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" "There is no valid virtue without piety, and there is no authentic piety without virtue.
Frithjof Schuon ( ; ; 18 June 1907 – 5 May 1998) was a Swiss philosopher and spiritual leader, belonging to the Traditionalist School of Perennialism. He was the author of more than twenty works in French on metaphysics, spirituality, religion, anthropology and art. He was also a painter and a poet. With René Guénon and Ananda Coomaraswamy, Schuon was one of the major 20th-century representatives of the philosophia perennis. Like them, he affirmed the reality of an absolute Principle – God – from which the universe emanates, and maintained that all divine revelations, despite their differences, possess a common essence: one and the same Truth. He also shared with them the certitude that man is potentially capable of supra-rational knowledge, and undertook a sustained critique of the modern mentality severed, according to him, from its traditional roots. Following Plato, Plotinus, Adi Shankara, Meister Eckhart, Ibn Arabī and other metaphysicians, Schuon sought to affirm the metaphysical unity between the Principle and its manifestation. Initiated by Sheikh Ahmad al-Alawī into the Sufi Shādhilī order, he founded the Tarīqa Maryamiyya. His writings emphasize the universality of metaphysical doctrine, along with the necessity of practicing a religion; he also insists on the importance of the virtues and of beauty. Schuon cultivated close relationships with a large number of personages of diverse religious and spiritual horizons. He had a particular interest in the traditions of the North American Plains Indians, maintaining firm friendships with a number of their leaders and being adopted into both a Lakota Sioux tribe and the Crow tribe. Having spent a large part of his life in France and Switzerland, at the age of 73 moved to Bloomington, Indiana, where he had a community of disciples.
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No art in itself is a human creation; however, what distinguishes sacred art is that its essential content is a revelation, that it manifests a properly sacramental form of heavenly reality, such as the icon of the Virgin and Child, painted by an angel, or by St Luke inspired by an angel, and the icon of the Holy Face, which dates back to the Holy Shroud and St Veronica; or such as the statue of Shiva dancing, or the painted or carved images of the Buddhas, Bodhisattvas and Taras.
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To say that man, and consequently the human body, is "made in the image of God" means a priori that it manifests something absolute and for that very reason something unlimited and perfect. What above all distinguishes the human form from animal forms is its direct reference to absoluteness, starting with its vertical posture; as a result, if animal forms can be transcended − and they are so by man, precisely − such could not be the case for the human form; this form marks not only the summit of earthly creatures, but also, and for this very reason, the exit from their condition, or from the samsāra as Buddhists would say. To see man is to see not only the image of God, but also a door open towards bodhi, liberating enlightenment; or, let us say, towards a blessed centering in the divine proximity.