Relocating past the standard interpretations of this vintage chinese language textual content — that of utilizing it as a hallmark of what to do subsequent or trying to expect the longer term — Osho is utilizing the Tao Te Ching as Lao Tzu meant: to ignite the flame of person understanding and insight.
His commentaries on those seven verses burn via each inspiration we may well carry approximately ourselves until eventually we will be able to see with an identical crystal transparent gentle as Lao Tzu.
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Additional resources for Absolute Tao: Subtle is the Way to Love, Happiness and Truth
In a courageously direct sense, Jackson Pollock's paintings are without tradition. The marks are made within a vacuum which has displaced the tradition of the images of European art. With these paintings the traffic between art and life seems finally to have ceased, and the processes of applying paint to a flat surface have unequivocably detached themselves from the uneasy relationship whiah they had to the spaces and surfaces of everything which engages us outside of art. It is in this context that Rauschenberg's wish to 'bridge the gap between art and life' becomes intelligible and the constraints on the ways in which it was open to him to do so become clear.
It is his more prosaic ideas about the nature of emotions and their transmission through art that 1 shall here take issue with. Kandinsky presents an emotion as some purely internal event identifiable only by an awareness of its formal dynamic direction. It is a short but backwards step from this idea of an emotion which is abstracted from its connections with judgement, perception and action, to the idea of the purely abstract forms of painting detached from their specific and non-generalisable connections with things which have form and colour.
Just as very different sorts of engagement with the woman are presented through the more tactile and oral abstractions of De Kooning's Women series, where the paint is smeared, licked and swiped over and into her body. But here we are using what is in the work as a basis of speculation about the men who painted them, and so leaving the work itself behind. The paintings themselves show us ways in which women can be perceived. Norbert Lynton spoke of the feelings being transmitted through visual gesture.