Sufism: Veil and Quintessence a New Translation with Selected Letters
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From Logos to Bios: Hellenic Philosophy and Evolutionary Biology
From Logos to Bios: Hellenic Philosophy and Evolutionary Biology by Wynand Albertus de Beer submitted in accordance with the requirements for the degree of D Litt et Phil in the subject Religious Studies at the University of South Africa Supervisor: Prof Danie Goosen February 2015 Dedicated with grateful acknowledgements to my supervisor, Professor Danie Goosen, for his wise and patient guidance and encouragement throughout my doctoral research, and to the examiners of my thesis for their helpful comments and suggestions. From Logos to Bios: Hellenic Philosophy and Evolutionary Biology by W.A. de Beer Degree: D Litt et Phil Subject: Religious Studies Supervisor: Prof Danie Goosen Summary: This thesis deals with the relation of Hellenic philosophy to evolutionary biology. The first part entails an explication of Hellenic cosmology and metaphysics in its traditional understanding, as the Western component of classical Indo-European philosophy. It includes an overview of the relevant contributions by the Presocratics, Plato, Aristotle, and the Neoplatonists, focussing on the structure and origin of both the intelligible and sensible worlds. Salient aspects thereof are the movement from the transcendent Principle into the realm of Manifestation by means of the interaction between Essence and Substance; the role of the Logos, being the equivalent of Plato’s Demiurge and Aristotle’s Prime Mover, in the cosmogonic process; the interaction between Intellect and Necessity in the formation of the cosmos; the various kinds of causality contributing to the establishment of physical reality; and the priority of being over becoming, which in the case of living organisms entails the primacy of soul over body. -
Contents Ramana Ashtottaram 2
contents Ramana ashtottaRam 2 EditoRial Justice 3 akshaRamanamalai Nochur Venkataraman 9 PoEm: knowlEdgE spellbound N.A. Mohan Rao 20 thE PaRamount imPoRtancE of sElf attEntion Sadhu Om 21 thE navnath samPRadaya and sRi nisaRgadatta mahaRaj C.W. Boucher 29 kEywoRd : saRanagati John Grimes 39 vERsE : thE namEs of lalitha Ramesh Menon 44 ulladu naRPadu anubandham: vERsEs six to Eight S. Ram Mohan 45 discERning thE REal thRough thE wRitings of Paul bRunton Jeff Cox 49 PoEm: nightwatch Upahar 60 my sPiRitual jouRnEy with bhagavan R. Ravindran 61 hiddEn dooR to hEaling Philip Pegler 69 going back thE way wE camE Sriram Ananthanarayanan 75 sPiRitual ExperiEncEs and collEctions of concEPts James Charlton 81 why am i haPPy? I.S. Madugula 87 REné guénon and sRi Ramana mahaRshi : PaRt thREE Samuel B. Sotillos 93 PoEm: thE ciRcumambulation Ashok 102 maha bhakta vijayam : thE loRd as a guaRd in tulasidas’s ashRam Nabaji Siddha 103 PoEm: solitudE Patrick Roberts 110 ozhivil odukkam Kannudaiya Vallalar 111 book REviEws 121 ashRam bullEtin 125 Ramana Ashtottaram 95. Aae< hadRiv*aàkazkay nm> oà härdavidyäprakäçakäya namaù Prostration to the Revealer of the light of the Heart, Revealer of Inner Awareness. From very ancient times, the inner light, Purusha or Person, the ‘I-I’ shining in and as the Heart, had been identified as Sat-Chit-Ananda, Being-Awareness-Bliss. But the teaching was not precisely understood, nor was it widely taught or applied in practice. In the Ramana Gita, Supplement to the Forty Verses, and in many sections of Talks with Sri Ramana Maharshi, Bhagavan has clarified, simplified and driven home the teaching that the Heart, Being-Awareness-Bliss and the ‘I’ are three concepts standing for one sole Reality. -
A. K. Coomaraswamy and R. Guénon
From the World Wisdom online library: www.worldwisdom.com/public/library/default.aspx Prologue A Fateful Meeting of Minds: A. K. Coomaraswamy and R. Guénon by Marco Pallis Memories of the great man whose centenary we are now wishing to celebrate go back, for me, to the late 1920s, when I was studying music under Arnold Dolmetsch whose championship of ancient musical styles and methods in Western Europe followed lines which Coomaraswamy, whom he had known personally, highly approved of, as reflecting many of his own ideas in a particular field of art. Central to Dolmetsch’s thinking was his radical rejection of the idea of “progress,” as applied to the arts, at a time when the rest of the musical profession took this for granted. The earlier forms of music which had disappeared from the European scene together with the instruments for which that music was composed must, so it was argued, have been inferior or “primitive” as the saying went; speak ing in Darwinian terms their elimination was part of the process of natural selection whereby what was more limited, and therefore by comparison less satisfying to the modern mind, became outmoded in favor of what had been rendered possible through the general advance of mankind. All the historical and psychological contradic tions implied in such a world-view were readily bypassed by a socie ty thinking along these lines; inconvenient evidence was simply brushed aside or else explained away by means of palpably tenden tious arguments. Such was the climate of opinion at the beginning of the present century: if belief in the quasi-inevitable march of progress is nowadays beginning to wear rather thin, this is largely due to the results of two world-wars and to the threats of mass- destruction which progress in the technological field has inevitably brought with it. -
Splendor of the TRUE
INTRODUCTION Few religious writers of recent times have had as polarizing an effect on those acquainted with their work as Frithjof Schuon. A first group of readers have competed to see who can praise him in the grandest terms. One of them tells us that Schuon’s books offer “com- pletely new perspectives in every aspect of religious thought,”1 while another asserts that “à propos religion, equally in depth and breadth,” he was “the paragon of our time.”2 Yet a third prolific and highly respected scholar has elevated his own superlatives to the level of the superhuman, comparing Schuon to “the cosmic Intellect itself.”3 It is important to note that these are not the words of marginal thinkers or cultish sycophants. On the contrary they represent the considered judgment of several of the academy’s most prestigious and influential names. Schuon—who was at once a philosopher, an authority on the world’s religions, a spiritual guide, and a gifted poet and painter—seemed to many of his most learned readers not just a man but a providential phenomenon, a many-sided genius with a God-given spiritual role for our age. At the same time, however, his work has been severely criticized— when not simply ignored—by a second and admittedly much larger group, and this includes academics who might have otherwise been expected to benefit most from his insights: philosophers of religion, authorities on mysti- cism and spirituality, and comparative religionists. In fact scholarly dismissals began many years ago when a prominent reviewer of one of this author’s first books complained that “Schuon glories in his contempt for human reason” and that his writings are little more than “a disconnected series of 1. -
Sufism: Love and Wisdom
Sufism: Love and Wisdom The inner spiritual core of Islam has been the focus of Sufi practitioners and thinkers for hundreds of years. Those initiated into its mysteries have sometimes expressed those mysteries in ecstatic poetry in a symbolic language of love, as did Rumi, or sometimes in reasoned prose, as did Ibn Arabi. Sufism: Love and Wisdom contains essays by such renowned scholars as: Seyyed Hossein Nasr, William Chittick, Titus Burckhardt, Maria Massi Dakake, Reza Shah-Kazemi Angus Macnab, William Stoddart, Leo Schaya Martin Lings, René Guénon, and Frithjof Schuon. This book also contains several essays translated into English for the first time including Denis Gril and Éric Geoffroy and contributions from a new generation of interpreters of Sufism. About the Co-Editors Jean-Louis Michon Jean-Louis Michon is a traditionalist French scholar and art consultant who specializes in Islam in North Africa, Islamic art, and Sufism. His works include Autobiography of a Moroccan Sufi: Ahmad Ibn ‘Ajiba (1747-1809), Lights of Islam: Institutions, Cultures, Arts, and Spirituality in the Islamic City. Dr. Michon coordinated the rehabilitation of traditional handicrafts in Morocco which were seriously threatened by industrialization. World Wisdom Roger Gaetani Roger Gaetani is an editor and long-time student of Sufism, who spent five years in Morocco as a teacher. While there, he developed an interest in Sufism and met a number of traditional Sufi adherents and teachers, including ‘Abd as-Salam ad-Darqawi, a master of Koranic recitation and a direct descendant of the great Sufi Shaykh Mulay al-‘Arabi ad-Darqawi. Gaetani also spent two years in Saudi Arabia, where he taught at King Abdul Aziz University in Jeddah. -
Religious Art, Traditional Art, Sacred Art Some Reflections and Definitions Seyyed Hossein Nasr
From the World Wisdom online library: www.worldwisdom.com/public/library/default.aspx CHAPTER 12 Religious Art, Traditional Art, Sacred Art Some reflections and definitions Seyyed Hossein Nasr It must never be forgotten that the understanding of the spiritual sig nificance of traditional and sacred art, Islamic or otherwise, is of the utmost significance for the existence of authentic religious life since such an art is ultimately a gift from Heaven and a channel of grace which brings about recollection of the world of the Spirit and leads us back to the Divine. Were this article to be addressed only to readers in Seljuq Rayy, or for that matter in medieval Paris or Sienna, there would be no need to define such terms as religious, traditional and sacred art, for all aspects of the life of the two civilizations in question, namely the Islamic and the Christian Western, were governed by spiritual principles and there was not any domain of artistic or intellectual activity which lay outside those principles and their applications. And even art was seen in a different light in the sense that it was not confi ned to a particular type of activity carried out by a special kind of human being but embraced the whole of life. Or to quote the famous Indian authority on traditional art A. K. Coomaraswamy, in traditional societies, “the artist was not a special kind of man, but every man was a special kind of artist.” In fact in many languages of traditional civilizations there does not even exist a word for art in the modern sense of the term because there is nothing present in such civilizations that is not art. -
The Milk of the Virgin: the Prophet, the Saint and the Sage by Renaud Fabbri
From the World Wisdom online library: www. worldwisdom.com/public/library/default.aspx The following essay is found in Sacred Web 20, edited by M. Ali Lakhani The Milk of the Virgin: The Prophet, the Saint and the Sage by Renaud Fabbri Prophets, saints, and sages: The prophet brings a form of faith — a religion; The saint lives it; the sage opens A luminous realm of Pure Spirit Beyond form. Prophets are also wise men, Yet about the highest Truth they speak softly; To the sage, holiness bestows light. God and our heart are united in eternity. 1 (Frithjof Schuon) There have been a few controversies in the last decade about the teaching and personality of the 20th century Perennialist author and founder of the Maryamiyyah Sufi order, Frithjof Schuon (1907-1998), 1 Frithjof Schuon, Songs without Names XII / XVI (Bloomington: World Wisdom, 2007). also known under the name of Sheikh Isa Nur Ad-Din Ahmad. These controversies have been reflected to various degrees in articles published by traditionalist journals as well as in recent scholarly publications. In the following paper, it will be argued that Frithjof Schuon is best understood neither as the founder of a new religion (a prophet in the classical sense of the word) nor as a Muslim saint, but as a universal sage, a spokesman for the religio perennis whose connection with Islam, although providential, remains secondary in the context of his message of esoterism, universality and primordiality. Before we engage in an attempt at defining a sage, we will need to refute two types of criticisms against Schuon. -
Foreword to 'The Essential Titus Burckhardt'
ETB_FINAL.qxd 1/6/03 2:31 PM Page xv Foreword Titus Burckhardt is without doubt one of the central figures of what has come to be known as the School of Tradition. He is at once a master of metaphysics and cosmology; an expert on the traditional arts of East and West; a pioneering expositor and translator of major Sufi texts; the keenest observer the West has produced of the traditional art, life, and thought of the Islamic Maghrib, particularly Morocco; and a master expositor of traditional patterns of social life. Burckhardt has left behind a precious legacy of works written in German and French, of which many have been translated into several European languages, especially English, as well as into Arabic, Persian, Turkish and Urdu. Burckhardt was blessed with a remarkable power of intellectual penetration combined with visual intelligence. He was both metaphysician and artist and, above all, a saintly person in whom the truth had become realized in all aspects of his being, in his thoughts and words as well as in his actions and deeds. He was not only a person who wrote of the wedding of the soul with the spirit and the turning of the lead of the soul into gold, but one in whose being that alchemical transmutation had taken place in an operative manner. His works complement in many ways those of his close friend Frithjof Schuon and, in the domain of art, those of A. K. Coomaraswamy. Burckhardt wrote about metaphysics with the greatest clarity and produced books and articles of unparalleled depth concerning the traditional sciences, particularly alchemy, on which he wrote what is probably the most outstanding work of the 20th century. -
Frithjof Schuon and the Perennialist School
From the World Wisdom online library: www. worldwisdom.com/public/library/default.aspx 11. FRITHJOF SCHUON AND THE PERENNIALIST SCHOOL What has become known as the “perennialist” school of thought was founded by the French philosopher and orientalist René Guénon (1886-1951) and brought to full fruition by the German philosopher and poet Frithjof Schuon (1907-1998). It may be of interest to recall in passing that two other celebrated wisdom schools had dual origina tors, namely, those associated with Socrates and Plato in 5th-century B.C. Athens, and with Rûmî and Shams ad-Dîn Tabrîzî in 13th-century Turkey. The two leading continuators of this current of intellectuality and spirituality were the German-Swiss Titus Burckhardt (1908-1984) and Anglo-Indian Ananda Coomaraswamy (1877-1947). Even though virtually all of Schuon’s books have been available in English for many years, one cannot say that his name is a familiar one to the general public. To people with special interests, however, in such fields as comparative religion, metaphysics, theology, and the spiritual life, a great deal has been known about him for a long time.1 Fifty years ago, an English Thomist wrote of Schuon: “His work has the intrinsic authority of a contemplative intelligence”.2 More recently, a senior American academic declared: “In depth and breadth, the paragon of our time. I know of no living thinker who begins to rival him.”3 T. S. Eliot’s perception was similar. Regarding Schuon’s first book, he wrote in 1953: “I have met with no more impressive work in the comparative study of Oriental and Occidental religion.” The term “perennial philosophy” has existed since the Renais sance, but in modern times it became familiar to the English-speaking world thanks to the book of the same name by Aldous Huxley.4 The central idea of the perennial philosophy is that Divine Truth is one, 1 For full biographical information on Schuon, see Frithjof Schuon: Life and Teachings by Jean-Baptiste Aymard and Patrick Laude (SUNY, Ithaca NY, 2004). -
Titus Burckhardt: Reflections on Sacred Art, Faiths, and Civilizations
Author of the new release by World Wisdom, The Essential Titus Burckhardt: Reflections on Sacred Art, Faiths, and Civilizations Titus Burckhardt (1908-1984) was one of the most influential writers in the Perennialist school during its formative years in the twentieth century. This school is marked by its dedication to the exposition of the timeless Truth that underlies the many religions of humankind. As a young man, Burckhardt lived and studied in Morocco, where he acquired a deep understanding of traditional art, thought, and culture. For many years he was the artistic director of a European publishing house that produced and published a series of art books on sacred cities. In his later years Burckhardt was a consultant for the United Nations on the restoration of the ancient and historic city of Fez. Burckhardt’s extensive writings covered a vast range of subjects, but all were devoted to reviving an understanding of universal truths, arts, and sciences that were at the heart of traditional societies across all times and nations. He translated and commented on a number of important works of Islamic thought, demonstrating a unique talent for clearly explaining complex ideas. This talent was also evident in his philosophical writings. Burckhardt’s books and articles covered many topics (e.g. sacred art) within the traditions of Christianity, Buddhism, Hinduism, and Islam, amongst others. In all of these writings, his focus on the timeless spiritual nature of humanity helps us to better understand the limitations of many of our modern attitudes and ideas. What others have said about the author, Titus Burckhardt “One finds new insights on every page, and what is more, finds that these become more profound with each reading.” —Professor Arthur Versluis, Michigan State University “Mr. -
Frithjof Schuon: Messenger of the Perennial Philosophy ISBN: 978-1-935493-08-2 from the Free Online Library At
from: Frithjof Schuon: Messenger of the Perennial Philosophy ISBN: 978-1-935493-08-2 from the free Online Library at http://www.frithjofschuon.com/ FOREWORD Although almost all of Frithjof Schuon’s books have been available in Eng- lish for many years, one can hardly say that his name is a household word. To people with special interests, however, in such fields as philosophy, theology, comparative religion, and the spiritual life, a great deal has been known about him for a long time. The present biography provides, in an engaging and fascinating manner, a detailed background to his life, his writings, and his ideas, but I will sum- marize here some of the essentials in order straightway to give a hint as to the nature and character of this man. Frithjof Schuon (1907-1998) was born in Basle, Switzerland of German parents. His parents were of Catholic origin, but did not practice, and they sent their son to a Lutheran school. Throughout his long life, Schuon remained profoundly grateful to a beloved school teacher of his early years for his “wonderful Bible lessons”. At the same time, the child Schuon was enthralled by reading the Arabian Nights and folk tales from all over the world. Also as a child, he was already aware that what he admired and yearned for above all were the four universal qualities: “the holy, the noble, the beautiful, and the great”. At about the age of 11 or 12, he unexpectedly had a deep and lasting spiritual experience when he viewed, and was over- whelmed by, the three great Japanese Buddhist statues in the Ethnological Museum in Basle. -
The Foundations of Christian Art: Illustrated by Titus Burckhardt
The Foundations of Christian Art: Illustrated By Titus Burckhardt Through a luminous interplay of Burckhardt’s text and carefully selected illustrations this book becomes a work of art in itself, inviting the reader to “taste and see” the glories of the artistic and spiritual heritage of Christianity, a legacy which has had an inestimable impact upon all Western thought and culture. This book takes the reader on a pilgrimage through the history of Christian art, focusing especially upon its architecture, iconography, illumination, and the arts and crafts guilds, but always returning to the fundamental genius of Christianity, which gave meaning to the art. Additional Publication Information The Foundations of Christian Art also contains: An Editor’s Preface by Michael Oren Fitzgerald A Foreword by Keith Critchlow A Comprehensive List of Illustrations and Sources An Index 100 full color photographs The book has a publication date of May 30, 2006 and has a suggested retail price of $18.95. The Foundations of Christian Art is 128 pages in length. World Wisdom An Excerpt from The Foundations of Christian Art “When historians of art apply the term ‘sacred art’ to any and every work that has a religious subject, they are forgetting that art is essentially form. An art cannot properly be called ‘sacred’ solely on the grounds that its subjects originate in a spiritual truth; its formal language also must bear witness to a similar origin. Such is by no means the case with a religious art like that of the Renaissance or of the Baroque period, which is in no way distinct, so far as style is concerned, from the fundamentally profane art of that era; neither the subjects which it borrows, in a wholly exterior and as it were literary manner, from religion, nor the devotional feelings with which it is permeated in appropriate cases, nor even the nobility of soul which sometimes finds expression in it, suffice to confer on it a sacred character.