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Searching Rudolf Steiner Lectures by GA number (GA0286)

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    Query was: world

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
    Matching lines:
    • what the earlier temples in that part of the world may have been, it
    • world, together with the Mystery they contain.
    • and the all-pervading light. Could there be any sight in the world
    • its prototype or model exist anywhere in the world?
    • now look for something in the visible world that is as whole and
    • mysterious world within himself but able to let the forces of this
    • inner world stream perpetually through his being, directing his gaze
    • the annals of world-history tell us: The Temple is — MAN!
    • in the world of sense. In other words: The spirit that is received
    • world of sense if it is to be expressed in Art. No epoch except our
    • with the Spirits of the surrounding world, with the all-pervading
    • world-mysteries and entrusts them to man's keeping. The word
    • outside appearance is there for the secular world — with
    • — secluded from the material affairs of the world and open to
    • the spiritual world — be born from the Spirit of man as the
    • then placing them before the world. Styles of architecture are
    • art of all is the world itself — Macrocosm or Microcosm! In
    • olden times the secrets of the world were expressed in pictures, or
    • ‘explain’ the secrets of the world. In comparison with
    • prosaic Theosophists; we have to strip the world bare of its secrets
    • Maximum number of matches per file exceeded.
  • Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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    • anything claiming to be new is placed before the world. We
    • conception of the world of architectural, sculptural and
    • it is as if Atlas is bearing the world, but the form is still
    • world above the grave of a girl who had died, we realise that
    • nowhere to be found in the outer physical world. If anything
    • from the outer sense-world, and try to find an environment
    • something or other in the external world. Real art does not
    • of clairvoyance leads man to the realm lying behind the world
    • higher worlds cast their shadow pictures, as it were, down to
  • Title: Ways/Architecture: Lecture II: The House of Speech
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    • tasks before us in the objective world.' All that can ever be
    • wrong-doing from the world, true redemption, the turning of
    • within walls. The whole world was felt by the Greeks and
    • sought now for a distinct image of the world whereas formerly
    • they had taken the world itself and only placed within it,
    • elsewhere in the physical world, represent an onward flowing
    • the outer physical world than melodies are present there.
    • the world a relief which is full of meaning, only we pay no
    • spiritual, musical harmony of the outer with the inner world.
    • with the spiritual world when it sleeps during the night and
    • soul is connected with the spiritual world between death and
    • of the abyss; the stations on the path to the spiritual world
    • spiritual worlds, or traverse these worlds unconsciously,
    • showing us what our relation to the spiritual worlds must
    • spiritual worlds are speaking through the forms in the
    • hearts on love for the world of man and of spirit, to the end
    • thus spring up in the world. Let us realise the living nature
    • the world of the Spirit itself must speak through the
  • Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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    • but united with the spiritual world. And the token for the
    • the spiritual world, was the Temple standing there like an
    • the spiritual world.
    • for forms to speak from the spiritual world? It is indeed
    • relation with the outer world. The simple circle makes us
    • feel that nothing of the rest of the world is there, only
    • the circle is alone in the world. The variation in the line
    • world. If we really live into the form of the second
    • feel it as one line in the astral world we know that this
    • enters the physical world. It is an unity because it ever and
    • limits and pay heed to the world with which it is connected.
    • world can be expressed. Nobody who begins to think out all
    • the outer world and complex in the spiritual world.
    • enters the world, is really a highly complicated being. When
    • he enters the world — as I have often said — he
    • world bestows in that epoch.
    • worlds. We are standing at a definite point in the evolution
  • Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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    • of the external physical world than of mere speculation. Your
    • the spiritual world of which man is an integral part and of
    • ‘natural laws’ of the outer physical world, and
    • understanding of the spiritual world imparted by the
    • thus giving ourselves the colouring of the outer world, we
    • should have quite a different relationship to the world of
    • world, and all the different forms in art were an expression
    • world of sense. Nothing flowed into him from the spiritual
    • world and it became necessary to resort to a different realm.
    • his way into the spiritual world, when he must pass over from
    • spiritual world and at the same time brings down all that
    • must be brought down from the spiritual world. I have already
    • that the World-Spirit demands us to help in the task of
    • the World-Spirit working in human evolution, of Whom we try
    • power flowing into our inner being from the World-Spirit Who
  • Title: Ways/Architecture: Lecture V: The Creative World of Colour
    Matching lines:
    • The Creative World of Colour
    • Colour: Part Three: The Creative World of Colour: Lecture I.
    • us in the eyes of the world, saying, for instance, that we
    • year 2000 before the world will again reveal such
    • himself and his own particular world of form?’ A study
    • contemplators of the world, each from a certain point of view
    • and what they see, what strikes them in the world, this they
    • of the world—theoretical from its very foundations
    • between modern science and the conception of the world held
    • world connections — the substance that must indeed well
    • up from these world connections before art can come into
    • in the external world.
    • imagine that animals, even higher animals, behold the world
    • the world in his ego. So far as his form was concerned he had
    • the paths of return to the flowing world of colour, for as I
    • into this world by the creative elemental powers of the
    • externally is the world — all that for which he longs
    • will really be able to fathom what lives in the world of form
    • of the elemental world, for this world is living.
    • Maximum number of matches per file exceeded.

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