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Many people ask me why I named my website ‘pyramidkey?

This has such a long answer to it that to try and boil it down to just one or two simple facts would undermine the whole process.

Within my blog, The Living Pyramid, I am going to write the story of how I developed my creative work over the years and how I came to notice that I was often subconsciously using the model of the pyramid as an inner pattern.


Blog: The Living Pyramid
Part 4: The Guru's instructions
Part 4: The Guru

Chogye Trichen Rinpoche’s instruction to “Take photographs” continued to haunt me as I made my second and third trips to Muktinath in April and June 2005.

Being my second major experience with the camera, I took over 1000 photographs during those two journeys, this time more daring and less self conscious without the presence of my professional photographer friends.

On my return to Kathmandu, I was keen to organise them in a way that might explain what had driven me to take so many pictures of the valley. What was it that had caused me to obsessively take pictures of rocks and stones, mountains and flowers and nature’s shapes and forms?

“Thangthong Gyalpo,” Rinpoche had told me as I was embarking on this second journey in April 2005 “was a Tibetan Mahasiddha (greatly accomplished holder of Dharma), who had visited Muktinath. He overcame the nature of the four outer elements by controlling his inner elements and flew three times around the world visiting many pure lands, such as that of Guru Rinpoche."

No guide book, nor historian on earth would back up the information that Thangthong Gyalpo had actually visited Muktinath and having done a little research on the matter, I quizzed Rinpoche again about it and he simply repeated exactly what he had told me the first time.

I went away and asked around a little more and had no further luck in obtaining the information I required. Stubbornly, I questioned him a third time and again, he told me the same story.

I now knew that Rinpoche was telling me this for a reason beyond the obvious and that I would have to look deeper into it to understand why.

Thangthong Gyalpo was my first clue and I studied his life story, the four elements were the next and I started looking at their nature in diverse and more vivid ways.

I always believe that the best place to start a story is at the end, because the end is the sum total of the whole story, so if we know the end, we know where we are heading. And a story always has a beginning and an end, even though in truth we know that it goes beyond both those definitive moments into an immortal length of time stretching backwards and forwards.

I mean, what happens in the fairy tale after the prince awakes her with a kiss or all that was wrong is put right. The story ends there, but somewhere in our mind flashes a beyond of, ‘then they lived happily ever after…’ That is after all, the immortality of the story.

So from here, this a story of a film and a bunch of photographs, which was already a bizarre outcome considering that I am neither a filmmaker, nor photographer by profession or hobby. They were to become, however, the means through which I could express the vision that the sacred land of Muktinath had allowed me to see.

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