TRIUNE OF LIGHT

The artist of the future, better equipped than his colleague of today will achieve the realization of higher planes: planes, the beauty of which he will not only be able to contact, but actually to convey to others by means of his painting. Art, once the hand-maiden of religion, but in this materialistic age completely divorced from it, will again fulfill its highest function, that of inspiring reverence in the beholder. It will have worked out its karmic descent into the abyss and will once more be on its upward ascent towards the light. My brother Serapis will cooperate with me in training the artistic mind of the future and specialize in helping to make it more responsive to the influence of the higher types of Devas. Meditate upon him if you would know something of what is ahead in this new Era when, perhaps for the first time in the civilization of the West, the desire for truth as well as for beauty will alike inspire the heart of the artist. -- Through the Eyes of the Masters / David Anrias

PISCES – CHINTAMANI, THE PHILOSOPHER'S STONE OF HEAVENLY ORIGIN, 23 November 2023, pencils and photo work by Ludger Philips.

In various paintings by Nicholas Roerich, Chintamani is depicted as the treasure of the world. He also painted Chintamani as an extraterrestrial jewel which, according to Tibetan and Mongolian legends, is brought to the humans on the back of a white horse, Erdeni Mori, to enlighten the consciousness of humanity in times of darkness.

According to the wisdom teachings, Chintamani, the Philosopher's Stone, is a beautiful self-radiating jewel that is kept in Shambala, the ashram of Sanat Kumara, and is sometimes given to the Hierarchy.

There is also a dormant centre of Chintamani in every human being. We can visualise it as the jewel on the crown of our head in the centre of the thousand-petalled lotus. From there, this energy is sometimes brought to the forehead. It is a state of being that gives us bliss and enables us to realise the purpose of our life. The jewel of Chintamani reminds us of this goal.

To visualise the centre of Chintamani on the head, I used photos of a Buddha statue, a crystal and a gemstone as well as flower elements. The sparks of light connect with the stars and indicate the cosmic nature of Chintamani's origin.

In the background of the picture is an opening spiral, the beginning of which is not recognizable. It symbolizes the evolution of consciousness. From the center between the eyebrows, lines form a vessel that opens up into space. They indicate the opening of the personality to the soul and the merging with the Supersoul. The sign of Pisces stands for oceanic union with the cosmic consciousness.

PISCES – CHINTAMANI, THE PHILOSOPHER'S STONE OF HEAVENLY ORIGIN

"The Lord of the world is the One Initiator. HE is the hierophant of our rites. HE is called in the Bible 'The Ancient of Days' and in the Hindu scriptures as Sanat Kumara. From HIS throne at Shambala in the Gobi desert HE presides over the White Lodge of Masters and holds in HIS hand the reigns of the inner government. HE is chosen to watch over the evolution of men and Devas on this planet. He is the guardian angel of Chintamani, the philosopher's stone of heavenly origin."

Dr K. Parvathi Kumar: "The Teachings of Sanat Kumara"

You can see more of Ludger's artwork at:  https://ludgerphilips.org/about/images-for-print/

As It Is, by Margarita Riaikkenen, 2007, oil on linen, 51x46.

Margarita Riaikkenen (b. 1962, Moscow, Russia) started her spiritual studies and painting in 1989 after going through experiences and inner realisation. She was also inspired by the beauty and inner sense of people, flowers, and imagery of daily life, which were in stark contrast with crumbling Russian society. After immigrating to Melbourne, Australia in 1995, she continued honing her mastery over artistic media, continuously acquiring new knowledge and skills. In 2004 Margarita designed and illustrated her co-authored book "The Laws of Life", which later was published in Canada. She is a member of Australian Guild of Realist Artists and Pastel Society of Victoria (Australia). Margarita has participated in a range of exhibitions as an artist and organizer and received art awards. She continues to paint passionately, working mostly in oil and pastel, and producing portraiture, still life, symbolic pieces and scenes from everyday life.

To see more of Margarita's work visit www.riaikkenen.com

Avebury - ancient stone circles, at least as old as Stonehenge,and with a wonderful feeling and atmosphere sadly lacking at Stonehenge. A lady whose tomb is not too far from Avebury Rings explained to us that while Stonehenge was for the dead, Avebury was for the living and was a place where people came together from all over the then world,as she knew it, to celebrate harvest and generally meet and mingle. It is still a place where the living gather in celebration!

Avebury

by Sylvia Charlewood

Amongst these Stones
What rituals were made?
Did the Druids
really kill people here?
I don’t believe so!
I believe the people
came to feast the harvest here
from far a-field.
So these Stones stand,
and folk still visit
to see this place.
There is an atmosphere –
much like a church –
of prayerfulness
from all the folk
who’ve made petitions here,
sanctifying this great space
over long Ages:
amongst these stones
I can believe!

(c)SAC August.2014

Centre for Pure Sound

British TRIUNE member Dean Carter was a highly regarded singer/songwriter and guitarist from the late1980's to the late 1990's, with four official, critically acclaimed album releases. He opened as supporting act to artists as diverse as Jeff Buckley and Ozric Tentacles, playing everywhere from Glastonbury Festival to the Royal Festival Hall Foyer Events Series. Due to illness, Dean discontinued his professional musical career; but while learning to heal himself, he began a spiritual path via Pure Sound therapy.
Dean is also a poet and is currently negotiating with publishers on three book projects:
1) Limitless Undying Love, the Beatles and the Perennial Philosophy
2) The Cosmic Scale, The Esoteric Science of Sound
3) Interdimensional Planetary Awakening: Orbs (EL-AEONS, EARTH ENERGIES and other plasma phenomena

The Centre For Pure Sound is conceived as a multi-denominational not-for-profit ‘virtual ashram’ dedicated to research into and practical application of the use of pure sounds—sounds that do not produce overtones—for personal and planetary healing, meditation and ascension, incorporating all aspects of the world’s wisdom traditions that relate to these modalities, e.g. overtoning and Tibetan bowls, and newer techniques and tools that have been made available to humanity at this time of crisis and/or opportunity for evolution, e.g. crystal bowls.

It has no membership fees or structure, is an ‘invisible school’ and wants to stay that way, but welcomes unofficial links with all individuals and groups working with true integrity and healing intent (rather than an eye for ‘success’ in a corrupt market-place) in the field of healing sound and/or music, and indeed all individuals and groups working under the above ‘illumined obedience to the Higher Will’ in whatever way towards global peace, healing, evolution, spiritual renewal, ecological sustainability, respect for all life forms—the ‘New Jerusalem’.

We do not believe that any one ethnic group or culture has all the answers, but that all the world’s wisdom traditions reflect ultimately a shared pool of deeper knowledge known as ‘the Perennial Philosophy’ which lie at the core of their apparent disparate and separate forms. We also believe in a movement back towards this unity of vision and a reconciliation and rapprochement of what have become splintered aspects of knowledge: thus THE CENTRE FOR PURE SOUND incorporates as a sub-heading of its mission a move towards a ‘New Pythagoreanism’ where the disparate branches of sound, mathematics, sacred geometry, gematria, language, physics, music, harmony, medicine, healing, poetry, architecture, literature, the visual arts, and so on, are re-united and found to be in at-one-ment.

For details of soundbaths, talks, overtoning workshops, 1-1 healing sessions, space-clearing, ceremonies, etc visit THE CENTRE FOR PURE SOUND at www.centreforpuresound.org, or write to: ahiahel@live.com

Diamond

by Dean Carter

fountain of flashing stellar fire
brought down to earth-diamond
casually tossing spears of light
that sink down delicately into the mind
like wind borne embers glowing
like blossom gently snowing
if over you we squabble
reduce you into baubles
it's because, carbon cousin, we long so for
your effortless enduring radiance
radiant enduringness
from blizzards of pearls in spring
to each treeful of emeralds waving
it becomes increasingly clear
that a master's hand is at work here
and if the poor die still
on the steps of the cathedral
and if within christ's flesh is bought and sold
yet still we long for the miracle
that turns each wound into a jewel
and our blood to liquid gold

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Artist Statement by Tasha Halpert

As a writer and columnist, I choose my subjects from my life, using everyday incidences as examples in an attempt to convey what I hope will be an entertaining as well as helpful point of view. As a photographer, I look for harmonious combinations of shapes, interesting lighting effects and the perfect moment to click the shutter. As in my writing, my choice of subjects is intuitive, serendipitously chosen at random when time and opportunity come together.

My photos, like my writing are eclectic and reflective of my personal style, presenting a kind of self portrait. This style has evolved over time as I have worked to use what is essentially a representational tool to convey the abstract within what I see. I am fascinated by reflections, shadows and light. As I look through the viewfinder I frame what seems the essence of what is seen and then click the shutter. None of my photos are retouched or augmented in any way. Happy circumstance has dictated the outcome as well as the attempt.

I am drawn to photograph natural objects in natural settings, with an eye to delineating the abstract within the actual. The art that is all around me for my eye to see seems a marvelous subject to frame with my camera. I also find that when I look through the lens of my own eye with a view toward finding beauty and harmony I am much more open to perceiving it on an everyday basis. 

I have been taking pictures since I was a small child with my first square brownie black and white camera. While I have not formally studied photography, I have taken many thousands of pictures, and perhaps these have been my teachers. For me there is great joy in going forth with my camera to seek new opportunities for the expression of my eclectic eye. 

Lately I have been experimenting with collage and mixed media. These have been in the form of electric switch plates, which I call Practical Art. My two latest pieces are a response to the themed members show. With them I have tried to carry out the theme while embodying my feelings about women in our Western culture, adding another dimension to my art. Thus I am extending my reach beyond my camera lens in an effort to become more interactive with my subject matter. As I am inspired, I hope to continue in this vein of creativity.

A past member of the Grafton Cultural Council of Arts Worcester, and member and past co-vice president of the BVAA, with my husband Stephen I also co-founded the Annual Grafton Fine Arts and Music Festival. With these experiences I have gained a greater appreciation of the opportunities an artist can have to exhibit and seek to help other artists gain this opportunity.

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