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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 6: A brief summary of how the film, 'The Circle of Immortality' came about
Part 6: A brief summary of how the film,

“To balance your time equally between formal meditation and that spent undergoing activities for other’s benefit is to really practise Dharma,” Rinpoche had once told me. It was with this inspiration in mind that I went into this Dharma activity film project with great joy.

Although the final version film was shot in three different sacred places of Nepal, initially it was meant to be about the Muktinath valley alone. After I shot the visuals there, they had been duly cut up and edited into a short film entitled, ‘Dakini, dakini’.

It so happened that a short while after this, the Sakya Monlam peace prayer festival took place at the other end of the country, at Lumbini, the birthplace of Lord Buddha. This is a period of ten days where the entire Sakya sect of Tibetan Buddhism, headed by His Holiness The Sakya Trizin, gathers together and recites the Samanthabhadra prayer 100,000 times.

In the year 2005, I attended the entire festival and just before it ended, Peter, who had sponsored the Muktinath film project suggested that we also make a film about Sakya Monlam and I agreed.

Some time afterwards the idea came to me to mix the visuals of these two places together into one film and I went to Rinpoche seeking his advise as to its relevance.

He replied that this would be very appropriate as both Muktinath and Lumbini are two very sacred places of pilgrimage, filled with blessings from the continual practise of Dharma there. He continued by saying that anyone watching these holy places, even on film would benefit in such a way that aeons of bad karma would instantly be washed away.

At the Sakya Monlam in the same year, I had also met Minnan from PBC music, Taiwan, who was also present at the event. He not only offered me a huge choice of lovely music to use in the film, but also ended up publishing the next version of the film with both the Muktinath and Lumbini visuals, on Dvd.

This version, entitled ‘The Circle of Immortality’ went through two major cuts, the first of which was shown at the Sakya Monlam of 2006 and was distributed privately around friends and family and the second, which would be published and distributed by PBC Taiwan throughout their South East Asian network, thus helping me to display these sacred places to a wide audience of people all over the world, according to the wish of the Guru.

With Rinpoche’s stamp of approval and comments on its relevance in the world today, I made it my aim to complete and show this artistic documentary film in as many places and to as many people as possible.

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