Appearances

"We ourselves introduce that

order and regularity in the

appearance which we

entitle 'nature'. 

We could never find them 

in appearances had we

not ourselves,

by the nature of 

our own mind,

originally set them there."

-  Immanuel Kant (1724 - 1804)

The Critique of Pure Reason

Eternal Unity

"No one was out on the water but me. It was a moonless night, and quiet. The only sound I could hear was the soft churning of the engine of my boat. Far from the distracting lights of the mainland, the sky vibrated with stars. Taking a chance, I turned off my running lights, and it got even darker. Then I turned off my engine. I lay down in the boat and looked up. A very dark night sky seen from the ocean is a mystical experience. After a few minutes, my world had dissolved into that star-littered sky. The boat disappeared. My body disappeared. And I found myself falling into infinity. A feeling came over me I’d not experienced before… I felt an overwhelming connection to the stars, as if I were part of them. And the vast expanse of time — extending from the far distant past long before I was born and then into the far distant future long after I will die — seemed compressed to a dot. I felt connected not only to the stars but to all of nature, and to the entire cosmos. I felt a merging with something far larger than myself, a grand and eternal unity, a hint of something absolute. After a time, I sat up and started the engine again. I had no idea how long I’d been lying there looking up."

- Alan Lightman (1948 - )

Searching for Stars on an Island in Maine 

Branches

"A tree is alive, and thus it is always more than you can see. Roots to leaves, yes-those you can, in part, see. But it is more-it is the lichens and moss and ferns that grow on its bark, the life too small to see that lives among its roots, a community we know of, but do not think on. It is every fly and bee and beetle that uses it for shelter or food, every bird that nests in its branches. Every one an individual, and yet every one part of the tree, and the tree part of every one."

- Elizabeth Moon (1945 - )

The World as Mirror

"Know the world from end to end is a mirror;

in each atom a hundred suns are concealed.

If you pierce the heart of a single drop of water,

from it will flow a hundred clear oceans;

if you look intently at each speck of dust,

in it you will see a thousand beings.

A gnat in its limbs is like an elephant;

in name a drop of water resembles the Nile.

In the heart of a barleycorn

is stored a hundred harvests.

Within a millet-seed a world exists.

In an insects wing is an ocean of life.

A heaven is concealed in the pupil of an eye.

The core at the center of the heart is small,

yet the Lord of both worlds will enter there."

- Mahmud Shabistari (1288 - 1340)

Encountering the Whole

"We cannot know the whole in the way in which we know things because we cannot recognize the whole as a thing. If the whole were available to be recognized in the same way as we recognize the things which surround us, then the whole would be counted among these things as one of them. So we could point and say 'here is this' and 'there is that' and 'that’s the whole over there.' If we could do this we would know the whole in the same way that we know its parts, for the whole itself would simply be numbered among its parts, so that the whole would be outside of its parts in just the same way that each part is outside all the other parts… But the whole comes into presence within its parts, so we cannot encounter the whole in the same way as we encounter the parts. Thus we cannot know the whole in the way that we know things and recognize ourselves knowing things. So we should not think of the whole as if it were a thing…, for in so doing we effectively deny the whole inasmuch as we are making as if to externalize that which can presence only within the things which are external with respect to our awareness of them."

- Henri Bortoft (1938 - 2012)

The Numinous

"Suppose you were told that there was a tiger in the next room: you would know that you were in danger and would probably feel fear. But if you were told 'There is a ghost in the next room,' and believed it, you would feel, indeed, what is often called fear, but of a different kind. It would not be based on the knowledge of danger, for no one is primarily afraid of what a ghost may do to him, but of the mere fact that it is a ghost. It is 'uncanny' rather than dangerous, and the special kind of fear it excites may be called Dread. With the Uncanny one has reached the fringes of the Numinous. Now suppose that you were told simply "There is a mighty spirit in the room" and believed it. Your feelings would then be even less like the mere fear of danger: but the disturbance would be profound. You would feel wonder and a certain shrinking–described as awe, and the object which excites it is the Numinous."

- C.S. Lewis (1898 - 1963)

Spiritual Freedom

"Many colors have been described as rough or sticky, others as smooth and uniform, so that one feels inclined to stroke them (e.g., dark ultramarine, chromic oxide green, and rose madder). Equally the distinction between warm and cold colors belongs to this connection. Some colors appear soft (rose madder), others hard (cobalt green, blue-green oxide), so that even fresh from the tube they seem to be dry. The expression “scented colors” is frequently met with. And finally the sound of colors is so definite that it would be hard to find anyone who would try to express bright yellow in the bass notes, or dark lake in the treble…

Color is a power which 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 which plays, touching one key or another, to cause vibrations in the soul.

This essential connection between color and form brings us to the question of the influences of form on color. Form alone, even though totally abstract and geometrical, has a power of inner suggestion. A triangle (without the accessory consideration of its being acute — or obtuse — angled or equilateral) has a spiritual value of its own. In connection with other forms, this value may be somewhat modified, but remains in quality the same. The case is similar with a circle, a square, or any conceivable geometrical figure [which has] a subjective substance in an objective shell.

The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life. It exists and has power to create spiritual atmosphere; and from this inner standpoint one judges whether it is a good work of art or a bad one. If its “form” is bad it means that the form is too feeble in meaning to call forth corresponding vibrations of the soul… The artist is not only justified in using, but it is his duty to use only those forms which fulfill his own need… Such spiritual freedom is as necessary in art as it is in life."

- Wassily Kandinsky (1866 - 1944)

Concerning the Spiritual in Art