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LEONORA CARRINGTON


Leonora Carrington's roots are in northern England. Born in Lancashire in 1917 and was the only daughter of a wealthy textile industry and an Irish mother. Fundamental
proved to their personal search some books on alchemy and the esoteric, as well as the works of Alexandra David-Neel and Sir James Frazer. With Mystics and Magicians in Tibet and Initiations in Tibet of the office (both 1931), describing in detail the travels of an independent woman during a trip of enlightenment in the Himalayas, were a source of inspiration for the study that Carrington has made over of his life on spiritual practices budistas.El book The Golden Bough (1890) Frazer, which explores the pagan origins of Christian dogma and shows the influence of agriculture on religion, reinforced his growing skepticism about the veracity of the official versions of history. WORK

Leonora Carrington's paintings were often motivated by personal, subjective and imaginado.Es a world of changing landscapes where time and space merge. The consciousness stops at the exact point where it crosses the material with the immaterial. "Everything is connected to something else," said Leonora, "And what interests me is what produces the connection."
The literary and pictorial Carrington is a world of limits indefinidos.Y where the elements that shape relationships apparently "opposite", ie high and low, the communicable and the incommunicable, night and day, no longer seen as contradicciones.Carrington always been aware of the power of space between things and the spirits that live there: between here and there, waking and dream, the ordinary and extraordinary. His images are often a lucid dream states, and capture those who show signs of exceptional power. "We all need to recognize and powers such as anger, love and hatred," he says. "But we do not know what they are, and we have great difficulty in naming them. The ancient Greeks called gods and goddesses, but they were only names convenient. After all, you can not invent a goddess." However, for forty years has been of paramount importance for his work to recognize that the patriarchal culture has repressed women, humans have lost their sensitivity and respect for nature, necessary to sustain life, and that the relationship between the human and animal are crucial for the continue life on this planet as we know. His quest for knowledge and understanding has never ceased and is convinced that new forms of knowledge
- of fractile geometry to the theory of chaos promise to open new doors to the awareness and understanding.

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THE BLIND AND THE QUESTION OF THE ELEPHANT


Beyond Ghor was a city. All its inhabitants were blind.
A king and his entourage arrived near the scene, brought his army and camped in the desert.
had a mighty elephant that used to attack and increase the fear of people.
People were eager to see the elephant, and some blind is blind community
rushed like mad to encontrarlo.Como not even know how
and appearance of so many blind elephant, to gather information, feeling parts of your body . Everyone thought they knew something, because he could play a part él.Cuando returned with his fellow citizens, eager groups clustered around. Everyone was anxious, looking for the truth of wrong from those who were errados.Preguntaron by the shape and appearance of the elephant and heard all those dijeron.Al man who touched the ear was asked about the nature of the elephant. He said: "It's a big, rugged, wide and thick as a doormat." And he had felt the trunk said: "I know the facts, is like a straight and hollow pipe, awful and destructive." Whoever had touched his feet said: "It is powerful and strong like a pillar." Each had felt one part of many. Each one had perceived wrongly. None knew all: knowledge is not the companion of blind. All imagined something, something equivocado.La human being is not informed about the divinity. There

road in this science by the ordinary intellect. * * *

This story is more famous version of Rumi "The Elephant in the dark house", located in the Mathnavi. Hakim Sanai, Rumi's teacher, gives us this before the first book version of his classic Sufi "The Walled Garden of Truth." He died in 1150. Both are stories from a similar argument, which according to tradition, has been used by teachers for several centuries Sufis.