The Symbol of Unified Field Theory and the Universal Man: The Shambhala Para-Prakiti Magnet

The Symbol of Unified Field Theory: Universal Man, Monalisa, 2012

Integration of Race-Subsystems and Gender Localisation with the Universal Frame/Symbol of Unified Field Theory: Universal Man, Monalisa 2012

Integration of Race-Subsystems and Gender Localisation with the Universal Frame/Symbol of Unified Field Theory: Universal Man, Monalisa 2012

Its mystic origin in Shambhala was the cult left for a higher evolving race

Memory structures beams of light in the fountain of the dark star

The hexagram of animated motions are constructed by the valipa turn of the Yung-drung

From the yin to the yang in the ivory fire of waters’ symmetric verse

It wrote the syllabic feet of scriptures that transliterate creation from other micro-creations

From the savage prehistory of sacred letters, the fish swam across the river and became the tree

It saw the early light of the dawn at varying lengths falling on the ancient crucible

It had the bondage of silence so it couldn’t utter the aloa-aloa-vivi-afa

Darkness nestled the springs in the backyard of the great mountains

The birds flew migrating from one land to the other

Like the psychic wish of Hibiscus in the nomadic herd of the exothermic race

They wandered from valleys and deserts to gardens and meteorite caves

Another soliloquy of the artist with the plenary beings

Sculpted the face of Monalisa on the symbols of divine destiny

Here to meet in the Happy Isles or in the Tazig-Tazig kingdom

The Altai disappeared in the storm, the Urals appeared missing again

Tibet was dancing like the cormorant from Xinjiang

Images from the pages of the diary come and go like the stagecoach

They may never know what they mean but truly know where the light is taking it.

– Joy Roy Choudhury

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Peter Paul Rubens’ Celestial Light of the Origin in his paintings and the Transformation of Matter by White Light Synthesis (Jim Morrison & Jerry Garcia as apostles to Dionysian and Apollonian Forces in the Landscape)

Landscape with a Watering Place, Peter Paul Rubens, Louvre, Paris, France

Peter Paul Rubens’ Celestial Light of the Origin in his paintings and the Transformation of Matter by White Light Synthesis (Jim Morrison & Jerry Garcia as apostles to Dionysian and Apollonian Forces in the Landscape)

The painting here summarizes the glow of the celestial light of the origin if we think ‘dark matter’ is the source of everything in this creation. The yin-yang in the painting is the subtle interplay of the senses between auditory and ocular mediums creating a kinaesthetic effect that transforms time into an ‘ever present paradox of the moment’- the ZEN of immutable delight or ‘ananda’ in the temporal process of existence. Here the god is not so much the object outside in the phenomenal world, but in ‘man as reality’ of a benevolent shepherd, who takes care of the flock and the community, as the ‘para-prakiti’ finds the magnet in him as in herself. This ontological classification of man within the hierarchy of God the Father acts as a kind of memory-painting intertext  of an ecologically conscious artist who knows his ‘being’, lives in that ‘idyll’ of supreme intelligence in the Brahman, and finds his inspiration from the Shakti/Nature.

Though Rubens’ landscapes are about the expressions of light (internal, external), there is also a finer judgement in his works that pastoral settings are not only about the exuberance of life, but integral nature of it also presupposes a degree of sadness in it because, ‘life-death’ are continually harnessed in our biological self, in the cells and in the cosmic order of things.

The deeper monotone of emotional suffering is a Dionysian force (that finds joy in death and negation) operative in nature that unveils the secret of ‘mind’ in matter for the process of integral synthesis and transformation.

Jim Morrison experienced similar forces when he wrote: “moment of inner freedom/when the mind is opened and the/infinite universe revealed/& the soul is left to wander/dazed & confus’d searching/here & there for teachers & friends”. It’s the same ‘quantum multiverse’ that’s opening to him as in the painting, ‘exaltation’ often bearing a touch of loneliness as it grapples with infusion of time with the solar plexus of eternity.

The quanta of qualitative judgement is not the focus of the artist or the poet/singer but the experiential qubit is the only statistical proof of his ‘faith’ in ‘nature and in ‘him’, as the source of the carrier-particle is often hidden in the square-root of its quantum-multiverse. The trees and houses in the background are brimming with Apollonian grace – a conjunction of light and matter, as one sets the law to sustain the harmony of the other (theory of sustainability and order) in itself, and by it, as a rare proof that both forces can simultaneously exist to bring equitable distribution of the quality of light intensity in the mind (internalisation process as para-truth verification) as consciousness in matter.

Jerry Garcia who gave music to Robert Hunter’s words in the Grateful Dead song The Eyes of the World, can be seen as a ballad that connects with the Apollonian force present in the painting.

“Wake up to find out

That you are the eyes of the World

But the heart has its beaches

Its homeland and thoughts of its own

Wake now, discover that you

Are the song that the morning brings

But the heart has its seasons

Its evenings and songs of its own”.

The song that morning brings is a template of the artistic source within, the Tao of life  is a higher integrated substrate of the cosmic synthesis of light in matter to activate consciousness in its time.

– Joy Roy Choudhury

The Future Seconds of Man as a ‘Time-Carrier Particle’ in the Renaissance of da Vinci (The Vitruvian Man, Monalisa and The Last Supper)

Snow Leopard Cradle, Joy Roy Choudhury

The Future Seconds of Man as a ‘Time-Carrier Particle’ in the Renaissance of da Vinci (The Vitruvian Man, Monalisa and The Last Supper)

“Time present and time past 

Are both perhaps present in time future

And time future contained in time past” – T. S. Eliot

Consciousness-Analogue

The Vitruvian Man (1485) is a kind of time-link fiber carrying the essentials of divinity in man; it hatches the corporal sensuality of ‘beauty in mysticism’ in the artist’s mind, and, that has led a da Vinci to discover ‘Monalisa’ (1503-05/07) as an unequivocal affirmation of the ‘para-prakiti’ consciousness magnet with the power to transform lives. Both these two paintings are a route to rediscover The Last Supper (1498) which is not a historical setting put into canvas, but, a social template of the Lord in him and in the populace, and he in the Lord by the act electromagnetic attraction. The wisdom of the 12 apostles is the process carried forward by the 12 particles -the 6 quarks and the 6 leptons by the action-inaction of the tetra-forces (strong, weak, electromagnetic, gravitational) of cosmic interactivity. Contemporary music like that of Johannnes Ockenghem (ca. 1420-1495) who composed French chansons and delved into polyphonic music  was able to extract the singularity of ‘purity in sincerity’ to demonstrate the early ‘awareness of being’ in the causal process of time-elongation. The elasticity of the mental/psychic being while pursuing the creative Skills-Limit  α threshold ( a condition of yogic-meta perfection of qualitative quantity in work) was also observed in Guillaume Dufay (1397-1474) and in the music of Josquin Desprez (1440-1521) and Leonardo Praetorius (1571-1621). Music was following what modern day quantum physicists say ‘signal nonlocality’ allowing time-consciousness to emerge as a retrocausal balance to preserve the ethical kinship it had with the ‘origin of the origins’ beyond big bang and black holes. The symbol of ‘artistic intrusion’ into the dark matter of existence to perhaps comprehend the massive grace-conscious matter of this creation was first put in as an example of the ‘examination of the self’ in man and in nature of ‘binary and multiple existence’ (all perceived in twos or threes than in ones) by the paintings of da Vinci’s The Vitruvian Man , Monalisa and The Last Supper. They convey the idea of a plastic super-intutive future for man in the polymerization of collective-conscious will-aggregators (the sat-guru blessing!) for the liberation of matter from the bondage of gravity. The Last Supper is the ‘perennial hope’ in man to resolve the equation of his destiny by a ‘future choice that can affect the past measurement’s outcome (Yakir Aharonov’s retro-future) by the inner-self reflection of the Grail Light of the Sun. There, Horus is the Surya-Savitri of the Supramental Supramental state in the Extrohan Cause to perfectly annihilate itself in the Large Hadron Collider to remake in man the vision he shared in the dark beginning of no-ends. The non-duality of a monochrome in a super-fluid vastness is the sweet bud of a labyrinth rose that sheds tears as smiles; it’s a form that impregnates other forms making time work as a carrier-particle in the evolution  of ‘occult Madonna as Monalisa’ in the painting of da Vinci. The painting finally culminates to a point of stillness in the eyes of Monalisa talking to its audience in a manner seldom understood in contemporary art.

“Only by the form, the pattern

Can words or music reach

The stillness”.  (Burnt Norton, T.S. Eliot)

“And do not call it fixity

Where past and future are gathered.

Neither movement from nor towards,

Neither ascent nor decline…” (Burnt Norton, T. S. Eliot)

– Joy Roy Choudhury

The Cross is the Yin-Yang Gnostic Alter-Piece of the Life-Cycle (Fermion-Disc Harvesting Time)

The Cross is the Yin-Yang Gnostic Alter-Piece of the Life-Cycle (Fermion-Disc Harvesting Time)

Photograph, Joy Roy Choudhury

Consciousness-Analogue

Circle is the epiphany of the Feast (The Last Supper, da Vinci) in the divine innocence of the true child. The centre of the circle is the virgin infinity of the Para-Brahman Chakra in the eye of the seer seeking the Adi Chintamani. The stone is the grail where blood crystallizes the sun in the mad judgement of the life coming from the dead.

Immortality is the embryo that darkness child in the blind faith of  light’s destiny; Innovation is a pure bliss of the ‘spirit’ in ‘matter’- mater consciousness ‘spring-nest’- al-garabi- vacuum is white-iron-hard-matter (727.727) in white-steel-hard-matter (828.828).  It’s the quest of a singular incarnating point of consciousness to navigate the circumference of the creation by the free-sacred, free-choice of the Extrohan cause. The dead are now living in the physical plane talking like the winds do while dancing their way between bamboo leaves that form an arc of the quarter moon in the half light of the sun.

“Weng gathia wun guvra vhi

 Weng gathia woan mui trasu

 Nui tra dhip nui tra geth

Nui tra wajed vhi tak grivam” ( mantra lines absorbed from Noah)

Peace, Peace, Peace!

– Joy Roy Choudhury

Ref: Pic 2, Joy Roy Choudhury