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The Rudolf Steiner Archive

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275. Art as Seen in the Light of Mystery Wisdom: Introduction
Translated by Pauline Wehrle, Johanna Collis

Marie Steiner
The impulses of regeneration given to mankind in this series of lectures, Art as Seen in the Light of Mystery Wisdom,1 will only be understood by those who are able to assimilate the nature of spiritual science fully in such a way that for them the concreteness of the spiritual world, its richness of form and being, has become a self-evident fact.
The stages along the path have been revealed to man under the wise and entirely impersonal guidance of one who knows it and who, in conformity with the demands of our time, has not appealed to the human craving for submission and devotion but only to men's capacity for knowledge. The first stage is study; the basis for understanding what is presented in this series of lectures is the study of spiritual science. The works of Rudolf Steiner can supply this basis for penetrating the mysteries which are the foundation of man's artistic creativity.
275. Pythic, Prophetic and Spiritual-Scientific Clairvoyanc 04 Jan 1915, Dornach
Translated by Martha Keltz

Rudolf Steiner
To the impulses necessary for the transformation of the present age belongs an ever wider and more comprehensive understanding of the processes of the human soul in those regions which open to Imaginative, Inspired and Intuitive observation.
Then came the second half of the 19th century, with its so highly-rated discoveries—highly-rated from their point of view—when all understanding for these things and for the finer connections of existence was lost. It may be added parenthetically that people have not yet lost the enjoyment experienced under the influence of the coarser, let us say more selfish enjoyment; they can still live with the after-pleasure of eating and drinking, in fact these have even been developed to a certain high degree in this materialistic age.
We can frequently only fight them when we have really understood them. This is also something which shows us how life is connected with the spiritual scientific view, and can only reach its goal when it is understood as acceptance of life, as an art of life; when it is carried into all life.
276. The Arts and Their Mission: Lecture VII 18 May 1923, Oslo
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
Especially if the human image is to be recreated, the form must stream out of the fingers. Then one begins to understand why the Greeks with their splendid artistry formed the upper part of Athene's head by raising a helmet which is actually part of that head.
Thus gradually one realizes the following: If as anthroposophist you acquire a real understanding of the physical body which falls away from cosmic space-forms to become a corpse, if you acquire an understanding of the way the soul wishes to be received by spatial forms after death, you become an architect. If you understand the soul's intention of placing itself into space with the unconscious memories of pre-earthly life, then you become an artist of costuming: the other pole from the architectural.
276. The Arts and Their Mission: Lecture VIII 20 May 1923, Oslo
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
But what power expresses itself through phantasy? To understand that power, let us look at childhood. The age of childhood does not yet show the characteristics of phantasy.
Only then will we be able to experience the appropriate reverence for phantasy, and under certain circumstances the appropriate humor; in brief, to feel phantasy as a divine, active power in the world.
Art has always taken its rise from a world-conception, from inner world-experience. If people say: Well, we couldn't understand the art forms of Dornach, we must reply: Can those who have never heard of Christianity understand Raphael's Sistine Madonna?
276. The Arts and Their Mission: Lecture I 27 May 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
It has changed; and we know the dates at which it underwent transformations externally plain and distinguishable. The last of these turning points has often been designated as the fifteenth century after Christ; the one preceding it occurred during the eighth pre-Christian century; and we might in this way go still further back.
We have no more than a shadowlike sensation of the “quickfooted Achilles,” and little understanding of how this expression roused Greeks to a direct and striking perception of the hero; so striking that he stood before them in his essential nature.
Man not only became an earth citizen in the Greek sense; today he is already so estranged from his earth citizenship he no longer understands how to handle his soul-spirit being in relation to his body—it is one of the needs of the age for the human being to behold spirit and soul in himself without the physical.
276. The Arts and Their Mission: Lecture II 01 Jun 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
No true historical art form can be understood from merely naturalistic principles. To understand we must ask: What lies behind and is inherent in it?
Which does not mean that we should wish to retrieve the past; only to understand it. Another custom of the past, though not a very ancient past, asking to be understood: churches surrounded by graves.
But one must understand things; must understand that architecture unfolds out of the principle of the soul's escape from the body, out of the principle of the soul's growing beyond the body, after passing through the portal of death.
276. The Arts and Their Mission: Lecture III 02 Jun 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
These are the forms of architecture insofar as they are artistic. Thus, if we would understand architecture's artistic element we must consider the soul's space-needs after it has left the three-dimensional body and three-dimensional world.
And if we see correctly the lower head, mouth and chin, then we understand that, even in the head, there is a part adapted to the purely earthly. In this way we can understand the whole human form.
Its prime manifestation is the loss of a deeper understanding for color. The intelligence employed in contemporary painting is a falsified sculptural one.
276. The Arts and Their Mission: Lecture IV 03 Jun 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
A novel which he wrote comparatively early in life bears the title William Lovell; and this character is under Tieck's own impression (received while sitting at the feet of Schelling and Fichte in Jena) of the extreme seriousness of the search for knowledge.
Goethe did not rest until, in Italy, he had acquired an understanding of the way the Greeks penetrated the secrets of existence through their works of art. I have often quoted Goethe's statement: “It seems to me that, in creating their works of art, the Greeks proceeded according to nature's own laws, which I am now tracing.” Clearly, he believed that in their art the Greeks received from the gods something which enabled them to create higher works of nature, images of divine-spiritual existence. The followers of Goethe, still under his direct influence, felt compelled to return to ancient times, at least to ancient Greece, to attain to the spirit.
276. The Arts and Their Mission: Lecture V 08 Jun 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
This points to elements not contained in prose; to a background which, in every true poetic work, cannot be understood but must be guessed at, divined. It is only the prose content which can be understood by the mind.
The gentlemen who made poems for the banquet understood nothing of the scientific papers. It is not quite possible to state the reverse, namely, that the worthy scientists did not understand the poems, although the poets assumed this, for they considered their work profound. But there is not much to be understood in such poetry and it may, therefore, be inferred that even the illustrious gathering understood it in some degree.
276. The Arts and Their Mission: Lecture VI 09 Jun 1923, Dornach
Translated by Lisa D. Monges, Virginia Moore

Rudolf Steiner
True painting comes into being only if he captures the shining, revealing, radiating element as something living; only if he creates what is to be formed on the plane out of this element. For to understand color is to understand a component part of the world. Kant once said: Give me matter, and out of it I shall create a world.
Today in this age when man is in the process of becoming free, daimonic man, that is man under the influence of tutelary spirits, is an anachronism. That man should outgrow the daimonic and become free is the whole meaning of the fifth post-Atlantean age.
And if in everything artistic there is some relationship to the spiritual, you will understand that with the artistic we place ourselves, creatively or through enjoyment, in the spirit world.

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