IV. The Garden of Eden Style

The Garden of Eden style of painting is a special ability to express one’s cultorological worldview. It proceeds from religious, culturological and educational premises.

So why do we feel justified in describing this painting style as temple dance? It is because it represents the concept of a temple. It can be a Buddhist, Muslim, or Christian temple – or just a private, altar-based one, i.e. something a person holds dear and values above everything else. It is what he lives by and what makes part and parcel of his life.

Temple dance is the inner world of the integral painting, yet it manifests in the highest spiritual aspirations and experiences. Is there anyone around who wouldn’t like or strive to step into the Garden of Eden? This style of painting brings together the temporal and the timeless factors of existence, the verbal and the non-verbal domains. Here a variety of feelings and experiences can get mixed up, yet something there always stands above it all, even though in close proximity – it might be a tree that is right there, yet out of reach, or a certain territory, unchartered, yet alluring, or aspirations that require that the sacred aspect stays intact.

At the same time, the Garden of Eden style is a certain measure that is limited by the laws of temple construction. It abides by the law that directs one to stay attuned to the rhythm. But what is rhythm? It is what connects time and space. The rhythm has cyclic nature, and the basic step of this cyclicity is measured by the effort of our time that has a form of number 7. In fact, it is the very measure that manifests as existence of our time. In other words, the Integral Garden of Eden style is actually a measure – a measure of experience, if you like, determined by our seven senses. It is a measure of the seven paints.