The anthropomorphism is a fundamental attribute of the higher realms of subtle matter. To put it more precisely, man is an effect of precipitation of the sevenfold principle of Deity Itself on the dense plane. Hence a figurativeness peculiar to images of celestial life. Evidences of contacts with the Kingdom of God or, speaking scientifically, with the Spiritual Hierarchy, are characterized by concreteness and tactility. The hierarchical Entities, i.e. Devas and Angels on all the levels up to the Masters – when they contact us – necessarily take adequate outer transforms which correspond to the planets’ position in the Zodiac – as that is determined by the same relation to the horoscopes of those whom they contact. It is that which influences the nature of an image and a mise en scene.
There is a false idea of that which is Higher as of something vague, dim and mystical. On the contrary, the experience and knowledge of the Plan of the Hierarchy is perceived – in connection with those contacts – as the life of Spirit within form. Such is the unity of the Eso- and the Exoteric, and it is a Law!
The Mahatma Djwhal Khul, our beloved patron, says that the coming epoch is characterized by replacing God transcendent (figuratively speaking, God spread outside and beyond us) by God immanent, i.e. God within and through man. It is wonderful but is it the central seed, the Eonic and most important task of the Christ in His building the Kingdom of God on the earth.
The mechanisms which determine the above purpose, are focused in the Cosmic Program Itself of the constellation of Aquarius which dominates the physical, dense and material plane. At the same time, the seventh ray entering into manifestation will also promote union of «the power and the glory of God», i.e. the occult union of the Higher vibratory nature of Spirit and its lower manifestation, the dense matter in its endless variety of forms. With only one reservation: forms which seek and invoke Spirit to the unity of Life!
When we remember the Biblical Revelation, a prophetic exclamation comes to our mind: "Holy, holy, holy, is the LORD of hosts: the whole earth is full of his glory".
The Earth is Full of His Glory!!!
We should know that this process has a still more significant purpose. The Christ’s messianic work will inevitably ensure the fusion of two chakras in the body of the Planetary Logos, or – referring to humanity – two Kingdoms in Nature: humanity as an analogue of the solar plexus life, and the Spiritual Hierarchy which is headed by the Christ, and whose function plays the heart. Occultly speaking, the heart will absorb the solar plexus, and it will inevitably result in the Glory of the God’s Victory! However, humanity – in order to completely master the solar plexus center – will have to go through many phases of the process of assimilation with the most advanced part of population, the most ancient one on the planet… A great part of highly developed people who are considered disciples and initiates of the first and second degrees correspond to the throat center of the Planetary Logos. They will also blend with the Heart of the Logos as the leading center in His sevenfold manifestation.
The above said is a theoretical, scientific and intuitional prerequisite for at least a partial understanding of art as Theurgy. Spirit through man, God through transform – we did begin with these patterns proceeding from the Global Task, the Purpose and the Plan of Deity. The theurgical and mysterial painting is the most elementary scintilla in the process of its realization.
In the first place there should be mentioned such an unprecedented thing as a new approach, namely a meditative portrait.
Its technique is essentially of a tantric origin. It is based on Leading Teacher’s (Lyudmila Reznik) ascending meditation, or her entering into the state of Samadhi. In the process of a joint meditation, or a vibratory synchronization of the centers, the Teacher brings the theurgical painter into the same ascending meditative state. Hence the Tantra: their own Personal Will is entirely lacking as it has been absorbed by a Higher Will, or the Glory of Atma-Buddhi. Then these higher principles freely translate and magically anchor themselves in paints – as in a special type of matter (salts and oxides) – or drawings in pencil when leading the hand and the brush of the mediating painter. In this connection, we can speak about such image as about a "Magical Document" which is a Psy-Resonator of the high note and the sound of Spirit which was introduced as this image and whose dominant feature is the Holy Eyes of Divine Entities.
Many images in this sketchbook are of that meditative origin having been emanated through a figurative code as a Psy-Resonator of a vibratory activity. It is through the painted eyes and their look that we gain an opportunity to identify with the Higher Entities. After all, the eyes are the brain’s display where the threefold and sevenfold energies of Deity enter.
As it sometimes happens, average statistical man because of their "burning-through" force does not conceive those images. Hence all kinds of misunderstandings. Those people think that that which is Spiritual is something tender, touching and warming. However, it cannot be so by no means since that which is celestial is first something intensive, and something more intensive will act upon surrounding energetic fields as an accelerator and, thus, a destroyer of the old, slow and hindering Rhythm. It is for this reason that fear appears as a means to make oneself secure against that which is new, to live in the old and habitual comfort. It is essentially unwillingness to be born anew, to remain in the peace of a so-called mere mortal.
Those who are sensitive enough are able to discern energy levels in those images, the vibratory activity of the translated Planes and cosmic periods fixed in the images of representatives of different generations. As a rule, they are evident or hidden advocates of the hierarchical experience and knowledge.
When we remember fine arts of the early Christian period with ecstatic views of its saints, we understand them as an exoteric attempt to reflect the Kingdom of God within us. Its presence made man a superman. Hence the Paranormality. It is the same situation with the Tibetan icons, or tankas: The horrific personalities with goggle eyes and enveloped in flames were also an attempt of the local painters – who were not experts in a meditative and ascending drawing – to demonstrate, at least symbolically, an immense energy voltage emanated from Deities. Then the words of St. John come to the mind – those about the eyes of God which "were as a flame of fire", and he "fell at his feet as dead".
What about the "Savior with a retributive look"? It is again an attempt to convey symbolically by means of icons the energy of that which has been perceived on the spiritual levels.
The initiates at all times wished to leave "documentary evidences" of their spiritual impressions – concerning life in the higher worlds, "Life more abundantly", according to the Christ – by way of words or the Iconographic Canon. They wanted those, who had gained spiritual experience and followed them, to recognize Him, and wanted Him to be an affirmation and support of the Mysteries for those who strived to God at all times.
Speaking in terms of the intimate love of God, it does color my experience of communicating with that which is Higher, and is reflected in a number of my paintings-evidences.
I will again repeat that a Spiritual and the soul expression of Love, and especially its personality one, are very different. All of them are effects of the qualities of three forms of fire. Its personality expression is a caressing and warming experience familiar to everybody since childhood. It is connected with the fire of friction (hence its warmth). Its soul expression is connected with the light of the soul, i.e. with joy and illumination. Its spiritual expression is connected with the electric fire of the Clear Cold Light and – sometimes – frightening voltage when the words from the Psalms of King David emerge on their own: "O God, thou art terrible out of thy holy places"! In this case it is only utmost intimacy turning to death into the beloved one, and utmost dedication "up to death", that creates the condition of our "non-burning" and fusion and immortality in the Spirit, in the intimate sphere of God Himself.
The most important message is that about the influence of the Masters of the Hierarchy and Shamballa, about their impact on a mysterial and creative process. They have sanctified the most important undertakings. Their overshadowing Presence can be first noted in the images themselves. They have impressed the brain through the telepathy. The disciples and servers on the outer plane are, as a rule, submerged into the mass consciousness, into a great city bustle. However, in spite of all the hindrances, the Overshadowing Presence was wonderfully successful, and the necessary actions for realizing the main Mystery of the New Coming have taken place!
Lyudmila Reznik plays the most important role in this process. As a high initiate and a very gifted contacteur who can fully identify with the object of worship, she externalizes the highest Presence. It should be pointed out that it is the ability to identification based on the science of Invocation and Evocation which is the criterion of initiation! Her externalization work ensured creation of a gallery of the Masters’ portraits – through a joint meditation when she – being in a state of canal identification with a Master – used to bring the painting disciple (A. Rekunenko) into that state. Thus, the Divine Masters’ energy self-reproduced through her eyes and directed the whole process of magical fixation with the help of the painter’s experience and hand. Revival of the tantric Force and the Will of the Higher Ones took place through art. In this connection, it will be useful to mention the well-known portrait of the Master Morya in a state of atmic ascension. It is by this way of overshadowing that the precious Master’s eyes have been painted. Therefore, under other conditions and without His energy participation, it will be absolutely impossible to create something of this kind, and any attempts to paint Him in another circumstances make us sure of it. Consequently, in the person of Lyudmila Reznik we have a great opportunity to evidence the Reality of the Hierarchy of the Masters in all its Power and Glory! I would like to attract your special attention to the image of the King of Kings – Sanat Kumara, the Head of Shamballa, the Planetary Logos ("The King Youth of Perpetual Summer"). He is painted in an extremely intensive meditative state which was accessible to us at that time! This initiatory stage is connected with the Soul of Cosmos of the generation of the 70-s. Some other works should be mentioned which have been painted with the help of the atmic and buddhic energies: "The Lord's Anointed", "The cosmic Tatyana Larina". "New Messenger" ¹ 1 and ¹ 2 belong to the last examples of energy portrait of the new Cosmic movement. The new transforms, the new young bodies of the Masters M. and K.H. are shown in them.
During the magical act of fixing new energies of Cosmos the leader, as a rule, uses representatives of respective generations who represent the peculiar pedestal of the whole cosmic throne. During their meditative ascent or, occultly speaking, ringing there emerges the one vertical sounding of the whole range of the Power and the Glory. Then the following words of the Psalmist come to life in our souls: "Truth shall spring out of the earth; and righteousness shall look down from heaven".