Jewelry is the artistic sublimation of a natural human urge.

"The enjoyment of beauty produces a particular, mildly intoxicating kind of sensation. There is no very evident use in beauty: the necessity of it for cultural purposes is not apparent, and yet civilization could not do without it. The science of aesthetics investigates the conditions in which things are regarded as beautiful; it can give no explanation of the nature or origin of beauty; as usual, its lack of results is concealed under a flood of resounding and meaningless words. Unfortunately, psychoanalysis, too, has less to say about beauty than about most things. Its derivation from the realms of sexual sensation is all that seems certain; love of beauty is a perfect example of a feeling with an inhibited aim. Beauty and attraction are first of all the attributes of a sexual object."

That is what Sigmund Freud wrote in his essay "Civilization and Its Discontents." And his words serve very well as an introduction to the question as to why we wear jewels. In fact, beauty and sexual attraction are two of the attributes man seeks to attain by self-adornment.

But if jewelry is worn primarily for the sake of beauty and sexual attraction, we shall see in the course of our investigation that there are other factors in our relationship with jewelry. In fact, jewelry must always be considered as closely related to the wearer; like clothing, it is only that relationship that brings it to life. In nature, beauty and the sexual instinct go hand in hand as a matter of course; in human society jewelry is their point of coincidence. Jewelry is the artistic sublimation of a natural human urge. This concept is amply confirmed by examples provided by the history of civilization, literature, and tradition.

- Ernst A. and Jean Heiniger, The Great Book of Jewels


pina :: a film for pina bausch by wim wenders


Press play to view Official International Trailer.


Meeting Pina was like finding a language finally.

Before I didn't know how to talk,

and then she suddenly gave me a way to express myself - a vocabulary.

When I began I was pretty shy. I still am.

And after many months of rehearsing, she called me, and said,

"You just have to get crazier."

And that was the only comment in almost 20 years.

Pina was a painter.

She consistently questioned us.

That's how we became the paint, to color her images.

For example, she'd ask for "the moon"?

I depicted the word with my body

So that she could see and feel it.

Sometimes she said things like:

"Go on searching!"

But that was all she said.

It meant you had to keep searching,

without knowing where to look,

nor whether you were on the right track.

Pina was a radical explorer.

She looked deep into our souls.

There was one particular subject she kept asking us about:

What are we longing for?

Where does all this yearning come from?

Click to visit the official webpage :

"Dance for love." - Pina


The most important concept found in the tantras is the necessity of unifying (ceasing to separate) apparent opposites in order to attain enlightenment. These opposites are usually represented as male energy (Shiva) and female energy (Shakti) or as the individual (purusha) and nature (prakriti). Thus the equality, or complementarity, of male and female is a foremost aspect of tantric practice, as the union of both is required in order to achieve the highest understanding.

According to the tantras, male and female (or the individual and nature) are not really separate, but are only seen that way from the viewpoint of worldly phenomena. When one has achieved a state of perfect enlightenment the two will be seen as completely integrated. In fact the equilibrium of the two is considered to be the very nature of truth.


[Sharma, L.N. Kashmir Saivism. Varanasi: Bharatiya Vrdya Prakasham, 1972.]

Cosmic Art by Piper/Piper/Swann (published 1975)


The artist must be a philosopher, a psychologist, a student through his entire life. The search for knowledge, not only of one's craft but of one's self and the world around, is necessary to his growth and to the maturity of his art.


Emil Bisttram,  Oversoul , c. 1941, oil on masonite, 36" x 27"   Michael Rosenfeld Gallery, New York

Emil Bisttram, Oversoul, c. 1941, oil on masonite, 36" x 27"

Michael Rosenfeld Gallery, New York

Emil Bisttram,  Cosmic Egg Series no. 1 (Creative Forces)  , c. 1936, oil on canvas, 36" x 27"   Private Collection   Bisttram considered this one of his most important works. 

Emil Bisttram, Cosmic Egg Series no. 1 (Creative Forces) , c. 1936, oil on canvas, 36" x 27" 

Private Collection

Bisttram considered this one of his most important works. 

[images and words sourced from]

Emil Bisttram’s artistic career is of special interest because of the fascinating array of spiritual, philosophical, and scientific traditions he brought to bear on his painting.  Profoundly spiritual and convinced that all intellectual disciplines lead to divine truth, Bisttram enriched his compositions with references to such varied subjects as electricity, rebirth, the growth of plants, the healing power of the dance, planetary forces, the fourth dimension, and the male and female principles of nature.

Bisttram’s essential goal in building his compositions, however, was personal redemption.  For Bisttram, dividing space on a blank sheet of paper replicated such proportional divisions as were made by the Creator when He separated day from night, and earth from water.  Bisttram’s essential belief was that harmony was proportional, and that making harmonious, proportional divisions on a sheet of paper was a productive, life-giving, redemptive enterprise that combated negativity and disharmony.

The manner that Bisttram used to proportionally divide his compositions was dynamic symmetry, a method of picture composition based on Euclidean geometry developed by Jay Hambidge (1867-1924).  Bisttram used dynamic symmetry for the structure of his representational, abstract (cubist and futurist), and transcendental (non-objective) compositions.  For Bisttram, dynamic symmetry functioned as a compass that guided him through the many stylistic experiments he undertook, and provides the essential coherency for his work as a whole.


Twyla Tharp - The Creative Habit

The most productive artists I know have a plan in mind when they get down to work. They know what they want to accomplish, how to do it, and what to do if the process falls off track. But there’s a fine line between good planning and overplanning. You never want the planning to inhibit the natural evolution of your work.