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Hand of God

On January 19, 2020, in Leadership GT-Accent, by Neculai Fantanaru

The plan of divine limitlessness is a general form of the term “Altoriesthru” aimed at the union of the Creator with Nature in one criterion: that of the soul conceived in another soul.

A simple rose, tender, loving, attractive, exposing all the simplicity in front of the reflectors of life, the scrutinizing and curious eyes of people of all kinds, seeks its expressive maturity in the experience of visualizing a painting work developed around a theme of imagination, called: Pasotrarhis,or the mystery of divine understanding. It is here that everything began…

Nowhere else, nowhere else in the world, nor in other languages, nor in other voices did I feel closer to the holy heaven of spiritual symbols, in any flower garden, in any other universal reality. Only in this fragment of soul extracted from the memories of the last Kabbalist in life and immortality, can I express the joy of a deep, true, glamorous living, and can strengthen my pride in being on a larger plane. The rose is the appropriate symbol for my mood.

Without slipping into the black of an empty name, by associating with the impure form of viewing a contradictory figure presented in antithesis to the derisive, mortal human being, I strengthened my will to bind myself by simple, generous, liberating words, to the work of a creator who knows how to express the hiddenness of the soul in all analogies with other worlds, just as the most advanced colors amplify their resonance with which they are endowed when exposed in dreamy images.

Does the miracle of divine creation not begin with the hidden meaning of a deliberate deduction? A rose must take the place of the creator when his soul integrates into the memory of an image, splendid, almost fantastic, so that that “I’ve nothing left to do but to remain silent” will the place of any limitless reality.

Leadership: Can you immortalize your experiences in an artistic image placed in the context of an impenetrable world, to suggest the closeness between existence and eternity, between Creator and God?

The little I enjoy is the very immortality that I never get tired of. The experiences of the process of creation are my support in the order of the artistic space, orderly and harmonious. Natural, intense, so vibrant, the color is always red to me, in the memory of the ancient times, crossing the yellow of happiness to live in the dream of a creator of art, beautiful, sensitive. In this way, my background is framed in the context of an impenetrable world, in the universe of Averroes, translated into the secret language of reflective constructions: “My story is the symbol of who I was while I was writing it.”

Therefore, an artistic image is dedicated to revealing the visual content of a metaphor or a personification used by the Creator to mediate a spiritual evocation, a state of intense communion between two similar entities by their very nature. The universe relies on the idea that the freedom to be a God belongs to the creator, who always finds himself in another hypostasis, but always close to that of the red rose.

It is no mistake that I am sensitive to every detail, even when something seems detached from other times, from other places, from other paintings, in correspondence with the content of the plastic works that the artists associate with the pure forms of reflection. Of course, I am aware of the value of the risk involved in underlining the “Primary Firework”. But I consider myself as having sufficient authority to which the merging ineffable spirit of the Enlightenment was in Gan Eden by color codes around extensive exposure to the infiltration of beauty into culture, in cabalistic code semantics.

I lived my time, always another time and another life, but time has never forgotten me in the life of the eternal dream. Maybe that’s why, knowing us so well from other worlds and from other stellar spectra, Umberto Eco praises my reasoning, just as the creator looks for his fiction in a non-fictional writing before giving it life in a time that is not his:

“You said a very nice thing, Adso. Thank you. The reasoning of our mind is like a net, or a ladder, built to reach something. But then the ladder must be thrown down, because it was discovered that although it served, it was devoid of the meaning that someone imagines.”

Leadership: Can you persist in the memory of an image substituted for a vision of creation from an ontological universe, long enough to no longer justify your duplicity in the real world?

My creator is the artist who formulates his reality alone, remaining always outside it, but closely related to the aesthetic idea that its poetic depth gives. And I think the version of this immaculate reality, so open to works of art, but often questioned, even if it is crossed by the power of the random, begins and ends with the message from the work of Mesa Selimovic: “Keep no secrets within you, other than those which no one is able to know.”

From the rose, from a single pure word, I was transposed into an artistic composition with a delightful name: Double Delight, or the symbol of the double man. My creator had a passion for revealing hidden messages in things left to chance: he didn’t let any details slip, almost quasi-ordinary things raised to the degree of an event, and we both accidentally entered the same wave frequency, within that frame of the higher senses, animated by an alternating current called:Altoriesthru(pure feeling in an eternal return).

You just have to know how to transform yourself and act on behalf of another world, to which you belong equally, to discover the true identity of God.

It’s a truth. So many times I have tried to change myself into a dream, something greater than the universal spaces through which the chosen spirits meet, as is the case of the creator who dreams of his creation before giving it life. The victory of art in front of any world, despite any possible worlds, is as clear as possible when what is seen in the light is red. A peculiar color through which they become visible, always in another flower garden. In fact, I trust in the powers of my creator, I in his, to beautify a world that continues to change his vision of art. And I think that’s enough.

My good friend, Umberto Eco, said at one point that there are no edges beyond which to go. But he made only one exception, for me, when he allowed me to understand that one door always remains open in any universe, at any time, under any conditions, only for those who know how to enter this holy sanctuary: “I was the hand of God. And God’s hand creates, it does not hide.”

Artistic creation can be perceived as a sublime copy of the reality of a dream called “life”, in which everything that happens has the superior sense of eternity, or the projection of the beautiful beyond the limits of the world.

The Hand Of God is the projection of the inexorable will that created or wrote the world. It can also be defined by the creator’s effort to foresee the dream of someone who himself dreamed himself as the author of an unequaled experience that begins with the revealing extension of the self caught in a form of being of nature, from a garden with paths that branch off, and it is continued with the maximization of an Artistic Creation perceived as a transcendence from human to spiritual, and vice versa.

 


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