Spiritual ontology of the heaven

About the “climbing up the mountain as a mythical immemorial feature”, in the Romanian Carpathians we must emphasize the significance of this spiritual activity and its etnophysiologic consequences for the Romanians.

The ascension to the sky does not refer only to a specific altitude towards the sky, where an ancestral object enters, but also to a specific way of thinking the ascension as it is, in rate with the sky’s existence as an ideal of proposition of the spiritual liberties. In other words, the ascension to the sky corresponded to a spiritual ontology which interviewed the overfillment of the human experience limits, of it’s infuse and diffuse needs and the response of the intimate callings of the human nature. The sky impels the man to self- overfulfillment in report with the ambient environment.

Referring to the mythological ascension towards the sky, in the Romanian people’s spiritual ontology have existed two ways of thinking mythic:

1. the intrinsic that rises biospiritual towards the sky;

2. the transcendent that descends through the sky’s window down to Earth, thereby pursuing the conquer of the human soul, reliving “a latent metaphysic”

The immanent ascending

In Romanian mythology the intrinsic holds o double priority towards “the transcendent that descends”: primarily because it exists before the christens stand and secondly because it’s a dominant of the native spirituality. The transcendent’s attitude that descends succeeds in time to the other one and it is a product of interpretation of a neochristen cult.

The biospiritual immanent that ascends towards the sky – the Cosmo’s windows – is, for us, an essential mythological attitude.

In “Fenomenul horal”, a sociology paper about culture, I enounced a new theorys about the study of the Romanian spirituality based on a polisemic and polyvalent phenomenon, having as main subject the “hora”. We called our hypothesis then, the mundane that rises towards divinity, like a spiritual dominant, particular for the autochthon culture. The sacrificed person was captured, held by hands and feet by four soldiers, throne towards the sky and stopped from falling back on earth. The sacrificed one was a messenger from the sky, sent by his kind to announce the Great God of what was going on down on earth and to express his believers wishes.

This contact of the biospiritual immanent in some specific areas called “heaven mouths” acquires a major expression in the periodic rite of sending a messenger form Earth to Heaven, to the great god Zalmoxes, to inform him of what was going on down, in the country.

The bispiritual immanent that climbs towards the sky, beyond the cosmos windows, is also remarked by faith in the sacred action of the marvelous fir like agent of communication with its derivative, the sky’s column.

The marvelous fir known by Dace people as a communicational tree between heaven and earth resembles with the yggdrasil of the old Germans. The marvelous fir ties earth to cosmos. With his roots lodged in the ground, his trunk lodged in the sky, and his crown passing beyond the sky, in cosmos, the fir is the cosmologic symbol of the ascending movement of life from earth to cosmos. And the sky’s column as a derivate ideative of the cosmic fir represents the trunk with no branches, filled with mythical powers.

Petru Comarnescu sustained that the endless column made by Brancusi operated a thematicall mutation. In this matter the endless column becomes, like Brancusi says, the permanent mark “of elevation of the generations who’s duty are to create without stopping, at a ascending cultural level”.

If we refer to the deceitful semblance of the sky’s column, the tomb-pole we find that in the Romanian beliefs, it is forced the survival of the same biospiritual immanent that climbs towards the sky. The dead person’s soul rests under the form of a celestial bird at the top of the tomb-pole, until it flies towards the other world. The celestial bird, symbol of the soul, ascends towards the sky with the dynamic flush of one of Brancusi’s representations of the Celestial bird. From many narrations of C. Brancusi’s critics we find out that the sculptor intended to place a bird in vertical ascension, in the top of the endless column.

ROGIN RALUCA