The Creative Process and Power of Symbols in Art

To create this work of art. That is, there is indeed an aspect of conceiving this work of art. So, simply to summarize, to explain the power of symbols, we are seeing what the creative process is that each artist goes through. Thus, there is a time when the artist conceives his work of art. At this point, he must decide on an inspiring idea. For example, let's say the artist wants to do something related to beauty. He really wants to represent beauty. So he, with the intention - therefore an abstract aspect -, does not yet properly have a form. He sends this intention to create something that represents beauty. There is a long phase in which the conception remains in the abstract mind, that is, without form, without any form, and then there is a moment when this world of forms - this world is that of the spirit, that is, the world without form, the world of forces - and here we have the world of matter. They are no longer forces, but they are forms. So, the artist tunes in, establishes a connection with the idea of beauty and there is a moment when an image appears in his mind. So, here we have beauty as an abstract idea and here we have an image. The image can be very different, depending on the person, depending on the artist's mentality. For example, if it were an Egyptian from the 3rd Millennium Before Christ, the image of beauty was Nefertiti; if it were Botticelli it was Venus, blonde...; if it were now it would be different, it could be, for example, the statue of a rose. These are different forms, but with the same idea. If I represent a statue of a rose, I truly have a representation of beauty. Therefore, we have different forms depending on the artist's mentality, but the same idea of beauty. So, what did the artist do? He transformed, through the mind, an abstract reality, a spiritual force that had no form and condensed it, formalized it through his mentality and his action into a formal image. So, he has an image, which could be the Venus de Milo whose image he liked and with which he has an emotional involvement. He likes this image, continues to perfect all the forms and all the details until materializing it concretely and even materially. This is only possible in the case of humans, this translation from the spiritual world to the physical world. Because we saw the other time that, for example, plants possess a physical body and an etheric or vital body, but do not possess an astral body. That is, the emotions of plants are elementary. They are still building the astral world, that is, they react to emotions, but are not capable of producing emotions autonomously. On the contrary, animals are capable of producing emotions autonomously because they possess a more or less developed astral body, but are not capable of developing thoughts autonomously. They are capable of reacting to humans, for example. Men are the only ones in this state of evolution that will also be that of animals in future centuries. But, in this state of evolution, men are the only ones who possess a concrete mind, an abstract mind capable of translating what are spiritual forces, through symbols, through forms that incarnate, materialize and manifest these forces. So, we saw the creative process of an artist. Now let's see, on the contrary, the process of someone who looks, who is analyzing and seeing a work of art by an artist. Let's see what happens. That is, instead of the descending process we are going to analyze the ascending process, because this is meditation on the symbol, the one we are going to do on Mondays starting from March 22 - we are going to study symbols, various symbols and also meditation on symbols. So what happens? If I see, for example, Nefertiti or Botticelli's Venus, I, certainly, have the more I am in tune with the artist, the more I can understand what he did and if I were exactly like the artist, looking at a work of art made by this artist, will produce in me the same experience that the artist had when he created this work of art. For example, if you look at an impressionist, looking at the painting, you might have an experience that he had when he created this work of art. For example, if you look at a painting by Monet or a good impressionist, looking at the painting you might have an experience.