The Sayyids in particular, among the sources of music from esoteric schools, are remarkable for their alternation, back and forth, between a vocal or instrumental invocation of higher forces and a rhythmic dance movement to express those forces here below. Gurdjieff’s balance between inner and outer work, though different and quite original also, throws light on such cross-currents of the Truth everywhere. De Hartmann seems to have been touched by a very special presence while playing this one.
“But ancient art was not for liking. Everyone who read understood. Now, this purpose of art is entirely forgotten.
For instance, take architecture. I saw some examples of architecture in Persia and Turkey—for instance, one building of two rooms. Everyone who entered these rooms, whether old or young, whether English or Persian, wept. This happened with people of different backgrounds and education. We continued this experiment for two or three weeks and observed everyone’s reactions. The result was always the same. We specially chose cheerful people. With these architectural combinations, the mathematically calculated vibrations contained in the building could not produce any other effect. We are under certain laws and cannot withstand external influences. Because the architect of this building had a different understanding and built mathematically, the result was always the same. Continue reading “Ancient vs contemporary art”→