of life, no great poet is now living to celebrate the change; humanity has suddenly become dumb. Gone, too, are the great painters and the great musicians and the great sculptors. The art that still subsists is largely imitative, and where it is not imitative it is usually bizarre. Even the appreciation of the glories of the past is gradually being lost, under the influence of a utilitarian education that concerns itself only with the production of physical well-being.