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    Query was: nature
  

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: Colour: Part One: Colour-Experience (Erlebnis)
    Matching lines:
    • Steiner's insights into the nature of color, painting and artistic
    • for the knowledge of the objective nature of the world of colour — a
    • the nature of colour and its quality in the objective sense. At the
    • oft-repeated utterance: “The man to whom Nature begins to reveal
    • with the nature of colour. In ordinary life colour is dealt with
    • coloured, according to the impressions received through the nature of
    • world of colour. In order to arrive at the objective nature of colour we
    • we may hope to fathom its real nature.
    • penetrate into the nature of colour, we must experience something in
    • We are not copying Nature in this experiment, but placing something
    • to seek as the nature of colour. Let us take a very characteristic
    • penetrate into the objective nature of colour — as a rule the
    • subjective nature alone is sought.
    • the plant, but in reality it cannot be the essential nature of the
    • body it would be a mineral. In its mineral nature the plant manifests
    • the essential nature of the plant, and on the other the greenness,
    • special nature of the plant-image.
    • endeavour to arrive at its essential nature. As a rule we see this
    • He expresses himself by pouring his soul-nature into his form in the
    • in whom the psychic nature is withdrawn somewhat and does not ensoul
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • The Luminous and Pictorial Nature of Colours
    • Steiner's insights into the nature of color, painting and artistic
    • The Luminous and Pictorial Nature of Colours
    • We tried yesterday to understand the nature of colour from a certain
    • search also for their natures. We shall not search for them through
    • which will strike you if you observe life: green you have in nature;
    • I have here pointed out to you from the nature of things a certain
    • and blue. Now we shall be able to go a step further towards the nature
    • own nature green always allows us to make it with definite limits.
    • we note that as a result of its own nature, colour has a inner
    • this point of view. Let us take yellow, the whole inner nature of
    • inner nature. It wants to radiate. Let us take blue on the
    • as such, because of its own nature, does not permit a smooth surface.
    • Blue by its inner nature demands the exact opposite of yellow. It
    • blue. Then it shows itself in its very own nature.
    • it yields itself to the nature of colour.
    • help itself, it is its nature to disappear. Green outlines itself,
    • that is it nature. But peach-colour does not demand to be
    • We saw that yellow wants, of its own nature, to get paler and paler
    • concentrating; that is red's nature. So you see there is a fundamental
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
    Matching lines:
    • The Phenomenon of Colour in Material Nature
    • Steiner's insights into the nature of color, painting and artistic
    • The Phenomenon of Colour in Material Nature
    • We have differentiated colours in that out of their own nature we have
    • called the luminous nature of colours which we meet in blue, yellow and
    • the nature of colour to the plane of painting, we must be interested in
    • this coloured appearance of material nature. Now since in recent times
    • produce that in plant-nature which sunlight as it were metamorphoses,
    • moon-nature (I will only just mention the subject today) as well as
    • nature of colours. It is, you see, something peculiar. If you go back
    • external nature, in so far as it consists of plant-life. You can of
    • was not so usual to observe nature and that therefore one did not
    • which an abstract nature acquires more and more power over human
    • him to comprehend the element necessary for painting nature in
    • will-nature of colour-luster. The old painters do not always take into
    • not make this distinction between image and luster in the nature of
    • colours; they grasp what is luster in colour-nature. They grasp what is
    • turned everything in the nature of colours into image, then you cannot
    • that is, of nature clothed in vegetation.
    • seeks to achieve must also be sought in the nature of colours itself.
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part Two: Thought and Will as Light and Darkness
    Matching lines:
    • Steiner's insights into the nature of color, painting and artistic
    • one-sided to consider, like Schopenhauer, that Nature has a basis of
    • nature, which leans more towards the side of thought. Hegel's
    • nature, had their external pleasure when beauty shone in the dying
    • addresses: If man dives down mystically into his will-nature, then
    • introspection, they would discover the true material nature of man's
    • you dive down into the will-nature, you will find the true nature of
    • atoms. You find the true nature of matter by diving down mystically
    • past; darkness leads into the future. Light is nature in terms of
    • thought, darkness is nature in terms of will. Hegel leaned toward
    • grow out of the peach-blossom. He turns from light-nature to light.
    • What stirs him, viz., what develops from the light-nature of the bloom
    • fruit, is as a matter of act the double nature of the world. To see
    • the world properly you must see it in its double nature, for only then
    • blossom, you are really living on the past. You look at nature in
    • The greenness of Nature is that which, as it were, has not yet
    • philosophy of Nature such as Goethe's is at the same time a spiritual
    • philosophy. In approaching Goethe, the researcher of Nature, we may
    • material nature; if we get so far as to be able to regard the
    • passionate natures as Schopenhauer. In short, we penetrate from the
  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
    Matching lines:
    • Steiner's insights into the nature of color, painting and artistic
    • connection there is, on the one hand, in the Kingdom of Nature with
    • that which pertains to Nature. On this point modern humanity faces a
    • outlook on nature, such a view can never build a bridge between the
    • contains not only what is psychic, and nature contains not only what
    • is natural. We get here a philosophy in which nature is the result of
    • world as we do now, and they will say: Nature shines round about us;
    • earth. We stand here now and survey Nature. We can stand like dry,
    • past in which beings have worked to form our surrounding Nature as it
    • for a man to say: There is a kind of compensation, for Nature itself
    • into physical things. Does the man who looks at Nature spiritually
    • Nature itself, spiritually seen, lies the justification of the moral
  • Title: Colour: Part Two: Dimension, Number and Weight
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    • Steiner's insights into the nature of color, painting and artistic
    • sympathy or antipathy. It feels as it were, the plant's nature
    • its real physical nature is the part that can be weighed or counted,
    • Such spiritual beings also permeate all the realms of nature.
    • in all these beings of nature's realms. And when on awakening he
    • insomnia, because his nature is not suited to it. But things are so
    • physical world beautiful; it is half a necessity of nature; it is as
    • But as regards human nature we must be clear: if we want to have the
  • Title: Colour: Part Three: The Creative World of Colour
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    • Steiner's insights into the nature of color, painting and artistic
    • studied the special attitude of this or that artist to Nature or to
    • which this or that artist regards Nature today is an exercise in
    • secret laws of Nature, which, without this revelation, would for ever
    • time clings to the most superficial, most abstract laws of Nature, to
    • drama of nature as the red of dawn was such that it impressed the man
    • spiritual waters of Nature's forces, what is, the spiritual forces
    • that lie behind Nature. We must make it again possible not merely
    • proceed onwards to a living experience of the real nature of colour.
    • manner. It is impossible to steep oneself in the living nature of
    • bottom of elemental life; it has studied Nature long enough, and tried
    • long enough to solve all kinds of enigmas in Nature, and to reproduce
    • Nature. But that which lives in the elements, that is still dead for
    • outer world in such a way as to miss its nature and its nerve. When
    • form, and share the cosmic life. Colour is the soul of nature and of
    • time further into the nature of colour and of painting.
    • our direction, is the unifying principle in the whole nature of man,
    • man's nature.
    • our direction, is the unifying principle in the whole nature of man,
    • man's nature.
  • Title: Colour: Part Three: Artistic and Moral Experience
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    • Steiner's insights into the nature of color, painting and artistic
    • refer to Nature and to the model for outward observation has become
    • any one-sided rejection of Nature and outward reality. Far from it,
    • it will unite its moral-spiritual nature with the results of
    • inner nature of things. And if it is a yellow surface, and we do the
    • So one learns to know the inner nature of colour, and as I said, we can
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • Steiner's insights into the nature of color, painting and artistic
    • Then let us look at men. If we examine nature we find the colour that
    • peach-blossom in spring. No other colour in nature is like it. But we
    • to the surface something of a shadowy nature.
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • The Hierarchies and the Nature of the Rainbow
    • Steiner's insights into the nature of color, painting and artistic
    • The Hierarchies and the Nature of the Rainbow
    • the Cherubim radiate their own luminous nature from it. The Seraphim
    • real nature is only the neutral surface on generally regards it?
    • something in the nature of an outer wrapping. It is thus that life
    • with the elements of Nature. People are no longer interested that



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