Meeting with Androgen Giordano Bruno could see the symbols of significant theological essence beyond the mathematical formulas. One of these symbols is trimmed circle, which was often used by medieval artists. At the almond shape intersection of circles, Christ was supposed to be revealed. This is a space where two becomes one. Elémire Zolla, Italian essayist, philosopher and historian of religion, suggests that this is a geometric representation of androgens.
…”In the West's platonic narration, the androgen's persistence and its use in successive culture, such as alchemy, signal the archetype of the “coincidentia oppositorum” in the androgen. Nourished by Neo-Platonism and alchemical studies, the of Humanism and the Renaissance turned the figure o androgen into one of great importance.
The modern image of the androgen aims for completeness and integration, not only on the religious and mystic plane but on the psychological plane and in terms of image. Such completeness also implies, apart from the integration of essences on alchemical and metaphysical planes, an integration of the perception of the world. This is achieved thanks to contemporaneous and complete employment of the right and left hemispheres of the brain, that is: rational-masculine processing and intuitive feminine processing. A height awareness of our own profound dimensions can then celebrated along with an integration of the individual personalities of the soul structure.
In certain tantric traditions, but also in those of the Middle East, it is not taken for granted that a man will express his masculine aspect in a predominant manner or that a woman will express her feminine aspect; this does not detract from masculinity femininity and the value of heterosexual relationships. Theories exist however, in which the rediscovery or the completion of our complementary aspect does not necessarily have to correspond to relations with the opposite sex: it is worth saying that the completion can also occur between individuals of the same sex.
The androgen would be a forewarning of the so-called Alchemical Nuptials: The union of our human aspect with that of the divine”-(Carlo Dorofatti, Soul and Reality, Metaphysics, Magic and Inner Search for a New Era of Awareness, 2011 Carlo Dorofatti, p.98-100)
Symbols in the film:
- Dalet (dāleth, also spelled Daleth or Daled) is the fourth letter of the Semitic abjads, including Phoenician Dālet , Hebrew ([d]). probably called dalt "door" (door in Modern Hebrew is delet), ultimately based on a hieroglyph depicting a door.
- O or o is the 15th letter in the ISO basic Latin alphabet and the fourth vowel letter in the modern English alphabet. Its name in English is o (pronounced /ˈoʊ/), plural oes.[1] It is graphic form has remained fairly constant from Phoenician times until today. The name of the Phoenician letter was ʿeyn, meaning "eye", and indeed its shape originates simply as a drawing of a human eye (possibly inspired by the corresponding Egyptian hieroglyph, cf. Proto-Sinaitic script)
- Ayin (also ayn or ain; transliterated ⟨ʿ⟩) is the sixteenth letter of the Semitic abjads, including Phoenician ʿayin , Hebrew ʿayin ע, Aramaic ʿē , Syriac ʿē ܥ, and Arabic ʿayn ع (where it is sixteenth in abjadi order only).[note 1]The letter name is derived from Proto-Semitic *ʿayn- "eye", and the Phoenician letter had the shape of a circle or oval, clearly representing an eye, perhaps ultimately (via Proto-Sinaitic) derived from the ı͗r hieroglyph 𓁹
- A deer symbol – one of the most widespread in Christian symbols. “Early Christian deer symbol, from the bible psalms, which has become a symbol of religious people, began to spread widely (from 4th century) only after the explanations of the Church Fathers. In the early Christian era, the depictions of this animal are represented in three versions: a deer or deer next to the source of life, life-giving water, tree or cross. Depiction of the deer mostly spread in Georgia is a deer next to a tree. In studying the images of deer symbols, most scholars have explained their derivation from the psalms book, however, as well as its connection to local roots and pagan pantheon. There’s a one version by G.Gabashvili, who explains that these images are representation of the legend of declaring Christianity, from Georgian written sources. Deer are also of great importance in world mythology and can be found in Celtic, Greek, Buddhism, European folklore, Egypt, Islam, Judaism and etc.” - (Ketevan Digmelashvili, Christian Symbolism 1-6th Centuries, Georgia, Tbilisi University Publishing, 2010, p.57)
Credits:
Artistic director: Maka Kiladze
Video artists: Giorgi Tavshavadze
Music: Nathalie Basilaia