Temple and Contemplation brings together for the first ... - ImagoMundi

THE REALISM AND SYMBOLISM OF COLOURS
EPILOGUE
The task which now suggests itself is one of comparative research. We
should study the consequences of this colour theory for the theory and
practice of alchemy, of which our shaykh was an initiate. We would need
to discover what his doctrine of light and colour in the supra-sensible
world has in common with the doctrines of other theosophical schools,
notably with that of Swedenborg in the West. We would doubtless have to
learn to look with new eyes at Persian miniatures, and also perhaps at the
fiery windows of our own cathedrals. But we must postpone this task.
Instead, I will conclude without going beyond the Iranian world, and will
attempt to perceive in that world the deep resonance of all that shaykh
Muh. Karim-Khan Kirmani has proposed for our meditation.
In this connection I shall recall some recent incidents, some conversations
I happened to have at Persepolis in October 1971, during the celebrations
of the twenty-fifth centenary of the founding of the Persian Empire, and
during the international congress of Iranology which was being held at
Shiraz at the same time and in honour of the same occasion. The previous
month, at the beginning of September, what is now called the annual
festival of Shiraz had taken place, though it is actually held among the
grandiose ruins of Persepolis. A work by Xenakis had been performed,
which, in the hill setting of the mountain that surrounds the ruins, made
allusions to the myth of Prometheus. I was struck to observe, among some
Iranian friends, not incomprehension of the Promethean allusions but, on
the contrary, a comprehension so perfect that it resulted in a feeling which
can only be called indignation. Now, this is one of the myths whereby
Western consciousness has affirmed its pride: Fire, and hence permanent
possession of the light, stolen from the gods, from celestial beings, by
means of man's Promethean audacity.
In powerful contrast, the fundamental conceptions of Iranian cosmology,
be they those of ancient Zoroastrian Persia with the Light of Ormazd, or
those of Shiite Persia with its Muhammadan Light of the walayah, are
quite the opposite of the myth of Prometheus. For the believer who
our country none of them know about it. I willingly give the recipe as a gift to
anyone who is interested." After that come detailed instructions on how to proceed.
The autograph is signed by the author and dated Thursday 27 Dhu'l-Hijjah of the
year 1267 A.H. (September 1851).
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THE REALISM AND SYMBOLISM OF COLOURS
experiences the Iranian concept of Light at the heart of his being, the
myth of Prometheus cannot but seem a violent perversion of the reality of
things, for Fire and Light are the sacred gift given to men by the Powers of
Light. Moreover, the Celestials and the Terrestrials are partners, allied
together in defending this Light against the infernal Powers. Ormazd
needs the help of the Fravartis (the celestial entities of the beings of light)
in defending the fragile world of Light against Ahriman; and this conflict
will continue until the end of our Awn. The Zoroastrian believer is a
knight fighting alongside the lord of Light, who is not the "Almighty". For
him there can be no question of betraying his lord, or of deserting the
struggle.
We have had occasion to analyse the continuance of this sentiment from
Zoroastrian Persia into Shiite Persia, passing from the heroic epic of the
heroes of the Avesta to the chivalry of the mystical epics of Islamic Persia.
The same ethic links the Zoroastrian "companions of Saoshyans" with the
Shiite "companions of the twelfth Imam". How is it conceivable that man
should have used force and stolen fire and light from Celestial Beings,
when he is their comrade-in-arms in the defence of these very things? How
can the idea of the heavenly gift be perverted into that of Promethean
theft? When he commits such a perversion, is not man simply taking the
place and part of Ahriman? This, perhaps, is the first episode of the
"philosophical disfiguration of man" which Gilbert Durand has analysed
so profoundly. 40
Yet this is not all. The celebration of the twenty-fifth centenary included,
one evening among the ruins of Persepolis, a "Sound and Light" spectacle. It
was one of moving grandeur and beauty, but inevitably it evoked the
burning of Persepolis, traditionally imputed to Alexander. On this occasion,
I heard similar manifestations of vehement indignation. The motives for
these were clearly expressed. There are two Fires: that of Ormazd and
that of Ahriman. The Fire of Ormazd is a flame of pure light, resplendent
and illuminating, which neither ravages nor destroys. It is the burning
Hush, which illuminates without being consumed. The fire of Ahriman is
fire as we experience it in our world of "admixture", in the state resulting
from Ahriman's invasion that violates the world of Light and brings
corruption and death into it. It is an opaque fire which ravages and
40 Gilbert Durand, 'Defiguration philosophique et figure traditionelle de l'homme en
Occident', Eranos-Jahrbuch XXXVIII, 1969, pp. 46-93.
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