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Art and Theosophy of Blavatsky

Illustration from the book " Thoughts ". [1] [K 1]

According to the research of art and religious scholars , theosophy of Blavatsky had a noticeable impact on contemporary fine art , in particular, on painting and graphics . [3] [4] [5] They established that after the founding of the Theosophical Society in 1875, many artists were often carried away by Theosophy, while at the same time, some Theosophists engaged in the visual arts. [6] [7] [8] However, artists such as Vasily Kandinsky, Pete Mondrian and Luigi Russolo , chose Theosophy as the main ideological and philosophical foundation of their work. [9] [10] [11] [K 2]

Theosophical Color Mysticism

Theosophical meaning of flowers. [15] [16]
The astral body of the average person. [17] [K 3]

The theosophical concept of human aura was developed by Charles Leadbeater and Rudolf Steiner in the early 1900s. [20] [K 4] Both Leadbeater and Steiner stated that “ clairvoyants ” are able to see the so-called “thought forms” [23] and “human auras”. They also wrote that the “impressions” received by such people in the “ higher worlds ” are similar to the “color phenomena observed in the physical world”. [24] [25] [K 5]

Religious scholar Nicholas Goodrick-Clark noted that Leadbeater (co-authored with Annie Besant ) also published an “important book” entitled “ Thought Forms ” [28] , a report on a “clairvoyant” study. [29] The frontispiece of both “Mysleform” and “ Man visible and invisible ” [30] shows a table of “color meanings” of thought forms and aura of a person associated with feelings and emotions, starting from “high spirituality ” (light blue; left top corner) and ending with "malice" (black; bottom right corner) - only 25 colors. [31] [K 6] According to Besant and Ledbeater, feelings and thoughts create certain forms, for example, “forms like lightning” arise in connection with “anger” [33] and “anger”, [34] zigzag lines indicate fear etc. [35] [K 7]

Thus, thanks to Ledbeiter and Steiner, “theosophical color mysticism ”, as art critic Sisten Ringbom put it , [37] has become a topic of great interest to contemporary artists. [K 8] In addition, they were attracted, as stated in the Encyclopedia of Fine Arts , to the theosophical concept of “universal harmony underlying the apparent chaos” of the physical world. [3] [K 9]

Theosophists as Artists

Blavatsky

 
“ Henry Alcott, ” fig. Blavatsky (1877). [40]

Elena Blavatsky (1831-1891) had an innate talent for drawing, "but did not claim to be an artist." [5] Massimo Introvigne , a researcher of new religious movements, wrote that "the first number on the long list of Theosophical artists belongs to Madame Blavatsky herself." [41] [K 10] The sociologist Paul Weinzweig spoke of her as "a comprehensively educated woman who corresponds to the ideal of the Renaissance." In his opinion, Blavatsky was "a scientist , philosopher , poet , pianist , writer and artist." [43]

Machell

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    " Inhabitant of the Threshold " (1895). [44]

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    The Way (1895). [45] [K 11]

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    "Vision of the New Day." [47]

When Reginald Machell (1854-1927) [48] studied at Uppingam School and Owen College , he attracted the attention of teachers with his drawing skills. As a result, he was sent to study in Paris, at the Julian Academy . After returning in 1880, he worked as a portrait painter in London. In 1893 he was elected a member of the Royal Society of British Artists . He also painted illustrations for the novels “An Idol's Passion” (1895) and “The Chant of a Lonely Soul” (1897) by the American writer Irene Osgood . [49] [50] [51]

In 1887, Machell was introduced to Blavatsky (thanks to the assistance of a friend of one of his relatives), and in 1888 he joined the Theosophical Society. [49] [52] His paintings began to acquire a mystical and symbolist character. This can be attributed to such his works as The Inhabitant of the Threshold , [53] The Birth of a Planet and Towards the Light of Good. [54] According to Introvinier, Machell's theosophical art reached its “triumph” in the painting “The Way” (1895). [55] The artist himself interpreted the painting as follows:

The path is the path that the human soul must follow in the process of its evolution , striving for full spiritual self-awareness. The Almighty is represented here as a very large character, whose head in the upper triangle is surrounded by the glory of the sun, and the feet in the lower triangle are in the waters of Cosmos; it symbolizes spirit and matter. Its wings fill the middle region, denoting the movement, or pulsation, of cosmic life, while inside the octagon various planes of consciousness are displayed that humanity must possess in order to reach full maturity. At the top is the winged Isis , the mother, or the super soul whose wings hide the face of the Almighty from those below. A circle of divine figures is visible in the distance, joyfully greeting the victory of a new initiate who has reached the heart of the Most High. From here, he looks with sympathy at those who are still wandering below, and turns to go down to help them. Under it you can see a ring of red guards, destroying everyone who does not have a “password”, presented in the form of a white flame burning above the head of aspirants who have undergone purification. Two children, symbolizing cleanliness, pass unhindered. The warrior in the center of the picture, who has killed the dragon of illusion, the dragon of the lower self, is preparing to cross the bay using the body of the defeated monster as a bridge (as we climb the steps from our subdued weaknesses, representing the dragon of the lower nature). [56] [57]

His painting “Vision of the New Day” continues the theme of “The Way”. The New Day is a symbol of enlightenment, which the human soul can achieve if it avoids the "temptations" of materialism. [58]

In 1900, Machell moved to the United States and joined the Theosophical Community at Point Lome ( San Diego ), founded by Katherine Tingley . [59]

Schmichen

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    The Moriah (1884). [60]

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    “ Jesus ” (1910). [61]

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    “ Kut Khumi ” (1884). [62]

Herman Schmichen (1855-1923) [63] joined the Theosophical Society in London on June 20, 1884. [64] Fulfilling Blavatsky’s request, he set to work on portraits of theosophical Mahatmas . She rated the portrait of Teacher Kut Khumi as “excellent” and immediately asked Schmichen to start the portrait of Teacher Moria. It took him about three weeks to complete these paintings. [65] It was suggested that Schmichen's work was a kind of “psychic experiment”, and the images of the Mahatmas were transmitted telepathically to him. [66] According to Introvinier, he created the most significant “in theosophical history” portraits of the Mahatmas. [67]

Religious scholar Brendan French, having studied these portraits, came to the following conclusion:

“Apparently, the Venetian cinquecento , in particular, the portrait painting of Titian , had a significant influence on Schmichen; at the same time, it is felt that he was fascinated by the psychology of Rembrandt's painting ... The fact that the portraits of the Mahatmas are full of Christological hints is not a surprise. Schmichen, like most Western artists interested in giving their works the qualities of transcendence, turned for inspiration to the fundamental iconographic type of the divine-human hypostasis - the biblical Christ . Schmichen introduced into his own image the demigods, theosophical mahatmas, and the portrait virtues of the images of Christ. Indeed, he used several standard tricks: an undifferentiated background; very big eyes; a frontal composition designed to focus the viewer's attention directly on the gaze of the subject; a sense of insight, enhanced by signs of self-control of the posing; lack of distracting details of clothes and jewelry; a characteristic frame in the form of long hair and a beard. " [68]

Clint

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    "Evolution No. 13" (1908).

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    The Swans (1914).

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    Swans No. 17 (1915).

Hilma af Clint (1862-1944) [69] "experimented with automatic drawing based on spiritualism ." [70] [K 12] She entered the Theosophical Society of Adyar on May 23, 1904. In 1920, af Clint became a member of the Anthroposophical Society and lived for a long time in Dornach . [72] Theosophical and anthroposophical ideas were an inspiration for many of her works. [73] She wrote several series of “impressive” paintings, expressing, according to the historian Tessel Baudouin, “spiritual or sacred concepts”. Her "unique" style, wrote Baudouin, combined "geometric and biomorphic images with a free line." [70] [K 13]

Af Clint considered abstractionism to be the spiritual predecessor of “the future social harmony of tomorrow’s world.” [74] According to Introvigne, only recently, after several exhibitions in different countries, she was recognized as a significant European artist-abstractionist. [75]

Fuller

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    “M. Blavatsky” (1908). [76]

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    " Lord Buddha " (1910). [77]

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    "Ch. W. Leadbeater "(1911). [78]

Florence Fuller (1867-1946) [79] became a member of the Theosophical Society in 1905. [80] In the same year, she painted A Golden Hour, a famous painting that Introvigne called the “Australian national masterpiece”. [81] From 1908 to 1911 in Adyar, she painted portraits of theosophical Mahatmas and leaders of the Theosophical Society. [82] [K 14]

Art critic Jenny McFarlane praised the portrait of Leadbeater, which was painted in 1911. She noted that Fuller had great respect for theosophical leaders, but Leadbeater simply “fascinated” her. [84] In the portrait of Gautama Buddha, the artist tried to portray the "inner life and divinity" of man. The bright colors of the picture should convey to the viewer the “specific theosophical meaning” of the image. The character’s head is surrounded by a radiant aura with a predominance of yellow, orange and pink, the mystical meaning of which is “wisdom, love and devotion to a noble ideal”. [85] [K 15] [K 16]

Mondrian

 
"Evolution" (1911). [K 17]

In the early 1900s, Pete Mondrian (1872-1944) [88] read with great interest Theosophical literature, including The Great Initiates [89] by Eduard Schure . [90] In 1909, he became a member of the Dutch branch of TO . [5] [91] Professor Karel Blotkamp stated that "Theosophy, without a doubt, was crucial for Mondrian." [92] [K 18]

The historian of abstractionism Michel Söfor wrote that Mondrian’s religion first “transformed from Calvinism to Theosophy, then from Theosophy to neoplasticism, ” which, incorporating Theosophy, became Mondrian’s main worldview. [94] Mondrian believed that his concept of neoplasticism should “express in the most objective and rational way” the theosophical idea of ​​the Absolute . He believed that in the future “neoplastic art” would replace religion: and the role of the artist as “the priest of this religious art” would be to help the common man achieve “the desired inner balance”. [95] [K 19]

Mondrian chose for his "monumental triptych" the theme of evolution, which is one of the main doctrines in theosophical teaching. [97] [K 20] According to art historian Robert Welsh, the blue and yellow colors used by Mondrian can be interpreted as the colors of the "astral shells or radiations" of the figures. It can be assumed that these characters take part in the "Theosophical Initiation." However, they should be considered as one and the same person, "represented by his three complementary aspects." [99] According to Welsh, if we move from the left panel to the right, and then to the central one, "we will see a certain mystical advance from matter - to the soul, and from the soul - to the spirit." [100] According to him, the triptych illustrates the Theosophical concept stated by Blavatsky in the book “ Isis Exposed ”:

“Three spirits live in a man and direct him, teaches Paracelsus ; the three worlds pour their rays upon him; but all of them are only an image and an echo of the same all-pervasive and unifying principle of creation. The first is the spirit of the elements (earthly body and vitality in its gross state); the second is the starry spirit (sidereal, or astral, body - soul); the third is the Divine Spirit ( Augoeidos ). ” [101]

Roerich

Nicholas Roerich (1874-1947) [102] [103] [104] and his wife Elena created Agni Yoga , a new "form of esotericism inspired by Theosophy." [105] This "neo-theosophical" doctrine was first promulgated in 1929. [106] [K 21] Introvinie defined the Roerichs' doctrine as theosophical "schism, or heresy" ( English schism ). [108] [K 22] According to Professor Godwin , Roerich may have been "the most theosophical artist of the 20th century, although opinions on his achievements are different." [five]

Artists and Theosophy

Kandinsky

  External Images
The work of Vasily Kandinsky
 "Woman in Moscow" (1912) . [K 23]
 "Improvisation. The Flood "(1913) . [K 24]

Even before 1910, [K 25] Vasily Kandinsky (1866-1944) [112] studied theosophical books [113] [30] [28] [89] [114] Blavatsky, Besant and Leadbeater, Steiner and Schure. [3] [115] Ringbom noted that Kandinsky’s interest in Theosophy and esotericism was not “a kind of personal hobby or purely private entertainment”, but played a significant role in shaping his artistic worldview. [116] In 1912, he wrote in his main theoretical work, “On the Spiritual in Art” ( German: Über das Geistige in der Kunst ), how important Theosophy is “for his work”. [117] Professor Moshe Barash noted that Theosophy was “directly related” to Kandinsky. She became a “significant” factor in his “intellectual world”. [118] According to the religious scholar Boris Falikov , theosophy enabled Kandinsky to "conceptually conceptualize creative and spiritual experiences," which, as he understood, "merged more and more into a single whole." The works of Blavatsky, Steiner and other Theosophists helped him not only to clarify his experience, but also “to formulate his own mission, which combined an artistic and religious dimension.” He realized that he had become an active participant in the "turn to the spiritual world that Theosophy prophesied about." [119]

In his treatise, Kandinsky stated that Blavatsky was the initiator of “one of the greatest spiritual movements”, which united many people, but the material form of this spiritual phenomenon is presented by the Theosophical Society. [120] He then quoted a long quotation from her book, The Key to Theosophy .

“The new messenger of truth will find the minds of people prepared for his message ... There is already a language to express the new truths that he will bring; there is an organization awaiting his arrival, which will remove material obstacles and difficulties from his path. ” [121] [122]

According to Ringbom, in the “General Part” of his treatise [123] Kandinsky actually repeated the introduction to the Theosophical Doctrine from Schure's book. [124] This is confirmed by his criticism of materialism, positivism and skepticism, references to spiritualism and psychic research as evidence of an "approaching spiritual synthesis of science, religion and art." [125] Rose-Carol Washton-Long, an art critic, wrote that theosophy convinced Kandinsky that “latent images can be a powerful means” of conveying spiritual ideas. [126] In his vocabulary, the theosophical concept of vibration was fixed “for life”. [127] He applied it in his most famous description of the role of the artist:

“In general, color is a means by which one can directly influence the soul. Color is the keys; eye - a malleus; the soul is a multi-stringed piano. An artist is a hand that, through one key or another, expediently vibrates the human soul. ” [128]

According to art historian John Boult , Theosophical color symbolism was the bait that involved Kandinsky in the "world of Theosophy." [129] However, unlike Mondrian, he, as Falikov emphasized, “did not enter either the Theosophical or the Anthroposophical Society”. [130] After studying this issue, Falikov came to the following conclusion:

“Kandinsky was too big an artist to bring his gift to the altar of religion. Like Richard Wagner , he was confident that he was able to turn art into an independent and powerful spiritual movement. Like the great predecessor, he did not succeed. However, Wagner's opuses give rise in many not only musical, but also religious experiences. So Kandinsky's paintings to this day awaken both aesthetic and mystical feelings in their connoisseurs. ” [131]

Lehter

  External Images
Works of Cupronickel Lehter
 "Panis Angelorum" (1906) . [132] [K 26]
 The Sacred Tower (1917) . [134]
 Shambhala (1925) . [134]

Cupronickel Lehter (1865-1937) [135] studied painting at the Berlin University of the Arts . [136] In 1896, he had his first exhibition in Berlin. He was also the publisher, founder of Einhorn Presse, and “interested in Theosophy.” [137] In his paintings, Lehter sought to combine the ideas of "medieval German and ancient Indian mystics." [138]

Lehter had “his own ideas” about the nature of color. For example, he believed that Rembrandt in his painting " Joseph and Potiphar's wife " expressed "the smoldering lust of a woman through the tawny dirty color of her cloak, which, in addition, looked as if it was wet." He argued that the pictorial property of color, which “the artist seeks to express the nature of his subject”, is an artistic repetition of a natural phenomenon, since, in his opinion, “every person has a color aura”, which, however, can only be seen by those who special abilities. [139] Historian Jan Stottmeister called Lechter's worldview “Theosophical Catholicism”, because he explained the esoteric meaning of “his exoteric Catholicism” with quotes from Blavatsky's Secret Doctrine and Thoughtforms [28] Besant and Leadbeater. [140]

Purchase

  External Images
Works by Frantisek Kupka
 The Dream (1909) . [K 27]
 "A Woman Tearing Flowers" (1909) . [K 28]
 "Localization of Graphic Motifs II" (1913) .

Even before moving to Paris in 1896, Frantisek Kupka (1871-1957) [143] was a “practicing medium ” in Prague and Vienna. [5] [144] Professor Isabelle Wünsche wrote that, like Kandinsky, he “drew inspiration” from Theosophy and the occult, choosing a “subjective-intuitive approach” to art. [145] From theosophical literature, the book of Besant and Leadbeater, “Thought Forms” [28], had the greatest influence on him. [146] He was interested in both the scientific and theosophical theory of color. [147] Like Mondrian, Kupka accepted the idea of ​​the fourth dimension “as a complement” to his theosophical faith. [148] [K 29]

According to art critic Chelsea Jones, Kupka's painting “The Dream” (1909) confirms his “interest in Buddhism , Theosophy and science and reflects his belief in the non-material”. [151] She wrote that this work also demonstrates "theosophical ideas" of astral vision:

In the painting “Dream,” Kupka reflected his vision of invisible reality. Here imaginary floating forms dominate the scene; they overshadow the images of visible reality represented by the material forms of sleeping people. Thanks to a change in the scale of intangible forms and their earthly incarnations, Kupka clearly showed that the experience of invisible reality is predominant. [152] [K 30]

Beckman

  External Images
The works of Max Beckman
 "Birth" (1937) .
 “Death” (1938) . [154]
 Sketch for "Frühe Menschen" (No. 5) .
 Sketch for "Frühe Menschen" (No. 8) .
 Sketch for "Frühe Menschen" (No. 9) .
 Sketch for "Frühe Menschen" (No. 11) . [155]

Max Beckmann (1884–1950) [156] was interested in Blavatsky's “Theosophical Theory” just like Kandinsky, and, in addition, he began to study the Vedas and Indian philosophy . [157] [K 31]

According to Professor Vladimir Ivanov, [K 32] , Beckman’s painting “Death” ( German: Der Tod ) needs a theosophical commentary, without which “the meaning of the whole composition” cannot be understood. Obviously, in portraying death, Beckman relied on the knowledge he gained by reading theosophical literature. The composition includes a moment of development in time, passing into the “timeless (astral) dimension”: various stages of the posthumous state are shown. Ivanov stated that the artist presented the posthumous experiences of a man “burdened with vices”. The upper part of the picture compositionally "dominates" the lower part in its meaning and significance. Another feature is that the picture shows "various time phases and existential states." In the middle is a strange creature with an extinguished candle. Six feet peep out from under his robe, which immediately gives a hint of the "astral nature" of this character: the transition "from the earthly to the supersensible" is traced. Further actions take place at the top of the composition, which needs a “ hermetic ” interpretation. [160]

In Theosophy, death is presented as "a long process consisting of various changing phases." The first phase is related to the experience of Kamaloka . Besant explained this as follows:

Kamaloka, literally translated, is the place or dwelling of desires; it ... is a “part” of the astral sphere not in the sense of a particular locality, but according to the conditions of consciousness of those creatures that belong to it. [161]

Beckman wanted to show that the selection and “objectification” of memories of a completed life takes place in Kamalok. According to Ivanov, the monsters in the upper part of the picture are nothing more than the objectification of the "mental states of the deceased woman." Besant wrote that the first experience after death will be a vision of the "panorama" of a past life, which at the "hour of death" is revealed to every deceased in all the details experienced. Besant claimed that he sees everything that he “solicited in life ... her prevailing meaning is unambiguous, her guiding thought is clarified and imprinted deep in her soul, determining the area where most of his afterlife will flow”. [162] The double structure of the composition of “Death” should also be explained from the Theosophical point of view, because life after death is viewed in the reverse order: from end to beginning. Ivanov referred to Steiner, who wrote:

"During purification, a person lives in a certain way in the opposite direction ... He begins with events immediately preceding death, and in the reverse order once again experiences everything until childhood." [163]

Other facts, events and creatures in the "astral world" are also perceived in the reverse order. Leadbeater noted that the clairvoyant will be “difficult to realize what he sees,” and even more difficult to express in words everything he has observed. A striking example of the misconceptions that an observer may undergo is the reverse placement of numbers reflected in the "astral light", for example, 931 instead of 139, and so on. [164] Therefore, the characters depicted “upside down” in the upper part of the composition indicate a certain knowledge of the “laws” of the astral plane by the artist. [165]

Beckman was unusually “impressed” by Blavatsky's book The Secret Doctrine, which he finished reading in 1934. He made several different sketches “on the subject” of her second volume, “Anthropogenesis”. An album with these sketches is in the National Gallery ( Washington ). Along with sketches in the album there are extracts from this book by Blavatsky. A series of sketches is devoted to the development of motifs, which then found their complete expression in the work “Praludi” ( German: Frühe Menschen ). [155] [166] [K 33]

Russolo

  External Images
Works by russolo
 The Masks (1908) . [168]
 “Lines of Lightning” (1912) . [169]
 
La musica (1912). [K 34]

Luigi Russolo (1885-1947) [171] was interested in occultism and theosophy. [172] According to the researcher of futurism, Luciano Chessa , Theosophy is the "key" that makes it possible to "decipher, identify and contextualize" Rusolo's interest in the occultism, which is present in his works - from his engravings and paintings to theoretical works on music. [173] [K 35]

Russolo first used theosophical ideas when working on his etching ( aquatint ) “Masks” ( Italian: Maschere , 1908). [175] Besant and Leadbeater's books on sound forms [28] [176] “probably influenced one of his most metaphorical” paintings, “Lightning Lines” ( Italian: Linee-forza della folgore , 1912). [177] The shock wave depicted in this picture in the form of a triangle “strongly resembles” the description of the sound forms of a thunderstorm in Ledbeater's “Hidden Side of Things”:

“Majestic thunderclaps usually create a gigantic color band, while a thunderous thunderclap often causes a temporary accumulation of erratic radiation ... and sometimes an irregular sphere with large wedges protruding from it in all directions." [178]

Chessa wrote that the work of Russolo "La musica" demonstrates, in the terminology of Leadbeater, "the hidden side of the performance of a musical work." [179] The picture shows a pianist playing in a state of "enthusiastic enthusiasm." The lines of the face are barely visible. Hands in a "furious rush of virtuoso" fly along an endless keyboard. [180] [K 36] This work, like “Masks,” shows a flying group of various masks that can be interpreted as “visualization (or materialization) of various states of mind” of a pianist-medium, controlled by spirits that he himself called forth. [175] [K 37] According to Chessa, this picture is “structured” in accordance with the criteria presented in “Thought Forms”, [183] in particular, in that section of the book, which describes the forms created by music. [184] [K 38]

Genie

Арнальдо Джинна (настоящее имя — Арнальдо Джинанни Коррадини; 1890—1982) [187] , как и Кандинский, писал теоретические работы по искусству (например, «Arte dell'avvenire» [«Искусство будущего»], 1910 и «Pittura dell'avvenire» [«Живопись будущего»], 1915). [188] Искусствовед Джермано Челант назвал его «самым эзотерическим» футуристом, указав на его интерес к теософской и оккультной литературе. [189] Он читал книги таких авторов, как Елена Блаватская, Рудольф Штейнер, Франц Гартман и Чарлз Ледбитер. [190] Среди его публикаций можно найти те, что содержат цитаты из книг «Мыслеформы» [28] и «Человек видимый и невидимый». [30] [191]

В 1908 году Джинна нарисовал картину «Неврастения», которую можно отнести к произведениям абстракционизма. [192] В этой работе он «пытается изобразить состояние души». [187] [K 39] Высказывалось мнение, что именно «Неврастения» — первая вещь абстрактной живописи, поскольку она «опередила первую абстрактную акварель Кандинского на два года». [194]

Иллюстраторы

По мнению исследователей эзотеризма, иллюстрации к «Мыслеформам», [28] которые были выполнены художниками Варли, Принсом и Макфарлейн, [195] [5] «сильно напоминают работы абстрактной и сюрреалистической живописи» [196] и «не выглядели бы неуместно, находясь рядом с ранними работами Малевича или Кандинского». [197] [K 40] Тем не менее, авторы книги полностью руководили работой художников, воплощая свои идеи и своё видение. [199] [K 41]

 
«Завершённая евхаристическая форма». [202] [203]

Граф Маврикий Прозор (1849—1928) нарисовал иллюстрации к книге Ледбитера «Человек видимый и невидимый». [204] [205] [5] [206]

Альфред Эдвард Уорнер (1879—1968) имел в Сиднее свою коммерческую художественную студию. В 1923 году он стал членом Австралийского общества живописцев и гравёров, и с 1923 по1925 год состоял в его Совете. В 1923 году он стал также одним из основателей австралийского общества «Ex Libris». [207] В течение нескольких лет Уорнер успешно сотрудничал с Ледбитером, иллюстрируя его книги, в частности, «Науку священнодействий». [208] [209] Согласно Дженни Макфарлейн, на его иллюстрации к этой книге мыслеформа начинает походить на «мечеть с поднимающимися минаретами», что должно усиливать её влияние на окружающую местность. [210] В предисловии к своей книге « Чакры » Ледбитер написал, что Эдвард Уорнер сделал к ней «замечательную» серию рисунков. [211]

  External Images
Иллюстрации к теософской книге «Царство богов». [212]
 Вклейка 6 «Владыка сосен» .
 Вклейка 12 «Горный бог» .
 Вклейка 15 «Снежный бог» .
 Вклейка 18 «Бог южного океана» .
 Вклейка 20 «Ангел музыки» .
 Вклейка 21 «Розовый ангел» .
 Вклейка 22 «Розовый ангел» (фрагмент) .

В 1937 году художница Этельвин Куэйл нарисовала иллюстрации к теософской книге «Царство богов» на основе «исследований Джеффри Ходсона , проведённых между 1921 и 1929 годами». [213] [5] [214] Ходсон пояснил: «Поскольку Этельвин рисовала по моим описаниям, она отвечает только за исполнение, но не за композицию, цвет или форму». [215]

Полемика

В 1947 году дизайнер Теренс Гарольд Робсджон-Гиббингс (1905—1976), критикуя современное искусство, [216] обвинил его в «порочной связи» с оккультизмом. [217] [K 42] Эта критика оказалась «настолько успешной», что сторонники абстрактного искусства десятилетиями «неукоснительно избегали упоминания» эзотерических интересов его лидеров. Связь с теософией таких представителей абстракционизма, как Мондриан и Кандинский, использовалась « евангеликами и другими критиками как оружие» против современного искусства в целом. [219]

Предубеждение против фактов, подтверждающих связь источников современного искусства с теософией всё ещё существует. [220] [K 43] Например, искусствовед Ив-Ален Буа заявил, что «теософская чепуха, на мгновение затмившая разум Мондриана» довольно быстро исчезла из его искусства. [222] Однако сам Мондриан утверждал: «Я всё получил из „Тайной доктрины“». [223] Выставка «Изобретение абстракции, 1910—1925» в Нью-Йоркском музее современного искусства (2012 г.) «полностью проигнорировала» роль оккультизма и теософии. [224] Искусствовед Вальдемар Янущак 7 февраля 2010 года писал:

«Дело в том, что теософия... смущает. Если есть что-то, чего вы не пожелаете вашему кумиру модернизма, так это быть членом тайного культа... Теософия переносит искусство на территорию Дэна Брауна . Ни один серьёзный искусствовед не хочет соприкасаться с ней». [225] [226]

Янущак также утверждал, что теософия была «мошеннической» и «нелепой», что «однажды кто-нибудь напишет большую книгу о её поразительном влиянии на современное искусство», а также «о её бессмысленном очаровывании» многих современных художников. [227] [220] [K 44] Но, как заявил Интровинье, «конференции, публикации и выставки, посвящённые влиянию теософии на современное искусство, не прекращаются». [226] [K 45]

See also

  • Теософия и литература
  • Теософия и музыка
  • Теософия и наука
  • Философия искусства
  • « Кто такие теософы? "
  • « Мыслеформы »
  • « Что такое теософия? "

Comments

  1. ↑ Фактически, этот рисунок стал эмблемой исследования влияния теософии на современное искусство: см., например, здесь. [2]
  2. ↑ В сентябре 2013 года в Амстердамском университете состоялась научная конференция «Enchanted Modernities: Theosophy and the Arts in the Modern World», на которой аудитории из 150 учёных было представлено около 50 докладов. [12] Большая часть этих докладов была посвящена вопросам теософии и изобразительного искусства. [13] Как образно заметил профессор Ваутер Ханеграфф , современное искусство, представляет собой «причудливую ярмарку эзотерики и оккультизма ». [14]
  3. ↑ Религиовед Роберт Эллвуд писал, что, согласно теософии, «ауры состоят из сложной комбинации эфирной, астральной и ментальной материи». [18] Религиовед Олаф Хаммер аналогично отметил, что «аура представляет собой цветную оболочку, окружающую физическое тело». [nineteen]
  4. ↑ Хаммер писал, что Ледбитер «предложил теорию ауры человека», основанную на некоторых идеях Блаватской . [21] Согласно Блаватской, каждый человек окружён «магнетическим облаком, или аурой». [22]
  5. ↑ Штейнер утверждал, что «разнообразие цвета в высших мирах неизмеримо больше, чем в физическом мире». [26] Он также полагал, что художественная чувствительность является необходимым условием для развития духовных способностей, поскольку она «проникает под поверхность вещей и постигает их секреты». [27]
  6. ↑ Религиовед Джей Джонстон писала, что Безант и Ледбитер разработали теорию о «существовании в тонкой субстанции пульсирующих форм, цвета которых соответствуют психическому/эмоциональному/духовному опыту человека». [32]
  7. ↑ Химик и философ, член Теософского общества Икбал Таймни писал, что мысли, чувства и эмоции по сути своей природы представляют собой вибрации в «материи» тонких планов и «порождают» формы, которые можно увидеть объективно. [36]
  8. ↑ По мнению искусствоведа Роджера Липси, теософия смогла создать « визуальный язык , который вписался в мейнстрим искусства 20-го века». [38]
  9. ↑ Религиовед и культуролог Владимир Глаголев писал, что «круг художественных решений, признаваемых нетрадиционными синкретическими религиями и религиозно-философскими концепциями» более разнообразен в сравнении с традиционными религиями. [39]
  10. ↑ Некоторые её рисунки были выполнены с помощью автоматического или трансового рисования . [5] [42]
  11. ↑ Джессо , масло ; 188 × 226 см. Картина находится в административном здании международного штаба Теософского общества Пасадена , Калифорния. [46]
  12. ↑ Увлекаясь спиритизмом, она сама стала медиумом . В 1896 году сформировала группу «Пять» ( швед. De Fem ), которая создавала «автоматические картины». [71]
  13. ↑ Её также считают «пионером абстракционизма , опередившим Кандинского ». [74]
  14. ↑ Фуллер написала «неизвестное число» портретов махатм, включая портрет Будды. Из них только последний был опубликован. [83]
  15. ↑ Фуллер выбрала цвета для этой картины в полном соответствии с теософским каноном, изложенным в «Мыслеформах» [28] Безант и Ледбитера. [86]
  16. ↑ По мнению Френча, портрет иллюстрирует ослабление «мужских признаков и, таким образом, выглядит андрогинным ». Он отметил, что художница, видимо, придерживалась канонов « Ренессансной ангелологии ». [68]
  17. ↑ Холст, масло, триптих ; 183 × 87,5 см (центральная панель), 178 × 85 см (боковые панели). Муниципальный музей Гааги . [87]
  18. ↑ Не только Блоткамп, но и другие исследователи часто цитируют фразу Мондриана: «Я всё получил из „ Тайной доктрины “». [93]
  19. ↑ Баудуин писала, что Мондриан «больше всего интересовался космической гармонией, которая должна была выражаться в правильном балансе между общими и абстрактными элементами, представляющими абсолютную истину и абсолютную красоту». [96]
  20. ↑ Его работа «Эволюция» содержит теософские элементы в полном объёме. [98]
  21. ↑ Рерихи присоединились к русской секции ТО (возможно неофициально) перед Первой мировой войной. [107]
  22. ↑ Профессор Анита Стасулане отметила, что на «отношения Рерихов с русской секцией ТО серьёзно повлиял вопрос о правах на перевод работ Блаватской». [109]
  23. ↑ Холст, масло; 48,5 × 69,5 см. Городская галерея в доме Ленбаха . По мнению Джона Боулта и Гари Лакмана , в этой картине влияние «Мыслеформ» [28] вполне заметно. [110]
  24. ↑ Холст, масло; 95 × 150 см. Городская галерея в доме Ленбаха .
  25. ↑ В 1910 году Кандинский написал свою первую абстрактную картину. [111]
  26. ↑ По мнению историка Яна Штоттмайстера, эта картина объединяет «явно католический сюжет — Святое Причастие » с теософским учением об ауре. [133]
  27. ↑ Картон, масло; 30,5 × 31,5 см. Бохумский художественный музей . [141]
  28. ↑ Бумага, пастель ; 45 × 47 см. Центр Помпиду , Государственный музей современного искусства (Париж) . [142]
  29. ↑ Профессор Линда Хендерсон отметила, что Ледбитер использовал термин «четвёртое измерение», описывая в своих книгах «астральное видение». [149] По мнению Баудуин, «четвёртое измерение» и теософский «астральный план» являются эквивалентными понятиями. [150]
  30. ↑ В левом нижнем углу картины Купка написал: «Дорогая Нини, здесь я зарисовал сон, в котором видел нас двоих. Твой, Франк» ( фр. Ma Chère Ninie, Voici ébauche le reve que J'ai eu-nous deux—Ton Franc ). [153]
  31. ↑ Он прочитал все тома немецкого перевода «Тайной Доктрины» ( нем. Geheimlehre ) и «Разоблачённой Изиды» ( нем. Entschleierte Isis ). [158]
  32. ↑ Иванов Владимир Владимирович (род. 1943) — искусствовед, богослов , философ. С 1995 по 2009 год — профессор Православного института Мюнхенского университета. В качестве приглашённого профессора читал лекции в университетах Германии, Австрии, США. [159]
  33. ↑ См. «Frühe Menschen» (1947) Макса Бекмана здесь. [167]
  34. ↑ Холст, масло; 220 × 140 см. Коллекция Эрика Эсторика , Лондон. [170]
  35. ↑ Чесса писал, что мировоззрение Руссоло, судя по его личным документам и другим свидетельствам, фактически не отличалось от «теософской ортодоксии», провозгласившей реальность «духовного» мира. [174]
  36. ↑ По мнению искусствоведа Марианны Мартин, многорукий пианист в «La musica» символизирует Шиву Натараджу , «создателя и повелителя космического танца в индуистском пантеоне », и это подтверждает интерес Руссоло к восточной философии, которая была «основным источником» теософии. [181]
  37. ↑ Авторы «Мыслеформ» объяснили, что духи, «пребывающие на астральном плане», имеют достаточно энергии для того, чтобы изменить поведение «уже существующих мыслеформ» и заставить их двигаться. [182]
  38. ↑ Интровинье подтвердил, что книга «Мыслеформы» повлияла на Руссоло, [185] указав в качестве примера на его картину «La musica». [186]
  39. ↑ См. «Неврастения» (1908) здесь. [193]
  40. ↑ Дизайнер Робсджон-Гиббингс заметил, что «многие из первых абстрактных картин… поразительно похожи на мыслеформы». [198]
  41. ↑ Согласно Годвину и Ханеграффу, пейзажист Джон Варли был внуком Джона Варли (старшего) (1778—1842). [200] Супруга Джона Варли (младшего), художница Изабелла Варли, была тётей Йейтса . Она подарила своему племяннику в 1884 году книгу Синнетта « Эзотерический буддизм ». [201]
  42. ↑ Согласно Робсджон-Гиббингсу, абстракционизм представляет собой «побочный продукт астральных манифестаций, описанных в теософии, спиритизме и оккультизме». [218]
  43. ↑ Философ искусства Виктор Бычков писал, что он сам относится к теософии, антропософии и другим эзотерическим учениям скептически. По его мнению, в русле эзотеризма «не было создано достойных внимания эстетических ценностей». [221]
  44. ↑ По мнению богослова Димитрия Дружинина, «теософская духовность оказывает разрушающее воздействие как на физическое, так и на душевное здоровье». [228]
  45. ↑ См., например, здесь. [229]

Notes

  1. ↑ TForms, 1905 , p. 80.
  2. ↑ Introvigne, 2016c , p. 23.
  3. ↑ 1 2 3 Davis .
  4. ↑ Ellwood .
  5. ↑ 1 2 3 4 5 6 7 8 9 Godwin .
  6. ↑ Lipsey, 2011 .
  7. ↑ Santucci, 2012 .
  8. ↑ Bauduin, 2014 .
  9. ↑ Ringbom, 1970 .
  10. ↑ Blotkamp, 2001 .
  11. ↑ Chessa, 2012 .
  12. ↑ Introvigne, 2018a , p. thirty.
  13. ↑ Conference .
  14. ↑ Hanegraaff, 2013 , p. 148.
  15. ↑ Leadbeater, 1903 , Frontispiece; TForms, 1905 , Frontispiece.
  16. ↑ Bauduin, 2012 , p. 43; Godwin, 2016 , p. 469.
  17. ↑ Leadbeater, 1903 , p. 94.
  18. ↑ Ellwood, 2014 , p. 115.
  19. ↑ Hammer, 2014 , p. 358.
  20. ↑ Hammer, 2003 , pp. 223, 225.
  21. ↑ Hammer, 2003 , p. 223.
  22. ↑ Blavatsky, 1877a .
  23. ↑ Melton, 2001c .
  24. ↑ Leadbeater, 1903 , Ch. 16; Steiner, 1994 , Ch. 6.
  25. ↑ Ringbom, 1966 , pp. 397–398.
  26. ↑ Steiner, 2004 , p. 58; Ringbom, 1966 , p. 397.
  27. ↑ Steiner, 2004 , p. 50; Фаликов, 2016 , с. 76.
  28. ↑ 1 2 3 4 5 6 7 8 9 TForms, 1905 .
  29. ↑ Goodrick-Clarke, 2008 , p. 232.
  30. ↑ 1 2 3 Leadbeater, 1903 .
  31. ↑ Ringbom, 1966 , p. 398; Bauduin, 2012 , p. 43; Godwin, 2016 , p. 469.
  32. ↑ Johnston, 2012 , p. 158.
  33. ↑ Leadbeater, 1903 , p. 100; Фаликов, 2016 , с. 85.
  34. ↑ TForms, 1905 , p. 53; Chessa, 2012 , p. 94.
  35. ↑ Ringbom, 1966 , p. 398.
  36. ↑ Taimni, 1969 , p. 277.
  37. ↑ Ringbom, 1966 , p. 397.
  38. ↑ Lipsey, 2011 , p. 34; Alderton, 2011 , p. 243.
  39. ↑ Глаголев, 2005 , с. 476.
  40. ↑ Deveney, 2001 , p. 531.
  41. ↑ Introvigne, 2015 , p. eleven.
  42. ↑ Introvigne, 2016c , p. 53; Introvigne, 2017b , p. five.
  43. ↑ Weinzweig, 1978 , p. 15; Cranston, 1993 , p. xvi.
  44. ↑ Introvigne, 2014a , p. 172; Introvigne, 2018b , p. 13.
  45. ↑ Introvigne, 2014a , p. 182; Introvigne, 2018b , p. 28.
  46. ↑ Catalog .
  47. ↑ Introvigne, 2014a , p. 185; Introvigne, 2018b , p. 31.
  48. ↑ Melton, 2001a .
  49. ↑ 1 2 Knoche .
  50. ↑ Kamerling, 1980 .
  51. ↑ Introvigne, 2014a , pp. 168, 173; Introvigne, 2018b , p. 6.
  52. ↑ Introvigne, 2014a , p. 169.
  53. ↑ Purucker, 1999 .
  54. ↑ Melton, 2001a , p. 951; Introvigne, 2014a , p. 173.
  55. ↑ Introvigne, 2014a , p. 180.
  56. ↑ Machell, 1980 , p. 354; Introvigne, 2014a , p. 181.
  57. ↑ Kamerling, 1980 , The Path; Kirkley, 1997 , The Path.
  58. ↑ Introvigne, 2018b , p. 31.
  59. ↑ Melton, 2001a , p. 951; Rudbøg, 2013 , p. 66.
  60. ↑ Introvigne, 2015 , p. 26.
  61. ↑ French, 2000 , p. 609.
  62. ↑ Introvigne, 2015 , p. 25.
  63. ↑ Benezit6 .
  64. ↑ Introvigne, 2015 , p. 20; Introvigne, 2017a , p. 212.
  65. ↑ French, 2000 , p. 622.
  66. ↑ French, 2000 , p. 622; Sasson, 2012 , p. 142.
  67. ↑ Introvigne, 2015 , p. 18; Introvigne, 2017a , p. 212.
  68. ↑ 1 2 French, 2000 , p. 637.
  69. ↑ Benezit3 .
  70. ↑ 1 2 Bauduin, 2014 , p. 435.
  71. ↑ Introvigne, 2014b , p. 27.
  72. ↑ Introvigne, 2014b , p. thirty.
  73. ↑ Bauduin, 2012 , p. 47; Bauduin, 2014 , p. 436.
  74. ↑ 1 2 Bauduin, 2012 , p. 47.
  75. ↑ Introvigne, 2014c , p. 27.
  76. ↑ McFarlane, 2006 , p. 242; Introvigne, 2017b , p. 20.
  77. ↑ French, 2000 , p. 610; Introvigne, 2015 , p. 42.
  78. ↑ McFarlane, 2006 , p. 243; Introvigne, 2017b , p. 20.
  79. ↑ Benezit1 .
  80. ↑ McFarlane, 2006 , p. 77; Introvigne, 2015 , p. 39.
  81. ↑ Introvigne, 2015 , p. 38.
  82. ↑ French, 2000 , p. 626; McFarlane, 2006 , p. 78; Introvigne, 2015 , p. 42.
  83. ↑ Introvigne, 2017b , p. 21.
  84. ↑ McFarlane, 2006 , p. 80.
  85. ↑ McFarlane, 2006 , pp. 86–87.
  86. ↑ McFarlane, 2006 , p. 86.
  87. ↑ Introvigne, 2014e , p. 47.
  88. ↑ Henkels .
  89. ↑ 1 2 Schuré, 1921 .
  90. ↑ Ringbom, 1966 , p. 413; Seuphor, 1969 , p. 53; Introvigne, 2014e , p. 48.
  91. ↑ Ringbom, 1966 , p. 413; Goodrick-Clarke, 2008 , p. 232; Kramer, 2013 , p. 20; Introvigne, 2014e , p. 47.
  92. ↑ Blotkamp, 2001 , p. 14.
  93. ↑ Blotkamp, 2001 , p. 111; Bris-Marino, 2014 , p. 499; Introvigne, 2014e , p. 47.
  94. ↑ Seuphor, 1969 , p. 58; Introvigne, 2014e , p. 51.
  95. ↑ Bris-Marino, 2014 , pp. 496, 499.
  96. ↑ Bauduin, 2013 , p. 432.
  97. ↑ Welsh, 1987 , p. 175.
  98. ↑ Sellon; Weber, 1992 , p. 326.
  99. ↑ Welsh, 1987 , p. 176.
  100. ↑ Welsh, 1987 , p. 177; Introvigne, 2014e , p. 49.
  101. ↑ Blavatsky, 1877 , p. 212; Welsh, 1987 , p. 176.
  102. ↑ Archer .
  103. ↑ Benezit5 .
  104. ↑ Melton, 2001b .
  105. ↑ Hammer, 2003 , p. 78.
  106. ↑ Hammer, 2003 , p. 103; Carlson, 2015 , p. 195; Introvigne, 2016a , p. 6.
  107. ↑ Stasulane, 2005 , p. 25.
  108. ↑ Introvigne, 2016c , p. 48.
  109. ↑ Stasulane, 2013 , p. 197.
  110. ↑ Боулт, 1999 , с. 33; Lachman, 2008 , p. 60.
  111. ↑ Moszynska .
  112. ↑ Barnett .
  113. ↑ Blavatsky, 1889 .
  114. ↑ Steiner, 1994 .
  115. ↑ Ringbom, 1966 , pp. 394–395; Ringbom, 1970 , pp. 47, 74, 81; Washton-Long, 1980 , p. 15; Bowlt; Washton-Long, 1980 , p. 45; Иванов, 2007 , с. 83.
  116. ↑ Ringbom, 1966 , p. 393; Introvigne, 2018a , p. 31.
  117. ↑ Introvigne, 2016c , p. 32.
  118. ↑ Barasch, 1990 , pp. 298, 304.
  119. ↑ Фаликов, 2016 , pp. 75, 87.
  120. ↑ Kandinsky, 1952 , s. 42; Ringbom, 1966 , p. 394; Washton-Long, 1987 , p. 40; Barasch, 1990 , p. 301; Lipsey, 2011 , p. 34; Фаликов, 2016 , с. 77.
  121. ↑ Blavatsky, 1889 , p. 307; Kandinsky, 1952 , s. 42–43.
  122. ↑ Ringbom, 1966 , p. 394; Goodrick-Clarke, 2008 , p. 232.
  123. ↑ Kandinsky, 1952 , Allgemeines.
  124. ↑ Schuré, 1921 , Introduction.
  125. ↑ Ringbom, 1966 , p. 395.
  126. ↑ Washton-Long, 1975 , p. 217.
  127. ↑ Фаликов, 2016 , с. 86.
  128. ↑ Kandinsky, 1952 , s. 64; Ringbom, 1966 , p. 400; Treitel, 2004 , pp. 125–126; Фаликов, 2016 , с. 86.
  129. ↑ Боулт, 1999 , с. 36.
  130. ↑ Фаликов, 2016 , с. 87.
  131. ↑ Фаликов, 2016 , с. 88.
  132. ↑ Wolters, 1911 , Frontispiece.
  133. ↑ Stottmeister, 2013 , p. 24.
  134. ↑ 1 2 Hanegraaff .
  135. ↑ Wolters, 1911 .
  136. ↑ Guenther .
  137. ↑ Benezit4 .
  138. ↑ Majut, 1959 , p. 195.
  139. ↑ Majut, 1959 , p. 196.
  140. ↑ Stottmeister, 2013 , p. 24; Stottmeister, 2014 , s. 104.
  141. ↑ Jones, 2012 , p. 99.
  142. ↑ Jones, 2012 , p. 103.
  143. ↑ Wittlich .
  144. ↑ Bauduin, 2012 , p. 48; Introvigne, 2016b , p. 14.
  145. ↑ Wünsche, 2016 , p. eleven.
  146. ↑ Bauduin, 2012 , p. 42; Jones, 2012 , p. 51.
  147. ↑ Bauduin, 2012 , p. 49.
  148. ↑ Bauduin, 2012 , p. 49; Henderson, 2013 , p. 492.
  149. ↑ Leadbeater, 1895 , p. 9; Henderson, 2013 , p. xxix.
  150. ↑ Bauduin, 2012 , p. 35.
  151. ↑ Jones, 2012 , p. vii.
  152. ↑ Jones, 2012 , p. 70.
  153. ↑ Jones, 2012 , p. 65.
  154. ↑ Иванов, 2009 , с. 166.
  155. ↑ 1 2 Beckmann .
  156. ↑ Lenz .
  157. ↑ Selz, 1964 , p. 94; Selz, 1992 , p. eight; Reimertz, 1995 , s. 80; Иванов, 2009 , с. 166.
  158. ↑ Reimertz, 1995 , Geheimlehre.
  159. ↑ Участники, 2012 , с. 839.
  160. ↑ Иванов, 2009 , с. 156–167.
  161. ↑ Besant, 1899 , p. 107; Иванов, 2009 , с. 168.
  162. ↑ Besant, 1899 , pp. 110–111; Иванов, 2009 , с. 168.
  163. ↑ Steiner, 1989 , s. 104; Иванов, 2009 , с. 169.
  164. ↑ Leadbeater, 1895 , p. 4; Иванов, 2009 , с. 169.
  165. ↑ Иванов, 2009 , с. 169.
  166. ↑ Иванов, 2009 , с. 171.
  167. ↑ Иванов, 2012 , с. 283.
  168. ↑ Chessa, 2012 , p. 82.
  169. ↑ Chessa, 2012 , p. 93.
  170. ↑ Chessa, 2012 , p. 77; Introvigne, 2014d , p. ten.
  171. ↑ Coen .
  172. ↑ Celant, 1981 , pp. 36–42; Chessa, 2012 , p. 78; Bauduin, 2014 , p. 437.
  173. ↑ Chessa, 2012 , p. 225.
  174. ↑ Chessa, 2012 , p. 113.
  175. ↑ 1 2 Chessa, 2012 , p. 84.
  176. ↑ Leadbeater, 1913 .
  177. ↑ Chessa, 2012 , p. 92.
  178. ↑ Leadbeater, 1913 , p. 279; Chessa, 2012 , p. 94.
  179. ↑ Leadbeater, 1913 , p. 268; Chessa, 2012 , p. 106.
  180. ↑ Chessa, 2012 , p. 100.
  181. ↑ Martin, 1968 , p. 90; Chessa, 2012 , p. 78.
  182. ↑ TForms, 1905 , p. 36; Chessa, 2012 , p. 107.
  183. ↑ TForms, 1905 , pp. 75–82.
  184. ↑ Chessa, 2012 , p. 104.
  185. ↑ Introvigne, 2014c , p. 21.
  186. ↑ Introvigne, 2014d , p. ten.
  187. ↑ 1 2 Benezit2 .
  188. ↑ Chessa, 2012 , p. 103; Introvigne, 2014d , p. 12.
  189. ↑ Celant, 1981 , pp. 36–42; Chessa, 2012 , p. 43.
  190. ↑ Sica, 2017 , p. 33.
  191. ↑ Chessa, 2012 , p. 46; Introvigne, 2014d , p. 12.
  192. ↑ Chessa, 2012 , p. 48; Introvigne, 2014b , p. 32; Sica, 2017 , p. 37.
  193. ↑ Introvigne, 2014b , p. 32.
  194. ↑ Chessa, 2012 , p. 49; Introvigne, 2014b , p. 32; Sica, 2017 , p. 38.
  195. ↑ Ringbom, 1966 , p. 404; Gettings, 1978 , p. 136; Tillett, 2016 , p. 68.
  196. ↑ Lachman, 2008 , p. 60.
  197. ↑ Breen, 2014 , p. 112.
  198. ↑ Robsjohn-Gibbings, 1947 , p. 86.
  199. ↑ Chessa, 2012 , p. 254.
  200. ↑ Godwin, 2016 , p. 469; Hanegraaff, 2017 , p. 33.
  201. ↑ French, 2000 , p. 626.
  202. ↑ Leadbeater, 1920 , Frontispiece.
  203. ↑ McFarlane, 2006 , p. 245; McFarlane, 2012 , p. 139.
  204. ↑ Leadbeater, 1903 , Author's note.
  205. ↑ Bax .
  206. ↑ Godwin, 2016 , p. 470.
  207. ↑ McFarlane, 2012 , p. 146; Leland, 2016 , p. 209.
  208. ↑ Leadbeater, 1920 .
  209. ↑ McFarlane, 2006 , p. 169.
  210. ↑ McFarlane, 2012 , p. 139.
  211. ↑ Leadbeater, 1927 , Preface.
  212. ↑ Hodson, 2007 .
  213. ↑ Hodson, 2007 , Dedication.
  214. ↑ Godwin, 2016 , p. 472.
  215. ↑ Hodson, 2007 , Part V.
  216. ↑ Robsjohn-Gibbings, 1947 .
  217. ↑ Фаликов, 2016 , с. 67.
  218. ↑ Robsjohn-Gibbings, 1947 , p. 152; Bauduin, 2013 , p. 429.
  219. ↑ Introvigne, 2016a , p. 3; Introvigne, 2018a , p. 40.
  220. ↑ 1 2 Introvigne, 2016a , p. four.
  221. ↑ Бычков, 2007 , p. 57.
  222. ↑ Bois, 1993 , pp. 247–248.
  223. ↑ Blotkamp, 2001 , p. 111; Introvigne, 2016a , p. 4; Introvigne, 2018a , p. 40.
  224. ↑ Washton-Long, 2013 , p. 2; Introvigne, 2018a , p. 41.
  225. ↑ Januszczak1 .
  226. ↑ 1 2 Introvigne, 2018a , p. 41.
  227. ↑ Januszczak2 .
  228. ↑ Дружинин, 2012 , с. 161.
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  • Washton-Long Rose-C. Occultism, Anarchism, and Abstraction: Kandinsky's Art of the Future (Eng.) // Art Journal: Journal. - College Art Association, 1987. - Vol. 46, no. 1 . - P. 38–45. - ISSN 0004-3249 .
  • Washton-Long Rose-C. Back to Barr: MoMA's 2013 origins of Abstraction // Enchanted Modernities: Theosophy and the Arts in the Modern World. - York: University of York, 2013 .-- P. 2.
  • Weinzweig P. An Appreciation of Helena Blavatsky (English) // Rikka: Journal. - Toronto, 1978. - Vol. 5, no. 4 .
  • Welsh RP Mondrian and Theosophy // The Spiritual Image in Modern Art / Ed. Kathleen J. Regier. - Theosophical Publishing House, 1987. - P. 164–189. - ISBN 9780835606219 .
  • Wittlich, Petr Kupka, František (English) . Grove Art Online . Oxford University Press (2003). doi : 10.1093 / gao / 9781884446054.article.T048316 . Date of treatment July 11, 2019.
  • Wolters F. Melchior Lechter . - München: Franz Hanfstaengl, 1911.
  • Wünsche I. Wassily Kandinsky and František Kupka // Practices of Abstract Art: Between Anarchism and Appropriation / Ed. I. Wünsche, W. Gronemeyer. - Cambridge Scholars Publishing, 2016 .-- P. 11-30. - ISBN 9781443856867 .

Theosophical Publications

  • The Path by Reginald W. Machell . Theosophical University Press Catalog . Pasadena, CA: Theosophical University Press (2019). Date of treatment July 11, 2019.
  • Dweller on the Threshold // Encyclopedic Theosophical Glossary / Ed. G. de Purucker . - Pasadena: Theosophical University Press, 1999. - ISBN 978-1-55700-141-2 .
  • Besant A. The Ancient Wisdom . - 2nd ed. - London: Theosophical Publishing Society, 1899.
  • Besant A. , Leadbeater CW Thought-Forms . - London: Theosophical Publishing Society, 1905.
  • Blavatsky HP Isis Unveiled . - New York: JW Bouton, 1877. - Vol. one.
  • Blavatsky HP Isis Unveiled . - New York: JW Bouton, 1877a. - Vol. 2. - P. 610.
  • Blavatsky HP The Key to Theosophy . - London: Theosophical Publishing Company, 1889.
  • Cranston SL HPB: the extraordinary life and influence of Helena Blavatsky, founder of the modern Theosophical movement . - GP Putnam's Sons, 1993 .-- ISBN 9780874776881 .
  • Hodson G. Kingdom of the Gods . - 13th ed. - Adyar: Theosophical Publishing House, 2007 .-- ISBN 978-0766181342 .
  • Knoche Grace F. Machell, Reginald Willoughby . Theosopedia . Manila: Theosophical Publishing House (March 15, 2012). Date of treatment July 12, 2019.
  • Leadbeater cw The Astral Plane . - London: Theosophical Publishing Society, 1895.
  • Leadbeater CW Man Visible and Invisible . - 1902 reprint. - New York: John Lane, 1903.
  • Leadbeater CW The Hidden Side of Things . - Adyar: Theosophical Publishing House, 1913.
  • Leadbeater CW The Science of the Sacraments . - The St. Alban press, 1920.
  • Leadbeater cw Chakras . - Adyar: Theosophical Publishing House, 1927.
  • Machell Reginald W. The Path // Blavatsky Collected Writings / Ed. B. De Zirkoff . - Wheaton, Ill: Theosophical Publishing House, 1980. - Vol. 12. - P. 354–355.
  • Schuré É. Les Grands Initiés: Esquisse de l'histoire secrète des religions . - Paris, 1921. - 554 p.
  • Steiner R. Die Geheimwissenschaft im Umriss . - Dornach: Rudolf Steiner Verlag, 1989 .-- ISBN 3-7274-0130-3 .
  • Steiner R. Theosophy: An Introduction to the Spiritual Processes in Human Life and in the Cosmos . - New York: Anthroposophic Press, 1994 .-- ISBN 0-88010-373-6 .
  • Steiner R. Knowledge of the Higher Worlds: How is it Achieved? . - Rudolf Steiner Press, 2004 .-- ISBN 9781855841437 .

Further reading

  • Bax M. Complete Mondrian . - Lund Humphries, 2001. - ISBN 9780853318033 .
  • Brenson, Michael . Art View; How The Spiritual Infused The Abstract (English) , The New York Times (December 21, 1986). Date of treatment July 10, 2019.
  • Carlson M. Fashionable Occultism: Spiritualism, Theosophy, Freemasonry, and Hermeticism in Fin-de-Siècle Russia // The Occult in Russian and Soviet Culture / Ed. Bernice G. Rosenthal. - Cornell University Press, 1997. - P. 135–152. - ISBN 9780801483318 .
  • Henderson Linda D. The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture (English) // Configurations: Journal. - Johns Hopkins University Press, 2009. - Vol. 17, no. 1 . - P. 131-160.
  • McFarlane J. Concerning the Spiritual: The Influence of the Theosophical Society on Australian Artists: 1890-1934 . - Australian Scholarly Pub, 2012 .-- ISBN 9781921875151 .
  • Midavaine B. Hilma af Klint: The Medium of Abstraction . - Pratt Institute, 2015.

Links

  • List of publications on art in theosophical journals .
Source - https://ru.wikipedia.org/w/index.php?title=Bright_art_and_theosophy_Blavatsky&oldid=101550070


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