Anniversary of Beloved Adi Da’s Passing
“This bodily (human) Form is temporary Means — and, after the Lifetime of This bodily (human) Form, the Reflections of It, the Murti-Forms (and so on), will, like the Leelas Generated by My Appearance in This Form, be forever Instructive and Useful as “Points” of concentration, Means Whereby to enter into Communion with Me.
“I will still be Merely Present then.”
— His Divine Presence Bhagavan Adi Da Samraj
OM SRI PARAMA-SAPTA-NA ADI DA LOVE-ANANDA HRIDAYAM
Photo Slideshow of the final years of Avatar Adi Da’s life, 2001-2008. from The Adi Da Foundation
Review of Tasting The Moon
Going well beyond the bestselling Eat Pray Love, Tasting The Moon tells the story of a “no holds barred” pathway through life—from the author’s eccentric childhood, through the tumultuous 60s, to the ashram of Adi Da Samraj, her spiritual Guru whom she discovered in the 70s.
With disarming and raw candor, Meg Fortune McDonnell recounts the ego-deaths and transformations she went through as she followed her unorthodox teacher around the globe—and to uncharted spiritual dimensions not located on any map.*
— *From the publisher
To connect her riveting confessions to current events, McDonnell draws on diverse references from “Vanity Fair” to “The Buddhist Bible” and Alanis Morisette to Ramana Maharshi, deftly tracing the recent epoch of our collective spiritual quest along with her personal adventures.
The three decades McDonnell spent under the tutelage of her enigmatic master were filled with sometimes hair-raising, sometimes hilarious, ultimately uplifting explorations of everything, including: what vampires tell us about the taboo against the spirit and what it really means to be “sexually liberated,” healing debilitating Oedipal wounds and thawing the icy character that freezes out love, uncovering new gender roles and empowering female strengths, dancing as tribal prayer for world peace, recurring and mysterious synchronicities, what true beauty is—in art, friends, & avatars, and blessing meant for everyone.
A fascinating life, masterfully told.
World-Friend Adi Da Says: Not-Two IS Peace!
In Not-Two Is Peace, Adi Da has given humanity a remarkable gift: the explanation for our global human dilemma and its necessary remedy — through embrace of principles He elaborates in this book. These principles can be summarized as follows:
– Act on the basis of “everybody-all-at-once” — rather than on the basis of egoity and “tribalism”
– Engage a lifetime of ego-transcending schooling in what He calls “zero-point education”
– Establish a “Global Cooperative Forum”: a representative collective of “everybody-all-at-once”, acting in the best interests of humanity as a whole and the earth-world in its totality
Adi Da’s message in Not-Two Is Peace is not merely that human beings should resolve the world’s urgent crises, but that we must do so in a radically new way.
He speaks to many of the same global issues discussed by numerous contemporary authors, but His writing addresses these issues at the “root” level, thereby elucidating the fundamentally egoic forces behind humanity’s dangerous trajectory.
In so doing, Not-Two Is Peace proposes a profoundly new paradigm for world change and a cohesive program of solutions that reflect Adi Da’s comprehensive and penetrating understanding of the workings of the earth-world.
Sublime Bodily Form and Image-Art
Slideshow of the Sublime Bodily Form and Image-Art of Avatar Adi Da Samraj.
Soundtrack is Krishna Das’ song entitled “By Your Grace/Jai Gurudev”, 2010
The Transcendental Art of Adi Da Samraj
Adi Da Samraj (1939-2008) created art for over forty years with a single intention: the visual communication of truth, and the means to draw the viewer beyond separateness into the paradox of “indivisible unity.”
Artistic Process – Adi Da began his first serious photographic work in the early 1960’s. From the mid 60’s to 90’s he produced a diverse body of drawings, paintings, and sculptural forms. 1998 marked the beginning of an intensive six-year period of photographic and videographic work, moving from black and white to highly saturated color, and featuring multiple exposures composed in-camera. His primary bodies of work from this period use the figurative form and other archetypes to address the deepest issues of human existence.
In 2006 the artist moved to digital technology, while still combining hand-drawn and painted forms as well as photographs within his compositions. In November 2007, Adi Da Samraj reached what he described as the “final resolution” of his entire artistic process. This turning point enabled him to create non-representational art by using a unique method he named “Orphic Font,” or abstractions constructed from “collages of pictographs.” Adi Da felt this work to be the culmination of his artistic work and philosophy, the fully realized expression of “transcendental realism.”
Exhibitions and Critical Acclaim – Full-scale fabrications of Adi Da Samraj’s images have included many forms of media, from monumentally-scaled paints on aluminum, to large-scale pigmented inks on canvas, photographic and videographic works, sculptural light boxes, plasma screen installations, and projected performance events.
Continued at – daplastique.com
Transcendental Realism – The Art of Adi Da
Adi Da Samraj (1939-2008) created art for over forty years with a single intention: the visual communication of truth, and the means to draw the viewer beyond separateness into the paradox of “indivisible unity.”
Artistic Process – Adi Da began his first serious photographic work in the early 1960’s. From the mid 60’s to 90’s he produced a diverse body of drawings, paintings, and sculptural forms. 1998 marked the beginning of an intensive six-year period of photographic and videographic work, moving from black and white to highly saturated color, and featuring multiple exposures composed in-camera. His primary bodies of work from this period use the figurative form and other archetypes to address the deepest issues of human existence.
In 2006 the artist moved to digital technology, while still combining hand-drawn and painted forms as well as photographs within his compositions. In November 2007, Adi Da Samraj reached what he described as the “final resolution” of his entire artistic process. This turning point enabled him to create non-representational art by using a unique method he named “Orphic Font,” or abstractions constructed from “collages of pictographs.” Adi Da felt this work to be the culmination of his artistic work and philosophy, the fully realized expression of “transcendental realism.”
Exhibitions and Critical Acclaim – Full-scale fabrications of Adi Da Samraj’s images have included many forms of media, from monumentally-scaled paints on aluminum, to large-scale pigmented inks on canvas, photographic and videographic works, sculptural light boxes, plasma screen installations, and projected performance events.
Continued at – daplastique.com
Transcendental Art of Divine Imagery by Adi Da
“The image-art I make and do …represents the fulfillment, in fullest technical terms, of what I have always intended to accomplish by means of image-art — to create Self-Portraits of Reality Itself, which is to create the art of Transcendental Realism in the purest sense.”
— Adi Da Samraj / Transcendental Realism
“Reality Itself is Self-Apprehended as Truth Itself, and as The Beautiful Itself, in what Adi Da calls egoless Coincidence with Reality Itself.”
— Erik van Erp, PhD, from his introduction to Transcendental Realism
———–
Adi Da Samraj (1939-2008) created art for over forty years with a single intention: the visual communication of truth, and the means to draw the viewer beyond separateness into the paradox of “indivisible unity.”
Artistic Process – Adi Da began his first serious photographic work in the early 1960’s. From the mid 60’s to 90’s he produced a diverse body of drawings, paintings, and sculptural forms. 1998 marked the beginning of an intensive six-year period of photographic and videographic work, moving from black and white to highly saturated color, and featuring multiple exposures composed in-camera. His primary bodies of work from this period use the figurative form and other archetypes to address the deepest issues of human existence.
In 2006 the artist moved to digital technology, while still combining hand-drawn and painted forms as well as photographs within his compositions. In November 2007, Adi Da Samraj reached what he described as the “final resolution” of his entire artistic process. This turning point enabled him to create non-representational art by using a unique method he named “Orphic Font,” or abstractions constructed from “collages of pictographs.” Adi Da felt this work to be the culmination of his artistic work and philosophy, the fully realized expression of “transcendental realism.”
Exhibitions and Critical Acclaim – Full-scale fabrications of Adi Da Samraj’s images have included many forms of media, from monumentally-scaled paints on aluminum, to large-scale pigmented inks on canvas, photographic and videographic works, sculptural light boxes, plasma screen installations, and projected performance events.
Continued at – Da Plastique
Transcendental Divine Imagery Art of Adi Da Samraj
Adi Da Samraj (1939-2008) created art for over forty years with a single intention: the visual communication of truth, and the means to draw the viewer beyond separateness into the paradox of “indivisible unity.”
Artistic Process – Adi Da began his first serious photographic work in the early 1960’s. From the mid 60’s to 90’s he produced a diverse body of drawings, paintings, and sculptural forms. 1998 marked the beginning of an intensive six-year period of photographic and videographic work, moving from black and white to highly saturated color, and featuring multiple exposures composed in-camera. His primary bodies of work from this period use the figurative form and other archetypes to address the deepest issues of human existence.
In 2006 the artist moved to digital technology, while still combining hand-drawn and painted forms as well as photographs within his compositions. In November 2007, Adi Da Samraj reached what he described as the “final resolution” of his entire artistic process. This turning point enabled him to create non-representational art by using a unique method he named “Orphic Font,” or abstractions constructed from “collages of pictographs.” Adi Da felt this work to be the culmination of his artistic work and philosophy, the fully realized expression of “transcendental realism.”
Exhibitions and Critical Acclaim – Full-scale fabrications of Adi Da Samraj’s images have included many forms of media, from monumentally-scaled paints on aluminum, to large-scale pigmented inks on canvas, photographic and videographic works, sculptural light boxes, plasma screen installations, and projected performance events.
Continued at – daplastique.com
