Titus Burckhardt Quotes & Sayings

It is necessarily so, since every traditional art obeys a particular spiritual economy that limits its themes and means of expression, so that an abandonment of that economy almost immediately releases new and apparently unlimited artistic possibilities. — Titus Burckhardt

A craft can only have meaning when it serves a spiritual way. — Titus Burckhardt

One of the fundamental conditions of happiness is to know that everything that one does has a meaning in eternity — Titus Burckhardt

Abul l'-Qasim al-Iraqi writes of such a tree, [...] 'Materia Prima', which can produce the form of the elixir, is obtained from one single tree, which grows in the 'lands of the West'. It has two branches, which are too high to anyone who would eat its fruit to reach without labour and effort, and two others whose fruit is drier and more wrinkled than that of the former. The flower of the first of the two branches is red, and the flower of the second is between white and black. The tree has two further branches, which are weaker and softe rthan th efirst four. The flower of the first of these two branches is black, and that of the second is white and yellow. [...] — Titus Burckhardt

The explanation of this perennial quality of Arabic is to be found simply in the conserving role of nomadism. It is in towns that languages decay, by becoming worn out, the things and institutions they designate. Nomads, who live to some extent outside time, conserve their language better; it is, moreover, the only treasure they can carry around with them in their pastoral existence; the nomad is a jealous guardian of his linguistic heritage, his poetry and his rhetorical art. On the other hand, his inheritance in the way of visual art cannot be rich; architecture presupposes stability, and the same is broadly true of sculpture and painting. — Titus Burckhardt

Archaism, in the linguistic order, is not, in any event, synonymous with simplicity of structure, very much to the contrary. Languages generally grow poorer with the passing oftime by gradually losing the richness of their vocabulary, the ease with which they can diversify various aspects of one and the same idea, and their power of synthesis, which is the ability to express many things with few words. In order to make up for this impoverishment, modern languages have become more complicated on the rhetorical level; while perhaps gaining in surface precision, they have not done as as regards content. Language historians are astonished by the fact that Arabic was able to retain a morphology attested to as early as the Code of Hammurabi, for the nineteenth to the eighteenth century before the Christian era, and to retain a phonetic system which preserves, with the exception of a single sound, the extremly rich sound-range disclosed by the most ancient Semitic alphabets discovered, [...] — Titus Burckhardt

The heliocentric system itself admits of an obvious symbolism, since it identifies the centre of the world with the source of light. Its rediscovery by Copernicus (For it is not a case of an unprecedented discovery. Copernicus himself refers to Nicetas of Syracuse as also to certain quotations in Plutarch) however, produced no new spiritual vision of the world; rather it was comparable to the popularization of an esoteric truth. The heliocentric system had no common measure with the subjective experiences of people; in it man had no organic place. Instead of helping the human mind to go beyond itself and to consider things in terms of the immensity of the cosmos, it only encouraged a materialistic Prometheanism which, far from being superhuman, ended by becoming inhuman. — Titus Burckhardt

St. Hierotheos, the great teacher quoted by Dionysius in his book on Divine Names: "As form giving form to all that is formless, in so far as It is the principle of form, the Divine Nature of the Christ is none the less formless in all that has form, since It transcends all form.... — Titus Burckhardt

Whereas previously men were differentiated only by their culture, the community is all of sudden split into economically determined classes and, with the cheap products of the factory, a poverty without beauty invades the homes; ugly, senseless, and comfortless poverty is the most widespread of all modern achievements. — Titus Burckhardt

Beauty always represents an inward and inexhaustible equilibrium of forces; and this overwhelms our soul, since it can neither be calculated nor mechanically produced. A sense of beauty can therefore permit us the direct experience of relationships before we can perceive them, in a differentiated manner, with our discursive reason; in this, incidentally, there is a defence for our own physical and psychic well-being, something that we cannot neglect with impunity. — Titus Burckhardt

In reality, the apparent 'objectivity' of modern architecture is merely a mysticism in reverse, a congealed sentimentality disguised as objectivity; moreover one has seen often enough just how quickly this attitude is converted, in its protagonists, into the most changeable and arbitrary of subjectivisms. — Titus Burckhardt