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The Aesthetics of Beauty
A Periscopical Review

What is beauty?

Beauty is the spiritual dimension of reality made manifest to our senses. Through the workings of beauty we can actually see, hear, touch, taste and smell that there is something deeper, a more profound level of existence, offering meaning, consolation and hope. In beauty the veil of our ordinariness and shallowness is for a moment lifted. By way of the senses we catch a glimpse of a more perfect world beyond. Beauty also effects our feelings and insights in a transformative way. After a profound esthetic experience we are not the same anymore. In this confrontation with beauty our perspective of the world, even our very self, is altered.

These two aspects of the aesthetic experience, the unraveling of the spiritual dimension of life, together with its transformation of our ordinary consciousness to a higher level, are closely linked and mutually affect each other. Spirituality seems to be beautiful and beauty seems to be spiritual. And as spirituality can be defined as the science of realizing higher levels of consciousness, we can deduce that beauty collaborates in this process, beauty being one of the attributes of Spirit. This might explain why most artists have an inclination to philosophy and spirituality and also why so many mystics were creative artists in their lifetime. Art and Spirit seem to be brothers working together as scientists of higher forms of awareness.

Spirit exposed to the senses

Spirit is both the unifying and the multifying source of all phenomena. It is both the beginning (multifying) and the end (unifying) of all objects. Everything we contact with comes from Spirit and is heading towards Spirit. But in the process of manifestation the source and the end of the emanating object become obscured. Its essence hides itself, like a veil, from our senses and our perceiving knowledge. Our senses fail to perceive what the object is in its own right. In reality all objects are objectifications and formations of Spirit. Beauty is the trace left by Spirit in the object, at sense level, reminding us of its true nature and origin. This in itself is a great beauty, that we, already at sense level, can perceive in the objects their final ground and telos. But to become aware of this spiritual dimension our senses need to be refined, need to be opened. For not everyone, and not everyone all the time, is able to sense this innate spiritual quality of all objects right from the start. This is because of our relative consciousness also being an object of Spirit, and therefore subjected to the same obfuscation and oblivion as any other object. So our senses need to be educated and refined first to perceive the deeper dimension lying behind their phenomenal appearance. Beauty has the purpose of introducing us into this dimension and to provide us with this education. Through the shocking and awakening effect of beauty we sense that there is something more going on than mere surfaces and appearances. Through the beauty of an object our senses are magnified to a higher level, where they can sense the unreality of the one isolated object and perceive its ramifications in a much wider context.

This is the true beauty of an object, that it takes us away from its isolation and points to wider connections of beauty. Beauty leads upward, to the ideation of the object, where it is lifted up from its particular to its universal meaning. So the beauty of an object (say, a painting, a woman) is never beautiful in its own right, but because it points to a relatedness with other beautiful objects, at first with other objects of its kind (other beautiful paintings etc.), then to all beautiful objects and finally to Beauty itself. So beauty connects the beautiful object to its wider network, whence its value is derived. To perceive this wider network is already abstraction from the senses, is philosophy and not sensory experience. But in order to value beauty this abstraction has to occur. We might see, hear etc. beauty, but in order to derive value from our experience we need to transcend our senses and integrate our experience at the higher level of mind and, ultimately, soul.

This explains why we enjoy more when we know and feel more. We are more able to detect the beauty of an object when we know how to place the object in such a wider context of relatedness. A painting might to the highest degree be beautiful in its own right, but its value and our enjoyment of its value increase when we know something of its history and of the history of art in general. Through our knowledge of its wider context, its beauty is not only revealed but also intensified. This is because of the deepening of the subject in apprehending the wider ramifications of such embedded beauty. Altering the subject of perceiving (our awareness of beauty) thus heightens the value of the object itself. So the quality of an object seems to depend also on the quality of the subject perceiving it, according to the final unity of subject and object.

This brings us to deduce that the subject with the highest quality, the one connected in sense, mind and soul with Spirit, is the one best able to detect and value beauty in the world. For, like we said in the beginning, beauty is Spirit made manifest to the senses. But -this is important in any theory of aesthetics- the senses themselves are but mere instruments in the process. They are in their instrumentality incapable of evaluating and understanding the more hidden aspects of reality, like beauty. It takes higher levels of awareness to appreciate these higher (deeper) levels of reality and here it is where the mind and eventually the soul of the perceiving subject play their role. Beauty is about the value of the object. It takes a valuing subject to detect it. So the quality of the subject is of paramount importance.

Is beauty an innate quality of the object itself or is beauty merely accorded to the object by the perceiving and evaluating subject? Or, to give an example, will the flower or the woman lose their beauty (cease being beautiful) once we stop perceiving and admiring them? Now I think the correct answer to this question cannot be given in the or/or mode, but is highly non dual: the presence of beauty depends on the object and the subject. There is the more beauty, both in presence and perceiving, when both the radiating beauty of the object and the perceiving beauty of the subject have become one single process; when the beauty of both object and subject reflect the deeper quality of both object and subject alike. So it needs a beautiful subject to disclose this deeper quality of the object. But also the quality of the object discloses the beauty of the subject. It works both ways.

But since beauty is a value, a hidden meaning, it belongs to the sphere of (inter)subjective interpretation, hermeneutics and phenomenological aethetics, to disclose it. These secondary processes are not simply modes of perceiving. These are modes of mentally and a posteriori reconstructing the sense experience. So merely perceiving is not enough to detect beauty. The eye of the intellect must also shine its light on the object, for beauty can only be detected when the mind chooses to do so. The mind is the instrument to class opposites in dual columns. As beauty has ugliness as its counterpart, beauty must first be set aside from the ugly (the repugnant etc.) by the mind. So something is only beautiful when the mind has decided it is. Not before.   

But this is not the whole story, at least not within an aesthetics that wants to go beyond a mere rationalism. For such an aesthetics would easily be critizised for reducing beauty to being merely intellectual, while in fact beauty is a value that reaches out to levels higher than the mind, like we all know and feel when confronted with something deeply beautiful. Beauty in the mind is only half way. We have to go to Spirit itself to find the true meaning of beauty. It is like Plato said: the beauty of the phenomenon points to its higher class, the highest Idea of Beauty, or beyond, to Spirit itself. And Spirit can only contemplatively be detected by levels higher than the mind. It is here, in the more subtle levels of our soul, that we can truly appreciate beauty. Because beauty is more of a felt value. It is more of the heart than of the mind. Sometimes it can only come to the heart by way of the mind, but only in the heart is its proper value detected. This is because Spirit detects Itself in the beautiful. And this can only be done by the faculty of our being that is the closest to Spirit, which is the soul.

But here in our soul we have reached the highest levels of beauty. Let´s go back downwards a bit and first describe what beauty is like at the lower levels, before climbing all the way up to Spirit. For even at the lower levels of the material and the first impulses of life we do find beauty, because of Spirit being immanent to all being. In everything we can detect the ´vestigium dei´, God´s footprint, even among rocks and minerals.

The material

Though the material is the most hidden and condensed form of Brahman, still the eye trained in beauty can, even here at this rudimentary level, detect some higher qualities, that at first glance might escape the eye. These qualities are always of a secondary nature, depending more on the reflection of Spirit than on Its essence. Because of its gross nature, Spirit is locked up, as it were, in the material. Only at the highest level of non-dual awareness can we contemplate its oneness and equation with Spirit. But here already at sense level secondary qualities disclose Its presence. First the vastness or plenitude of the material might strike the eye as beautiful, like when we see enormous formations of rock, stretching out far beyond our horizon. Or when at sea we are awed by the sheer immensity of the water lying beneath our feet. Or the enormous piles of sand we see being whirled around in the desert. These views of material nature might even be sublime, when they disclose to the eye of contemplation the greatness and overpowering enormity of creation. Wanderers in the mountains often report being overwhelmed by Spirit, because of  the greatness of the landscape and its material nature. In meeting nature the vastness of the material makes us feel small and great the same time. The huge mountain seems to be the image of God.

But this is not to say that the enjoyment of nature, or a fortiori nature mysticism, is provoked by the material in nature. The material in nature, being on the lowest rung of the ladder, is always some sort of a disappointment to the eye. The aesthetic eye always looks for life beyond the mere material and glorifies when it sees one tiny ant crawling its way among the tons of desert sand beneath our feet, or discovers remnants of green life among the gray rocks of high altitude. Landscapes devoid of all life are difficult to bear to the eye. Only souls accustomed to the emptiness of Spirit are able to detect beauty in lifeless nature. But still, beauty is there. Because there is no place (nor time) where (when) Spirit is not.

Reading this one comes to understand why the artist so much wants to imbue the material, the lifeless, with life and strains his muscles for months on end to give life to death stone or death metal. For the eye rejoices in finding life even in the lifeless. Precisely this is the core activity of the aesthetic prehension, that it searches for the higher in the lower even at the lowest level, so to reassure itself that the lower is not devoid of the higher. Before all else, before we look at the form of a work of art per se, we subconsciously are awed by the fact that this beauty we see before us is nothing but death material brought to life. ´Behold! Even dead rocks can be alive!´, we say to ourselves when looking at the David of Michelangelo. We feel the artist is consoling us in making us realize that there is no such thing as dead lifelessness. Even lifelessness can be brought to life, because, like everything in the universe, it is not disconnected from Spirit. Thus the primal metaphysical impact of art in the esthetic experience.

Prana: emotio-sexual life force (1)

One level higher than the material is the unseen force of the biological, Bergson´s elan vital, Schopenhauer´s Will. Here we see lifeless entities suddenly permeated by mysterious life force, that makes them act, intend, will and procreate. This is the level of the instincts, the passions, Freud´s libido and thanatos drives. This prana is something of a dark force, because of its uncontrollable strength and invincibility. It is impossible for living creatures to oppose it. Being objectifications of this life force they are forever subject to its workings. At this level the organism is fundamentally unfree, being not an a priori subjectifications but an a posteriori objectivication. Prana rules the organism and not the other way around.

This is for aesthetics a paradoxical situation, because it makes prana ugly as well as beautiful at the same time. Prana is ugly because it tends to devour and deconstruct its individual objectifications, its life forms, and reduces them once again to the nothingness they essentially are. For prana is not interested in individual life forms, but in the continuation of its own energy. Any individual form is disposable to the emotio-sexual force. It lets them grow old and die. So the ugliness of prana is its tragic nature. Every life form is a small tragedy performed on a small stage in a small amount of time. In the wink of an eye the play is over, never to be performed again. And one is left wondering what´s the meaning of the play or why this play at all. The destruction eventually bought about by the life force doesn´t seem to make any sense at all, at least not from the perspective of the individual life form.

This is the ugly part of prana, perceived with the utmost intensity in sexuality. There is a great sadness in sexuality, because of its fundamentally unfree character. The slavery of prana makes us feel ashamed, repressive of our basic drives, even aggressive at everything seducing us to it. We feel out of control, subjected to the blind force playing havoc within our soul. We cannot but give in to this life force, though it exhausts, depletes us and make us think of death, because it makes us aware of being mortal. As prana is concerned we are nothing but a piece of domino about to fall. The stone has to give way to create the greater picture. But on the verge of toppling over we, the individuals, feel sick and nauseous.

Though elaborate Romantic philosophies have been composed to glorify the unrelenting force of the emotio-sexual, as if it were God itself, it is a sad conclusion that we cannot but feel disappointed and unsatisfied when life is lived at this level only. Though emotions do need to have there right place -it is extremely dangerous to suppress them- our heart yearns for a transcendence. We search the quiet and the silence that we may avoid the stimuli of emotional life, to find relieve from the wearisome, forever ongoing workings of biological time.


Here a word needs to be inserted about the fundamental dual character of all levels of being below Spirit. As we already saw when discussing the esthetics of the material, every level of being can be considered to be both ugly and beautiful, both in itself and in its valuation, depending on which side of the coin we wish to highlight. In our first discussion the material appeared as ugly in its lifelessness, but as beautiful as well, in its reflection of life, aye, even as sublime when it was seen, in its vastness and enormity, as a direct manifestation of Spirit. Such dual characteristics we will meet all the way up to the subtle level of being. Any theory of esthetics dealing not sufficiently with both the ugly and the beautiful aspects of all phenomena will therefore be incomplete in itself. At a superficial glance this might seem to be self-contradictory -how can something be ugly as well as beautiful?- but we must never forget that everything in life comes in pairs and that in all things beautiful there is something of the repulsive, like there is some attraction in the abhorrent also.

Prana: emotio-sexual life force (2)

This being said it will not strike the reader as odd when we describe the pranic life force as very beautiful at the same time, not only because it is, like everything else in creation, a manifestation of Spirit, but also because it has merits and satisfactions of its own. For this play of life and death, of blooming and withering, of production and depletion, cannot fail to move the heart of the observer, when she sees the joy, the energy and the ecstasy Spirit has bestowed on the world with this Its pranic force. It would be platitudinous to describe life in its springtime and mature versions as beautiful. For who does not feel the shivers of emotion in his heart when holding young life in his hand or when walking through the lavish green of a springtime forest? But let´s notice the fact that life in decay has beauty of its own also. Autumn also delights the heart. There are beautiful dimensions in the sadness of grief and death also. The sensitive heart knows that there is beauty in holding a lifeless corpse to its bosom, though it might seem repulsive at first glance. Who has not felt the joy of religious feelings and enlightenment when attending the bed of the dying? For death is nothing but the approach of Spirit. And eventually all life passes away into this emptiness of Love, where it is for ever redeemed in the katharsis of its own nothingness. So the decline of life can be just as beautiful as its ascent.  

The biological life force stirs up all kinds of emotions, instinctual, perceptual or reflective. These emotions are closely linked to the drives and the demands of the individual organism. They are its way to cope with the environment and to preserve itself in the face of dangers and threats. Emotions are biologically necessary. If you would not be emotional, you would not manage to stay alive. This is the beauty of emotions, that they are very apt in protecting and securing all individual life. But this is its ugliness at the same time. For prana is, despite its own glory, still a low level of life, calling for a transcendence, despite the satisfaction it may give. In pranic emotions Spirit is confined to the individuality of the one single organism. At this level life is always self centered. This puts emotional values at a lower range in the hierarchy, lower than eg. mental values or soul values. They are necessary but limited. When life is lived only at the emotional level of prana, self-actualization and self-transcendence tend to be excluded.

There is no need to muster up the examples of hate, jealousy, ambition and all other kinds of negative emotions of self-preservation to back up this theory. They speak for themselves. But also the more positive emotions, like the drive to procreate, romantic love or the merriments of the bed, lend evidence to the claim that pranic emotions are ugly in the sense that they represent lower values. For these pranic emotions serve to preserve the species. But to do so they must create a hoax: the individual organism must be beguiled into thinking that he has these emotions in the service of himself, while they in fact serve the purpose of dispensing him. The needs of the species lay a heavy claim on the self of the individual. And a lot of time and energy has to be spent with the nerve wrecking task of rearing and taking care of offspring. This explains for the disappointed looks in the face of parents, pregnant women and newly wed grooms. Deep down in their soul they have the feeling that this is somehow a trick that is being played on them, something beyond their control that they have been lured into. Of all the repressed emotions this existential disappointment about the rewards and happiness of procreation is the most fundamental and therefore the last one that is admitted to the self. Prana does not want these doubts to enter consciousness. This is one of the thickest veils covering up Pure Consciousness.

The same can be said of other positive emotions like the thrills of winning, success and achievement. Here the individual is hoaxed into thinking that he can for ever escape the dualities of life by putting his finger on one side of the coin and forcefully clinging to it. But every success is followed by its shadow and relatively happy periods are followed by sad ones, according to the oscillating ground movement of all pranic life. Everything sooner or later will turn into its own opposite. So the sensitive and aesthetic observer sees something ugly in the jolly cheering of the crowds, knowing that these same emotions have the potentiality to flip over into hate, aggression and destructiveness. For all pranic emotions are caught up in endless dualities and the one cannot go without the other. Here the emotions create all kinds of sorrow and distress, though they started off with the good prospect of hope.

The mental  

No, the emotions definitely call for a transcendence, for the true beauty of life is not given its fullest scope when remaining stuck at pranic level. So life moves onward, up towards its highest goal, which is the unification with and of Spirit. To reach these highest levels of human development, an abstraction, a distance, even some sort of an overcoming is necessary. This does not mean that we have to give up on life, or be done with it, no, the higher, more beautiful life starts when we begin to look at life, as if some essential part of our self were not involved in it. For Spirit is essentially observant pure consciousness, the Witness of all life. When happiness and beauty are defined as qualities of approaching Spirit, then it follows that our relative consciousness has to adopt this observant, onlooking quality in order to become beautiful and happy. This is the reason that almost all religions have propagated techniques for training the observant quality of our consciousness (like eg. the vipassana of Buddhism).

Now this observant, onlooking quality starts at the mental level. Here consciousness begins to think about life, starts to form theories, abstracts from the data of perception by replacing them with signs and symbols and lays down rules, however tentative, to explain ´how it works´. The data are subsumed into higher classes, which makes it more possible for consciousness to operate on them. All these mental operations are nothing but a stepping back of consciousness from the gross level of existence. This brings consciousness closer to its source, because such onlooking, such theorizing, such abstraction of the concrete into the symbolic, makes consciousness more pure, which makes the way for Pure Consciousness itself. The beauty mental operations is leaving things out, till finally by a process of trimming and subsuming the oneness of all things is perceived in the beatific vision, which is the experience of Beauty itself.

So the scientific level of being -the mental- is essentially characterized by a retreat of consciousness. Bit by bit consciousness steps back from its immanent involvement into the world and starts looking, first to ´the facts out there´, then to ´the facts in here´ and finally to the workings of consciousness itself and its first emanations into the mind. So the higher levels of  being and consciousness are always an abstraction, enabling consciousness to operate on the world from a distance. This abstraction enables consciousness to predict, control and create the lower levels of the biological and the material. And this is precisely the thing science does: it procures lordship over everything below the mental. For every transcendence of a certain level is a control over the lower levels also.

This is the beauty of the mental: the mental is able to create a beautiful order in the chaotic complexities of material and biological emanations and by doing so it creates order in itself also. Here beauty is a certain elegance in the correspondence between fact and theory. The more elegance and validation a theory offers, the truer it is. This is the order that puts our mind at rest and makes our thinking clear and alert. Like with beauty at pranic sense level the mind is elated when it sees correlations, correspondences, mutual proportions and similarities between the different parts of a given theory and between different theories. Here, like with esthetic perception, the mind searches for a way to bring different parts under one heading. When it succeeds in doing so it has brought about a simplification of life, which is the main purpose of its working. For the purpose of all life is to come back to more simple oneness.

But the mental is not the omega point of life. It is not the aim that life is seeking. The mind is only a tool in finding the aim and reaching out for it. It is a higher level, but it is not the highest level. So things can go wrong, pathologies may occur, when the mental is seen as the highest level of beauty in life. True beauty cannot be found by the mind (alone). When we try to do so and do not employ higher faculties in finding beauty, we will never find the most beautiful thing that is to be found in life, which is Spirit.

For like we said, everything below the causal is caught up in endless dualities and the beauty of the one moment may be the ugliness of the next. So instead of reducing the complexities of life we often find mind augmenting them, by creating extra complexities. The mind may create problems of its own, besides the problems life already has to offer. The worries, the fears and the irrationalities of pranic life may be redoubled by wrong mental attitudes and by the reading of maladapted ´mental scripts´ that offer an unhealthy and false interpretation of life. Here the mind creates psychological time. It runs wild and breaks loose, like a wild untamed horse. Instead of falling back into the ground of its own emptiness the mind may create a life of its own, no more under our control. Instead of being a beautiful instrument for higher purposes, it may become an ugly distrophic tyrant in our heads.

The soul

This happens when psychological development is thwarted and the mind is not transcended by the next higher level: the soul. For the soul can detect more beauty in life than the mind is ever able the find. For the mind is the logical instrument we have at our disposal to sift the right from the false. The mind can discover truth. But the soul is more essential still, because it is even more closer to Spirit. It is so closely connected to the first attributive emanations of Spirit, that it can do a lot more than just discern right from false. It can find essential and existential meaning. With our soul we search for what is worthwhile and what is worthless in our lives. This we cannot find out with our mind alone. We somehow have to find a meaning that goes beyond mere rational understanding. This meaning is more of an intuition than a deduction or an inference from data.

This intuition of the soul is also our guide in matters concerning ethics. Here at this level our moral conscience is located. The soul is one of the first emanations of Spirit and is very close to the first Forms. Being so highly ranked in the chain of Being it is very near to Justice and Goodness itself and can more easily discover its characteristics. So goodness and righteousness are first felt with the heart (our soul), before our mind becomes aware of it. Our heart knows already what the right thing is to do. So a highly developed and mature human being, well grounded in soul and with a loving and open heart, knows already by intuition what course she is to follow. This she already intuits in her own deepest nature, way before becoming aware of it.

Here at this high transrational level of soul our esthetic intuitions are also to be found.  For discerning the beautiful from the ugly is also something we cannot achieve with the mind (alone), though the mind can surely be an aid in the process. But as with ethics: the person in touch with her heart and soul knows by intuition what is beautiful. She doesn´t need the mind to tell her so. Beautiful things must in one way or another reflect the order, the depth and the meaning of this transrational level to be beautiful. So esthetics is more of a comparison. It compares with closed eyes the beauty of a thing with the beauty spotted inside. If there is correspondence, we say that something is beautiful. When there is no correspondence, we call it ugly (or not beautiful yet). So esthetics is like ethics grounded in our soul. Here we intuit its truths.

When we call intuitions the ground of all our judgments, be they scientific, moral or esthetic, we point to the fact that our soul, as the source of all our intuitions, is the dominant controller of the mental level. For being a higher transcendence it is, like all lower levels, able to operate on the next lower level in the hierarchy. So intuitions are operations of transmental consciousness upon mental consciousness. They are the determinants of our reason. The mental has to work them out to make them understandable and transparent to us. But they are the great instigators of reasoning and judgment. As such their being and becoming are something of a mystery. We feel these intuitions to emanate from Spirit, but how exactly we do not know. It is part of ´how life works´.


All things are essentially - and are finally brought back to- Oneness of Spirit. Here at the highest level of being the greatest beauty in life is to be found. Below this level something is still missing. Below Spirit beauty still has its shortcomings, its flaws, its contradictions and can only be detected in dualistic opposition to ugliness. But here at this highest, non dual level, beauty is seen as the interconnectedness of all things, including ugliness and evil. Beauty is here the transcendence of all things into their final ground of Oneness. The highest esthetic pleasure and satisfaction can only be found when consciousness finally reaches these highest levels. This is the level of no-judgment, of choiceless awareness. Here everything is seen as tathata, as ´the way things are´. Here nothing is secluded from the scope of beauty. Here Spirit looks at creation and ´sees that all is good´. When the wings of our soul have finally soared up to the peak of this mountain, only peace and satisfaction remain. Life and death here are extremely and ultimately beautiful.

This transcendence is not only a transcendence but an immanence also. It is not only the peak. It is the whole mountain and the valleys below. The peak cannot be separated from the mountain and its surroundings. There is no ultimate beauty without the lower levels of ugliness, duality, suffering and failing being one way or the other included into it. This would be a great misconception and has been the major flaw in the history of religion and spirituality, the idea that beauty could only be realized in transcending and separating ourselves from the lower. Perhaps this conception is necessary when still on a dual level of development -in order to make a transcendence possible- but when the transcendence is finally realized, this conception proves itself to be ultimately false. For beauty is everywhere. It is the very fabric this universe is made of.

Then all words cease. At this level only enjoyment and deep ecstasy remain.

Excerpted from an Essay in the Site:


The Following texts have been reviewed by Gromyko Semper and he believes that somehow the Periscopical Artists could relate into this definitive explanation in relation to his personal quest towards understanding the Meaning of Beauty from the most material to the highest Spiritual Aspect of Human Existence.

Periscopical Artists will benifit strongly after reading this and relating it to his works.
© 2008 - 2021 gromyko
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obleakpattern's avatar
your articles are always excellent. it's refreshing to see someone fallow these path's here on DA.
HESPERIDE's avatar
Great theme...thank u for sharing it :strip:
pweety's avatar
very awesome read. i think because we all have our own definition of beauty, paradoxically, the application of script to perception is difficult to pull-off without becoming biased. I have a case study on radical feminism in modern culture which toys with these theories of beauty. Will post sometime in the next week.
cheekymonkeyali's avatar
"When the wings of our soul have finally soared up to the peak of this mountain, only peace and satisfaction remain"

Genesis 6:6 The LORD was grieved that he had made man on the earth, and his heart was filled with pain"

Guess he didn't make it ;)
gromyko's avatar
It pertains to a specific historical context, one limited only to that time period...the "Lord" was grieved because of the disobedience of his "sons"...disobedience such as disbelief...

The use of the word pain here denotes emotional reaction because of dissatisfaction. His dissatisfaction however is not permanent and in the following books after this chapter especcially in the book of the Exodus he declared himself and how he must be worshipped.

I am most interested in your rambling since it is odd to find an atheist who uses biblical passages inorder to degrade one biblical truth just to insulf a theistic believer.

But i thank you for constantly keeping a steady eye in my writtings.
cheekymonkeyali's avatar
The point is that his seeing that "all was good" was also only one specific point in time. Thereafter it wasn't. I think your transcendent view owes more to Bhuddism than Biblical Christianity.

Did I insult you? It wasn't intended. If you want to be true to the book I won't let you off the hook though ;)
zananeichan's avatar
Excellent write up , somehow, all this time i been batteling to express my words... you obviously have a tallent for his sort of writing, and its very much my whole life is based on sensuality, is what i describe it :hug:
Yes sensuality has been pushed aside because of people consider it lustfull, filthy , shame, etc, because they forget to realize that sensuality, the asthetic of beauty , much of the universe is based on and how the strings of the universe interconnect :-)
well done and well written
crazymynd's avatar
very interesting theme! thanks for sharing it! my friend:hug:
gromyko's avatar
Your welcome my friend
liviaa's avatar
Interesting. I have a small collection of books about this theme. I wrote about beauty too, it is one of the most difficult dimensions to tell, also because we are very subjectly involved in it. Thks for letting us read such an interesting study
gromyko's avatar
Your welcome my dear livia. Beuty is indeed subjective, yet innately defining it, though hard to explain is for sure definable only to those whose appreciation of it is wholehearthedly embraced. Wha is beautiful to one is not beautiful to other, but the experience of beauty is indeed the most fascinating part of what makes us humans and what makes us artists.

Thank you for taking time to read.

Your cyberson who misses you,

anubis's avatar
Wow...Seems part of a dissertation!!!
gromyko's avatar
Part of defining the indefinable aspect of beauty with limited words. Thank you my friend.
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