The Sacred Art

There are two kinds of art: one is the subjective art that leads nowhere; the other is the Royal Art of Nature, the objective and real art, the transcendental art. The latter obviously contains in itself precious cosmic truths... This is the gnostic art, the art that we find in all ancient arte facts: in pyramids and in old obelisks, in the hieroglyphs and in the bas-reliefs of the Pharaohs' Egypt; in all the works of ancient Mexico, in the archaeological relics of the Mayas, Aztecs, Zapotecs, Toltecs, etc.; or in the old parchments of the Middle Ages; in Michelangelo's paintings and sculptures; in Beethoven's, Mozart's, Liszt's or Richard Wagner's music; in the works of universal literature: Homer's "Iliad," Dante's "Divine Comedy," etc., etc., etc.

Undoubtedly, the gnostic art is based upon the "Law of Seven", in the "Law of the Eternal Heptaparaparshinokh" (the law that puts all that has been created in order: the seven days of the week, the seven colours of the prism, the seven notes of music, etc.). When a relic or an archaeological remain is found, usually you may find a certain intentional inaccuracy, little cracks that are, practically always, attributed to workers' hammers. In any case, every inaccuracy within the "Law of Seven" has been produced intentionally, to indicate that there, in such a piece, a teaching, a doctrine, a cosmic truth is being transmitted to posterity. The same happens with works of art. The "Law of Seven" rules all those ancient paintings. All the engravings and drawings of the Aztecs, Mayas, Egyptians, Phoenicians, etc., transmit precious teachings. We also find beautiful paintings, with great teachings, in all those medieval works of art, in gothic cathedrals, etc.

Let's remember the "Gioconda", for example; in that great work we may see the Divine Mother, "Stella Maris" as medieval alchemists called her, "The Virgin of the Sea", who wisely directs the workers of the Great Work. Amongst the Aztecs she is Tonantzin; amongst the Greeks, the chaste Diana; and in Egypt she is Isis, the Divine Mother, whose veil no mortal has ever lifted... It is important to make it clear, in an emphatic way, that each of us has his or her own particular and individual Divine Mother. In reality, we must assert that the royal art of nature is a way of transmitting cosmic teachings. Sacred dances, for example, were true informative books that deliberately transmitted a certain transcendental cosmic knowledge.

The dancing dervishes were aware of the "seven temptations" which are balanced with one another in living organisms. Ancient dancers knew the seven independent parts of the body and knew very well the seven different lines of movement. Sacred dancers knew very well that each of the seven lines of movement possesses seven points of dynamic concentration.
The dancers of Babylon, Greece and Egypt were aware of the fact that all this crystallizes in the dancing atom and in the giant planet which dances around its own centre of cosmic gravitation. If we could invent a machine to imitate quite accurately all the movements of the seven planets of our solar system around the Sun, we would discover, in amazement, the secret of the dancing dervishes. The dancing dervishes really imitate, in a perfect way, all the movements of the planets around the Sun. The sacred dances of Egypt, Babylon, Greece, etc., go even further; they transmit tremendous cosmic, anthropogenetic, psychobiological and mathematical truths. Saturday, the day of theatre, the day of the mysteries, was very popular in ancient temples. In those days, wonderful cosmic dramas were presented. Dramas were a means of transmitting valuable knowledge to the initiates. Through dramas different ways of experiencing the Being and diverse manifestations of the Being were transmitted to the initiates.

Among dramas, the most ancient is the Cosmic Christ's. The initiates knew very well that each of us must become the Christ of such a drama if we really aspired to the super-man's kingdom. The cosmic dramas are based upon the "Law of Seven". Certain intelligent diversions from this law were always used, as we said, to transmit transcendental knowledge to neophytes.

As for music, we know quite well that certain notes may produce joy in the thinking centre; other notes may produce sorrow in the sensitive centre; and, finally, others may produce religiousness in the motor centre.
Really, as ancient Hierophants, we are always aware of the fact that the integral knowledge may only be acquired with the three brains; a single brain cannot provide complete information.

Sacred dances and cosmic dramas, wisely combined with music, were a means of transmitting a tremendous and archaic cosmogonic, psychobiological, physicochemical and metaphysical knowledge to neophytes.

We may mention here sculpture as well. It was great in other times. The allegorical beings which were sculpted on hard rocks reveal that the ancient Masters were always aware of the "Law of Seven."

Let's remember the Sphinx of Giza in Egypt. It tells us about the four elements in nature and the four basic conditions for the Super-Man. However, as human beings went down the way of involution and degeneration, as they became more and more materialistic, their senses deteriorated and degenerated as well, and the love for wisdom logically disappeared little by little. After the Second World War, existentialist philosophy and art were born. When we have seen the existentialist actors on stage, we have come to the conclusion that they are, actually, maniacal and wicked, sick people. The artists of every new generation have become authentic apologists of the materialistic dialectics. Every breath of spirituality has disappeared in the ultramodern art. Observation and experience has shown that the absence of spiritual values produces degeneration. Modern artists no longer know anything about the "Law of Seven"; neither do they know about cosmic dramas; they do not know anything about the sacred dances of ancient mysteries. Nowadays, painting, music, sculpture, drama, etc., are just the product of degeneration. The initiates of past times, the sacred dancers, the real artists of great times no longer appear on stage. Now only sick robots, degenerated singers and rebels without a cause perform their base spectacles. The ultramodern theatres are the antithesis of the sacred theatres of the great mysteries of Egypt, Greece, India, etc. Art nowadays is tenebrous; it is the antithesis of light and modern artists are tenebrous.

Surrealist and Marxist painting, ultramodern sculpture, Afro-Caribbean music and modern ballerinas are the result of human degeneration. The boys and girls of the new generations receive, through their three degenerated brains, enough data to become swindlers, thieves, murderers, bandits, homosexuals, prostitutes, etc. Nobody does anything to stop degenerated art, and everything moves towards a final catastrophe, due to the lack of Revolution of the Dialectics...

The Sacred Arts- Early Arts