WHAT IS SACRED ART ?


I like to use the word “sacred” as it really makes it very clear about which kind of art we are talking. “Sacred” means ”holy” (whole!), and in English it is used as a general expression to point out a deeper spiritual quality of something.
“Life is sacred”; life is holy. Not only when we experience or undergo specific spiritual or religious rituals, but our whole life is holy in all its facets. The spiritual approach to life and its inner attitude that we still find at some of the so-called primitive, native cultures (like: Aboriginals, Inuit, native American Indians, Kogis etc.) are practical examples of how “ life is sacred” can be lived in every moment of our lives. Every human being is seen as sacred (holy); every animal that is being killed for food is sacred; all tools are sacred; nature is sacred etc. (shamanism).

Life is sacred. This means: being deeply rooted in the divine source, which cannot be comprehended with the rational mind, but only through the heart and higher intuition.
It is in this perspective that I would like to present and promote art.
When I say “art”, I am including all the various disciplines of artistic expression, like music, performing-arts, dance, architecture, film, design, poetry and the fine arts.

Sacred Art - expressions in art that hold us in aesthetic arrest, as James Joyce described it; that hold us in wonder and awe. It invites us into a magic and sacred space, where we have entrance into the higher or finer dimensions of consciousness in our inner being. It vividly and energetically (not rationally) reminds us of the fact that everything in life and life as a whole is “holy” - whole.
It means that all in life is interrelated, and that all facets of life form are united into oneness. All is ONE.
Sacred Art will always be some sort of expression of oneness-consciousness. And it is not a one-way mental communication from artist to his audience. It always is an experiential happening in the Here-and-Now, where artist and audience (observer, listener) are becoming aware that they are in communion.

Sacred art, the way I am envisioning it, allows us to align ourselves on a soul level with universal Truth. It is opening the inner realms of greater Life. It doesn’t tell and teach explicitly certain truths. Instead it leaves all doors open to me as the observer/listener to step into the magic space of this artwork. Through the resonance it creates in my being it supports and encourages me to align to my own inner Truth. It allows “communion”, a moment of dwelling conciously in the Oneness of existence. It is creating a resonance with the observer. Through an open resonance it can tune us to an at-one-ment experience (attunement) and in the process we are healing and transforming ourselves.
I consciously use the word
“open”, as it is such an important prerequisite for art to become “sacred”. I will explain this later in this writing.

The many experiences in my life as an artist have made me aware of the dimension of “
transparent magic in art”, and I will explain this.
We often use the word “magic” in connection to an experience we have with or through art and artists –“a magical experience”- “this was magic” – etc.
We use the word “magic” to explain an experience that goes beyond all words, beyond the rational and materialistic oriented mind. In a way, we often don’t know what is exactly happening, and why and how this is happening to us through this experience of art. In some way it is striking a deep chord in us. So, we use the word “magic” when we cannot explain it with our head, with our knowledge of the natural laws. Artists are consciously tapping into certain universal laws of creation and communication, that have not yet been sufficiently explained and proven by scientists to the convenience of our rational mind. Therefore we are used to bring in the word “magic” and “magical” in relation to art.

I give you a definition of magic:
Magic is a release of power to an appropriate form. It is a process where you squeeze a lot into a little, you take a big thing (or concept) and constrict it into an essence.
Many artists know the workings of a release of power to a specific form, putting it into an essence. They are more aware of the universal laws of communication and resonance through light, colour, sound, form and shape than most of us.
Although many artists know the working of “magic”, a clear distinction between three very different forms and qualities of magic in art has to be made.

First I would like to state that the following lines are not judgments, but statements about and distinctions of art based on life-long personal observations.
You might notice later in these texts that the mythologist Joseph Campbell, who I admire so much for his “pearls of wisdom”, makes different distinctions in art than I do. I think, both of us are making distinctions from a different perspective, but we are coming to very similar conclusions.
I hope that this will contribute in clarifying how, in the world of today, we use the word “art” for various phenomena. “Art” has many different connotations, as we will see. It is my intention to bring more awareness and discrimination in the ways we talk, write, think, feel about and interact with art, so that we all can see clearer how we each are responsible for the attention and energy we want to give to specific qualities in the expressions of art, and how this effects our well-being and quality of life. I would like my writings only to be used as an inspiration to make your own observations and discernments. And may this help to build a conscious platform from which sacred art once again can arise.

My observations and many experiences have made it clear to me that the word “magic” used in connection with art is all too much a generalization, which is confusing. I would like to distinguish between:

Black magic in art
White magic in art
Transparent magic in art


Black magic in art

Black magic is: using mental energy in a destructive and restrictive way to gain power over human beings, so that they can be manipulated in whatever negative way.

This kind of magic in art is very common in our western society, especially during the last 100 years it has blossomed tremendously. Perhaps this is shocking to you when I say this. But think about it. Look especially at the media (TV, film, commercial music business, advertising, commercials, etc.) I think I am not exaggerating when I am saying that 70 to 80 % of what is being presented to us through all the media belongs in this category of “black magic”.

A lot of artistic expression that comes through the media and is being presented in big institutions, theatres, universities etc., is purposefully and effectively being used to hinder the development of higher consciousness of the human race, to slow down inner growth and a free spiritual awareness, and through destructive, chaotic, disharmonic and competitive manipulation in music, films, books, TV programs, commercials etc. spread the virus of instability, disharmony, aggression and fear.

Look for yourself what for example Hollywood has served the world with its films full of violence, crime, terror, horror and sexual abuse. In our society we are confronted with the fruits of such works!
“Of their fruits they will be recognized.”

Why are certain human beings producing horror films? What is their motivation?

Have you ever thought why so much of the art that is being displayed in the big buildings of banks and official institutions is of such a dark and disharmonious quality? Have you ever thought about why so many brilliant, talented actors, movie stars, musicians, painters offer themselves for these aggressive and destructive trends in artistic expression? Well, I have. And I have found through careful research many reasons for it.
Lately there is appearing a lot of information in literature that explains the workings and the mechanics behind the scenes of the big media all over the world. If you make the effort, you will find these information sources. I only mention it here, as the media (including the advertising business, of course) are the dominant tool to manipulate public opinion and they are the main factor in spreading the fashions and trends in art. And we shouldn’t underestimate the role it plays in creating the perceptions we have of art in our modern times! Not to talk about the effects it has on our health.

“The minute you take in what the dictation of the time is, instead of the dictation of your own eternity from within, you have capitulated to the devil, and you are in hell.”
- Joseph Campbell, mythologist -

“Fashion is for those to follow who lack style.”
- Anonymous -


We come now to an aspect that I would like to pesent under the heading “black magic in art”, although mostly not deliberately executed.

There are and there have been many artists (I prefer to call them craftsmen) that use their artistic talents to release and reveal their most intense emotional distress. They are often expressing their intense emotional feelings in their artwork – their pains and hurts, their emotional reflections of what they see happening in the world or in our society, their emotional passions and emotional love.

It can be therapeuticly very valuable to express feelings, emotions, pains, despair, passions, and hopes creatively in painting, dancing, sculpting etc.. But in my opinion this should be private, as a personal process of healing, transforming and inner growth. Probably the artists doing so are usually not aware of what they are doing by sharing this personal release of emotions (and often rage, anger, aggression, and sexual abuse) with an audience.
I call this undeliberate black magic in art.
As I said before: Although these forms of expression as a personal release can be very therapeutic, healing and purifying for the artist her/himself, by sharing this in public, often under the heading “art”, it will confuse and pull the audience into the lower drives of the emotional realms. And that can never be the meaning of art –Art in a true sense – art as a sacred vow, to uplift and heal our hearts.
Sacred art can first happen after the person (the potential artist) has gone through his purifying-processes, when the Soul starts to be the embodiment of ones Presence.
Nevertheless, look for yourself, and see, hear and read all there is around of this kind in our world, under the heading “ART”.



What has happened in the history of modern art (these last 100 years)


What we have seen happening in the last 100 years in our Western civilisation is that so called “artists” have started to make art for its own sake. The personality of the artist has become the central focus – his way of making a living. His lifestyle, his private life have become more important than his works of art. With the central focus on the ego, the personality of the artist and his/her bohemian way of life had become a cult object for the upper social levels in society, where the combination of boredom (inner poverty) and material abundance were the ingredients for decadence.
The genius of the artist was the cause – or rather the excuse – for all his actions, which his/her artistic efforts were a part of. As a result modern art is extremely fragmented. The cultivation of the ego is the source of some of the darkest and most destructive trends in art.

Toilets put in unconfessional setting, oil jerricans, canvases with some colours splashed or thrown on them etc.. Art exhibitions are called pieces of art, just simply because they have been put there by a so-called “artists”.
It confronts the audience with a dilemma of either perceiving art as “mentally sick
imaginations” or the artist as a betrayer, or oneself as uncapable to understand art.
When we look back in history to the role of artists in other times – or even in our
time - when we understand the role of the artist in still existing traditional cultures (like the Australian Aboriginals, the Tibetans, the Inuit, Kogis, etc. ) we find a common denominator:
Art is / was a reflection of the communion of the human being with the divine, not the human being with her/himself.
It’s hard to imagine a deeper cliff than between the spiritually initiated artist (the mystic), and the bewildered modern artist’s approach to his/her task.

Luckily, through the centuries we have been blessed with great artists. Let’s listen to a few of them and hear what they have to say about the arts in our society.

Rodin, about 100 years ago:
“When religion is lost, art is also lost”

Picasso has expressed himself in similar ways and he said: “Behind our current art exists nothing else than big business for art dealers that make themselves important and secretive with the help of unusual word phrasing by some well-known critics (reviewers).

The famous artist Hundertwasser from Vienna is a positive light in the dark era of the arts.
Because of his uncompromising demand for beauty, inspired by nature, he was seen as provocative. This opinion about him has changed now. His artistic creation of the past 30 years has made him a legend, although he is still alive. His demands are now being taken seriously. He agrees with the late Russian painter and mystic, Nicholas Roerich, that
beauty is and should be the universal prerequisite of art.

In beauty we are united
Through beauty we pray
With beauty we conquer “

- Nicholas Roerich -


Hundertwasser:
I am being defamed as ‘beautifier’, but I am wearing this label as a well deserved title of nobility. Because ugliness is killing the soul of the human being.”

About architecture he said:
“Our cities have become crazy ideas in concrete made by criminal architects –they are coward jumping Jacks of unscrupulous clients.”
The crime is the use of their rules. The straight line is ungodly and immoral. It leads to the downfall of humanity. To say it in other words: the ungodly line kills the transcendence of the human being into God.
I am continuously confronted with nature , which I see as God. A tree as representative of a tremendous creation is for me God.
People have to be creatively active to come closer to God, to creation.
In architecture the repetition of the same windows next to each other all the way through is for me a characteristic of concentration camps. Architecture is supposed to uplift people,
not to humiliate, suppress and enslave”.

Alfred Wolski
(light poet):
“It is really a shame that, in spite of all our enthusiasm for the classical arts of past eras, we are giving so little attention to our own possibilities.
Wrestling artits, tired souls that are running around in circles in the shadow of the cold disdain! What kind of encouragement do we offer them in our century?
The past might rightly have pity on the poverty of our civilisation; the future, however, will laugh about the dreariness of our art. We destroy the arts by annihilating the beauty in life.”


Shirley MacLaine (from her book “The Camino, a journey of the spirit”):
“So little in modern life is devoted to collective harmony. In fact, it seems to be deliberately focuses on individual separatism, individual competition, individual privacy, individual needs and desires, and individual happiness.
Western society doesn’t take spirituality seriously. The human soul is not even recognized as a fact. And certainly the idea of the pre-existence of the soul is basically considered heresy. The soul is spiritually brutalized every day in the course of our modern human life. As far as most Western people are concerned, the soul doesn’t exist.
Very little in modern times is designed for the peaceful nourishment of the soul. Even most of our music brutalizes the spirit of harmony. It is loud, discordant and often disturbing
.”


Cecil Collins
This famous English painter emerged from the relative obscurity that might be the fate of one who remains faithful to an imaginative vision, owing nothing to passing trends and temporary preoccupations.
This coupled with the fact that he steadfastly refused to let his art be an agent for mere “worldliness”, serving the “ vested interests of the ego”, has meant that a full appreciation of his work has been slow to focus upon these images that testify to a
seeing into vision rather than a seeing with vision. He was an artist who declared his belief that “art is a metaphysical activity”.

Art is a cosmic folly by which purity of consciousness can be contained”.

With the images of Cecil Collins’ art we are invited to turn our gaze inwards to contemplate the realities of spirit. Here the “eye of the heart” or more so; “the eye of the Soul” alone will suffice the transformation of consciousness that such images demand.
He is known for his famous paintings of fools and clowns.

He wrote:
“The true priest is the fool who’s purity of spirit is the folly by which the world grows and becomes enlightened”.

He saw “the fool” not as a philosophy, but as a quality of consciousness of life. The fool as the essential poetic integrity of life itself.

Joseph Campbell (from his book “Myths to live by”):
“It is in the fields of the arts that the reductive, life-diminishing effect of the loss of all sense of form is today most disquieting: for it is in their arts that the creative energies of a people are best displayed and can best be measured.
The artist in our modern world (New York, London or Paris) who wants to be known, has to go to cocktail parties to win commissions, and those who win them are the ones who are not in their studios but at parties, meeting the right people and appearing in the right places. They have not been quiet enough engaged in the agony of solitary creative work to press beyond their first acquisitions of marketable styles and techniques. And the next consequence is
“instant art”.


White magic in art

White magic is: using mental energy to gain a very specific positive result. White magic in art intends to address certain moral values to direct us as an audience to make certain decisions, which are seen by the artist(s) in question as positive, good or beneficial. Our churches are full of white magic (in art).

There are many artists with good and loving intentions that tell a story or a certain teaching through their art (didactic art) and craft. They are occupied with bringing a specific (moral) message across that is something like: ”We should focus on the light and the good side of live” or “we should follow a certain believe system”.
It is usually done in very specific and often extremely detailed ways, through for example stories about the good guys and the bad guys – and the good guys will win in the end. These stories or art works do not leave much room for our own imagination.
Today most of the mainstream theatres are being used for plays or ballets that give some kind of reflection of our daily life struggles in the world of dualities (the mirroring function), and they might give us some answers in the sense of inspiring us to choose the good and light, instead of the dark and destructive. However, they are stuck in the duality approach of life in the three dimensional world with attachment to the emotions involved (good or bad, light or dark).

White magic (like also black magic) in art often makes use of symbols. Symbols of light, of the good, of harmony, esoteric and religious symbols.
In music we hear it in lyrics about the good, the light and about love. It is all coming from a good place within the human being, the artist. However, if it is being channelled through the rational mind, it will create a mental frame around and within the piece of art. And then, although the intentions might be good, it will not bring us in our own story deep within our own being.
I have noticed, that so often there is so much “mind” involved in what I call “white magic in art”. Mental projections coming from the brain of some individual who thinks and philosophies about the spiritual or the sacred, but with the piece of art in question doesn’t dive into “Beingness” - being a reflection of spirit – making the sacred manifest.
Artists who with their lyrics, poetry, music, voice, paintings, statues, etc. are able to transport us far beyond rational thinking – far beyond the mind and the physical plane – are opening a space of pure love from the heart in art. And then it is “transparent magic in art”.

First, back to white magic in art:
A lot of musicians/songwriters think that, when they write songs and texts about spiritual issues, that it is sacredmusic. The text can besacred poetry, but if the arrangements, the sounds, the harmonic schemes fail to have that what I call “a beyond dimension” - the embodiment of the soul - for the listener, it is certainly not, or only partially, sacred art. More often it does not hold the promise, as far as I perceive it.
And there is a lot of this kind of music around nowadays with the pretense of being spiritual or sacred music, which absolutely fails to have these qualities of the embodiment of soul essence. Often this music is presented with wonderful, attractive cover designs combined with beautiful promising texts that are often misleading.
I have come across so many musicians who are convinced, that by making some sweet melodies or playing some nice sounding synthesizer chords, they are creating healing music, or sacred music. However, many times I can hear that it fails to have the grounding of soul essence onto this Earth plane. The Sacred and the true healing power can only manifest where our light and bright sides marry our shadow sides.

In the fine arts I have seen a lot of what is called:
“siritual art”, containing skilfully painted symbols, in a magical way brought together into a picture. Symbols like: waterfalls, angel wings, crosses, the unicorn, the light and other esoteric symbols. It often is good craftsmanship, as for example in extremely detailed paintings, that make you wonder if they are photographs.
Sometimes these are archetypal images that are metaphors – mythological images that can be powerful works of art.
I often experience them as mental projections which portray what the painter skilfully channelled from and with his mind into a technically perfect picture.

Mental art will resonate in the mind of its audience, and that might just be it.
In this way it might us lock us into a very specific story of the artist that you have to take orleave. But you cannot go with it on a magical journey within your own soul.

This kind of art still has an element of mental manipulation, instead of allowing the flow of higher inspiration through the heart – letting the action of painting and designing take over.The artist (and with him his/her audience) becoming the painting, the design, the dance or the composition. That is the only space where true art can happen – sacred art.

There is nothing wrong about white magic in art, as far as I am concerned. Each person should have the right to express him/herself creatively the way he/she feels like, but we have to be discriminative and aware of what it represents.

I would like to finish this part by expressing that I personally would prefer to see the theatres and concert halls to be used for performances that can bring each of us in our own story deep within our being ( a new mythology ). So that each person can have his/her own transformational, transcendental or spiritual experience. In this way theatre becomes a temple (once again).




Transparent magic in art

Transparent magic in art creates the space and atmosphere that inspires us to make our own (moral) decisions through inner reflection, based on the communion with our soul wisdom.
This kind of art in all its different forms of expression has no other purpose than being a reflection of the essence of Existence - Being in tune with the life-force, with Universal Truth, which is far beyond the mental, the emotional and the physical, although it embraces those dimensions too! This is the feminine principle becoming manifest in art.
It’s the mystical experience of “being” attuned, aligned to one’s soul dimension.

This is the path of the mystic
tapping into the TAO
just “being” and allowing things to unfold
allowing the door of the soul to open widely
and BE
the I AM essence

It is the technical skill of the artist being put into the service of his/her highest soul attunement that creates the magical moment for a piece of true art to manifest into the physical realm. The art form becomes then a transparent vehicle for its audience making them be still in awe and wonder, letting them instantly being moved into the subtler dimensions of existence - the space where the soul is at home, so to speak.

There is no story or teaching to tell. The depth and the quality of the colours, the light, the space or the sounds of the art form itself, lift us straight into our own soul dimension, into our own light, lovingly holding the space white open for us to have our own inner (mystical) experience of the beyond.

J.Campbell calls this:
“ We are held in aesthetic arrest.”

So, it creates into the physical dimension a doorway (an open space) to higher dimensions of the non-physical plane. This is transcendence. This is what makes us speechless, or feeling uplifted or brings us to tears, because of its impact as a channel for powerful vibrations of love and light, which we (un)consciously know we are made of. Transparent magic in art leaves an open space.
And there is no other teaching in it, then allowing it to work for us in our own inner being, in our own unique way.
This is where art becomes “sacred”, as through direct experience (not through mental teaching) it reminds us of our true Essence, of our natural relationship with the universal laws, and of our true responsibilities from a soul perspective as a human being on this earth in this time.

In my opinion it should be the responsibility of all those who want to be artists to
dedicate themselves (to learn) to create art that reminds us through direct experience of the sacredness of life.

In my opinion all art should be sacred art. That’s the responsibility of all artists. This means they have to be mystics. They have to be aligned with their unique soul qualities. And, through self exploration and purification and through education, they are being acquainted with the workings of transparent magic in art.
In other words:
transparent art which is sacred art.
This is beyond the specific crafts , skills and disciplines. The technical skills are of course basic prerequisites for every artist. However, the inner attitude, the inner growth and the spiritual maturity of the artist are far more important. And it is not about physical age.

There is a phenomenon that I have to bring up here.
I know of many brilliant artists who didn’t have much or any technical training in their artistic discipline, at least not in this lifetime. How is that possible?
Without going too deep into it at this point, it shows that the training of purely technical skills in art is secondary and in some cases irrelevant. It is far more important to have the necessary spiritual maturity and the right inner discipline to focus into the depth’s of one’s being and enter through the doorway of limitless inspiration. That’s where the real skill (the secret) of the sacred artist is.
It seems possible that even technical skill is transmitted through the doorway of higher inspiration. There are several explanations for this to which I will come back later in this writing.

The power of the sacred artist is to give us as an audience great power to do something very small. It doesn’t need to be the stained glasswindow of a church or a great painting. It just needs to be something done with integrity, and the resonance of that integrity will take it into our hearts.
I have seen people in my workshops that had no artistic skill whatsoever and had never in this lifetime expressed themselves artistically, becoming the most sacred artists you can imagine, by for some minutes becoming completely merged with their soul essence (integrity), and expressing this for example through standing there in front of an audience and just lifting an arm. This can hold an audience (when they are open) into a magical space of awe and wonder for minutes.
Think of it, just standing there and lifting an arm. So simple and so difficult. Because it is all about the inner attitude, the concentration, the focussing and the discipline of holding the integrity in the moment – being merged with the moment.
In this way anybody can be (come) a shaman - a sacred artist.
Yes, the two: “shaman” and “sacred artist” belong closely together, as far as I see it.

Our Heritage of Transparent Art

Throughout the ages we have been blessed with a tremendous heritage of sacred art. Painters of the past like Michelangelo, Rembrandt, Turner, van Gogh and many others are giving us up to this day glimpses and revelations of the “beyondness” of life. Their sacred quality shines through, even in sometimes very detailed, photographic images by bringing a dimension of transparency and light into their work, which is not of this world. A lot of these fine artists had a great skill to create a subtle mixture of white magic and transparent magic in their works. Telling a clear story about something in our world and at the same time adding to it this “beyond” quality of light. Authors like Shakespeare, Goethe, Schiller, …did the same in their writings.
And then the great composers we have had; Mozart, Beethoven, Bach, Vivaldi, just to name a few. With their music they have given us an enlightening awareness of music as the universal language of the soul. They have created many works of purely transparent magic in art, in music. And they are an example and inspiration for all artists – not only musicians. This classical music is eternal.
However, the circumstances pressures and demands of our times are very different from those times when the great classical composers created their art. The musical expression of the old classical composers was determined by the musical instruments that were available at that time in Europe. Nowadaysthere are so many new instruments and all the musical instruments of all culture in the world are available to anyone. Also, through the recently growing global consciousness in our information age, in combination with modern technique composers are given vast possibilities today to create a completely new and different dimension of sacred music with transparent magic, which can answer the real (inner) needs of our generation and create a base for the generations to come.
In this perspective I see our great classical music as a blessing, but also as limited to fully nourish our evolving consciousness through music.
We need a new contemporary sacred music, and it’s here. More and more composers/ musicians are moving in that direction.


Now I would like to introduce some words by
Milenko Matanovic taken from an article he wrote in 1983, called:

The Power of Transformative Art

“Sacred artists are not necessarily inventors of new forms, but they are inventors of the relationships between the sacred impulse and the world of form. They remind us of a profound union between our sacredness and our actions.


“The seat of the soul is where the inner and outer world meet” - Novalisl -


The artist stands between the mystical and the entrepreneurial; one hand reaches towards the invisible world of potential and the other into the practical world of craftsmanship and work with details. And at this point of history I feel that our world needs precisely this skill of standing between the mystical and the practical. The spiritual path of the artist almost has to become the spiritual path of all of us. Those of us who wish to serve the emergence of a sacred world need sooner or later to learn about the ecstasy of reality. If we do not have that experience of the limitless universe that surrounds us, we will always dishonour it. It is the condition without which our service is impossible, But once we have experienced that that ecstasy exists, then the craftmanship of our artistry comes into being and we ask ourselves how we can honour and give shape to this notion, how we can carry our mystical, ecstatic insight into our everyday relationships, our work and our homes. That is the test of the artist, and great artists meet this in such a way that we follow them.
Our response to what they create is, “Yes, this is it. You have done it for me also.”
The sacred artist is a master of resonant action.
Resonance is what happens when a note is sounded and then is prolonged by the object that it sounded upon. The note that sacred artists sound resonates with us in
such a way that their experience becomes our experience.

Of course, in order to recognize other artists’ creations, we have to be artists enough ourselves so that we symbolically enact, at least in a small way, upon that unity between the mystical and the practical, between the ecstatic limitlessness and this world of ours that seems so full of limits. The capacity to do this can be called magic.
The sacred artist is a person who looks at the aliveness of an idea and gives it shape in such a way that it gives birth to wholeness and perpetuates unity”.

- Milenko Matanovic -

Lex continues:
And that is what I would like to be taught and shown to people all over the world. We have forgotten to be shamans, to be sacred artists, sacred human beings, to rely on our inner source of wisdom. In our western society we have forgotten the power and wisdom of our Soul and the healing power of an authentic life.

“ In- authentic life gets healed through the example of an authentic life”
- Joseph Campbell -


All this knowledge and wisdom has been deliberately removed from almost all the educational systems in modern western culture – all for the sake of the mind, science, materialism, commercialism and ego.
I see it as my task to create as many possible as artistic projects, guiding people to be reminded of their own unique soul qualities and their inner wisdom and creative power.
Learning to use these soul qualities and powers in artistic expression can bring so much healing and upliftment to the world. I am convinced that it will empower the human spirit to find harmony and peace within and without.
Is this not what we all are looking for? It can be done, if each human being is learning to take full responsibility for his/her own inner well being and starts to listen to his/her own soul wisdom, without being manipulated by the outside world.


CRAFTING VISIONS
by
Milenko Matanovic

“I often begin a seminar by inviting the participants to imagine life on Earth as it would be a hundred years from now. The extraordinary common denominator underlying most of their visions is that things are so completely aligned and connected with the human intent that a truly magical world emerges, a world where people are connected with nature, with land, with each other and with things they manufacture. It is, in short, a sacred world where humans and their artefacts blend into a harmonious whole.
Interestingly, in many peoples’ glances into their future worlds, there are few churches or temples. Instead, it seems, all aspects of human existence have become sacred: each home has the quality of a temple. And each person approaches their life and work as a priest. The world itself has become a holy place.
From these and other accounts I have read (there are numerous similar visions recorded in books concerning the future), I have concluded that there is an archetype

of such a connected existence rooted deeply within each soul, seeking opportunities to emerge and externalise itself.
The third kingdom is of the spirit. The hallmark of this new age is that there is no need to the intermediary between the will of God and the people at large - thus there
is no organised religion, no Church. Instead life itself becomes sacred, and society is created in such a way with the will of the Spirit.

It shows the timeless yearning for a sacred world!

In their broadest meaning, the arts are the disciplines for crafting visions. Art is a process of making a sacred intent manifest in form. Sacred art makes use of the will that connects our deepest inner inspiration with the outer manifestations. It is motivated by a love of crafting, pride in one’s work, and courage to practise high moral standards of excellence. It is freshened with creativity and inventiveness which find new outlets for the ever-present pressures of the spirit. Above all, sacred art is practise from a vision that perceives spirit and form not as adversaries, but as friends. The sacred artist is one who acts out of such synthetic awareness that honours both the invisible and the visible.

There is a tendency to think of cathedrals, frescoes, mystery plays, mandalas and similar art forms in the context of sacred art. Our minds naturally turn to such explicit “sacred” artistic manifestations when we contemplate spiritual art. That is the way it should be: works about God are what seems to inspire us most.
However, if we place our total “spiritual” potential into those well-defined forms and deny the same attention to “mundane” matters also, we will continue to perpetuate the division between the sacred and the ordinary. And that is contrary to the process of the sacred arts.

Those of us whose profession lies in the field of the arts have a special task and privilege in the emergence of a sacred world. We can become educators and demonstrators of the process of connectedness. If our works can be born within the splendour of a limitless vision, and executed in fine craftsmanship, then they will teach that the prophetic vision and the practical work do not stand apart. People will learn also that inspiration alone is not enough. To become manifest it must be matched with patience, joyful vitality, courage and self-esteem. Above all, others will see that for us the sacred and the mundane belong together. Perhaps, as a result of our works, some will stop dividing the world into two separates camps, one worthy of our glamorous, sacred and hallowed quest while the other is only a stepping stone to the first. And perhaps those who build roads, design cities, plan economic systems etc., will learn to do these with an awareness of the whole. Perhaps then we will create a sacred world similar to one that my visionary students perceived.
Sacred arts transforms what appears to be ordinary into an “extraordinary” new order. The sacred artist can show that to “craft visions” is a human right that lies at the very core of our existence; it is not a special privilege for a few gifted individuals, but rather a gift for all of us “ordinary” people”.
- Milenko Matanovic -

Lex continues:
Now I would like to share with you what the late Joseph Campbell had to say about the arts in his lectures and interviews.
He is known as the greatest scholar on mythology of the 20
th century. Through his lifelong studies of the world’s mythological stories and traditions past and present, he came to very clear and important insights and conclusions about the role and responsibilities of the arts and artists in a changing world.

I really suggest that you read the following chapter, as Joseph Campbell shares his rich insights about art in such an enlightening way. It gives us a deep understanding of the basics of art. It contains a wonderful clear definition of art.



THE PROBLEMS OF ART
by
Joseph Campbell
transcripts made from his tape, titled:


“ THE WAY OF ART “



There has to be made an important distinction between art as therapy and art as art.

The way of the mystic and the way of the artist are very much alike. Just that the mystic does not have a “craft”. The craft holds the artist to the world, and the mystic goes off though his psyche into the transcendent.
The true artist is going to many of the same inner places as the mystic, but he is hold to the world. And he creates myth through his art.

Myth is an organization of symbolic forms and images that are metaphoric of the possibilities of human experience and fulfilment in a given society in a given time.

All religions are mythological.
People don’t realize this. For example individuals mentioned in the bible are metaphors. And in all the various religions and cultures we are finding different individuals and names for the same metaphors.

God is a metaphor for a mystery that transcends absolutely all categories of human thought. Even the categories of Being and non-being.

God as the mystery is the ground, the essence of your Being.

All dreams are metaphorical. We must always look for the connotation of the dream or of religious and other mythological stories.
In the dream the connotation of the metaphor will always be in your heart.

In myth the metaphor is twofold in its connotation.

Psychological
Universal

The metaphor of the myth is metaphysical as well as psychological in its connotation and it is both at the same time.

All of us in our lives are psychologically motivated in terms of sometimes purely local, personal, almost accidental problems we run into and become for us momentus. But occasionally we also hit problem fields that are universal to the human spirit. Then, our experiences, our dreams begin to be identical with myths.
In art, when the imagery of the artist is totally personal, it is slab, platt and superficial. You know it, and you can feel it. It lacks a certain formal definition. But when it hits the mythological level, that’s to say: the dual message level (psychological and metaphysical at the same time), you say: “Aha”. Because it is talking about something that’s deep in you. This is an important thing.
Every aesthetic element of feature in art has a psychological reference. It invokes a psychological response. Certain ones have at the same time a mythological reference. Every universal psychological experience has a metaphysical analogue.
So, this triangle of

Myth

Art Psychology

is fundamental.

Without the metaphor the mind may be fed, but the imagination and heart go hungry. Transformation takes place through metaphor. Art is metaphorical.

Naturalistic art stops you with the image. It holds you in awe. This is transformation of nature in art. In myth and art the experiences of the environment come to the mind through the senses. And they evoke a response of the imagination. And when the imagination comes in and meets the input from the environment, you have fusion and that’s myth.

Novalis said:

“The seat of the soul is where the inner and outer world meet”.

The outer world is what you get in scholarship, and the inner world is your response to it. And it’s where these two come together, where we have the
mythos.
The outer world changes with historical time.
The inner world is the world of
anthropos – a constant for the human life -

When we look at a piece of art or hear a piece of music, the question is: what is the inner world that comes up to meet the outer world? Is it lost in a lot of purely individual, personal confusions, or does it come from the ground, the essence. It is in that field of what Jung talks about when he says there are two types of dreams: the little personal dream and the big dream – the archetypal dream.
Art as a discipline purifies the personal system, so that it moves over into the universal.
The artist is fortunate enough to be put in touch through his artistic disciplines with these “universals”.

What are these universals?
They are certain rhythmic patterns; vibrations.

James Joyce’s (one of the greatest novelists of the 20
th century) definitions of art: PROPER ART

is art that is fulfilling a function that is proper to art and that only art can serve.

STATIC
standing still. Being held in aesthetic arrest “The sublime” in beautiful art shatters your whole ego system.
Static – you are held by fascination, “the sublime” the enormous power and space that diminishes the ego.
That is where the soul awakens.
The soul is eternal essence living in matter. The soul mediates between spirit and matter. When the soul awakens, all value changes. All is seen now from the soul’s vantage point. Every art form, every piece of creativity, if it lacks that dimension of attraction to a superior Sun, becomes temporal, boring and self indulging.

Thomas von Aquino says:
The aesthetic is in three moments:

integritas
consonantia
claritas

1 integritas -- wholeness
You have to put certain objects into a frame, limit it into a defined space. By doing this the collected objects become “one thing”.
That what is within this frame is to been seen as one thing, and it has no reference to what is outside the frame.


2 consonantia -- harmony
Within that frame (work) it is important if the object is here or there. The rhythmic arrangement (the rhythm of beauty) is the instrument of art. The relationship of the part to part, of the part to the whole and the whole to its parts.


3 claritas -- radiance, fascination
-aesthetic arrest –
You are “held”. That is what it’s all about. The art object becomes pure object, you as the observer are pure subject – you are the eye of the universe, beholding the thing of the universe. The mystery of that thing is the same as the mystery of the universe. You have gone passed all accidental experiences and arrangements.
It’s very difficult to achieve a thing like that.

An object becomes aesthetically significant when it becomes metaphysically significant
.

That is, it is holding to something that speaks passed itself. It carries the radiance of the transcendent in the field of time and space. This is what it’s all about why art is a sacred thing.
You can help the person ( the observer/
audience) by depicting in your art the image of some deity who represents exactly the transcendent that carries you out of time and space. But you don’t have to do that.
Cezanne’s paintings of apples worked just as well !
Who would want to eat a Cezanne apple?

INPROPER ART

is art in service of something else

kinetic (movement)
It moves the observer either to desire (positive) or fear (negative) or to refusal (hate) of the object represented.

Held by annihilation

Art that moves you to desire is “pornography”. It’s a relationship with the object which is social, physical or about action. You are not held in aesthetic arrest.

This is
didactic art.

Art that repels is didactic. All sociological art is didactic. And the terrible calamity about our studios in the U.S.A. (western culture) for many years is that people have been going to school, and they have been given sociology and religion to think about. That’s were supposedly all the grand ideas are. They always try to come out with a moral and social lesson of some kind. Social realism and all that nonsense is “didactic art”.

And take for example the catholic church. The church is occupied with giving rational explanations of the texts in the Bible. The Bible is metaphoric. If a metaphoric image has to be explained to your brain, it doesn’t work. And that’s why I have come to the conclusion that the church is out of date. Our religion in the west is basically a religion of exile. You are left out. Left out of the promised land, the heart of spiritual life.

Most of the novels since the time of Zola have been, what I call the work of didactic pornographists.

In Buddhism and Hinduism the accent is on the relevance of the symbolic forms and images to the transformation of your own life. And you understand these symbols, metaphors as influences to yourself.
As soon as you get a reference from the object represented in the artwork, to something outside the object, you have got
either a pornographic or didactic work. This is inevitable.
In Hindu interpretations of art works of that kind, such as fill most of the walls of our museums, are called “adeshi”, which means popular, local, and they are regarded as
aesthetically insignificant.

As soon as you assume a biological or social relationship to the object you have a
kinetic situation and an improper artwork.
We have to talk here about the different emotions in art.

A novelist, a playwright is presenting characters who are in their own nature either attractive or repulsive, and excite either desire or loathing.
This carries us into the problems of the tragic, comic, the dramatic in art.

Tragedy
awakens the emotions of pity and terror. Pity is the emotion that arrests the mind in relation to the grave and constant in human suffering and unites it with the human sufferer. “Human” is the important word there. Not the poor Negro sufferer; but “human” sufferer.
As soon as you get a definition of historical or sociological issues there, you have lost it, you have got a piece of didactic art.

Terror
is the emotion that arrests the mind in relation to the grave and constant of human suffering and unites it with the secret cause.

What is the secret cause?
Let’s say Mr A. shoots Mr B.. What is the (secret) cause of Mr B.’s death? Is it the bullet? That’s the instrumental cause, not the secret cause.
Mr A. is a white man, Mr B. is a black man. Is the cause a quarrel between white and black people in a particular country? If you are writing about that, it might be a very important piece of didactic writing, but it has nothing “tragic” ( as piece of art) about it. Martin Luther King one week before his killing said: “I know I am challenging death”.
The secret cause is somewhere in Mr B. the one who got killed. Mr B. is a man who in the performance of what is his destiny, moves to the limit.
All our lives are moving to limits. But not many of us threaten the limit . Mr B. was so to speak the one who brought the killing into play. And so, he is bringing forth a universal marvel here.
Here is a heroic man, and his story is a “tragedy”.

Aristoteles said:
“The hero of the tragedy is one of a certain nobility.”

He doesn’t respect the limit. He goes to it and goes through it.
Another thing about it is you don’t say “no” to it. So, you don’t say “no” to the death of Martin Luther King. Because it’s tragedy is a myth.
It is a totally different perspective from that of desire and loathing. It’s that of getting to an instance, the real “zumpf” of what it is to be alive, and what “life” is, and what it is doing to us, and what we are doing to it.
Tragedy is not the only emotion that belongs on the aesthetic side. Milton talks about “wonder” – it is aesthetic arrest .
In Indian culture we have the following pairs of emotions that arrest the aesthetic



pity
& terror
heroic & wondrous emotions that can held
you in aesthetic arrest

erotic & humorous
pathetic & terrible
odyss
& furious

shanty,
the peaceful -- should be in all pieces of art

Now we have a ground base from which we can regard works of art.

The essential thing is, do the artists render “the peaceful” through the production of their piece of art.
When they show you a piece of art with a specific emotion, the essential question is: does it render you in aesthetic peace? Does it hold you in the realization of “ that’s the way the world whirls”? Or does it invite you to get in and do something about it? It’s a very fine line.

The practice and techniques of art are to carry a person into relationship to that “I” which looks neither with desire or yearning at the object.
In Buddhism we have the same definition of art as J. Joyce’s. The Buddha had achieved that immovable spot. It’s that place where the psyche is not moved by desire or fear. And there came before him the Lord of the world that moves us all. He offered him three temptations to move him from the immovable spot.

1 Kama - Lust , the God of Desire, Fulfilments and
Regrets

2 Mara - Death, the Lord of Death (fear)

3
Duty - Tempting the Buddha to do something
“Useful” in the world


It doesn’t mean that we should not participate in the world. But it means that in order to find your own inner centre you have to be able to keep it off for a while.
You have to put a frame around you. You have to become ONE thing. You have to become an art object, so to speak. And art objects can give you such experiences sometimes.

In our modern world where all the mythologies are passé and defunct, it is clear that it is not the time anymore for all these mythologies of the local people somewhere, with their programme for the world or their notion of what the enlightened community is and that the rest of the world is gentile.
The world has become small – it’s in fact one community. There is no mythology that takes that in. Mythologies on which civilisations and traditions were built, don’t work anymore.

The God as a metaphor, that has to come, hasn’t shown himself yet, but the mythologies that have died up till the present, are now archaic and dangerous. Every single one of them!
And it seems to me that for an individual in the modern world, with no social unit with which he can identify, since every social unit is a reactionary element in a world that is planning to be “ONE”, the way of art is the way that will guide one to the finding of the immovable point in oneself. It is the key to the opening.

There are three aspects to our consciousness,

Lunar conciousness. Consciousness engaged in the body and in the field of time and space.
In oriental mythological imagery this is called lunar consciousness.
The moon casts a shadow of death. Life throws it off. The serpent and the moon represent consciousness engaged in the field of time.
Consciousness pure. Consciousness released, not engaged in the field of time and space.
Sun consciousness. Lightening flash - enlightened consciousness.

The goal of life is to have the two united. The immortal has to be experienced through mortality. “Go and die - go ahead - let it go -“
Living your dying. If you would not be dying, you would not be living. It’s a yielding to the process of living and dying.
Through mortality the spirit shines through and that’s where unconditional love is born.

If it’s the heart’s destiny to become open through love, it has first to be ready to bleed in the operation
.

There is always the tension between the life that you live from within, following your bliss and the life which society wants to put on you.
If you want to follow your own bliss, you have to die to the moral standards that society puts on you. In initiation ceremonies of primitive societies this crisis, this dying is symbolically being performed, helping the young people to learn to live a life that springs from inside - that which electrifies their own heart.
When you follow your own bliss, that which your deep push is out of your own existence, doors will open where you hadn’t thought there would be a door, and there wouldn’t be a door for anybody else.
With the integrity of a life the world moves in and helps.
That’s what starts to happen when you live an authentic life. And at the same time you become an example and inspiration to your environment. Inauthentic life gets healed through the example of an authentic life.

We don’t have those initiation ceremonies anymore. Therefore so many adults in their 40’s are still psychologically children, as they can’t accept full responsibility to shape their own lives.
Around the age of 35 years most of us experience a mystical crisis. At this time the lunar consciousness is at its maximum. That is the time you can start to identify yourself with that pure consciousness, rather than with the body. The physical body is from that moment on going to incline. If you can identify with consciousness, you have made a big mystical transit.
The body may die now, but you have identified yourself with that which is eternal. That’s the lightening flash – This is the Christ crucified. If you hold on to the spirit, you can watch the body die. If you have really identified with consciousness, you have identified with that consciousness in every being. And so there is a kind of simultaneous re-incarnation of yourself in all others. It’s a big moment that the mystics do talk about.

One who is illuminated while alive, realizes while living.

Up till so far – Joseph Campbell -

Lex continues:
Isn’t that an exiting field of exploration for the artist. As I see it, it is the task of the artists to illuminate humanity through their art. This is a great responsibility that can only be accomplished by artists that have found
that immovable spot of stillness and peace within their own Being.

Multi Dimensional Sacred Art



Insights on


Sound * Light * Vibration
the Lightbody


and their impact on the need for a new direction in the arts




What is sound?

Everything that moves vibrates, from the smallest molecule to the universe itself. As long as it is vibrating, it is making some kind of sound. We may not perceive the sound, as it may be below or above the threshold of our hearing. The human ear can hear sound vibrations between 20 and 20,000 cycles per second, although we also perceive sound by skin and bone conduction, ingesting and consuming it with the whole body.
Many cultures and religions revere sound so deeply as to believe it called the
universe into being. For the Hindus, all was dark and quiet in the universe, until the first movement in the universe created the sound “AUM”. This is the mother tone, containing the frequencies of all other sounds.
Scientific studies show that sound can produce changes in the autonomic, immune, endocrine and neuropeptide systems. Every atom, molecule, cell, gland, and organ of the human body absorbs and emits sound. The entire body, as well as our brain waves in a relaxed state, vibrates as a fundamental frequency of about 8 cycles per second, literally entraining and attuning us to the basic electromagnetic field of the earth itself.
Music is organized sound.


What is colour?

Sound and colour are both forms of energy, which vibrate. As the vibration of sound becomes higher and lighter, the sound is transmuted into colour.

Colour is visible sound, and sound is auditory colour.

Steven Halpern gave a graphic example of the sound/colour relationship:
“…vibrations at 1000 cycles per second are easily audible. If you double the vibrations to 2000 cycles per second, that is one octave higher. If you double it again to 4000 cycles per second, that is another octave. A normal piano spans a bit more than seven octaves. If, hypothetically, we could extend the piano keyboard another 35 to 50 octaves higher, the keys at the higher end would produce colours, rather than audible sounds, when played.” (Sound Health – The Music and Sound That Makes Us Whole , P. 182-183)

An interesting side note is that, if we were playing this keyboard 35 or so octaves below audible sound, we would be playing Chi, life force energy. Think of that!
Through this science of vibration we are on the verge of discovery of the tremendously powerful healing properties of sound and light. And this will have an impact on the new developments of the arts, as a sacred vow.


Healing through sound and light

Healing is the state of coming into balance and harmony with our highest purpose. Our bodies are genetically pre-programmed to be self-healing instruments, if we give them a chance. Certain music heals by assisting the body to come into its natural state of balance and harmony.
When an organ or body part is healthy, it creates a natural resonant frequency in harmony with the rest of the body. When the vibration of a part of a body is out of harmony, we have dis-sease. With dis-ease a different sound pattern or light pattern is established in the effected part of the body. When specific sound or light is projected into the dis-eased area, correct harmonic patterns are restored.

There are many methods of healing with sound. Mantras and chants have been used for thousands of years. Many acoustic instruments are used in a variety of ways to effect change. The human voice is perhaps the most powerful instrument.

When two sound waves meet in space, every individual rate of vibration, the fundamental frequencies and all of the overtones, will be in precise harmonic resonance. It is this phenomenon which, particularly as generated by tones issuing from the human voice, appears to form the physical basis of the sacred musical experience.

There are also many methods of healing with light and colour, most of them still to be discovered and developed.
From an artistic perspective: there is a lot to be explored and discovered in the area of theatre lighting, colour- and light projection (including moving images of light and colour), that will create a powerful harmonizing and healing effect.


Thoughts are energy forms

When thought energy interacts with a harmonious piece of art of high quality (sacred art), those thoughts are changing to more harmonic forms, which change brainwave frequencies, showing possible alterations in consciousness.
Thus, the power of positive intention or affirmation combined with the use of the right disciplines of art provides remarkable shifts in consciousness which is the cause of positive transformation and healing.
As thought forms are energy, the intention with which one approaches art work is of utmost importance. Intention is a clearly formed thought, a prayer of sorts, and that is the real power of the artist and the healer. Of course, group intention is even more powerful, provided the group is in harmony.

Meditation is in many ways a prerequisite for clear thoughts. And when we meditate collectively, then we each derive more electromagnetic energy from the group. We start to communicate TOGETHER and on all levels. We don’t divide our thinking into separate thoughts. We become as of one mind. And so we open a doorway from total harmony of all individuals. Harmony is LOVE and harmony begets peace.


We are beings of light

We live in the 3-dimensional world with its dimension of polarities (dualities) – light and dark. The development of our consciousness urges us human beings to bring and activate more and more light in our being. We have a natural longing for the light, for the sun. In the light ( the sun) we are in peace.
The more light we allow in our Being, the more we are reminded that what we truly are in essence: beings of light (with a lightbody).
The more light we can contain in our consciousness, and in the cells of our body, the
more we grow into an awareness of the higher dimensions (4
th, 5th and beyond) the
less we are emotionally and psychologically ruled by the duality consciousness of this Earth.
Where there is light, darkness cannot be. “Healing” (becoming whole) is about bringing more light in our body, in our being. The light brings all that is hidden in the dark corners of our body and psyche to surface. This means light creates truth. And where there is truth, there is unconditional love and that’s where profound healing takes place.



Charging up the frequencies of the lightbody

The words above are an introduction to the following:
By divine intent for reasons that cannot be described here (planetary shifts) the earth is now being flooded with immense amounts of higher levels of light energy. The earth is being “charged-up” to a higher light frequency to be able to continue its role in a great cosmic shift (there is much literature now available about these issues, for example from: Assunta Verlag …). Because of all this, our bodies are now being charged with higher levels of light energy. That’s for example the reason of the many unexplainable illnesses and physical inconveniences that so many people all around the world experience these days, as our bodies need a process to adjust to these higher energy fibrations.
There are many healers, therapists and artists being guided to develop skills to transform or download these higher light frequencies, so that they can be integrated in our bodies. There are musicians and sound technicians who are being guided to create recordings that will reach the masses for them to integrate and activate these light frequencies into their bodies.
For many people getting this cosmic activation and integration will be a matter of life and death.
Sound is a major factor in this light activation process and it will become even more so in the near future.

As there are many levels of light body development, so too are there many levels of activation complexity. For one person, it will be enough to be exposed to certain (specific) sound-wave-frequencies in the general environment of our society (radio, music, television etc.) Others will require more precise calibration of the sound exposure, hence the need to go to someone trained in sound modalities.
Each human being has its inner guidance (intuition) that tells him/her what kind of sound modalities are right for him/her. When you practice producing sounds by singing or just making sounds, you vibrate, align, even massage your bodies and help build up the reservoir of prana (life energy - chi).
Toning (making sounds, singing mantras etc.) permeates the body with the sound vibrations, which can strengthen, amplify and reinforce our intent down to the molecular and atomic levels of our physical body, thereby bringing our body into alignment with our intent.

Sound is breath of life manifested.
And breath is the carrier of the energy of life itself. This is how Creator creates. For, all creation starts with a thought, focused by intent, powered by will and fuelled by love.

As we produce sounds through our intention, focused by our will, we fill ourselves with the divine spirit of Creator and become in turn creators ourselves, of ourselves.

So, we see how essential the conscious use of sound in music is or could be. The same could be said about the use by intent of colour, light, shape, design, movement and all other disciplines of art.

Here I would quote some words by
Fabian Maman from his book: “The Role of Music in the Twenty First Century”

Music for our Future

Music in the twenty-first century must serve the laws of nature and the cosmos and be used to harmonize human beings into resonance with these laws. Music, in it’s fullest role, is a medium of communication on all levels: from human to human, human to society, society to nature, nature to stars and planets, stars and planets to human.

Music brings the evolution of earth into resonance with the cosmos because the overtones of music reach the subtle bodies of other planets. With natural acoustic instruments, we tune not only to the five elements of earth, but also to the subtle bodies of planets.

Human life has its roots in the five elements of earth as well as in the subtle worlds and by reaching these realms again through the resonance of music, we remember our natural homeland. We are re-centered. This re-centering explains why music acts so strongly even on the least spiritual of
human beings. Music tells the human being through sound, “I am you and you are made of the same nature as me.” Music prepares the way for the spiritual world and brings us back to our natural crystalline structure so that we may be conduits of harmony here on earth.

Artistic expression is the highest manifestation of scientific and spiritual research. The same was true in the old cultures, where priests and shamans sang their prayers of magical healing. Their healing ability was the direct result of the knowledge coming from nature which was interwoven with their divine teaching.
The new musician will open these new levels of correspondence with the divine through the awareness of subtle anatomy. When working with the aura, the new musician will use the naturally produced overtones of acoustic instruments to reach the subtle bodies without damage.

Live acoustical concerts in small intimate settings will be vitally important to balance the technological sterility which threatens the twenty-first century. Acoustic instruments open the way for the integration of the divine message of conscious evolution at the cellular level of the human being.

Future musicians must be more than technical artists. Musicians of the twenty-first century should be completely conscious of the musical message that they can deliver through their own playing and their own energy. The musician must understand the resonance of music inside of the body and the resonance of musical space around the body. He or she must be aware of the affect that music has
on the audience and on the environment and also know how to tune to the messages coming from cosmic energies. By working with energy through sound, color and movement, the musician can bring body and consciousness into alignment with the cycles and seasons of earth as well as the cyclical movements of the stars and planets. In this way, the musicians of the twenty-first century will be the healers of the twenty-first century, not only through the music they play, but by their very vibratory presence.
- Fabian Maman -


Multi Dimensional Sacred Art

There is still another aspect to be mentioned.
As the earth and our light bodies are being charged-up (upgraded), the density of our bodies is changing, is getting less dense. This opens our consciousness to other dimensions of being (the 4
th and 5th dimension and beyond that).
We are in fact becoming multi-dimensional beings (again). That means we are able to live consciously in more dimensions at the same time. We are becoming able to see, feel and hear beyond the veil of our physical dimension in time and space. And we discover that we are living in many paralleled realities at the same time.

This and all which has been written in this articles will require a new way of art,
multi dimensional sacred art, as I would like to call it.


The New Era

At the end of this piece of writing about the new ways of art, I would like to sum up some of the new global realizations that have far reaching consequences for the further development of the sacred arts.
Energy consciousness; the new awareness in science that all existence is vibration.
Through the new science of vibration we are on the verge of the discovery of the tremendously powerful healing properties of sound, light, colour and movement - the basic elements in the arts.
Also the discovery of the basic properties of magnetic energy fields in and around the physical body (chakras) and the body of the earth (lay-lines, energy centres, power points, etc.). All the major churches and temples have been built on such magnetic power points.
It means for example that art performed at different places has different effects.
Then, I have to mention here the discovery by Rupert Sheldrake’s hypothesis of the morphogenetic energy fields that surround our planet. He is testing this with already exciting results. Wherever we are on the planet, with our actions and thoughts (vibrations) we tap into these fields, and create an effect that is far reaching and can be sensed all over the planet and beyond. This means, when you sing a song or create a beautiful painting, or whatever, it will spread its vibration all over the planet and into the universe, and it is never lost.

We are all creators
From the tiniest little thought to the greatest thoughts we create our reality. Thoughts are energy waves, vibrations that can and will crystallize themselves into physical form. Intuition and higher inspiration are the finer thoughts forms of our Higher Self.

“As water by cooling and condensation becomes ice, so thought by condensation assumes physical form. Everything in the universe is thought in material form.”
- Paramahansa Yogananda -

A new and higher consciousness of life-energy (Chi) and body awareness. A cellular consciousness which allows us to influence our own healing and health in new and more effective ways, and it gives us new and deeper ways to use our body as a vehicle for the (artistic) expression from our soul dimensions.

We are multi (and inter) dimensional beings, living in many paralleled realities at the same time as I explained before.

The science of reincarnation
This life is just one chapter in our soul history and destiny.
To our society it brings a new conscious approach to birth and death – it is a passing through cycles. Dying in one reality means being born into the next reality.

“To the wise, death is a transition to a higher state – a promotion to higher grades of life.”

- Paramahansa Yogananda -

Sacred art as prayer
Prayer not as the asking and begging for some outcome, but as a “song of praise”, celebrating the glory and blessing of life – of existence – of GOD. By doing so we are filling the atmosphere around the earth with energies of light.

A new global consciousness of the world as one (humaity) which is leading to a new spiritual awareness that is global and universal in its context, with an openness and inclusiveness of all religious directions, leaving no reason for dogma and fundamentalism.


Conclusion

The new way of the arts, the new sacred arts are expressions I have been using through these writings as my main theme. I would like to point out here that much of it is not really new. Most of the realizations, statements and wisdom in these texts are actually ancient.
We are now entering an era where many of these ancient realizations of wisdom have the potential once again to reach vast segments of humanity, and the arts are the most powerful medium for this to happen.
A lot of the ancient sacred wisdom has ben handed down throughout the ages by the spiritual Masters that have been and are walking this earth, by secred, esoteric societies and groups, by the core wisdom that can be found in the scriptures of all the great world religions, and also by many channelled readings by of psychic mediums, and by the late discoveries of unknown scriptures, artifacts and unexplainable events.
It had been handed down by the many shamans and traditions of our so-called primitive cultures, too. Their heritage of spiritual wisdom is such a great blessing for humanity.

However, the culmination of all that is happening on our planet today: the possibilities, new dicoveries, the many changes and planetary shifts give rise to a fast evolving global consciousness of humanity as a whole.
This is also changing the perception of the sacred arts in ways that are completely new. May this piece of writing serve as an inspiration to open up to a new Renaissance of the arts all over the planet –
art as an expression of (divine) love.