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Encyclopedia > Kamarupa

Kamarupa [from kama desire + rupa body, form] Metaphysically, and in our esoteric philosophy it is the subjective form created through the mental and physical desires and thoughts in connection with things of matter, by all sentient beings, a form which survives the death of their bodies. After that death three of the seven "principles" -- or let us say planes of senses and consciousness on which the human instincts and ideation act in turn -- viz., the body, its astral prototype and physical vitality, -- being of no further use, remain on earth; the three higher principles, grouped into one, merge into the state of Devachan (q.v.), in which state the Higher Ego will remain until the hour for a new reincarnation arrives; and the eidolon of the ex-Personality is left alone in its new abode. Here, the pale copy of the man that was, vegetates for a period of time, the duration of which is variable and according to the element of materiality which is left in it, and which is determined by the past life of the defunct. Bereft as it is of its higher mind, spirit and physical senses, if left alone to its own senseless devices, it will gradually fade out and disintegrate. But, if forcibly drawn back into the terrestrial sphere whether by the passionate desires and appeals of the surviving friends or by regular necromantic practices -- one of the most pernicious of which is mediumship -- the "spook" may prevail for a period greatly exceeding the span of the natural life of its body. Once the Kamarupa has learnt the way back to living human bodies, it becomes a vampire, feeding on the vitality of those who are so anxious for its company. In India these eidolons are called Pisachas, and are much dreaded, as already explained elsewhere. (Theosophical Glossary, 1892)


Reference

  • ENCYCLOPEDIC THEOSOPHICAL GLOSSARY: A Resource on Theosophy (http://www.theosociety.org/pasadena/etgloss/etg-hp.htm), G. de Purucker
  • Theosophical Glossary, 1892

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Galeri Canna (3880 words)
In the end, however, it is the individuality of the artist (that is, the process of his or her sensibility- and sensuality-studded creativity) that serves as a benchmark of values that gives birth to that relationship in a work of art, including at points where the question of reality is being dealt with.
Kamarupa was born out of various ideas on his life, on the sensuality of both the artist and the viewer connected with the reality of life that seems to be increasingly ambiguous.
Kamarupa may also be described as a dimension that exists along the circle or the axis of the process of creativity which functions as a mediator for both the artist and the viewer.
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