Slowly looking with the Buddhist “good eye”

Slowly looking

Recently I came across the Contemplative Photography movement, which incorporates Buddhist mindfulness practice with Western ways of seeing the world.  Contemplative Photography practice is based on holding an intention of learning to look and see through a lens of nonattachment. Through practice, you begin to trust the gaps in discursive thought where clear seeing and inspiration emerge in your art.

Matthieu Ricard describes Contemplative photography as

seizing the present moment as one would delicately hold a poppy without shedding its petals.  It is about nonattachment; one has nothing to lose and nothing to gain, but everything to offer to the eyes of the viewer (from jacket of The Practice of Contemplative Photography: Seeing the world with fresh eyes, written by  Andy Carr and Michael Wood, Shambala, 2011)

Miksang is a Tibetan word which means “Good Eye”. The practice is founded on Shambala  and Dharma Art Teachings of Chogyam Trungpa, Rinpoche.  The word “good” relates to uncluttered vision and seizing the present moment.  In the following video “Miksang” practice is explained in a way I hope you find inspiring.

 

Looking into the Open

Looking

The Open

With their whole gaze

animals behold the Open.

Only our eyes

are as though reversed

and set like traps around us,

keeping us inside.

That there is something out there

we know only from the creatures’ countenance.

We turn even the young child around,

making her look backward

at the forms we create,

not outward into the Open.

R.M. Rilke, from the Eighth Duino Elegy

the known unknown

 “It is only with the heart that one can see rightly; what is essential is invisible to the eye.”

Antoine de Saint-Exupery

the stars

Poetry

And it was at that age … Poetry arrived
in search of me. I don’t know, I don’t know where
it came from, from winter or a river.
I don’t know how or when,
no they were not voices, they were not
words, nor silence,
but from a street I was summoned,
from the branches of night,
abruptly from the others,
among violent fires
or returning alone,
there I was without a face
and it touched me.

I did not know what to say, my mouth
had no way
with names,
my eyes were blind,
and something started in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire,
and I wrote the first faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing,
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating plantations,
shadow perforated,
riddled
with arrows, fire and flowers,
the winding night, the universe.

And I, infinitesimal being,
drunk with the great starry
void,
likeness, image of
mystery,
felt myself a pure part
of the abyss,
I wheeled with the stars,
my heart broke loose on the wind.

by Pablo Neruda

To paraphrase Dr. Jordan Peterson from a recent  TED lecture, “there are things that you know deeply, you just don’t know that you know them.”  Creative process is a way to allow the known unknown to surface through the arts.  Encountering the known unknown often leads to the emotional experience of awe.  We risk a leap of faith from what is known into what is not yet known. This is the experience of not having the words to describe, feeling deeply moved, touched, terrified and fascinated simultaneously.  Neruda’s poem conveys the experience of being summoned and touched, and then “my mouth had no way with names[...]something stirred in my soul”.  Creative process is a way to allow known unknown treasure to surface.  The expressive arts have the potential to inspire and reflect back what we most need to know in a form that may be both seen, shaped and shared.

Hurrying Slowly

“When you pay attention  to your dreams, you inhabit a much larger part of your soul.”
- Robert Bosnak

In his book Embodiment: Creative Imagination in Medicine, Art and Travel, Robert Bosnak, writes about how images are embodied by the dreamer. He views dream images as places of emotion, or as image environment ecosystems in which we find ourselves. He states “Place and storytime are simultaneous and indistinguishable, portrayed as a moment in place as seen from above” (p.18).  Rather than projecting onto an image, we interact, engage and dialogue with images. Through creative imaginal process we both shape and are shaped by images in dreams and/or art.

slowdown1

Here is a video where Robert Bosnak speaks to the importance of slowing down and paying attention to the particulars……

Art and Dreaming

“I dream of painting and then I paint my dream.”  Vincent Van Gogh.

In his book Dream Tending: Awakening to the healing power of Dreams, Dr. Stephen Aizenstat writes that dream images are like characters in a story.  Dream images give meaning to our life’s story, just as characters in novels give meaning to the narrative.

“An artist is constantly looking into an object, stripping away what is superfluous, in order to see its innate beauty.  Even a careful look at the surface of an object reveals that which is lit up from the inside” (Aizenstat, p. 263).

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