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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
Level_10_Attributes
Level_10_Attributes
SEE ALSO


AUTH

BOOKS

IN CHAPTERS TITLE

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
0_1965-04-21
03.04_-_Towardsa_New_Ideology
1.14_-_The_Mental_Plane
1.23_-_Improvising_a_Temple
1.rb_-_Sordello_-_Book_the_Sixth
1.ww_-_Book_Fourteenth_[conclusion]
1.ww_-_The_Recluse_-_Book_First
BOOK_I._--_PART_I._COSMIC_EVOLUTION
ENNEAD_01.01_-_The_Organism_and_the_Self.
r1919_07_17
r1919_07_23
r1919_08_06
r1919_08_10
r1920_02_19
r1920_02_20
r1920_02_22
r1920_02_24
r1920_03_02
r1920_03_03
r1920_03_15
The_Logomachy_of_Zos

PRIMARY CLASS

SIMILAR TITLES
Ideal Forms

DEFINITIONS

IMAGINATION—The act or power of combining products of past experiences in new, modified or ideal forms. The creative or constructive power of the mind. The act of constructive intellect in grouping knowledge or thought into new, original or rational systems. "Science, Invention and Philosophy have little use for fancy, but the creative, penetrative power of imagination is to them the breath of life, and the condition of all advance and success."

In the Qabbalah 13 is used in several passages, e.g., in cosmogenesis, “Thirteen depend on thirteen (forms) of the most worthy Dignity” (Siphra’ Di-tseni‘utha’ 1:16), “refers to the thirteen periods personified by the thirteen Manus, with Swayambhuva the fourteenth (13, instead of 14, being an additional veil): those fourteen Manus who reign within the term of a Mahayuga, a ‘Day’ of Brahma. These (thirteen-fourteen) of the objective Universe depend on the thirteen (fourteen) paradigmatic, ideal forms” (SD 1:375); the fourteenth is supplied by the synthesis under the inflow of the coordinating and stimulating spirit. In the same way a group of six is counted as a septenate.

It is equally true that such words as lion, bull, and scorpion are often used in occult writings to denote, not the physical animals, but the potencies to which they correspond. Zodiac means the circle of (sacred) animals. As man himself is on this earth the model and storehouse of all forms, those as yet unexpressed as well as those which have already appeared, he had in his own composition the ideal forms and attributes of all the various animals who in eons of past history as stocks were derivatives from him as their superior. See also ZOOLATRY



QUOTES [1 / 1 - 2 / 2]


KEYS (10k)

   1 Sri Aurobindo

NEW FULL DB (2.4M)


1:- for every well-made and significant poem, picture, statue or building is an act of creative knowledge, a living discovery of the consciousness, a figure of Truth, a dynamic form of mental and vital self-expression or world-expression, - all that seeks, all that finds, all that voices or figures is a realisation of something of the play of the Infinite and to that extent can be made a means of God-realisation or of divine formation. But the Yogin has to see that it is no longer done as part of an ignorant mental life; it can be accepted by him only if by the feeling, the remembrance, the dedication within it, it is turned into a movement of the spiritual consciousness and becomes a part of its vast grasp of comprehensive illuminating knowledge.
   For all must be done as a sacrifice, all activities must have the One Divine for their object and the heart of their meaning. The Yogin's aim in the sciences that make for knowledge should be to discover and understand the workings of the Divine Consciousness-Puissance in man and creatures and things and forces, her creative significances, her execution of the mysteries, the symbols in which she arranges the manifestation. The Yogin's aim in the practical sciences, whether mental and physical or occult and psychic, should be to enter into the ways of the Divine and his processes, to know the materials and means for the work given to us so that we may use that knowledge for a conscious and faultless expression of the spirit's mastery, joy and self-fulfilment. The Yogin's aim in the Arts should not be a mere aesthetic, mental or vital gratification, but, seeing the Divine everywhere, worshipping it with a revelation of the meaning of its own works, to express that One Divine in ideal forms, the One Divine in principles and forces, the One Divine in gods and men and creatures and objects. The theory that sees an intimate connection between religious aspiration and the truest and greatest Art is in essence right; but we must substitute for the mixed and doubtful religious motive a spiritual aspiration, vision, interpreting experience. For the wider and more comprehensive the seeing, the more it contains in itself the sense of the hidden Divine in humanity and in all things and rises beyond a superficial religiosity into the spiritual life, the more luminous, flexible, deep and powerful will the Art be that springs from that high motive. The Yogin's distinction from other men is this that he lives in a higher and vaster spiritual consciousness; all his work of knowledge or creation must then spring from there: it must not be made in the mind, - for it is a greater truth and vision than mental man's that he has to express or rather that presses to express itself through him and mould his works, not for his personal satisfaction, but for a divine purpose. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 1, 142 [T4],
1:Our thought cannot grasp the One as long as any other image remains active in the soul . . To this end, you must set free your soul from all outward things and turn wholly within yourself, with no more leaning to what lies outside, and lay your mind bare of ideal forms, as before of the objects of sense, and forget even yourself, and so come within sight of that One.  ~ plotinus, @wisdomtrove

*** NEWFULLDB 2.4M ***

1:Could she have known that it was her own image that, Waldo wrote, “rose before me at times into heroical & godlike regions, and I could remember no superior women”? Indeed, to Waldo, who had once unkindly disrupted her Conversations on classical myth, Margaret was best compared to “Ceres, Minerva, Proserpine, and the august ideal forms of the Foreworld.” He had not told her this, but perhaps somehow she knew. ~ Megan Marshall,
2:- for every well-made and significant poem, picture, statue or building is an act of creative knowledge, a living discovery of the consciousness, a figure of Truth, a dynamic form of mental and vital self-expression or world-expression, - all that seeks, all that finds, all that voices or figures is a realisation of something of the play of the Infinite and to that extent can be made a means of God-realisation or of divine formation. But the Yogin has to see that it is no longer done as part of an ignorant mental life; it can be accepted by him only if by the feeling, the remembrance, the dedication within it, it is turned into a movement of the spiritual consciousness and becomes a part of its vast grasp of comprehensive illuminating knowledge.
   For all must be done as a sacrifice, all activities must have the One Divine for their object and the heart of their meaning. The Yogin's aim in the sciences that make for knowledge should be to discover and understand the workings of the Divine Consciousness-Puissance in man and creatures and things and forces, her creative significances, her execution of the mysteries, the symbols in which she arranges the manifestation. The Yogin's aim in the practical sciences, whether mental and physical or occult and psychic, should be to enter into the ways of the Divine and his processes, to know the materials and means for the work given to us so that we may use that knowledge for a conscious and faultless expression of the spirit's mastery, joy and self-fulfilment. The Yogin's aim in the Arts should not be a mere aesthetic, mental or vital gratification, but, seeing the Divine everywhere, worshipping it with a revelation of the meaning of its own works, to express that One Divine in ideal forms, the One Divine in principles and forces, the One Divine in gods and men and creatures and objects. The theory that sees an intimate connection between religious aspiration and the truest and greatest Art is in essence right; but we must substitute for the mixed and doubtful religious motive a spiritual aspiration, vision, interpreting experience. For the wider and more comprehensive the seeing, the more it contains in itself the sense of the hidden Divine in humanity and in all things and rises beyond a superficial religiosity into the spiritual life, the more luminous, flexible, deep and powerful will the Art be that springs from that high motive. The Yogin's distinction from other men is this that he lives in a higher and vaster spiritual consciousness; all his work of knowledge or creation must then spring from there: it must not be made in the mind, - for it is a greater truth and vision than mental man's that he has to express or rather that presses to express itself through him and mould his works, not for his personal satisfaction, but for a divine purpose. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 1, 142 [T4],

IN CHAPTERS [7/7]



   4 Integral Yoga
   1 Poetry
   1 Occultism


   3 Sri Aurobindo


   3 Record of Yoga


03.04 - Towardsa New Ideology, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
   The system of varnas and ashramas of ancient Indiaeven if it be supposed that it never existed actually in its purest Ideal Formserves as a graphic example of how man as a social being should create and organise his existence in order that that existence might be rendered as perfect and integrally sound as things can be. That system we hold forth as only an illustration; we do not mean that it is a pattern of life that should be or could be implanted on our present day social circumstances. These are certainly very different and demand different groupings and hierarchies that must naturally grow out of them.
   It should be noted that in contemporary life stress is laid upon one side, one part and one function of human nature which cover only a superficialhowever useful and necessaryarea. Man is not a political animal (even in the Aristotelian sense); and it is an error to say that he is an economic animal. These notions divide man's integral being into various sectional views only; they seek to cut out and suppress all other members excepting the favoured one. The politically militant bourgeois ideal of the Nazi or the Fascist and the economically militant ideal of the proletarian are equally guilty of this lapse. Even the ideal of man as a rational being does not go far enough to be able to save man and mankind. All of them evoke conflict, some deliberately, and the resolution of the conflict ends in suppression, amputation and atrophy.

1.14 - The Mental Plane, #Initiation Into Hermetics, #Franz Bardon, #Occultism
  Likewise as the astral plane is inhabited, so too is the mental plane. Besides the Ideal Forms, there are principally the deceased ones whose astral bodies have been dissolved by the elements in the course of their ripening, and allotted, according to the degree of perfection, to regions corresponding to their mental sphere.
  Besides the mental sphere is the sphere of the so-called elementals, beings created consciously or unconsciously by man as a result of repeated and intense thinking. An elemental being is not yet so condensed to form or to assume any astral shape for itself. Its influence is therefore limited to the mental sphere. The difference between an ideal form and an elemental lies in the fact that the ideal form is based on one or several ideas. On the other hand, the elemental is equipped with a certain quantity of consciousness and therefore with the instinct of preservation, but otherwise it does not much distinguish from other mental living beings, and it can even take the same shape as the ideal form. The adept often resorts to these elemental beings. The problem of how to create such an elemental, how to preserve it and how to utilize it for certain purposes, will be approached in the practical section of this book.

1.ww - The Recluse - Book First, #Wordsworth - Poems, #unset, #Zen
  Surpassing the most fair Ideal Forms
  Which craft of delicate Spirits hath composed

BOOK I. -- PART I. COSMIC EVOLUTION, #The Secret Doctrine, #H P Blavatsky, #Theosophy
  force fashions it according to the Ideal Forms. Matter not yet engendered had no form; it becomes
  when it is put into operation." (The Definitions of Asclepios, p. 134, "Virgin of the World.")

r1919 08 06, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Samadhi went back to nidra and began turning the touches of dream swapna immediately to Ideal Forms of gnostic swapna samadhi. At night there is real dream, but more and more a consequent and idealised dreaming.
   Attack on eye, more full, cured, but the tendency remains.

r1920 02 24, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   In thought-siddhi the same process is taking place, but the recurrence of lower forms of ideal speech is strong and occasionally there is the half idealised mental suggestion from outside. Nevertheless lower Ideal Forms are now banned by the law of the Shakti.
   In script as in lipi, but the lower forms are more rebellious to exclusion.

r1920 03 02, #Record of Yoga, #Sri Aurobindo, #Integral Yoga
   Ananda is recovering intensity and continuity, but still needs the smarana. It varies between the mental and the Ideal Forms, mental in laxity, ideal when supported by the tapas, but now contrary to what had been the rule hitherto the ideal are the more intense.
   In Samadhi lipi is almost entirely coherent, though not in any great mass, still in longer continuities than before. The other elements are also regularising themselves a little. Lipi is ideal in Samadhi, thought sometimes falls into the mentalised ideal at least in physical level and in intensity. The other members, eg rupa, do not seem yet to be vijnanamaya. Nidra is still a persistent obstacle, but swapna while it persists in nidra is ceasing to interfere constantly with samadhi.

WORDNET














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Integral World - Plato's Camera: Paul Churchland's Neural Theory of Ideal Forms, Andrea Diem-Lane



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