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By Frithjof Schuon

This variation of well known thinker Frithjof Schuon's writings near to paintings, chosen and edited via his spouse Catherine Schuon, includes over 270 photographs-200 colour and 70 black and white. Keith Critchlow writes, "This attractive e-book . . . has the broadest insurance of any of the books on artwork that this author has obvious in 40 years of educating paintings and architecture." Frithjof Schuon, the key consultant of the traditionalist university of notion, provides the common ideas and standards with which to figure sacred from profane paintings, and conventional from only "religious" paintings. He then bargains with the non secular importance of the creative productions of Christianity, Islam, Hinduism, Buddhism, and the Far-Eastern global. additionally lined are the topics of good looks and the feel of the sacred, the crafts, poetry, track, dance, gown, and atmosphere.

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D. in memory of the victories over the Parthians. defined as belief in the devil under secularised conditions. The individual integrated in a premodern order still saw himself as being in the centre of the processes around him. The future signified the reproduction of cosmic order. “Exposed to the devil’s temptation and subject to the grace of God, man could not gain access to the unconscious. ”60 It was not until the imaginary external centering was abandoned through the Age of Enlightenment that an 60 Mario Erdheim: “Einleitung: Freuds Erkundungen an den Grenzen zwischen Theorie und Wahn”, in: Sigmund Freud: Zwei Fallberichte, Frankfurt am Main: Fischer, 1997, p.

Laurel wreathes and the like were soon to be transformed into stone architectural decoration. Nowadays the triumphant procession has been superseded by a systemic processing of disasters and sporadic evacuation drills which serve to remind the users of buildings that not everything which functions everyday is safe. The dynamics of transmission of decorum and building codes could not be more different. While the transmission of decorum is passed on culturally (above all based on Roman successes still reverberating in the Renaissance), the transmission of building codes relies on civilisatory dissemination of laws, norms and guidelines.

53 Fig. 11: Belief in the devil under secularised conditions: Vincent Mazeau’s “EVIL/EXIT Theater”, 2003. 61 “The classic wars between states were usually decided in battles the outcome of which formed the basis of the ensuing peace agreement. ”62 61 62 Cf. Münkler, Über den Krieg, p. 220. Herfried Münkler: “Die Neuen Kriege”, in: ARCH+, No. 164/165, “Das Arsenal der Architektur”, April 2003, p. 31. 54 The cross-fading of burning buildings and denationalised war is a result of the events of 11th September 2001.

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