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Searching Rudolf Steiner Lectures by GA number (GA0286)

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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: Lecture: And The Temple Becomes Man
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    • the life of the human soul which express themselves in the forms of
    • sacred buildings and give birth to new forms as the evolution of
    • motifs of the windows in the Goetheanum expressed in the form of
    • themselves in the forms of sacred buildings and give birth to new
    • forms as the evolution of humanity advances. The forms of
    • Material through new forms which through metamorphoses from within,
    • great building of wood, with its hand-carved, weaving forms and
    • rented in Munich for performances of these Mystery Plays had brought
    • chosen by the Association formed for the purpose of carrying this
    • forms, the colours and so on. For in those times the Gods themselves
    • is afforded by the forms of temples belonging to the Second
    • original form can only be dimly pictured or reconstructed from the
    • Akasha Chronicle. Something reminiscent of their forms did indeed
    • have little information to give on the subject. But if, assuming that
    • Riddle.” The upward-rising form of the pyramid in which there
    • any rate, a façade is indicated only in the form of a riddle
    • presented to us. In the interior, as well as information on manifold
    • dynamic power, of inner forces weaving in the forms, it is whole and
    • embodied, within Earth-existence. This is expressed in the whole form
    • minds of the Faithful; and every one of the forms in the space we
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  • Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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    • which a spiritual transformation of artistic style must come
    • particular forms and motifs is greatly misunderstood by
    • very different form from anything that existed in the days
    • and development of form in architecture and sculpture. The
    • decorative form as inaugurated by the great Semper.
    • of weaving and interlacing. Architectural forms were derived
    • ornamentation were forms of external technique. This subject
    • Corinthian column. Let us think for a moment of the form of
    • I will draw a rough sketch of the form of
    • understand what is meant and desired in the forms of our
    • gestures of the human being, nay even the human form itself,
    • back and generate with my own form the forces which make me,
    • lines and forms which passed over into artistic creation. It
    • that gave birth to artistic form. Such lines are nowhere to
    • walking one behind the other. They form the procession which
    • expressed in a form with a wide base, running upwards to a
    • formed the procession. This was one thing that in olden times
    • forms runs upwards to a point from a wider base. This was
    • alternated with palms. Plants having a form like a wide bud
    • forces; bud-forms running upwards to a point, the earth
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  • Title: Ways/Architecture: Lecture II: The House of Speech
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    • everything personal, if the forms of this framework for our
    • the single forms with thought and feeling, we become
    • architecture, forms or art. Everywhere we feel that what
    • ought to be expressed through the forms of art has to-day to
    • heart or intellect, because the forms of art will teach them
    • all hearts through these forms; such buildings will be
    • ‘Lawgivers’ and their forms will be able to
    • the true forms of art, for they become instruments through
    • spoken of the Greek Temple and have shown how all its forms
    • expresses in the decorative forms of these dwelling- places
    • dance motif — a dance that was performed as homage to
    • the Gods of nature. And now let us pass on to the forms of
    • and activity, the worship he performs in his spiritual
    • now form a space set apart for those who are to worship. The
    • forms of the Churches of Christendom and also of Roman
    • a form where Greek and Roman architecture would no longer be
    • suitable. It is a form which reveals that the community
    • Romans in former times in the same way in which the
    • sought now for a distinct image of the world whereas formerly
    • of the community plays a part. In the single forms we see a
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  • Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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    • the Greek Temple, I said that in a certain sense it formed a
    • in architectural thought naturally implies the transformation
    • of the ancient Greek form of building (which was derived
    • and gravity) into the form corresponding to the conception of
    • Gothic Cathedral we have a still later form of architectural
    • their individual work, and this is expressed in the forms of
    • Gothic architecture. We feel as if the work performed in the
    • environment has passed into the architectural forms and rises
    • — if this nearness is gradually transformed into a
    • Spirit must in their very form express inner
    • Spiritual Science implies an actual penetration into the form
    • forms.
    • its forms of expression. In order to understand the Greek
    • forms are living, that they are organs of speech flowing from
    • for forms to speak from the spiritual world? It is indeed
    • Nevertheless, Selfhood, Ego-hood, can be felt in form, and
    • of form to a feeling in form we can acquire a perception of
    • forms. And the characteristic of really living feeling is the
    • capacity for living in forms. If you keep this in mind you
    • alt="The Form Moves Creating Action"
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  • Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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    • True Aesthetic Laws of Form
    • lecture we spoke of the Spirit which should pervade the forms
    • gathered that these forms are no more the result of imitation
    • feeling will have been that the forms have been derived from
    • furthermore that the forms in our building have been evolved
    • perception of what underlies the laws of true aesthetic form,
    • true and deeper laws of aesthetic form.
    • formed because certain beings do not take part in the
    • image out of consideration for the moment. It would be formed
    • combination of forms, a figure engraved in the cosmos
    • combination of form. When a certain combination of lines
    • mystery in the very form itself. They will say to themselves:
    • ‘What is it that this form expresses? I do not actually
    • we look at certain forms. We cannot always be conscious of
    • which do not take the form of ideas and thoughts but are
    • expressed in a feeling, ‘Ah, how beautiful this form
    • forms from out of this clairvoyance. Many of the forms to be
    • certain forms of early art which often seem to us merely
    • point of view which convinces him that the forms and laws of
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  • Title: Ways/Architecture: Lecture V: The Creative World of Colour
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    • understanding of spiritual life in its totality. True form in
    • our buildings a form that we consider suitable to our work.
    • in any outer form, although this outer form, it is true, can
    • it necessary to express anything in definite forms? We really
    • creations seem to be expressions of a general, uniform
    • impresses into his penciled forms the processes and events of
    • himself and his own particular world of form?’ A study
    • the world in his ego. So far as his form was concerned he had
    • case of form which expresses distance, for example. Colour
    • universe of life because this is shining in the colours. Form
    • moment the form has colour, the inner movement in the colour
    • rises out of the form, and the whirl of the cosmos, the whirl
    • of spirituality passes through the form. If you colour a form
    • cosmic soul, because colour is not only a part of form; the
    • colour you give to a particular form places this form into
    • the whole universe. In colouring a form we should feel:
    • ‘Now we are endowing form with soul.’ We breathe
    • soul into dead form when, through colour, we make it
    • another. And if we were to express this in some form,
    • artistically of course, this form, which in itself is at
    • Maximum number of matches per file exceeded.

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