Searching Rudolf Steiner Lectures by Location (Torquay) Matches
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- Title: Kingdom of Childhood: Lecture 1
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- I will describe more fully how to develop writing out of painting and
- Title: Kingdom of Childhood: Lecture 2
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- painted cheeks, and even eyes with which they can go to sleep when
- times there was picture writing; that is to say, people painted
- draw a mouth, or rather paint it. Let him put on dabs of red colour
- can get your M out of the mouth which we first painted.
- “fish.” Let the child draw or paint some kind of fish.
- painting-drawing, or drawing-painting. This is more awkward to deal
- painting for an hour or two you have to clear it all away. But this
- your drawing-painting and painting-drawing, you allow the letters to
- then expresses its wonder thus: Ah! Then you paint this gesture and
- painting-drawing, drawing-painting, that I have spoken of, the whole
- us say with string. They then go on to painting the forms and
- Title: Kingdom of Childhood: Lecture 4
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- exercise with the child by first of all painting something in red
- be very harmonious. This of course must be carried out with paints,
- Title: Kingdom of Childhood: Lecture 6
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- child has impulse to model and to paint. Teacher himself must learn
- why the child has an impulse to model forms or to paint them. For the
- modelling and painting within the physical body. Now that it has
- the child likes to mould out of plastic material or to paint in
- paint something that is in no way an imitation of the human body but
- an integral part of the Waldorf School method. Our children paint
- modelling or painting. So you can very easily turn this impulse and
- forms which the child paints or models, for then you will be really
- teaching the more specifically artistic subjects, Painting, Modelling
- Title: Kingdom of Childhood: Lecture 7
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- accordance with reality must sometimes have very painful experiences.
- very painful experiences. Once for instance, owing to family
- and told us that the Eurythmy and Painting and all the other things
- Title: Kingdom of Childhood: Questions and Answers
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- Drawing. Lines have no reality in drawing and painting, only boundaries.
- itself but from painting, working in colour or in light and shade.
- or a dog with lines. He should take a paint brush and make a painting
- should start from painting and not from drawing. That is the
- cannot really paint the tree: we can only bring in light and shade,
- Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
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- only look back to ancient Greece. Today a sculptor or painter works
- Even as late as the Renaissance a painter did not use
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
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- explanation of this? This whole experience associated with a painful
- potential architect, sculptor or painter.
- attach a ball painted with various coloured patterns. You have now
- Title: True/False Paths: Lecture Three: Form and Substantiality of the Mineral Kingdom in Relation to the Levels of Consciousness in Man
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- susceptible to pain than normally and after all, pain is an
- state of consciousness. Under conditions of pain normal consciousness
- dense, too concentrated, pain ensues. The loss of consciousness
- pain, are polarities which illustrate the aberrations of
- and on the other hand that under the influence of pain we might
- to pain from which other organs are free. Let me take this point a
- sensation of inner pressure. This sets up a slight pain that
- be separated from the body, though at the cost of increasing pain.
- pain. You derived a certain satisfaction from punishing him for
- and moral pain of your victim. You live right into his feelings and
- the pain you have inflicted. And the same applies to all actions. You
- painted masquerade and an Initiate who, through meditation, has
- all painted masks. There is no reality about you; you are simply
- painted masks sitting on your chairs.
- such pains to gather information. I had no use for it then, nor do I
- of reality, but we must learn to bear the pain and suffering this
- Title: True/False Paths: Lecture Four: The Secret of Investigation into Other Realms through the Metamorphosis of Consciousness
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- journey from Spain to his native Florence under the influence of a
- Title: True/False Paths: Lecture Five: The Inner Vitalization of the Soul through the Qualities of the Metallic Nature
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- Spain to the neighbourhood of his native Florence and suffered that
- painful as if one suffered from inner exhaustion.
- agitation from his ambassadorial post in Spain. As he approaches his
- Title: True/False Paths: Lecture Nine: Abnormal Paths into the Spiritual World and their Transformation
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- the earliest painters worked, but we are unaware of it today.
- These painters saw the spiritual beings and ‘dreamed’ the
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
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- other painter, he was able to clothe the spiritual in sensuous
- reason its architecture, sculpture and painting met with so little
- be introduced into painting, sculpture and architecture, in
- painting, but in future will have to be expressed through
- Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
Matching lines:
- only look back to ancient Greece. Today a sculptor or painter works
- Even as late as the Renaissance a painter did not use
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
Matching lines:
- explanation of this? This whole experience associated with a painful
- potential architect, sculptor or painter.
- attach a ball painted with various coloured patterns. You have now
- Title: True/False Paths: Lecture Three: Form and Substantiality of the Mineral Kingdom in Relation to the Levels of Consciousness in Man
Matching lines:
- susceptible to pain than normally and after all, pain is an
- state of consciousness. Under conditions of pain normal consciousness
- dense, too concentrated, pain ensues. The loss of consciousness
- pain, are polarities which illustrate the aberrations of
- and on the other hand that under the influence of pain we might
- to pain from which other organs are free. Let me take this point a
- sensation of inner pressure. This sets up a slight pain that
- be separated from the body, though at the cost of increasing pain.
- pain. You derived a certain satisfaction from punishing him for
- and moral pain of your victim. You live right into his feelings and
- the pain you have inflicted. And the same applies to all actions. You
- painted masquerade and an Initiate who, through meditation, has
- all painted masks. There is no reality about you; you are simply
- painted masks sitting on your chairs.
- such pains to gather information. I had no use for it then, nor do I
- of reality, but we must learn to bear the pain and suffering this
- Title: True/False Paths: Lecture Four: The Secret of Investigation into Other Realms through the Metamorphosis of Consciousness
Matching lines:
- journey from Spain to his native Florence under the influence of a
- Title: True/False Paths: Lecture Five: The Inner Vitalization of the Soul through the Qualities of the Metallic Nature
Matching lines:
- Spain to the neighbourhood of his native Florence and suffered that
- painful as if one suffered from inner exhaustion.
- agitation from his ambassadorial post in Spain. As he approaches his
- Title: True/False Paths: Lecture Nine: Abnormal Paths into the Spiritual World and their Transformation
Matching lines:
- the earliest painters worked, but we are unaware of it today.
- These painters saw the spiritual beings and ‘dreamed’ the
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
Matching lines:
- other painter, he was able to clothe the spiritual in sensuous
- reason its architecture, sculpture and painting met with so little
- be introduced into painting, sculpture and architecture, in
- painting, but in future will have to be expressed through
- Title: Karmic Relationships, VIII: Lecture I
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- statesman, a painter or some other outstanding figure. Accounts are
- side-by-side with the Christ Impulse. Indeed many men are at pains to
- Title: Karmic Relationships, VIII: Lecture II
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- Africa, in Southern. Europe, in Spain, in France. During
- while the Arabians were still surging across Africa into Spain, it
- Title: Karmic Relationships, VIII: Lecture III
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- the Grail stream going out from Spain, the striving in which account
- Title: Cosmic Christianity: Lecture I
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- statesman, a painter or some other outstanding figure. Accounts are
- side-by-side with the Christ Impulse. Indeed many men are at pains to
- Title: Cosmic Christianity: Lecture II
Matching lines:
- Africa, in Southern. Europe, in Spain, in France. During
- while the Arabians were still surging across Africa into Spain, it
- Title: Cosmic Christianity: Lecture III
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- the Grail stream going out from Spain, the striving in which account
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