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It is impossible to touch on certain mythical stories without touching the deepest strings of our souls.
The theogonic myths contain universal elements of the journey of the soul. They warn us about the dangers of this journey: about what enslaves the soul, takes it captive—all our vices, fears and weaknesses. They also tell us what elevates the soul and leads to its liberation—all our virtues. The myths contain the generous gifts that the gods offer us. All we have to do is learn to find them, recognize them and use them in our lives.
Tagore always criticized power and materialism for its own sake. The more one accumulates treasures, and the more one amasses all the power in the world, one is actually chained.
This article is based on an event by New Acropolis Culture Circle with Raghu Ananthanarayanan, who spoke on the Yoga Sutras by Patanjali. Raghu is a behavioural scientist, yoga teacher and author. He has dedicated his life to the study and application of yoga and Indic traditions to guide the inner transformation of individuals and shape leadership and culture building of organizations.
Just a few kilometers off the Mumbai Harbor, nestled on an island, amidst basalt rock mounds, lay a mysterious complex of exquisite cave temples that whisper a silent homage to the region’s spiritual past. It’s tune inaudible to the nearby metropolis teeming with ambitious commerce, and ceaseless traffic, here the temple walls echo a stark but graceful embrace, and invite the yearning explorer to re-discover a mystical tradition so vibrant in the distant past.
Perhaps no other civilization captures the imagination of intellectuals and dilettantes alike, as does Ancient Egypt. Arguably one of the earliest, longest lasting and most influential civilizations of history, it is recognized for its stupendous artistic, scientific, social, and spiritual achievements. In this slim volume Livraga gives us a penetrating and reflective insight into Ancient Egypt, its highly developed culture, its enigmatic symbols and its sacred philosophy.
In this article, I seek not to publish a scholastic investigation of Warli Art. Instead, as a philosopher studying symbolism, I humbly share my observations of a few elements from its unique tradition in which the artists seem to have been preoccupied, not with mythology, but with the strong drive to align to Nature’s order, by celebrating life and revering Mother Earth, through a unique sense of aesthetics.
Today, people throughout the world are perturbed by the degradation of the environment and the disastrous consequences of the loss of resources in the hands of an ever growing population. In such times, traditional ethics, which contained nature conservation
New Acropolis is an international organisation that promotes an ideal of timeless values. Its aim is to contribute to the development of individuals and societies through its work in the fields of philosophy, culture and volunteering. New Acropolis is present in over 50 countries across the five continents and has more than 400 centres worldwide.
Its action in the world is based on three founding ideals:
The ideal of universal fraternity, promoting respect for human dignity, beyond any differences of gender, culture, religion or social background.
The ideal of knowledge, encouraging the love of wisdom through the comparative study of philosophies, religions, sciences and arts.
The ideal of development, enabling each human being to realize their best qualities and values, as a solid basis for a better world.
The president of New Acropolis, Carlos Adelantado, explains how these shared ideals can be achieved.
As a student of Sri V Ganapati Sthapati, and then from her association to the School of Architecture of Madras University, for over 30 years Sashikala Ananth has been investigating the classical Indian science of architecture, known as Vaastu, combining both textual knowledge and practical field application. She has distilled her experience in her books that include The Penguin Guide to Vaastu and Pocket Book of Vaastu.
Padmashri Shekhar Sen, accomplished actor, singer, lyricist, and music director, is perhaps most celebrated for his unique mono-act theatrical renditions, through which he brings to life master poet-philosophers Tulisdas, Kabir, Surdas, and Vivekananda. Last February, New Acropolis (Mumbai) had the privilege to host an evening performance of a medley of Shekhar ji’s moving works. Ever since, I have been longing for an opportunity to unravel the man behind the masks. Seated on the cozy sofa of his Versova home, over a hot cup of masala tea, the opportunity presented itself. Delightedly looking back at his visit to the Centre he shares, “Any place I go that I sense is truly spiritual is very special for me. In a place like New Acropolis, where so much good is fostered, I just hoped to absorb some profound inspiration, like baby Krishna steals away butter!” Our conversation naturally arrived at unraveling the true role of an artist in society, and Shekhar ji playfully wove poetry and rhyme into his evocative explanations.
In our perpetual pursuit of the perceived definition of success, our minds and bodies are incessantly engaged in surface level occupations; being ‘busy’ appears to be a natural choice to satiate our voracious material and intellectual needs. Nevertheless, somewhere a higher center within us remains starved and an intense yearning to unite with something larger than our individual selves is palpable. Despite material abundance, technological advance and unrestrained liberties, the overwhelming spiritual vacuum is incontrovertible. True, there are fleeting instances in which we do manage to establish an evanescent connection with the spiritual realm. However, the avenues to approach that elusive higher dimension, that lies deep within, in a more sustained manner appear abstract. To address this prevalent emptiness it is worthwhile for a seeker to explore the few unequivocal portals that facilitate such transitions.
It is natural to wish to live a successful and meaningful life; to feel we managed to contribute, and make some difference, some impact on the world around us; to feel we fulfilled our life. To do so, it can be logical that one would seek to influence others, to be considered successful in their eyes, and someone worth learning from. It is certainly a means to impact others, to get positive attention. It could become a problem however, if we tend to mix means with aims, forgetting that one cannot replace the other. To be considered successful on the outer doesn’t stand for the quality of the inner and the actual.
As if echoing these ancient scriptures, quantum physicists state that creation began with the Big Bang – a first pulse of vibration; vibration is sound. The beginning of creation is therefore conceived as a primordial word. As creatures evolved,
For centuries art has been a natural means to express one’s inner journey – be it as a community or as an individual search. So has it been for Olivia Fraser, who has used her art to uplift, to produce wonder and beauty, and to find the ‘inner essence’ of things.
Olivia Fraser moved to India in 1989. Initially she was a travel painter before apprenticing with miniature and Pichwai artists from Jaipur, where she learnt their rich, rigorous and intricate tradition. The influence of Nathdwara Pichwai painting and early 19th century Jodhpuri painting,
This article serves only as an introduction to the legendary origins, metaphysical purpose, and the traditional form used in the practice of Qawwali. It would be impossible to capture the cultural nuances, complex history, and social impact of the genre in this brief work, but I hope to share some principal themes that have emerged from my own amateur investigation, to help the reader embark on their own exploration of this magnificent Sufi practice.
TOne of the platforms through which this unique concept of education was disseminated was through the ancient Indian Gurukul tradition. The term Gurukul comes from Guru, meaning teacher and kul, meaning extended family or home.