|
OSHO
from:"The OSHO Upanishad – Chapter #40 – My disciples are my garden"
BELOVED OSHO,
IN A BOOK I READ ABOUT GURDJIEFF, IT WAS
SAID THAT TWO OF HIS DISCIPLES, WHO HAD BEEN WITH HIM FOR A LONG TIME AND
IN A VERY INTIMATE WAY -- FOR EXAMPLE, DE HARTMANN, WHO PLAYED HIS MUSIC -- SUDDENLY LEFT HIM.
CAN YOU EXPLAIN WHY THIS SEEMS TO HAPPEN
AGAIN AND AGAIN IN THE MASTER-DISCIPLE RELATIONSHIP?
Turiya, the question is something of deep
significance and with profound implications.
It is something in the very nature of things
that this kind of thing happens again and again, and will continue to happen again and again;
it cannot be stopped.
De Hartmann lived with George Gurdjieff
for perhaps the longest period of any of his other disciples, perhaps forty years or more. He
was a great genius as far as music is concerned, and he was playing music for special meditations which
Gurdjieff had devised. The
music was also devised by Gurdjieff; de Hartmann had to bring the device into reality.
Gurdjieff was a strange master, everything
about him had the quality of strangeness. He himself was not a musician, but he
understood what kind of vibrations could create certain states in man. His understanding was about man,
his meditation, his mind, the
possibility of his receiving certain vibrations and being affected by them.
He would explain his whole program to de
Hartmann, and de Hartmann had become such an expert that he would make it a reality. But
de Hartmann was not a disciple -- this was where the trouble arose. He had come to George Gurdjieff
to be a disciple, but his genius
about music took him on a different route: rather than being a disciple, he became an associate. He
started working for Gurdjieff
insofar as he needed music for his special dances, and he forgot completely why he had come.
Gurdjieff reminded him many times: "de
Hartmann, you are a perfect master as far as music is concerned, but you had not come here
to play music. And now your ego is feeling so fulfilled and contented that you don't want to sit among
the disciples. You have forgotten
that your basic motive was not to play music here."
The separation was bound to happen one
day, because finally Gurdjieff became very hard. And he said to de Hartmann, "You have to
stop music completely, because music has become a barrier. Your music has helped others tremendously,
but for yourself it has
become a barrier. You stop music completely! Burn all your musical instruments." This was too much
for de Hartmann. He was not an
ordinary musician.
He left Gurdjieff rather than leave music.
And because he had lived for forty years
with George Gurdjieff, and had remained in a very intimate relationship... but not as a
disciple, remember -- that was forgotten; that was why the problem arose. The intimacy was because of
the music; Gurdjieff needed
a musician. He was taking his disciples around the world, showing people the immense effect of vibrations.
In New York, in one of his shows, the disciples
were dancing...
They have to dance intensely and totally;
they have to forget the whole world. But if the music stops, then they have to stop in
whatever position they are in -- if the hand is up, it remains up; if their eyes are open, they remain
open, they don't blink -- a total stop.
If one leg is up in dancing, it remains where it is.
And when the dance came to its climax,
he gave the indication to de Hartmann to stop. As the music stopped, every dancer had to
stop - - just like statues, as if suddenly they had become marble statues, no movement.
It is a tremendous experience. In that
gap, when all movement has stopped, you simply feel your existence, your isness.
But when he said to de Hartmann to stop...
the dancers were moving in a certain round and they were so close to the edge of the
stage that with the sudden stop, one dancer fell from the stage. Because there was no way, you could
not do anything -- whatever
happened, happened, you had to stop. On top of him, another dancer fell. A whole line of dancers went
on falling from the stage, as if
they were dead bodies.
The people who had seen that show could
not believe... the silence of the disciples, their becoming centered, created a new vibration.
Even the people in the audience who had no idea of any meditation certainly felt a new breeze, a silence
surrounding them, and a
peacefulness.
For years, the intelligentsia of New York
talked about the dance. They could not believe what had happened; it was simply sheer
magic.
But nothing happened to de Hartmann. He
was just a technician: he played the music -- he was an expert -- and when the indication
was given he stopped it.
But he remained in close proximity to Gurdjieff
for forty years, and people naturally thought that he was a disciple, and a very close
disciple. And when he left Gurdjieff, he maintained the illusion -- perhaps he himself was in the illusion
-- that he was a disciple, that he
had learned everything that Gurdjieff knows... forty years is enough. That's why he went to America
to open his own school.
A desire to become a master is a simple
ego number.
...
OSHO
from: " Yoga: The Alpha and the Omega"
Volume 7, Chapter #8 "The rock bottom of no and yes"
... For example, one man came, a musician,
a very accomplished musician who was already known, famous for his art: and Gurdjieff
says, "Stop music and start digging holes in the garden." And twelve hours per day. That man
has never done such hard work. He
has always played on the organ. His hands are delicate; they are not those of a laborer: they are not
of a manual worker. Delicate,
feminine hands, they know only one work -- they can touch the keys of the organ. That's all he has done
his whole life, and now this
man says.... But he started digging the next morning.
By the evening comes Gurdjieff and he says,
"Good, very good. Now throw the earth back into the holes. Fill the holes. And unless
you have filled them don't go to sleep." So again four, five hours he has to fill all the holes
-- as they were -- because in the morning he
will come to see. In the morning he is there and he says, "Good. Now dig other holes." And
this goes on for three months.
Absurd activity, but if you have surrendered,
you have surrendered. You don't need to bother about what he is doing. You have to
surrender reasoning.
After three months that man has grown into
a totally different being. Then Gurdjieff said, "Now you can play music." A new music has
arisen; it was never there before. He has touched something of the unknown. He followed, he trusted,
he went with Gurdjieff the
whole way. ...
OSHO
from: "Darshan Diaries – Dance
Your Way to God" Chapter #24
... just paint with the idea that if somebody
looks at the painting, he feels awe, reverence, silence. The basic idea should be what
happens to the person who is looking at the painting. If he becomes a little meditative just watching
it, then you have created a beautiful
thing in the world, something very creative.
A painting can do many things. A painting
can create sexuality in people. That's why so much pornography has appeal. It can give a
sexual fantasy. When a painting can give sexual fantasies, then why cannot painting give meditative
ecstasy? It can. You just have to
think about certain combinations of colors, forms, which make a person meditative. Just keep it in mind
and go on working on it. Soon
you will be able to discover ways.
Just as there is music, which makes people
sexual, there is music that makes people very spiritual. There is music, which brings you,
very low, to animal instincts, and there is music which makes you soar very high -- to heights which
you have not known before, to
new altitudes of being. Just a certain combination of sounds makes all the difference. The same can
be done through colors, through
form. The same can be done through words, poetry. The same can be done through dance. The dancer can
dance in such a way that
the people who are looking at the dancer suddenly start soaring high. They leave their general locus
at the sex center and start moving
towards a higher center.
This is what Gurdjieff calls objective
art -- when the art is not just an amusement, not a decorative piece, not just part of the interior
decoration of the house, but creates something in the beholder, something which was not there before.
Just listening to a song or
listening to certain music, or looking at a certain painting, a person is simply no more the same as
he was before.
So a painting can be just a decoration,
or a painting can be just an amusement, entertainment. A painting can be just interesting or a
painting can be just photography, very realistic. A painting can be sexual, erotic. A painting can be
spiritual. And I don't mean when I
say spiritual, that if you paint Krishna it is going to be spiritual; not necessarily. If you paint
Jesus it is not necessarily spiritual; that is
not the point. You can paint a tree and it can become spiritual, and you can paint a Jesus and it may
not be spiritual at all.
| 
1. Piano Songs
