Temple Adi Da, Da Love Ananda Mahal Sanctuary

Coming down the homestretch on painting # 9.  The  working title is “Guru Moon”,  as it is a scene from Guru Purnima night in July several years ago at 2:30 in the morning.

“Guru Purnima” is a Hindu holy day that comes every full moon in July. It celebrates the relationship with ones Guru or Spiritual Master. Even though our Ashram isn’t a Hindu organization, this relationship with the Spiritual Master is the foundation of our practice, and so we embrace the spirit of this celebration. A spiritual practitioner who has been graced with any sort of real understanding will tell you that although on the surface it seemed like he or she was “doing” a practice that resulted in some level of Realization, in the end it was simply a gift from their  Guru, who actually did the transformational work while you stuck around.  It is as if they had been handing you  an apple and suddenly after so many years of dropping it you finally held on.

Lots of massaging and detailing to do on this painting, more definition here and there, subtleties of color to go into the sky, soften some transitions etc. Will wrap it up this week though.

Take care everyone.

Thanks for taking some LIP from me,



3 thoughts on “#9

  1. HI Bruce
    Are you selling this painting? or are you maybe selling giclee prints of it? or maybe just high res digital copies? I love it….. I want to hang it up on the wall…….

  2. Bruce,
    I think this is a remarkable painting, especially in the chiaroscuro aspect, or the interwoven amalgamation of shadow and light. Artists tell me chiaroscuro is a challenge always. All kinds of art reference surface for me, not in a derivative sense but in a positive way. I think of El Greco’s View of Toledo, or even (though the sensibility evoked is very different, Mystery and Melancholy of a Street, by the surrealist Giorgio de Chirico. But of course this is original. What I feel when viewing it is a sense of the sacred in the world, not just the mix of almost churrigueresque architectural form and effulgent landscape, but more like the sacred as a pivot of Realty, how the sacred interacts with everything, even with Kant’s definition of the terrifying beauty of nature. I don’t mean to sound too heady, but if any professor tortured you by making you read Immanuel Kant’s aesthetic theories, and his “Transcendental Idealism” philosophy, I would say this painting might be your response as an artist. What is different is that Kant did not exactly allow for humankind’s interaction with the beauty of nature except in the sense of artistic genius, and even that was more akin to an act of nature. At any rate, there are all kinds of phenomenological and ontological points about your painting. But again, in plain English, this is very impressive, Bruce. Congratulations.
    Take care, Bob Carroll

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