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27.06.2015
O SlideShare utiliza cookies para otimizar a funcionalidade e o desempenho do site, assim como para apresentar publicidade mais relevante aos nossos usuarios. Clipping is a handy way to collect and organize the most important slides from a presentation. Recortar slides e uma maneira facil de colecionar slides importantes para acessar mais tarde. We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop. 2 Hours Turkish Tile & Ceramic Workshop ( Per Student ) 2 - 5 Guest ,55 Euro ,6 - more ,40 Euro ,1 Guest 65 Euro,Tour Includes. Mimar Sinan University,The Anatolian Seljuks were of course influenced by the cultural heritage they encountered in their new homeland, adapting them to the techniques that they had brought with them from the Iranian plateau.
A type of architectural decoration used in conjunction with glazed brick was hexagonal, triangular, square, and rectangular monochrome tiles. Excavations carried out in 1965-66 at Kalehisar near Alacahoyuk have revealed important evidence of the Seljuks' ceramics industry in the 13th century.
Sgraffito and slip-decorated wares continuing Seljuk techniques and styles were also produced during the Emirate period. The earliest example of the new styles that emerged in the early Ottoman period are the 'blue-and-white' Iznik ceramics. Another blue-and-white group from Iznik is erroneously called 'Golden Horn ware' because the first examples of it were discovered at a site on the Golden Horn in Istanbul. Iznik is also where another misnamed group of ceramics known as Damascus ware was manufactured. Yet another group of polychrome underglaze Iznik ceramics to be erroneously attributed to another place is the one misleadingly known as Rhodos wares, so-called because of the numerous examples of them purchased from the island of Rhodes and taken into the Cluny Museum. As late as the middle of the 16 century, the Ottoman ceramic industry was producing more utensils than architectural tiles.
During the first half of the 19th century, Kutahya's ceramics industry suffered a downturn from which it slowly recovered during the second half and into the early part of this century. There is a third important group of Turkish ceramics that are quite different from both the sublime products of Iznik and the humbler wares of Kutahya.
To summarize, the art of Turkish tile and ceramic-making developed over the centuries incorporating many different techniques and styles. The art of Turkish tiles and ceramics have a very important in the history of Islamic art. There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran. We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop.
Please send us an e-mail if you are interested in participating our classes as individual or a student group.
Before adding a photo' You will also be able to edit your posts, rate eats and share your favorite spots. The work on the circulation of the light depends entirely on the backward-flowing movement, so that the thoughts (the place of heavenly consciousness, the heavenly heart) are gathered together. Therefore when the light circulates, the energies of the whole body appear before its throne, as, when a holy king has established the capital and has laid down the fundamental rules of order, all the states approach with tribute; or as, when the master is quiet and calm, men-servants and maids obey his orders of their own accord, and each does his work.
Therefore you have only to make the light circulate: that is the deepest and most wonderful secret. In carrying out this fundamental principle you need to seek for no other methods, but must only concentrate your thoughts on it.
Therefore it is said in The Plan of the Supreme Ultimate that the great One includes within itself true energy (prana), seed, spirit, animus and anima. The Master is further concerned that people should not miss the way that leads from conscious action to unconscious non-action. The energy of the seed, like heaven and earth, is transitory, but the primal spirit is beyond the polar differences. When men are set free from the womb, the primal spirit dwells in the square inch (between the eyes), but the conscious spirit dwells below in the heart. The lower heart moves like a strong, powerful commander who despises the heavenly rule because of his weakness, and has usurped the leadership in affairs of state.
The way to the Elixir of Life knows as supreme magic, seed-water, spirit-fire, and thought-earth: these three. The one effective, true human nature (logos united with vitality), when it descends into the house of the Creative, divides into animus and anima. At the time of birth the conscious spirit inhales the energy and thus becomes the dwelling of the new-born. Whoever has done good in the main has spirit-energy that is pure and clear when death comes.
If one wants to maintain the primal spirit one must, without fail, first subjugate the perceiving spirit. When the Life Elixir pearl is finished, the holy embryo can be formed; then the work must be directed to the warning and nourishing of the spiritual embryo. When the energy-body of the child is fully formed, the work must be directed that the embryo is born and returns to emptiness.
From the most ancient times till today, this is not empty talk, but the sequence of the Great Way in the true method of producing an eternally living and immortal spirit and holy man.
But if the work is so far consummated, then everything belonging to the dark principle is wholly absorbed, and the body is born into pure light.
Master Lu-tsu said, since when has the expression “circulation of the ligh” been revealed?
In the midst of primal transformation, the radiance of the light (yang-kuang), is the determining thing. The circulation of the light is not only a circulation of the seed-blossom of the individual body, but it is even a circulation of the true, creative, formative energies.
After a man has the one sound of individuation (ho) behind him, he will be born outward according to the circumstances, and until his old age he will never look backward.
But when the practice is started, one must press on from the obvious to the profound, from the coarse to the fine. All holy men have bequeathed this tone another: nothing is possible without contemplation (fang-chao, reflection).
Anyone can talk about reflection, but he cannot master it if he does not know what the word means. The two founders of Buddhism and Taoism have taught that one should look at the tip of one’s nose. Fixating contemplation is a Buddhist method which has not by any means been handed down as a secret.
One looks with both eyes at the tip of the nose, sits upright and in a comfortable position, and holds the heart to the center in the midst of conditions. The Master hinted at this secretly when he said at the beginning of practice one must sit in a quiet room, the body like dry wood, the heart like cool ashes. If the pupil begins and cannot hold his thoughts to the place between the two eyes; if he closes the eyes, but the energy o the heart does not enable him to view the space of energy, the cause is most probably that the breathing is too loud and hasty, and other evils arise from this, because body and heart are kept busy trying to suppress forcibly the uprush of energy and quick breath. If the thoughts are held only to the two eyes, but the spirit is not crystallized in the solar plexus (the center in the midst of conditions), it is as if one had mounted to the hall but had not yet entered the inner chamber. Therefore the Master harbors the fear lest, in their efforts, men only fix their thoughts on the pace on the nose, but fail to think of fixing their ideas on the space of energy; that is why he used the comparison of the mason with the plumb-line.
Master Lu-tsu said, The decision must be carried out with a collected heart, and not seeking success; success will come of itself. In sitting down, after lowering the lids, one uses the eyes to establish a plumb-line and then shifts the light downward.
The two mistakes of indolence and distraction must be combated by quiet work that is carried on daily without interruption; then success will certainly be achieved.
Because breath comes out of the heart, unrhythmical breathing comes from the heart’s unrest. Master Lu-tsu said, Your work will gradually become concentrated and mature, but before you reach the condition in which you sit like a withered tree before a cliff, there are still many possibilities of error which I would like to bring to your special attention.
When one begins to carry out one’s decision, care must be taken so that everything can proceed in a comfortable, relaxed manner. If, when there is quiet, the spirit has continuously and uninterruptedly a sense of great joy as if intoxicated or freshly bathed, it is a sign that the light-principle is harmonious in the whole body; then the Golden Flower begins to bud.
Furthermore, the whole body feels strong and firm so that it fears neither storm not frost. At times the following can be experiences: as soon as one is quiet, the light of the eyes begins to blaze up, so that everything before one becomes quite bright as if one were in a cloud.
Master Lu-tsu said, When there is a gradual success in producing the circulation of the light, a man must not give up his ordinary occupation in doing it. When in ordinary life one has the ability always to react to things by reflexes only, without any admixture of a thought of others or of oneself, that is a circulation of the light arising out of circumstances. If, early in the morning, one can rid oneself of all entanglements and meditate from one to two double hours, and then can orientate oneself all activities and outside things in a purely objective, reflex way, and if this can be continued without any interruption, then after two or three months all the perfected ones come from heaven and approve such behavior. If now, during every movement of rest, a person lives together with people and not with demons, then the heavenly ruler is the true man. When the heavenly heart still preserves calm, movement before the right time is a fault of softness. When the desire for silence comes, not a single thought arises; he who is looking inward suddenly forgets that he is looking. When one is so far advanced that every shadow and every echo has disappeared, so that one is entirely quiet and firm, this is refuge within the cave of energy, where all that is miraculous returns to its roots. As to the poem at the beginning, the two first lines refer entirely to the activity of the Golden Flower. The following two lines have to do with the activity of the pole of the Great Wain, the rise and fall of the whole release of polarity. Finally, the two last lines point to the deepest secret, which cannot be dispensed with from the beginning to the end. The Buddha speaks of the transient, the creator of consciousness, as being the fundamental truth of religion. If you are not yet clear as to how far all three sections can be present in one section, I will make it clear to you through the threefold Buddhist contemplation of emptiness, delusion, and the center. The way leads from the sacrum upward in a backward-flowing way to the summit of the Creative, and on through the house of the Creative; then it sinks through the two stories in a direct downward-flowing way into the solar plexus, and warms it. The pupil has already penetrated in his work into mysterious territory; but if he does not know the method of melting, it is to be feared that the Elixir of Life will hardly be produced.
But adepts can use the means of overthrowing the Abysmal (K’an) and the Clinging (Li) only when they have sincere intention in the work, otherwise a pure mixture cannot be produced.
The whole meaning of this section is directed towards making clear to the pupil the method of filling up the oil when meeting life. The scarabs with aesthetic qualities and shamanic symbolism, were already known in the Old Kingdom (3rd millennium BC) and played an important role in the early worship of animals. The King Tut exhibit at the San Diego Natural History Museum includes this hieroglyph showing a dung beetle, or scarab.
The scarab was depicted with the disc of Ra in its claws in 12th, 18th and later dynasties and associated with other gods as a creative emblem. Millions of amulets and stamp seals of stone or faience were fashioned in Egypt with depictions of the scarab beetle and this tradition survived well beyond the dynastic periods. Scene from the Chapel of Sokar-Osiris in the Temple of Hathor at Nitentore (“Jwnt-t3-N?rt”, Dendera): from left to right. The famous text of “The Secret of the Golden Flower,” takes the sacred scarab as an example of the “work to be done” in order to reach spiritual immortality, either material (for the body), or spiritual (for the soul).
It is a goal of the Taoism philosophy, which believes in the strengths of various material “pellets” that aids in reaching immortality.
Many beetle species have been and still are used as food in America, Australasia, Asia, and Africa; some were also eaten in Europe. In Europe and North America, collars, broaches, and ear pendants, used beetles mounted on bronze.
To this day, especially in Mexico, living specimens of some beetle species are worn by women as broaches, attached with a small gold or bronze chain. By the way, some say that the scarab worn as a pendant around the neck, can cause disease of the throat and larynx.
Controversial Artifacts No One Wants To Examine Thoroughly: Is There Something We Are Afraid Of Discovering? Puzzling Unexplained Disappearances In Our National Parks Can Missing 411 Shed More Light On The Story? Ancient History QuizzWhich civilization built large "pyramid temples", in many ways similar to the great pyramids of the Egyptians? Flower that the only tool we need to master is this concentration of thought on the circling light. In our place, we give beginner, intermediate & advanced level of traditional Turkish Tile & Ceramic painting lessons. This resulted in a distinctively Anatolian style of Seljuk architecture that was in full bloom by the 13th century. Unlike brick, these were preferred for indoor applications and were suitable for a multiplicity of geometrical arrangements. Two kilns were unearthed along with a substantial quantity of kiln material and incomplete and spoiled examples of ceramics decorated with the sgraffito and slip techniques.In the sgraffito technique, the object is allowed to dry to leather-hardness after which the design, usually plant and floral motifs, is incised into the surface, which may or may not be given a coat of slip beforehand. During early Ottoman times, they appear among Iznik wares reflecting the tastes of folk art.In the course of excavations at the site of ancient Miletus, the archaeologist and art historian F. The techniques involved in their manufacture are quite advanced as compared with anything previously done.
Dr Oktay Aslanapa's excavations at Iznik have demonstrated incontrovertibly that these wares were manufactured there. Thereafter however production shifted heavily in favor of the latter as there was a strong surge in the demand for tiles as decorations in the extensive building programs undertaken by Suleyman I (1520-1566) and his successors when the Ottoman Empire was politically, economically, and culturally at its peak. Thus do we find examples of Kutahya-made tiles decorating a number of late-Ottoman buildings. Canakkale ceramics have begun attracting the interest and attention of researchers and collectors more and more in recent years.The earliest examples of these ceramics can be dated to the end of the 17th century. Enriched by the arrival of the Seljuks, the ceramic industry in Anatolia achieved a deservedly worldwide reputation with the support of the Ottoman court. Its roots can be traced at least as far back as the Uighurs of the 8th and 9th centuries. Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. Hanging out at Shake Shack is a great way to spend a whole afternoon reading a book, drinking some wine or eating good old fashion hamburger. If the thoughts are absolutely tranquil so that the heavenly heart can be seem, the spiritual intelligence reaches the origin unaided. Therefore he says, the magic of the Elixir of Life makes use of conscious action in order that unconscious non-action may be attained. But there are so many transforming and changing conditions connected with it that it is said that not with one leap can a man suddenly get there. This lower fleshly heart has the shape of a large peach: it is covered by the wings of the lungs, supported by the liver, and served by the bowels. But when the primal castle can be fortified and defended, then it is as is a strong and wise ruler sat upon the throne. The Master says, The life of man is like that of a mayfly: only the true human nature of the primal spirit can transcend the cycle of heaven and earth and the fate of the aeons. At that time, the method of the turning of the millwheel must be applied, in order to distill it so that it becomes the Elixir of Life.
When the conscious spirit has been transformed into the primal spirit, then only one can say that it has attained an infinite capacity for transformations and, departing from the cycle of births, has been brought to the sixfold present, golden genius.
It is not a momentary fantasy, but the exhaustion of the cycle (soul-migration) of all the aeons. What has to be reversed by reflection is the self-conscious heart, which has to direct itself towards that point where the formative spirit is not yet manifest. In Taoism it is called the yellow middle, in Buddhism the center of the midst of conditions. Only one must not stay sitting rigidly if worldly thoughts come up, but one must examine where the thought is, where it began, and where it fades out.
The last section dealt with the theme that the human body is a very valuable possession when the primal spirit is master. Let the lids of both eyes be lowered; then look within and purify the heart, wash the thoughts, stop pleasures, and conserve the seed.
Then the spirit-fire will not develop, the energy remains cold, and the true fruit will hardly manifest itself. The mason uses the plumb-line only in order to see if his wall is perpendicular or slanting, and for this the string serves as a guide-line. But if the transposition downward is not successful, then the heart is directed towards listening to the breathing. The heart easily runs away, so it is necessary to concentrate it by means of breath-energy.
Therefore one must breathe in and out quite softly so that it remains inaudible to the ear, and only the heart quietly counts the breaths. This happens if, after the quiet state has begun, one after another all sorts of ties suddenly appear. Such a fox-spirit, it is true, may be able to roam in the famous mountains enjoying the wind and the moon, the flowers and fruits, and taking his pleasure in coral trees and jeweled grass. One must not content oneself with small demands but must rise to the thought that all living creatures have to be redeemed. When, furthermore, all openings are quiet, and the silver moon stands in the middle of heaven, and one has the feeling that this great earth is a world of light and brightness, that is a sign that the body of the heart opens itself to clarity. Things by which other men are displeased, when I meet them, cannot becloud the brightness of the seed of the spirit. The setting of the sun means that in chaos (in the world before phenomena, that is before the intelligible world) the foundation is laid: that is the non-polarized condition [ultimateless](wu-chi). The first is that, when one has entered the state of meditation, the gods are in the valley. The ancients said, When occupations come to us, we must accept them; when things come to us, we must understand them from the ground up. When a person looks at something, listens to something, eyes and ears move and follow the things until they have passed. When the heavenly heart has already moved, the movement that follows afterwards, in order to correspond with it, is a fault of rigidity. When one begins, it is at first still scattered and one wants to collect it; the six senses are not active.
This magical spell states that the secret wonder of the Way is how something develops out of nothing.
The true purpose is subject to the earth; the color of the earth is yellow, therefore in books on the Elixir of Life it is symbolized by the yellow germ. If we reflect on this we see that the ancients really attained long life by the help of the seed-energy present in their own bodies, and did not lengthen their years by swallowing this or that sort of elixir.
However, so much earlier than the Egyptian civilization, it is difficult to know the exact meaning these people attributed to beetle body ornaments. Egyptian pharaohs worshipped dung beetles and most probably it was symbolically as sacred to the Egyptians as the cross is to Christians. It is supported by archaeological evidence discovered in graves during the time of King Den of Dynasty I.
If now an embryo can grow in manure, and shed its shells, why then should not the dwelling place of our heavenly heart also be able to create a body if we concentrate the spirit upon it..?
It is around one and a half meters long and is one of the largest known representations of a scarab beetle. Western civilization through Art Nouveau jewelry of the 1900’s was richly adorned with beetles and other insects. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. Usually lessons are 2 hours based and by the end of 2 hours, you will be able to finish one item like a tile, plate or a figure. Seljuk mosques, medreses (theological academies), tombs, and palaces were lavishly decorated with exquisite tiles. The resulting design is then covered with a transparent glaze of a different color and then the piece is fired.
Sarre came across a type of polychrome pottery that erroneously became known as 'Miletus ware'. Raby has proposed calling them the 'Tugrakes spiral style' instead.5 The motifs of tiny leaves and flowers on spirals are executed in shades of cobalt blue, turquoise, and black. The forerunner of the style is said to be a lamp in the Dome of the Rock that is dated 1549 and bears the signature 'Musli'. These ceramics have an extensive palette and are generally decorated with naturalistic flowers. Countless examples of mosques and tombs not only in Istanbul but all over the empire were adorned with the products of the Iznik potters' skill.These underglaze-decorated ceramics and tiles were decorated with a rich palette of shades of cobalt blue, turquoise, green, black, brown, and the famous 'coral' or tomato red, the last of which appears in a slight relief resembling sealing-wax.
The tiles on the Tomb of Sultan Mehmed Resad V in Eyup (Istanbul, 1918) for example were made at the manufactory of Hafiz Emin Usta, which was then operating in Kutahya.
Fairly good-quality wares continued to be produced up until the beginning of the 19th century.
Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments. Also would recommend coming right before lunchtime like around 11am or after lunchtime around 2pm.


If it is made to circulate long enough, then it crystallizes itself; that is the natural spirit-body. Heaven is not the wide blue sky but the place where corporeality is begotten in the house of the Creative.
There is a secret charm which, although it works very accurately, is yet so fluid that it needs extreme intelligence and clarity, and the most complete absorption and tranquility.
This human nature lives indeed in true space, but the radiance of the light dwells in the two eyes. Conscious action consists in setting the light in circulation by reflection in order to make manifest the release of heaven, If then the true seed is born, and the right method applied in order to melt and mix it, and in that way to create the Elixir of Life, then one goes through the pass.
Whoever seeks eternal life must search for the place whence human nature and life originally sprang.
When students understand how to grasp the primal spirit they overcome the polar opposites of light and darkness and tarry no longer in the three worlds. The eyes start the light circulating like two ministers at the right and left who support the ruler with all their might. The true human nature proceeds from that which has no polarity [the ultimate] whereby it takes the true essence of heaven and earth into itself and becomes the conscious spirit. From that on the heart is master, and the primal spirit loses its place while the conscious spirit has the power.
Day and night it wastes the primal seed till the energy of the primal spirit is entirely used up.
The pure and light energy rises upward and floats up to heaven and becomes the fivefold present shadow-genius, or shadow-spirit. If this method of ennobling is not applied, how will the way of being born and dying be escaped?
When the light is made to move in a circle, all the energies of heaven and earth, of the light and the dark, are crystallized. The radiation and dissipation of spiritual consciousness is chiefly brought about by this energy when it is directed outward (flows downward).
Therefore the duration of a breath means a year according to human reckoning and a hundred years measured by the long night of the nine paths (of reincarnation). Within our six-foot body we must strive for the form which existed before the laying down of heaven and earth. Neither did they mean that, while the eyes were looking at the tip of the nose, the thoughts should be concentrated on the yellow middle. But when it is used by the conscious spirit, the latter brings it about that, day and night, the primal spirit is scattered and wasted. The center in the midst of conditions is the lower Elixir-field, the place of energy (solar plexus). To become conscious of the distraction is the mechanism by which to do away with distraction. If there is time in the morning, one may sit during the burning of an incense stick; that is the best.
During the circulation of the light, the pupil must coordinate heart and breathing in order to avoid the annoyance of indolence and distraction. When the heart forgets the number of breaths, that is a sign that the heart has gone off into the outer world. This is the case, for example, when, after fixation, one has chiefly thoughts of dry wood and dead ashes, and few thoughts of the bright spring on the great earth. One wants to break through them and cannot; one follows them, and feels as if relieved by this.
One must not be trivial and irresponsible in heart, but must strive to make deeds prove one’s words.
Men are heard talking as though at a distance of several hundred paces, each one quite clear. If the occupations are properly handled by correct thoughts, the light is not scattered by outside things, but circulates according to its own law. These movements are all underlings, and when the heavenly ruler follows them in their task it means: to live together with demons. As soon as the heavenly heart is stirring, one must immediately mount upward whole-heartedly to the house of the Creative. This is the cultivation and nourishment of one’s own origin, the filling up of the oil when one goes to receive life. Therefore it is said: If, when stimulated by external things, one moves, it is the impulse of the being. The light of the eyes illumines the house of the Abysmal, and controls there the seed of the great light.
The holy science takes as a beginning the knowledge of where to stop, and as an end, stopping at the highest good. All three religions agree in the one proposition, the finding of the spiritual Elixir in order to pass from death to life.
In that spirit and energy unite in crystallized form, there appears, in the course of time, in the midst of the emptiness of nothing, a point of true fire. Because the true energy goes back into the empty place, in time, energy and form become rich and full, body and heart become glad and cheerful. When the pupil keeps the crystallized spirit fixed within the cave of energy and, at the same time, lets greatest quietness hold sway, then out of the obscure darkness a something develops from the nothingness, that is, the Golden Flower of the great One appears. When the Abysmal and the Clinging (Li) unite, the Golden Flower appears; the golden color is white, and therefore white snow is used a s a symbol.
Finders Petrie in Scarabs and cylinders with names writes that many different kinds of beetle were sacred and venerated in ancient Egypt as showed by many jars, found in graves containing numerous dried beetles, both large and small and many amulets, especially in the form of large sacred Scarabeus sacer. With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran. Examples of such tile-clad structures can still be seen in the Seljuks' capital city of Konya as well as in the cities of Sivas, Tokat, Beysehir, Kayseri, Erzurum, Malatya, and Alanya.The most frequently-encountered type of architectural decoration during the Anatolian Seljuk period involved the use of glazed brick in which glazed (and also unglazed) bricks were arranged to produce a variety of patterns, mostly on the facades of buildings.
In the slip technique, the design is painted onto a red-paste surface using diluted white slip to produce a slightly molded effect.
We now know, as a result of recent excavations, that these wares were actually made in Iznik.
In this object we find a new palette of colors incorporating, in addition to the traditional cobalt blue and turquoise, eggplant violet and a cumin green.
Many examples of Kutahya ceramics from this period are to be found in museum and private collections in Turkey.The difficult straits into which the Iznik industry had fallen in the 18th century inspired some in Istanbul to establish a reliable source of tiles that was closer to home and easier to control.
In addition, efforts are also being made in private workshops and educational institutions in Iznik, Istanbul, and Bursa to keep the art of traditional Turkish tiles and ceramics alive and develop it so that it can address the demands of modern-day life.Felt Making Workshops in Istanbul,Traditional Turkish Felt Making,Felt is a non-woven cloth that is produced by matting, condensing and pressing woollen fibres.
With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate. The subjects included nobility as well as servants, hunters and hunting animals, trees, birds, sphinxes, lions, sirens, dragons and double-headed eagles. And lastly this stand is seasonal, when old man winter comes a creaking this shack is closed. If one keeps this up for a long time there develops quite naturally, in addition to the body, yet another spirit-body.
People without this highest degree of intelligence and understanding do not find this highest degree of intelligence and understanding do not find the way to apply the charm; people without this utmost capacity for absorption and tranquility cannot keep fast hold of it.
When the feeling stirs and expresses itself in the normal flow, man is created as primal creature. Therefore the Master teaches the circulation of the light so that the true human nature may be reached. The embryo, which must be developed by the work of warming, nourishing, bathing, and washing, is formed.
When rule in the center is thus in order, all those rebellious heroes will present themselves with lances reversed ready to take orders. It is that which we have received from the great emptiness, that which is identical in form with the primordial beginning. But if, during life, the primal spirit was used by the conscious spirit for avarice, folly, desire, and lust, and committed all sorts of sins, then in the moment of death the spirit-energy is turbid and confused, and the conscious spirit passes out together with the breath, through the lower openings of the door of the belly.
That is what is termed seed-like thinking, or purification of the energy, or purification of the idea. Immortality is contained in this sentence and also the overcoming of the world is contained in it.
Understanding and clarity, perception and enlightenment, and all movements (of the spirit) are likewise this light; therefore it is not just something outside the body. If today people sit and meditate only one or two hours, looking only at their own egos, and call this reflection, how can anything come of it? If one is not guided by the nose, either one opens wide the eyes and looks into the distance, so that the nose is not seen, or the lids shut too much, so that the eyes close, and again the nose is not seen.
The condition, that is, the fulfillment of this condition, makes the beginning, but it does not bring about the rest with inevitable necessity. One must be content to see the thought arose, and not seek beyond the point of origin; for to find the heart (consciousness, to get behind consciousness with consciousness), that cannot be done. But the energy of the heat can only warm the shells; it cannot penetrate into the interior.
Indolence of which a man is conscious, and indolence of which he is unconscious, are a thousand miles apart. Only the heart must be conscious of the flowing in and out of the breath; it must not be heard with the ears. In the afternoon, human affairs interfere and one can therefore easily fall into indolence.
The Master fears that when beginners have once sat and lowered their lids, confused fantasies may arise, because of which, the heart will begin to beat so that it is difficult to guide. Mt school differs from the Buddhist yoga school (Chan-tsung) in that it has confirmatory signs for each step of the way. Rotten and stinking things on earth that come in contact with one breath of the true energy will immediately live again.
Even the still invisible circulation of the light get started this way; how much more, then, is it the case with the true circulation of the light which has already manifested itself clearly. Action in non-action prevents a man from sinking into numbing emptiness and dead nothingness. Till now we have worked from the outside on what is within; now we stay in the center and rule what is external. When he unceasingly alternates movement and rest, go on with him unceasingly in movement and quietness. When one is far enough to have gathered it, one feels light and free and need not take the least trouble. The white snow that flies is the true polar darkness in the middle of the fire trigram, that is about to turn into the Receptive.
Although it is known that they are empty, things are not destroyed, but one attends to one’s affairs in the midst of the emptiness. If, by the practice of the turning of the wheel of the doctrine, this cannot be achieved, how otherwise should one be able to enter upon this far journey? But worldly people who do not understand the secret words of the Book of the Elixir of Life have misunderstood ad the yellow and white there in that they have taken it as a means of making gold out of stones.
Even as heaven turns about the polar star as a center point, so among men the right intention must be the master. It may once have stood in an Egyptian temple but it was found in Constantinople (modern Istanbul) in Turkey. Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. We also have the Tile owen to finish the process.Group lessons for High Schools and Universities can be provided all year long.
Turquoise was the most frequently-used color for glaze although cobalt blue, eggplant violet, and sometimes black were also popular. There are rare examples with traces of gilding.A third technique in which the Anatolian Seljuks were skilled was that of mosaic tile. The surface is then given a coating of transparent glaze colored blue, green, or light or dark brown and then fired. The styles, designs, decorations, and techniques of these ceramics are quite distinct from Seljuk traditions.
During this period, naturalistic such as tulips, roses, pomegranates and hyacinths begin to enrich the repertoire of stylized plant motifs and arabesques.
Although the traditional designs of stylized plant motifs, arabesques, and Chinese clouds appear in the compositions, there is a shift towards a more naturalistic style in which tulips, carnations, hyacinths, roses, spring blossoms, lilies, cypress trees, and clusters of grapes and vine leaves appear.
Ibrahim Pasa, a grand vizier during the reign of Ahmed III (1703-1730), had a tile-making factory set up at Tekfur Sarayi in Istanbul. Designs consist of underglaze spots, simply-drawn ships, flowers, fish, birds, and buildings that are applied free-hand. While some types of felt are very soft, some are tough enough to form construction materials.
This creature abides between conception and birth in true space; when the one note of individuation enters into the birth, human nature and life are divided in two. But whoever is in a dark and withdrawn mood on waking, and chained to his bodily form, is fettered by the anima. This primal spirit is without consciousness and knowledge, but is able to regulate the formative processes of the body. For if the spirit-energy is turbid and unclean, it crystallizes downward, sinks sown to hell, and becomes a demon. When one begins to apply this magic it is as if, in the middle of being, there were non-being. When a pupil takes little care of his thoughts and much care of his desires, he gets into the path of submersion. But the goal must be to reach the vastness of heaven and the depths of the sea, so that all methods seem quite easy and taken for granted. How can it be directed at the same time upward (yellow middle), and downward (tip of the nose), or alternatively, so that it is now up, now down?
But when the eyes are opened too wide, one makes the mistake of directing them outward, whereby one is easily distracted.
It is only a matter of fixing one’s thinking on the point which lies exactly between two eyes. Now the method is described whereby the conscious spirit can be subjected and the primal spirit protected; that is impossible if one does not begin by making the light circulate. If the breathing is not first made rhythmical it is to be feared that there will be difficulty in breathing, because of stoppage. As soon as it has tone, the breathing is rough and superficial, and does not penetrate into the open. Unconscious indolence is real indolence; conscious indolence is not complete indolence, because there is still some clarity in it. Therefore he teaches the practice of counting the breath and fixing the thoughts of the heart in order to prevent the energy of the spirit from flowing outward. If the ear does not listen attentively, or the eyes do not look at the bridge of the nose, it often happens that the heart runs off outside, or that sleep comes. The energy is cold there, breathing is rough, and many images of coldness and decay present themselves.
The effect depends entirely on the central One; the releasing of the effect is in the two eyes.
Hitherto it was a service in aid of the Master; now it is a dissemination of the commands of the Master. This is the quieting of the spirit in the space of the ancestors, the taking possession of former heaven.
The being that is placed over against heaven can fall and come under the domination of the impulses. But though one does not destroy things, neither does one pay attention to them; this is contemplation of the center. Therefore the completion of the Elixir of Life depends entirely on the harmonizing of the right purpose. It may have been taken from Egypt to Constantinople when the city became the capital of the Later Roman empire in AD 330.
Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments. This was also employed in interiors, especially in mihrab niches, the interiors of domes, transitions to domes, vaults, and walls. During the firing, the areas decorated with slip assume a lighter shade of the glaze color, which appears darker in the ground. They are decorated with motifs executed in tones of blue, turquoise, and violet under a colorless or colored glaze.
These changes in the Iznik potters' production habits are attributed to attempts to imitate the 15th-century Ming porcelains that were reaching the Ottoman court in various ways. Compositions are relaxed and free, offering greater scope for experimentation with new and richer arrangements.
The output unfortunately was incomparably inferior to that of Iznik: designs were poor copies of Iznik originals, glazes had a blue cast and were flawed, and colors were dull and lifeless.
Felt can be of any colour, and made into any shape or size.Many cultures have legends as to the origins of feltmaking. From this time on, if the utmost quietness is not achieved, human nature and life never see each other again. The primal spirit is precisely human nature and life, and if one accepts what is real in it, it is the primal energy. A whole year of this fire-period is needed before the embryo is born, sheds the shells, and passes out of the ordinary world into the holy world. Therefore the concentration of the animus is brought about by the circulation of the light, and in this way the spirit is maintained, the anima subjugated, and consciousness cut off. Then not only does the primal spirit lose its nature, but the power and wisdom of true human nature is thereby lessened. When in the course of time the work is completed, and beyond the body there is a body, it is as if, in the middle of non-being, there were being.  Only after concentrated work of a hundred days will the light be genuine, then only will it become spirit-fire.
Only through contemplation and quietness does true intuition arise: for that the backward-flowing method is necessary. But also the light-flower of the individual body passes through heaven and covers the earth. If they are closed too much, one makes the mistake of letting them turn inward, whereby one easily sinks into a dreamy reverie. When one closes the eyes, then one should take as a measure the point on the bridge of the nose which lies not quite half an inch below the intersection point of the line of vision, where there is a little bump on the nose.
From this it is seen that fixing the thoughts between the eyes means only what the plumb-line does to the mason. Since heart and breath are mutually dependent, the circulation of the light must be united with the rhythm of breathing.
The great holy ones who knew how the heart and breath-energy mutually influence one another have thought out an easier procedure in order to help posterity. That is a sign that the condition is going over into confusion and lethargy, and the seed-spirit must be brought into order again. The two eyes are like the pole of the Great Wain which turns the whole of creation; they cause the poles of light and darkness to circulate. That is what is called going to and fro between the root of heaven and the cave of the moon.
The heavenly heart rises to the summit of the Creative, where it expands in complete freedom. This condition is the penetration of heaven into earth, the time when all wonders return to their roots. The sun’s disk is the one polar line in te trigram for water, which is about to turn into the Creative. This shows how the spirit penetrates the energy, how heaven penetrates the earth; this happens so that the fire can be nourished.
The deepest secret of the bath that is to be found in our teaching is thus confined to the work of making the heart empty. While practicing contemplation of the empty, one also knows that one cannot destroy the ten thousand things, and still one does not notice them. Because the blazing fore causes the water of the Abysmal to vaporize, the steam is heated, and when it has passed the boiling point it mounts upward like flying snow. If, at the time the true energy has been sufficiently collected, the pupil does not let it flow directly outward, but makes it flow backward, that is the light of life; the method of turning of the water-wheel must be applied. Then, if it is said that the foundation can be laid in a hundred days, first of all the degree of industry in work and the degree of strength in the physical constitution must be taken into account. Examples in which the motifs have black contours are also known, as are pieces with black decorations under a turquoise glaze.
Tile manufacturing at Tekfur Sarayi lasted thirty years or so and the enterprise was generally regarded as a failure. The most common forms are dishes, plates, and jars.During the 19th century, quality dropped off sharply. The method used by the ancients for escaping from the world consisted in melting out completely the slag of darkness in order to return to the purely creative. After a hundred days there develops by itself in the midst of the light a point of the true light-pole (yang).
Therefore, as soon as the light is circulating, heaven and earth, mountains and rivers, are all circulating with it at the same time. Only when the eyelids are lowered properly halfway is the tip of the nose seen in just the right way. When the foundation is firm, then only can the work proceed and the base of the walls be deeply and solidly grounded, and the pillars and walls built up. The Master refers again and again to this because he fears his meaning might not be understood.


In the course of time there will be success without one’s becoming indolent and falling asleep. If, in lowering the lids and taking direction from the nose, the mouth is not tightly closed and the teeth are not clenched firmly together, it can also easily happen that the heart hastens outwards; then one must close the mouth quickly and clench the teeth. In the same way a man must convince himself about these experiences, then only are they real.
The Elixir depends from beginning to end on one thing: the metal in the midst of the water, that is, the lead in the water-region. If one wants to penetrate the more subtle regions by this method, one must first see to it that body and heart are completely controlled, that one is quite free and at peace, letting go of all entanglements, untroubled by the slightest excitement, and with the heavenly heart exactly in the middle. Then suddenly it demands the deepest silence, and one must lead it speedily and whole-heartedly into the yellow castle; thus the eyes behold the central yellow dwelling place of the spirit. This contains the way to take the trigram for the Abysmal and the way to reverse the trigram for the Clinging (fire, Li).
Different styles of calligraphy adorn the tile friezes on monuments; on utensils we find images of ships, 'rock-and-wave' motifs, triple-spots, animal figures, and fish-scale patterns. Nevertheless some of its output was used in buildings in Istanbul such as the Hekimoglu Ali Pasa Mosque (1734), the Yeni Valide Mosque (Uskudar, 1708), the Cezeri Kasim Pasa Mosque (Eyup, a restoration done in 1726 of a mosque originally built in 1515), and Kandilli Mosque (1751). Forms from this period consist of jars, ewers, jugs, vases, flower-pots, and candle-holders as well as animal and human figurines. The story of Saint Clement and Saint Christopher relates that while fleeing from persecution, the men packed their sandals with wool to prevent blisters. Today I will be your guide and will first reveal to you the secret of the Golden Flower of the great One, and starting from that, I will explain the rest in detail. The energy then has intercourse with spirit, and spirit unites with the energy and crystallizes itself. To concentrate the seed-flower of the human body above the eyes, that is the great key of the human body.
When one fixes the thought on the mid-point between the two eyes, the light streams in of its own accord. When the flight of the thoughts keeps extending further, one should stop and begin contemplating.
The light of the eyes must shine quietly, and, for a long time, neither sleepiness nor distraction must set in. When our ideas go very fast they imperceptibly pass into fantasies which are always accompanied by the drawing of a breath, because this inner and outer breathing hands together like tone and echo. When the heart penetrates, the energy penetrates, and the chick receives the energy of the heat and begins to live. It is as in sickness: if one feels pains and irritations, one can help them with remedies, but indolence is like a disease that is attended by lack of realization. The five senses order themselves according to the heart, and the spirit must have recourse to breath-energy so that heart and breath are harmonized. Heretofore we have spoken of the circulation of the light, indicating thereby the initial release which works from without upon what lies within.
Then let one lower the lids of the two eyes as if one received a holy edict, a summons to come before the minister. The pieces were arranged glazed-side down after which a whitish mortar was poured over them.
A feature of most 'Miletus' ware is that the interiors are given a coating of slip but part of the exteriors and the bases are not. There is also a proliferation in vessel forms of which deep and footed bowls, vases, ewers, dishes, lamps, candle-holders, and mugs are but a few.Around the middle of the 17th century, the quality of the Iznik potteries began to feel the impact of the economic distress and political upheavals from which the Ottoman Empire had begun to suffer.
There is also a hearth, now in the Victoria and Albert Museum in London, whose tiles were made at Tekfur Saray.
Only a single-color glaze was used in these ceramics and there are instances in which black, white, blue, red, yellow, or gilded designs were applied over the glaze.10 Ceramic manufacturing at Canakkale was still being carried out as late as the middle of the 20th century. At the end of their journey, the movement and sweat had turned the wool into felt socks.Feltmaking is still practised by nomadic peoples in Central Asia and northern parts of East Asia, where rugs, tents and clothing are regularly made. Tiffany Gaver Tiffany Tilbehor Tiffany Designere og samlinger Tiffany Klokker Tiffany smykker profesjonell tiffany, Sexy Badetoy pa Victorias Secret, bikini, Cool BikiniSwimsuits, badedrakter og, mer, Beach Dress, Gucci 298035 Stoff med skinn totes Handvesker Brown Coffee Gucci 2012 Gucci ryggsekker Gucci Belter Vesker Gucci belter for menn Gucci Belter for kvinner Gucci Card Cases Gucci Clutcher Handvesker Guc, Ny var hette Xie Jin brodert langermet skjorte, fire-farge i 151 Den Liebo med skjorte Den Liebo § kjole Liebo med modeller T - skjorte Den Liebo med nr.
And the circulation of the light is the magical means of reducing the dark, and gaining mastery over the anima. All sensuous desires and impulses of anger are effects of the anima; itisthe conscious spirit which after death is nourished on blood, but which, during life, is in greatest distress. The main thing is to lower the eyelids in the right way, and then to allow the light to streaming of itself; without effort, wanting the light to stream in concentratedly. If one proceeds in a collected fashion, after a hundred days there develops spontaneously in the light a point of the genuine creative light (yang). Therefore a hen, even when at times she leaves her eggs, always has the attitude of listening with bent ear. Distraction can be counteracted, confusion can be straightened out, but indolence and lethargy are heavy and dark.
To sense brightness without looking outward means to look inward; it has nothing to do with an actual looking within. In this way there is need at most of daily work of a few quarter-hours for heart and breathing to come of themselves into the right sort of collaboration and harmony. Therefore, when one practices contemplation of emptiness, emptiness is certainly empty, but delusion is empty too. One single turning means one heavenly cycle, what Master Ch’iu has called a small heavenly cycle.
Designs tend to be plant motifs and geometrical arrangements but animal figures are also encountered.
The decorations include stylized foliage, arabesques, and Chinese clouds alone or in skillfully-executed compositions.Iznik blue-and-whites can be classified in a number of subgroups on the basis of their motifs and styles.
Some of these are traditional items, such as the classic yurt, while others are designed for the tourist market, such as decorated slippers. Even if the work is not directed towards bringing back the Creative, but confines itself to the magical means of the circulation of the light, it is just the light that is the Creative. While the body is entering into existence, the primal spirit has not yet formed an embryo in which it could incorporate itself. Looking at the tip of the nose serves only as the beginning of the inner concentration, so that the eyes are brought into the right direction for looking, and then are held to the guideline: after that, one can let it be. If the heart is light, the breathing is light, for every movement of the heart affects breath-energy.
Distraction and confusion at least have a place, but in indolence and lethargy the anima alone is active.
Being on the way of the center, one also creates images of the emptiness; they are not called empty, but are called central.
At this time one works at the energy with the purpose of making it flow backward and rise, and flows down to fall like the upward spinning of the sun-wheel. If one does not wait to use the energy until it has been collected sufficiently, it is then too tender and weak, and the Elixir is not formed. The holy and wise men have no other way of cultivating their lives except by destroying lusts and safeguarding the seed.
Mosaic-tile compositions are generally geometrical but floral motifs and Kufic or Thuluth calligraphy are also found. The contours of the designs are picked out with a mixture of beeswax or vegetable fat and manganese oxide. One group, with motifs consisting of stylized lobed leaves with curling tips is attributed to a 'Baba Nakkas', a chief designer at the Ottoman court studios in the 15th century, and is therefore known as the Baba Nakkas style .4 Cobalt blue in various tones is the principal color.
In the Western world, felt is widely used as a medium for expression in textile art as well as design, where it has significance as an ecological textile.Traditional Turkish Felt Workshop by Mehmet Girgic Mehmet girgic is a master Craftmen in Felt Making in Istanbul and we make our workshops in his Studio by himself or his assistants. It is best indeed if the light has already solidified into a spirit-body and its life-energy gradually penetrated the instincts and movements. But the pupil understands how to distil the dark anima completely so that it transforms itself into pure light (yang). If you only meditate for a quarter of an hour, by it you can do away with a thousand births. If breathing is light, the heart is light, for every movement of breath-energy affects the heart. When the breathing is rhythmical the mistakes of indolence and distraction disappear in time of their own accord. I do not mean that no trouble is to be taken, but the correct way lies in keeping equal distance between being and not being.
When things are quiet and one is quite firm, and the release of heaven suddenly moves, is this not a movement without purpose?
One practices also contemplation of delusion, but one does not call it delusion, one calls it central. If the energy is there and not used, then it becomes too old and rigid, and then, too, the Elixir of Life will hardly be produced. The accumulated seed is transformed into energy, and the energy, when there is enough of it, makes the creatively strong body. During the firing, the wax or fat burns away producing contours of red or black that also prevent the differently-colored glazes from running into one another.The cuerda seca technique permits extremely complex and detailed designs to be applied to ceramic surfaces. One, a composition of thick motifs radiating around a central motif, is identical to the grooved designs on metal bath-bowls.2,The late 15th and early 16th century marks the beginning of a new period in Ottoman tile and ceramic-making. Lange and Sohne, ?????? ???, Ruched ????? ?, ?????? ???, ??????? ??, UGG ???????, timberland boot sale, basta replika Patek, moncler handvaskor, Kop Longines Replik, Ugg Sandra Stovlar, Patek Philippe repli, Louis Vuitton handv, silversmycken, North vaska 2012 v, UGG Classic Tall St, The North Face utlop, sconto rolex, la presa di parete n, orologi in vendita, buy moncler, el Patek Philippe, Tiffany & Co Gatelin, Rolex Relojes Aigner, Omega Planeta Ocean, tiffany joyas, Borse, Uggs Outlet Online, Nuovo 2012 Moncler W, korting uggs, de north face outlet, Tiffany & Co sierade, moncler ???? ?, Mens Timberland Clas, ??????? ??, Tiffany Outlet, moncler ???, ??? ???? ??, ?????? ???, ? ?????? ??, ??????? ??, horloges te koop, Kopieer Patek Philip, North Face Woman's D, The North Face appar, Wholesale Tiffany Ea, Часы Rolex пр, North Face прод, Atlas ® обруч, Breitling часы, Постельное, UGG, Billiga Louboutin Ma, Monster Beats Studio, Rabatt Christian Lou, Replica IWC klockor, pandora sale, Acquista Le giacche, Wedding Capo, Zenith orologi falsi, Bangles Pandora, eco, the north face sale, patek philippe calat, uggs a buon mercato, North Face Denali Ho, uggs outlet sale, omega prijs, moncler hoeden voor, uggs te koop goedkoo, The North Face Women, uggs outlet, timberland bota toma, Relogios baratos, moncler chapeus par, Timberland homens Ch, северная с, новые тифф, Taobao продаж, UGGS ????, ??????? ??, ????? ????, stivali uggs in vend, Rolex horloges Aigne, Replica Patek Heren, tiffany oorbellen te, materieel voor gebru, Тиффани ож, сумки Gucci, китайская, Hermes Birkin Bag 40, chanel bags outlet, ??????, ??????, tiffany sieraden sto, Tiffany sieraden, De Tang kostuum, Moncler Jassen Vrouw, Sexy Beach Wedding D, high quality replica, swiss Mechanical mov, billiga Christian Lo, fal, moncler, Moncler 2012 New Big, billiga brollopskl, hermes handbags repl, chanel bags outlet s, discount hermes bags, lv??????, ??????, baratos botas Timber, Louis Vuitton a ven, melhor replica rel, comprar moncler, Falso barato suico, Timberland boot for, tiffany utlopp, Folkdrakt, kinesis, womens Moncler jacko, Дешевые ча, реплики IWC, Gucci продажи, Patek Philippe ча, Patek Philippe kello, Timberland Polo Shir, ostaa halpaa morsius, ostaa Louis Vuitton, Wedding Mekot, erila, replica Jaeger Lecou, Jimmy Choo shoes out, moncler doudoune mod, liens de gros de Lon, vestes Barbour en ve, Replique A. If this method is followed, plenty of seed-water will be present of itself; the spirit fire will be ignited, and the thought-earth will solidify and crystallize. As soon as he has hung it up, he guides his work by it without continually bothering himself to look at the plumb-line. But the concentration of the spirit suffers no interruption, neither does the energy of heat suffer interruption day or night, and the spirit awakens to life. At the winter solstice, thunder (Chen) is in the middle of the earth quite hidden and covered up. After the sequence of events is clear and the nature of the release is known, heaven no longer withholds the Way, but reveals the ultimate truth.
The Clinging (brightness, Li) is bright outside and dark within; this is the body of the Creative.
The difference shown by ordinary people depends only upon how they apply the downward-flowing way or the backward-flowing way. In addition to plant motifs, examples decorated with calligraphy and (less commonly) geometric patterns that are a continuation of Seljuk traditions are to be found.
During this period the Iznik manufactories apparently turned their attentions more and more to the demands of customers who were less finicky than the Istanbul court and its circles. As long as this consciousness is not interrupted, it continues to beget from generation to generation, and the changes of form of the anima and the transformations of substance are unceasing. Therefore the Master makes especially clear the method by which one enters into the cultivation of life, and bids people look with both eyes at the tip of the nose, to lower the lids, to look within, sit quietly with upright body, and fix the heart on the center in the midst of conditions. To sense brightness without listening to what is outside is to listen inwardly; it has nothing to do with actually listening to what is within.
A rich and subtle palette of colors was available with colors such as turquoise, cobalt blue, lilac, yellow, black, and pistachio. Designs prepared by artists who were employed in the studios of the Ottoman court were sent to Iznik to be executed in wares ordered for use at the palace. There is even evidence, in the form of written complaints, that orders placed by the court in Istanbul were being delayed.8 By the 18th century, the ceramic industry in Iznik had died out completely and Kutahya replaced it as the leading center in western Anatolia. In the lesson you will make the whole stages of a Felt making process and by the evening, you will be able to finish 1 item like a hat, bag, shoe, a scarf or a design that you choose.. The scarabaeus rolls his ball and in the ball there develops life as the result of the undivided effort of his spiritual concentration. Therefore the breath-energy is sued as a handle, and this is what is called maintenance of the concentrated breath-energy. Although the breath that flows in and out through the nose is not the true breath, the flowing in and out of the true breath takes place in connection with it.
In this sort of hearing, one hears only that there is no sound; in this kind of seeing, one sees only that no shape is there. The result is that the heart (consciousness) develops in dependence on things, is directed outward, and is tossed about on the stream. Out of the single energy of former heaven, there develops the out- and in-going breath of later heaven and its inflaming energy. The only place in Anatolia were tiles of this type have been found is Alaeddin Kiosk in Konya.
The court's patronage stimulated and supported the development of an artistically and technically advanced ceramic industry in Iznik. Indeed, Kutahya had been in operation as a secondary center along with Iznik since the 14th century 9 but its production always paled in Iznik's brilliance. If now an embryo can grow in manure, and shed its shells, why then should not the dwelling place of our heavenly heart also be able to create a body if we concentrate the spirit upon it? To kill the heart does not mean to let it dry and wither away, but it means that it has become undivided and gathered into one. If the eye is not looking outward and the ear is not hearkening outward, they close themselves and are inclined to sink inward. When the rotating light shines towards what is within, it does not develop in dependence on things, the energy of the dark is fixed, and the Golden Flower shines concentratedly. The palette of colors that this technique offers is much greater and one finds shades of violet, blue, turquoise, green, red, brown, black, and white as well as gilding. Fine examples of cuerda seca tiles are to be found at the Bursa Green Mosque (1419-1420) and Tomb (1421-1422) the Mosque of Murad II (Edirne, 1436), the Tiled Kiosk (Istanbul), and the Tomb of Prince Mehmed (Istanbul, 1548). But where production at Iznik was discontinued, Kutahya plodded on.For a while, the Kutahya potters produced inferior copies of Iznik blue-and-whites but they also began producing ceramics whose forms, colors, and techniques are quite distinct. But every man who unites bodily with a woman feels pleasure first and then bitterness; when the seed has flowed out, the body is tired and the spirit weary. Some colors were applied under the glaze and then fired; others were applied over the glaze which then received a secondary opaque white, transparent, or turquoise glaze and was fired again.
Among them are a group of Christian liturgical utensils and tiles with religious themes that were made by Armenian potters for their churches. The designs of minai tiles are lively and reminiscent of miniatures with themes taken from palace and court life.In underglaze tiles, the designs are painted onto the surface, which is then glazed before the tile is fired.
18th-century Kutahya ceramics are made with a white paste and are usually decorated with underglaze-applied designs in yellow, red, green, cobalt blue, turquoise, black, and violet.
Betul is our professional Artist that is graduated from Mimar Sinan University department of fine Arts in Istanbul. That brings first purity and then freshness; when the seed is transformed, the body is healthy and free.
She is professional in Ottoman Calligraphy - Tile Design & Turkish Motives - Ottoman Paper Marbling.
It is not only the light in the abyss, but it is creative light which meets creative light. There is a tradition that the old master P’eng grew to be 800 years old because he made use of serving maids to nourish his life, but that is a misunderstanding. Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name.
As soon as these two substances meet each other, they unite inseparably, and there develops an unceasing life; it comes and goes, rises and falls of itself, in the house of the primal energy.
Forms, which can be elegant, include thin-walled small cups, saucers, bowls, ewers, pitchers, flasks, incense-burners, lemon-squeezers, and ornamental eggs. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to a sheet of paper (or other surfaces such as fabric).
In the Elixir of Life symbols are used for the most part, and in them the fire of the Clinging (Li) is frequently compared to a bride, and the water of the Abyss to the boy (puer aeternus). Fine examples of these tiles have been discovered at the excavations of the Kubadabad Palace in Beysehir, where the tiles are decorated with plant motifs as well as with figures of human beings and animals.The luster technique first appeared in Abbasid Iraq. This decorative material has been used to cover a variety of surfaces for several centuries. From this arose the misunderstanding about Master P’eng having restored his virility through women. Later developed to a high level by the Fatimids in Egypt, it was successfully employed by the Iranian Seljuks.
It is often employed as a writing surface fo calligraphy, and especially book covers and endpapers in bookbinding and stationery.
When one looks at what is within in this way, the wonders of the opening and shutting of the gates of heaven will be inexhaustible.
Part of its appeal is that each print is a unique monoprint.Need a break from the hustle and bustle of tourist life in Istanbul? The tiles discovered at the excavations of the palace are now on display at the Karatay Medrese Museum in Konya. Luster tiles are decorated in an overglaze technique in which the design is painted with lusterA?a mixture of metallic oxides incorporating silver and copperA?onto a previously glazed and fired surface. Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking. This is the moment of true creative union, the state of which it is said: The moon gathers up the ten thousand waters. The tiles are then given a second firing at a lower temperature producing a range of lustrous, mostly brownish and yellowish tones. Seljuk palace luster tiles are decorated with plant motifs as well as with human and animal figures.Anatolian Seljuks sometimes used square, rectangular, hexagonal, and triangular tiles to cover interior walls.
Its origin might ultimately hark back to China, where a document from the T'ang dynasty (618-907) mentions a process of coloring paper on water with five hues.
These tiles are plain, with turquoise, violet, or cobalt blue being the chief colors applied in the underglaze technique. Sometimes the traces of overglaze gilding are to be found; however because the gilding was fired at a low temperature (or not fired at all), it was not durable and has mostly disappeared. By carefully laying the paper over the bath, the floating picture on top of it is readily transferred to the paper; thus, each ebru is a one of a kind print. To obtain beautiful ebru results, one needs to have a light hand, refined taste, and an open mind to the unexpected patterns forming on the water. Patience and a good knowledge of traditional culture are characteristic of ebru masters.After the 1550's, booklovers in Europe prized ebru, which came to be known as ‘Turkish papers’.
Many specimens in their collections and in the several album amicorum books are visible today in various museums. Also, early texts dealing with ebru, such as “Discourse on decorating paper in the Turkish manner”, published in 1664 by Athanasius Kircher in Rome, helped to disseminate the knowledge of this kind of marbling art. There is agreement amongst scholars that the so-called Turkish Papers played a colourful influence on the book arts in Europe.MATERIALS USED IN CLASSICAL TURKISH MARBLING Gum tragacath – Dye – Paintbrush – Basin – Water – Paper - Gall Gum Tragacant is obtained from trunk of a thorny plant growing naturally in Anatolian, Persian and Turkestan mountians and called “gaven”. The sap coming out of scratches made on the branches dries up later and solidifies in bone white colored pieces .
Turkish is a very rich country in respect of such natural dyes.Any kind of earth may be first translated into mud then filtered and crushed to from a dye.
In older times rainwater was favorite but because of acide rain in our times it is no longer advisable. Paper: The ideal paper is the one handmade and having a high absorbtion capacity and acid-free. In order to increasethe absorbtion capaticy and to fix the dye on it(more durable) and alumina solution may be applied on the paper surface. For instance when blue yellow are simultaneously applied and mixed up as much as possible never green comes out.3. MARBLING APPLIED TO PAPER PATTERNS,Marbling is similar to cooking; it is impossible to give the exact recipe. The density of the gummed water and the relationships between the water and the dye, the dye and the tensioning agent (gall), the quantity of gall in the dye are all very important. Now if this basic pattern is handled by parellel lines made by a thin pencil or chip moved back and forth you obtain “the back-and-forth”. When a convolute line is applied from the outer circumference towards the centre you obtain a “nightingale nest”. In the event small colorfull dots are spotted on the back-and-forth or shawl design you get the “sprinkled marbling”. If, instead, you apply larger dots (which means with higher rate of gall contents) you obtain the “prophyry marble” which resemble most to marble.,Nonetheless above patterns may be divesified by selecting one of the above as a basis and making concentric drops of different colors. Mehmet Efendi (the orator of Saint Sophia, deceased in 1973) first formed flower and other patterns, wich were subsequenly called the “Orator pattern” (Hatip ebrusu).
The paper is then careflly lifted off the basin without stripping too much the gum off the surface. This infinity of colors and shapes quickly formed makes the marbling amazing at and fascinates the spectator (if any). Hikmet BARUTCUGIL,Mimar Sinan University paper marbling, fabric marbling, faux marbling, parrys graining and marbling, marbling paint, contemporary create design fabric marbling paper technique traditional, Turkish Marbling - Ebru Lessons in Istanbul.Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Come take an art class with the remarkable Turkish artist Bahar !LEARN the secrets of creating the rich patterns of handmade marble paper .
CONTEMPORARY create design fabric marbling paper technique designs on paper, glass or on silk fabrics .Our teacher that is shown in our pictures is Ms. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.LEARN the secrets of creating the rich patterns of handmade marble paper . EXPERIENCE the sensuous flow of Ottoman Calligraphy,CONTEMPORARY create designs with Turkish patternts on tiles,Our teacher that is shown in the pictures are Mrs.




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