A Quote by Pablo Picasso

I understand how you could see something in the root of a tree, a crack in the wall, in an eroded stone or pebble. But marble? It comes off in blocks and doesn't evoke any image. It does not inspire.
We never see a tree except through the image that we have of it, the concept of that tree; but the concept, the knowledge, the experience, is entirely different from the actual tree. Look at a tree and you will find how extraordinarily difficult it is to see it completely, so that no image, no screen, comes between the seeing and the actual fact. By completely I mean with the totality of your mind and heart, not a fragment of it.
Oh, why does compassion weaken us?' It doesn't, really...Somewhere where it all balances out-don't the philosophers have a name for it, the perfect place, the place where the answers live?-if we could go there, you could see it doesn't.It only looks, a little bit, like it does, from here, like an ant at the foot of an oak tree. He doesn't have a clue that it's a tree; it's the beginning of the wall round the world, to him.
Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
Violence harms the one who does it as much as the one who receives it. You could cut down a tree with an axe. The axe does violence to the tree, and escapes unharmed. Is that how you see it? Wood is soft compared to steel, but the sharp steel is dulled as it chops, and the sap of the tree will rust and pit it. The mighty axe does violence to the helpless tree, and is harmed by it. So it is with men, though the harm is in the spirit.
How dreadful it is that because of our wills we can never love anything without messing it around! We couldn’t even love a tree, a stone even; for sooner or later we should be pruning the tree or chipping a bit off the stone.
The sacred tree, the sacred stone are not adored as stone or tree; they are worshipped precisely because they are hierophanies, because they show something that is no longer stone or tree but sacred, the ganz andere or 'wholly other.'
Flower in the crannied wall, I pluck you out of the crannies, I hold you here, root and all, in my hand, Little flower-but if I could understand What you are, root and all, all in all, I should know what God and man is.
Virtually any pointed edifice is considered a candidate for alien engineering. After all, how could the Egyptians or Mayans have possibly stacked up stone blocks into pyramids?
We can see from the experience of Odin that the image of the tree was the template within which all of the sacred world could be apprehended. The tree was the framework within which one "flew" to these Otherworlds. And since the exploration of sacred space was also a quest into the nature of human consciousness, the tree was regarded as an image of the ways in which we, humans, are constructed psychically. It was a natural model for our deepest wisdom, our highest aspirations.
There are many ways to inspire healing of the earth, all relating to the tree truth that everything is interconnected. We ourselves are trees. Each time we see a tree, outside us or within us, we can remember that they reflect the truth. Something deeply rooted, something with a strong trunk, something that sweeps the sky.
Isn't it human beings who impart vitality to the image in the temple? If no one sculpts the stone, it doesn't become an image. If no one installs it in the temple, it does not acquire any sanctity. If no worship is done, it does not acquire any power. Without human effort there cannot be any temples. What is wrong then in saying that we should view great masters as equal to God? Temples installed by such spiritual masters have a special energy of their own.
How many girls there are who do not see any wrongdoing in following certain shameless styles like so many sheep. They certainly would blush if they could guess the impression they make and the feelings they evoke in those who see them.
You know how misleading an image is. You see an image in the newspaper, if they left the caption off, good luck knowing what's going on. There is something inherently misleading about images, so they need annotation.
He loved, beneath all this summer transiency, to feel the earth's spine beneath him; for such he took the hard root of the oak tree to be; or, for image followed image, it was the back of a great horse that he was riding, or the deck of a tumbling ship -- it was anything indeed, so long as it was hard, for he felt the need of something which he could attach his floating heart to; the heart that tugged at his side; the heart that seemed filled with spiced and amorous gales every evening about this time when he walked out.
The world is a stone wall ... and they have put the stones so close together that there is not a single crack through which one may enter.
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