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- Title: Memória e Amor
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- loving work as architect, sculptor, and painter, was completely
- Title: Evil and Spiritual Science
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- befogged by the being of pain and emotion, this seemed a kind
- holding back the pain and emotion within the human soul, and
- of this: that the wild waves of the being of pain and emotion,
- described, conquering pain, conquering sentiment appeared as an
- sentiment and pain. Then, as the Stoics thought, they plunge
- us who enters into the spiritual world must painfully
- Title: Popular Occultism: Lecture 1: Popular Occultism, Introtroduction
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- a certain amount of instincts, pains, joys, ideals, and passions. They
- ideal sends out white-gold rays. The painters of past times, who were
- still more closely connected with clairvoyance, used to paint this aura
- Title: Popular Occultism: Lecture 2: Man's Ascent into the Supersensible World
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- of our moral qualities, such as pleasure and displeasure, pain and joy,
- a picture. In the astral world you do not perceive pain or joy in an
- immediate, direct way, but pain is perceived as a shape in dark colors,
- nothing arbitrary or uncertain, for he was perceive that pain or joy
- Title: Popular Occultism: Lecture 3: The Different Conditions of Man's Life After Death
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- describe it as a life in purgatory. And old painter sometimes depicted
- Title: Popular Occultism: Lecture 4: The Devachanic World
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- is known on Earth as feeling and sensation. There, the currents of pain
- death and a new birth perceive every pain and pleasure in the form of
- Title: Popular Occultism: Lecture 5: Life Between Death and a New Birth
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- pain, every joy once connected with them, are silent. This life picture
- the pains and joys which we caused to other people, we experience
- kamaloka he must now endure and live through every pain which he inflicted
- Title: Popular Occultism: Lecture 6: Man's Return to a New Earthly Life
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- form of pleasure and pain, passions and instincts, these constitute
- Title: i Spirituality: Lecture 1: Historical Symptomology, the Year 790, Alcuin, Greeks, Platonism, Aristotelianism, East, West, Middle, Ego
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- the Sistine Chapel in Rome, painted by the master-hand of
- Title: New Spirituality: Lecture 3: The New Spirituality and the Christ Experiance of the Twentieth Century - 2
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- Spain, over present-day France, and also over a part of Britain. These were Roman people who
- Title: New Spirituality: Lecture 5: The New Spirituality and the Christ Experiance of the Twentieth Century - 4
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- resistance; which, however, occurs in the unconscious. And this is a painful experience. In this
- Title: New Spirituality: Lecture 7: The New Spirituality and the Christ Experiance of the Twentieth Century - 6
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- and our comprehension of Anthroposophy is in many respects very sleepy. This is the great pain
- Title: Tree of Life/Knowledge: Lecture I: Tree of Life - I
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- took pains to understand Nature around them. And so we can say that
- how Roman thought is at great pains to seize with its ideas what lay
- population. Into Spain there streamed the Visigoths and the Suevi in
- in the centre. One can then see, for instance, how pains were taken
- He who was at pains to make these names
- various shadings in the British Isles, in France, in Spain and in the
- Title: Tree of Life/Knowledge: Lecture III: The Power of Thought
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- with the columns, and even what is painted and moulded, is all there
- Title: Tree of Life/Knowledge: Lecture IV: Harmonizing Thinking, Feeling and Willing
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- must take pains, always take pains to replace an understanding
- Title: Tree of Life/Knowledge: Lecture VI: Tree of Knowledge - II
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- attention to what takes place in it as paintings and
- diagram p.l2a). This means that where the painter generally lays on
- the colours and thinks he is painting man, he ought really to leave
- it empty: then one would be painting spiritually-realistically, for
- otherwise one paints where there is nothing and leaves free the part
- Title: Lecture: Philosophy and Anthroposophy
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- by way of Spain was, in respect of thought technique, saturated with
- Pains
- we must be at pains to acquire. Following Aristotle, we may look upon pure
- Title: Meditative Knowledge of Man: Lecture I: The Pedagogy of the West and of Central Europe: The Inner Attitude of the Teacher
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- for the artist to take a book on aesthetics in hand, and then to paint or
- there is not much to be done, but we will have taken pains with them.
- Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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- those that need to be used especially in drawing, painting and writing. We
- dentition is completed, to introduce the child to drawing and painting,
- an apollonian element as we teach the plastic arts, painting and drawing.
- or paint, etc. has its origin. This is what makes the art of painting one
- devotion to the world. That which lives itself out in painting and drawing,
- motion we execute as men in painting, in drawing, in graphic activity. When
- in the other case a more intellectual element through drawing and painting.
- Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
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- painting understand the meaning of what he draws: when I let the child draw
- book on aesthetics, read everything that was said there about painting and
- hoped thereby to become a painter. He will not turn into a painter, he will
- only become a painter if he learns to use colours, the actual handling of
- to become a painter through using a manual on aesthetics. Nothing will come
- cause pain to a slight degree. We must say therefore: if the right kind of
- Title: Social Understanding: Lecture II: Social Understanding Through Spiritual Scientific Knowledge
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- paint because of that. The ability to paint comes from an entirely
- Title: Lecture: Art As A Bridge Between The Sensible And The Supersensible
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- ‘Non-representational painting is a protest against
- Title: Raphael's Mission in the Light of the Science of the Spirit
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- Raphael; about the beautiful young painter who surpassed all others; who was
- he painted
- in regard to the art of painting — an inwardness that had
- on. After Savonarola had suffered a martyr's death, a painter
- its isolation (joining other artists and painters working in
- one of his best-known paintings may be singled out, so as to
- painter Raphael we have a soul that must already have brought
- internalizing painted on the walls of the papal rooms.
- external work. From these works, frequently painted over, we
- beautiful young painter who surpassed all others; who was fated
- The Paintings. Prestel Verlag, Munich 1999.
- Title: Leonardo's Spiritual Stature: Lecture
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- This is all that remains of the original painting that has
- after the picture had been painted by Leonardo and once spoke
- certifiably painted onto the wall, in so
- technique previously employed in painting such walls. He found
- the painting method made use of earlier [fresco] insufficiently
- something that had not been done before in painting murals. A
- they have to be called such — who painted over the
- painting, an indescribable magic emanates from it. In spite of
- all barbarity, all overpainting, all soddenness, the magic that
- partly the painting as such; it is also the idea that
- painted them. In thus getting to know Leonardo's creations,
- painted by Leonardo, little remains also for the general
- expressive of pain and suffering, with the embittered mouth and
- a question can emerge for us: Did the one who once painted this
- anecdote is told from this period, that Leonardo was to paint a
- it to cease painting altogether, since he saw himself outdone
- see him growing up in Florence, his talent in painting
- following his painting ability, one has the feeling: Year by
- characteristic fashion. If he had, for example, to paint a
- was to be painted, he went to the riding school to make studies
- Maximum number of matches per file exceeded.
- Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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- “'Marriage of Mary and Joseph,” a painting, of the
- painters of that time — followed by figures such as
- “painting” in which the characters are featured,
- Title: Imperialism: Lecture 3
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- will understand me better if you imagine that we try to paint this
- paint it! There will be some white surface and green will be added,
- but nothing about the tree has been painted. And when something of
- the tree is painted which isn't green all you do is disturb the
- effect even more. If you try to paint “The tree is
- green,” you are painting something dead. The way we combine
- Title: Impulse of Renewal: Lecture VII: Anthroposophy and the Science of Speech
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- gentler manner. One painted in an internal manner, which is not
- painting as in today's sense, but in such a way as to
- what is vowel. Just like we paint a picture and then the
- Title: First Class, Vol. I: Lesson 5
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- cold affects man in this way, infinite pain ensures, which is
- also physical pain. The physical and the mental, matter and
- pain.
- Title: First Class, Vol. II: Lesson 10
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- painted, but in which they have been recapitulated symbolically
- differently from what was later painted.
- Title: First Class, Vol. II: Lesson 14
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- as well as painful and full of suffering, it can also be majestic
- Title: The Social Question: Lecture IV: The Evolution of Social Thinking and Willing and Life's Circumstances for Current Humanity
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- one takes the pains, you come to say nothing other than legal
- all, within the pain and suffering which come along during the
- Title: Community Building
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- Goetheanum for the sake of Anthroposophy, the pain and sorrow
- paintings and forms of the auditorium, and the stage was in the
- shared in the pain from the scorching flames on Sylvester Eve.
- sort of interpretations — makes the pain from the loss so
- Anthroposophical friends, can bestow out of its pain, out of
- shall take pains to deal with as much as possible of that which
- Title: Community Building
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- interior architecture, sculpture, and painting corresponded
- Title: Polarities in Evolution: Lecture 2: East, West, and the Culture of Middle Europe, the Science of Initiation
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- terribly painful to be aware of a very sleepy human being
- Title: Polarities in Evolution: Lecture 6: Materialism and Mysticism, Knowledge as a Deed of the Soul
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- painting or sculpture—‘Here is the threshold
- Title: Polarities in Evolution: Lecture 9: East, West, and Middle
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- me great pain and my heart feels sore because souls are
- necessities of which I have spoken. It causes me pain
- Title: Polarities in Evolution: Lecture 11: Modern Science and Christianity, Threefold Social Order, Goetheanism
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- ugliness, its pain and suffering — none of the ways
- painful for me as it is for you and I know that we cannot
- Title: Life Between Two Incarnations
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- pleasure and pain, of pleasures and desires, therefore these do not
- Title: Problems of Our Time: Lecture III
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- perspective in an Eastern drawing or painting differs from a
- Title: Problems of Our Time: Main Features of the Social Question and the Threefold Order of the Social Organism
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- poverty and pain, yet we can still hope. Things external can be
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