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A Wisdom Archive on Degenerate art

Degenerate art A selection of articles related to Degenerate art

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Degenerate art, Degenerate art - Artistic movements condemned as degenerate, Degenerate art - Listing of artists in the Entartete Kunst show at Munich 1937, Degenerate art - The Entartete Kunst exhibit, Degenerate art - The fate of the artists and their work, Degenerate art - Theory of Degeneracy

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ARTICLES RELATED TO Degenerate art

Degenerate art: Encyclopedia II - Degenerate art - Theory of Degeneracy

The theory of degeneracy was conceived by the critic and author Max Nordau in his 1892 book, Degeneration, (German title: Entartung). According to Nordau, artists were victims of modern life and suffered from decayed brain centers. Nordau's inspiration was the criminologist Cesare Lombroso, author of The Criminal Man published in 1876. Lombroso attempted to prove that there were born criminals, which could be detected by scientific methods to determine atavistic personality traits by measuring abnormal physical ch ...

Including:

Weimar culture - Notable Cultural Figures of the Weimar Era

Weimar culture - Art

Weimar culture - Architecture

Weimar culture - Literature

Weimar culture - Music

Weimar culture - Theater and Film

Weimar culture - Intellectuals

Degenerate art: Encyclopedia II - Ernst Barlach - Biography

Ernst Barlach - Youth. Ernst Barlach was born on January 2, 1870 in Wedel, Pinneberg, Germany by the river Elbe, just west of Hamburg, as the oldest of the four sons of Johanna Luise Barlach and Dr Georg Barlach. His brothers were Hans (1871) and the twins Nikolaus and Joseph (1872). He attended primary school in Ratzeburg. It was during this period that his father died early in 1884. See also:

Ernst Barlach, Ernst Barlach - Biography, Ernst Barlach - Youth, Ernst Barlach - Study Years, Ernst Barlach - Seeking, Ernst Barlach - Formative years, Ernst Barlach - Popularity, Ernst Barlach - Degenerate art, Ernst Barlach - Works

Degenerate art: Encyclopedia II - Max Nordau - Degeneration

Nordau's major work Entartung (Degeneration), is an essentially philistine and moralistic attack on so-called degenerate art, as well as a polemic against the effects of a range of the rising social phenomena of the period, such as rapid urbanisation and its perceived effects on the human body. Nordau begins his work with a 'medical' and social interpretation of what has created this Degeneration in society. Nordau divides his study into five books. In the first book fin-de-siècle, Nordau identifies the phenomenon of fi ...

Including:

Alfred Rosenberg - Early career

Alfred Rosenberg - Racial theories

Alfred Rosenberg - Religious theories

Alfred Rosenberg - Wartime activities

Alfred Rosenberg - Nazi Policy and Rosenberg's Views

Alfred Rosenberg - Family life

Degenerate art: Encyclopedia II - Weimar culture - Notable Cultural Figures of the Weimar Era

Weimar culture - Art. Ernst Barlach – sculptor Max Beckmann – painter, printmaker Otto Dix – painter Max Ernst – painter Conrad Felixmueller – painter George Grosz – painter John Heartfield – photomontage artist Erich Heckel – painter Käthe Kollwitz – printmaker, sculptor, artist Wassily Kandinsky – painter Ernst Ludwig Kirchner – painter Paul Klee – painter Gerhard Marcks – ...

Including:

Nihilism - Etymological Origins

Nihilism - Nihilism in Philosophy

Nihilism - Postmodernism and the Breakdown of Knowledge

Nihilism - Nihilism and Nietzsche

Nihilism - Nihilism, Self-consistency, and Paradox

Nihilism - Nihilism in Art

Nihilism - Dadaism

Nihilism - Nihilism in Literature

Nihilism - Nihilism in Music

Nihilism - Books on Nihilism

Read more here: » Nihilism: Encyclopedia - Nihilism

Degenerate art: Encyclopedia - Nihilism

Including:

Nihilism - Etymological Origins

Nihilism - Nihilism in Philosophy

Nihilism - Nihilism in Ethics and Morality

Nihilism - Postmodernism and the Breakdown of Knowledge

Nihilism - Nihilism and Nietzsche

Nihilism - Nihilism Self-consistency and Paradox

Nihilism - Nihilism in Art

Nihilism - Dadaism

Nihilism - Nihilism in Literature

Nihilism - Nihilism in Music

Nihilism - Books on Nihilism

Read more here: » Nihilism: Encyclopedia - Nihilism

Degenerate art: Spiritual - Theosophy Dictionary on Bacchus

Bacchus (Greek) Used by both Greeks and Romans, also called Dionysos by the Greeks, Liber by the Romans, Zagreus in the Orphic mysteries, Sabazius in Phrygia and Thrace; the same as Iacchus (connected with Iao and Jehovah).

Generally represented as the son of Zeus and Semele, he is spoken of sometimes as a solar and sometimes as a lunar deity; for, like many other personifications of cosmic powers, he has both a solar and lunar (masculine or feminine) aspect. As a solar deity he has a serpent for his symbol and is a man-savior, parallel with Adonis, Osiris, Krishna, Buddha, and Christos. He is often called the god of wine, natural fertility, etc.

The original, pure Bacchic rites pertained to high initiation, in which the candidate becomes conscious of his oneness with divinity. Thus Bacchus, with his symbolic serpent and wine, stands for divine inspiration. But when the keys of the sacred science were lost and symbols were interpreted literally, the rites degenerated and often became profligate.

Bacchus-Dionysos also figures as the inspirer of dramatic and representative art, inspiring the individual with the divine afflatus or mystic frenzy. Originally this meant the inner communion of the candidate with his own inner god and the consequent inspiration; on a lower plane it signifies the fleeting inspiration of poet and artist, and finally it degenerated into hysteria and morbid psychic states.

Degenerate art: Spiritual - Theosophy Dictionary on Chemistry

Chemistry (from Greek chemeia)

An ancient art or science relating to the extraction of medicinal juices from plants, or of metals from their earths, or the transmutation of physical elements, as of base metals into gold, the preparation of elixirs, and other things usually connected with alchemy, from which modern chemistry is a derivative along specialized line.

In The Secret Doctrine chemistry is mentioned as being, together with biology, one of the magicians of the future, especially in its form of chemical physics, when it is no longer the mechanistic science into which it has degenerated.

"In Esoteric Philosophy, every physical particle corresponds to and depends on its higher noumenon -- the Being to whose essence it belongs; and above as below, the Spiritual evolves from the Divine, the psycho-mental from the Spiritual -- tainted from its lower plane by the astral -- the whole animate and (seemingly) inanimate Nature evolving on parallel lines, and drawing its attributes from above as well as from below" (SD 1:218).

Degenerate art: Spiritual - Theosophy Dictionary on Mysteries

Mysteries, The [from Greek mysteria Mysteries from mystes one initiated into the Mysteries from mueo to initiate from muo to close the eyes or lips]

Applies chiefly to Greece, but once extended to Asiatic cults of religio-philosophical character, it acquired a wider range under the Romans, and is used in The Secret Doctrine in reference to equivalent institutions in any part of the world. The most celebrated in Greece were those of Eleusis pertaining to Demeter and Persephone, which gave rise to many branches and influenced schools of older foundation.

Others were those of Samothrace, the Orphic Mysteries, and the Festivals devoted to Dionysos. Schools like that of Pythagoras diffused their influence, as did Academies such as that of Plato. The history of Greece furnishes notable examples of great men who had been initiated into such Mysteries. The Mysteries came into Greece from India and Egypt, and their origin goes back to Atlantean times. They were in historic times, what remained of the means whereby man's divine ancestors communicated truths concerning the mysteries of cosmos and of human nature and of the communion divinity and man.

In times when sacred knowledge was whole and not divided into sacred and profane, the human body, not yet desecrated, was held as sacred as any other part of function of human nature; so that the teaching embraced medicine, hygiene, singing, dancing, the useful arts and crafts; and the teachers of religion, philosophy, science, and of crafts, the founders of cities, and great artists derived their powers from this source.

The Mysteries were divided into the Greater and Less, inner and outer, esoteric and partly exoteric; and, as the former were guarded by well-observed secrecy the sources of ordinary information are mostly based on the latter. The more recondite Mysteries could not, from their very nature, be publicly divulged; they were revelations, appreciable only by an awakened spiritual perception and incommunicable to anyone not thus awakened. The Greater Mysteries were successive initiations for prepared candidates. The Less consisted of symbolic and dramatic representations for the public, in which, among other things, the profound symbology of the Greek mythology was employed.

The elevating and unifying influence of these institutions was acknowledged by Greek and Roman authorities and is apparent from a study of Greek history. With the advance of a cycle of materialism, the Mysteries became degraded, especially in Asia Minor in Roman times; the symbolism was perverted and even made to palliate licentious practices. What little was left to abolish was formally abolished by Justinian, who closed the mystic and quasi-esoteric Neoplatonic School of Athens in 529.

In a recognition of the ancient Mysteries we find a clue to the meaning of the universal prevalence, among peoples fallen into a degenerate and falsely called primitive state of life, of strange rites and black magical practices. These are the very dregs and distortions of the ancient holy teachings; but even here unprejudiced inquirers find that, when sympathetically approached, the existence of secret cults which preserve at least remnants of some of the essential teachings of the ancient wisdom.

As formal institutions, the Mysteries had their earliest origin during the fourth root-race, Atlantis, after its fourth subrace. Indeed, the still more primitive roots of the Mysteries can be traced to a much earlier time, probably during the third subrace of the Atlanteans, when the rapid degeneration of mankind into the worship of matter had brought about the absolute need of segregating the nobler and finer spirits of the human race into groups or schools where they could, under the vows of inviolable secrecy, study the deeper mysteries of nature and their own oneness with the divine. From that time the Mysteries became with every subrace more and more secret and entrance into them became ever more difficult. After the fifth root-race came upon the scene, the Mysteries had become well established in all countries of the globe, and their rites and functions, both of the Greater and the Less, were conducted as functions of the State.

Even from the time of the incarnation of the manasaputras in the third root-race, there has been an unbroken line, stream, or succession of lofty spiritual teachers guarding the ancient god-wisdom received in primordial ages from the dhyanis; and the Mysteries, even in their heyday of splendor and in their most secret lines of work, were the outer side of clothing of this inner stream of inspiration and sublime teaching. The light has not yet died from off the earth, and the spiritual stream still exists and does its work in the world, although for ages it has been acting more secretly and esoterically than ever. However, the time is coming when the Mysteries will again be reestablished and will receive the common reverence and respect from mankind that in former ages they universally had.

(See also: Mysteries, Mysticism, Mysticism Dictionary)

Degenerate art: Spiritual - Theosophy Dictionary on Magic, Magician

Magic, Magician (from Persian magus a wise man, great; cf magi)

The great art; a knowledge of the mysteries of nature and the power to apply them. In its true sense it is gupta-vidya (divine knowledge), the aim of those who tread the path of wisdom; but in ages of decline its chief secrets are withdrawn from public access, and what remains passes through transformations and gradually degenerates.

"The ancients believed in the power of man by magic practices to command the services of the gods: which gods, are in truth, but the occult powers or potencies of Nature, personified by the learned priests themselves, in which they reverenced only the attributes of the one unknown and nameless Principle. As Proclus the Platonist ably puts it: 'Ancient priests, when they considered that there is a certain alliance and sympathy in natural things to each other, and of things manifest to occult powers, and discovered that all things subsist in all, fabricated a sacred science from this mutual sympathy and similarity. . . . and applied for occult purposes, both celestial and terrene natures, by means of which, through a certain similitude, they deduced divine virtues into this inferior abode.' Magic is the science of communicating with and directing supernal, supramundane Potencies, as well as of commanding those of the lower spheres; a practical knowledge of the hidden mysteries of nature known to only the few, because they are so difficult to acquire, without falling into sins against nature" (TG 197).

White magic or theurgy is knowledge used for impersonal and beneficent purposes, the bringing into human life of the pattern and powers of nature as these exist on the spiritual planes. Black magic or goetia is knowledge used for selfishly personal or evil purposes. Natural magic is the knowledge and employment of the natural powers, forces, and substances of nature -- practically what today is called science. If the knowledge gained through the study of natural science is distorted in its use to selfish or ignoble ends, it becomes de facto black magic. While a hard and fast distinction may not be applicable to all cults of magic, where the student or practitioner has not yet made a conscious choice between the two paths, yet in the end he must choose the one or the other. For nature's forces must be controlled, either by a pure or an impure will, if the practicer is not to fall victim to them. The motive and use that a person makes of his faculties and will are the deciding factors as to whether the magic is beneficent or maleficent. Any selfish, self-seeking, or selfishly restricted use of nature's laws or powers is against the impersonality and universality of nature:

"The smallest attempt to use one's abnormal powers for the gratification of self makes of these powers sorcery or Black Magic" (Key 346).

In theosophical writings, advanced students of occultism who have acquired some knowledge and use of spiritual powers but misuse them for selfish purposes are called black magicians, Brothers of the Shadow, followers of the left-hand path, or sometimes dugpas. In their highest class they are adepts in spiritual evil.

Whenever the forces of nature are used for selfish purposes, such misuse by anyone marks such person as a black magician, whether conscious or unconscious. Those who follow the pathway of self-renunciation, self-sacrifice, self-conquest, and an expansion of the heart, mind, and consciousness in love and service for all that lives are called white magicians or Sons of Light.

Degenerate art: Spiritual - Theosophy Dictionary on Sanskrit

Sanskrit [from Sanskrit sanskrita or samskrita]

The ancient sacred language of the Aryans, originally the sacred or secret language of the initiates of the fifth root-race. The Sanskrit language possesses voluminous and valuable works in prose and in verse, some of which, like the Vedas, date back, in the opinion of certain scholars, to the years 30,000 BC or even far beyond. Almost every phase of philosophic thought, expressed and studied in the West, is represented in one form or another in ancient Hindu literature. Besides this, these old Sanskrit writings are replete with recondite subjects dealing with the wondrous potentialities of the human spirit and mind, the building and destruction of worlds and universes, etc.

The Sanskrit language, derives from one of the earliest of the Aryan tongues, a lineal descendant of an Atlantean progenitor.

"In ancient times in India, and in the homeland of the Aryans before they reached India by way of Central Asia, this very early Aryan speech was used not only by the Aryan populace, but in the sanctuaries of the Temples was taken in hand and developed or composed or builded to be a far finer vehicle for expressing abstract religious and philosophic conceptions and thoughts. This tongue thus composed or developed by initiates of the Aryan stock, because of this formative work upon it was finally given the name Sanskrita, signifying an original natural language which had become perfected by initiates for the purpose of expressing far more subtle and profound distinctions than ordinary people would ever find needful. So great was the admiration in which the Sanskrit language thus perfected was held, that it was commonly said of it that it was the work of the Gods, because it had thus become capable of expressing godlike thoughts: profound spiritual subtleties and philosophical distinctions. Thus it was that Sanskrit is really the mystery-language of the initiates of the Aryan race; as the Senzar of very similar history was the mystery-language of the later Atlanteans; and is still used as the noblest mystery-language by the Mahatmas.

"Sanskrit was not known as a spoken tongue to the Atlanteans in their prime, but in the degenerate or later times of Atlantis, when the earliest Aryans already had appeared on the scene of history, this early Aryan speech above alluded to, was already in existence; and the Aryan initiates were then in the course of perfecting it as their temple-language or mystery-tongue . . . Thus Sanskrit was not spoken among the Atlanteans, nor can it therefore be called an Atlantean language; although its verbal roots of course go back to earliest Atlantean times, but only its verbal roots" -- G. de Purucker

"The Vedas, Brahmanism, and along with these, Sanskrit, were importations into what we now regard as India. They were never indigenous to its soil. There was a time when the ancient nations of the West included under the generic name of India many of the countries of Asia now classified under other names. There was an Upper, a Lower, and a Western India, even during the comparatively late period of Alexander; and Persia (Iran) is called Western India in some ancient classics. The countries now named Tibet, Mongolia, and Great Tartary were considered by them as forming part of India. When we say, therefore, that India has civilized the world, and was the Alma Mater of the civilizations, arts, and sciences of all other nations (Babylonia, and perhaps even Egypt, included) we mean archaic, pre-historic India, India of the time when the great Gobi was a sea, and the lost 'Atlantis' formed part of an unbroken continent which began at the Himalayas and ran down over Southern India, Ceylon, and Java, to far-away Tasmania" (Five Years of Theosophy 179).

Blavatsky states that Sanskrit has never been known nor spoken in its true systematized form except by the initiated Brahmins. This form of Sanskrit was called -- as well as by other names -- Vach, the mystic speech, which resides in the sounds of the mantra. "The chanting of a Mantra is not a prayer, but rather a magical sentence in which the law of Occult causation connects itself with, and depends on, the will and acts of its singer. It is a succession of Sanskrit sounds, and when its strings of words and sentences is pronounced according to the magical formulae in the Atharva Veda, but understood by the few, some Mantras produce an instantaneous and very wonderful effect" (BCW 14:428n). This Vach, or the mystic self of Sanskrit, was the sacerdotal speech of the initiated Brahmins and was studied by initiates from all over the world.

"It is admitted that, however inferior to the classical Sanskrit of Panini, the language of the oldest portions of Rig Veda, notwithstanding the antiquity of its grammatical forms, is the same as that of the latest texts. Every one sees -- cannot fail to

See and to know -- that for a language so old and so perfect as the Sanskrit to have survived alone, among all languages, it must have had its cycles of perfection and its cycles of degeneration. And, if one had any intuition, he might have seen that what they call a 'dead language' being an anomaly, a useless thing in Nature, it would not have survived, even as a 'dead' tongue, had it not its special purpose in the reign of immutable cyclic laws; and that Sanskrit, which came to be nearly lost to the world, is now slowly spreading in Europe, and will one day have the extension it had thousands upon thousands of years back -- that of a universal language. The same as to the Greek and the Latin: there will be a time when the Greek of Aeschylus (and more perfect still in its future form) will be spoken by all in Southern Europe, while Sanskrit will be resting in its periodical pralaya; and the Attic will be followed later by the Latin of Virgil. Something ought to have whispered to us that there was also a time -- before the original Aryan settlers among the Dravidian and other aborigines, admitted within the fold of Brahmanical initiation, marred the purity of the sacred Sanskrita Bhasha -- when Sanskrit was spoken in all its unalloyed subsequent purity, and therefore must have had more than once its rise and fall. The reason for it is simply this: classical Sanskrit was only restored, if in some things perfected, by Panin. Panini, Katyayana, or Patanjali did not create it; it has existed throughout cycles, and will pass through other cycles still" (Five Years of Theosophy 419-20).

See also DEVANAGARI

(See also: Sanskrit, Mysticism, Mysticism Dictionary)

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