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The wax argument or the sheet of wax example is a thought experiment that René Descartes created in the second of his Meditations on First Philosophy.He devised it to analyze what properties are essential for bodies, show how uncertain our knowledge of the world is compared to our knowledge of our minds, and argue for rationalism.
The horizontal line in the Kongo cosmogram represents the boundary between the physical world (the realm of the living) and the spiritual world (the realm of the ancestors). The vertical line of the cosmogram is the path of spiritual power from God at the top, traveling to the realm of the dead below, where the ancestors reside.
Dancemeditation is a moving meditation system incorporating art, somatics and the mysticism of Sufism. [1] The practice was developed in 1995 by Dunya Dianne McPherson after completing 1001 days of Sufi training with Sufi Master Adnan Sarhan. [2]
Sama (Turkish: Sema; Persian: سَماع, romanized: samā‘ un) is a Sufi ceremony performed as part of the meditation and prayer practice dhikr. [clarification needed] Sama means "listening", while dhikr means "remembrance". [1]
The dance was "a kind of moving meditation" for her. [14] Christine Ottery, writing in The Guardian in 2011, states that "ecstatic dancing has an image problem" and "encompasses everything from large global movements such as 5Rhythms and Biodanza to local drum'n'dance meet-ups". She suggests that readers may "find 5 Rhythms a good place to ...
One of the most striking features of Indian classical dance and dances of Thailand, [1] Cambodia, Laos, Myanmar and the Malay world is the use of hand gestures. Speaking in dance via gestures in order to convey outer events or things visually is what mudras do. To convey inner feelings, two classifications of mudras (hand or finger gesture) are ...
The Balinese Sacred Dance Sanghyang Dedari involves girls being possessed by hyang, Bali, Indonesia. The theologian W. O. E. Oesterley proposed in 1923 that sacred dance had several purposes, the most important being to honour supernatural powers; the other purposes were to "show off" before the powers; to unite the dancer with a supernatural power, as in the dances for the Greek goddesses ...
In some regions, for example in Laos and Thailand, these are distinct but share related iconographic conventions. According to Jamgön Kongtrül in his commentary on the Hevajra Tantra , the ornaments of wrathful deities and witches made of human bones (Skt: aṣṭhimudrā ; Wylie : rus pa'i rgyan phyag rgya ) are also known as mudra "seals".