'Sacred knowledge' in symbols and colours

    Now let us look at another type of CPW pictorial self-express when they use professional artists as their mediums. In this context the case described by a Moscow painter Olga Saiko in the magazine "NLO" 48, November 29, 1999, p. 23, is rather illustrative. Once in 1990 the painter felt such an unexpected burst of creative energy that she spent at an easel more than five hours quite beside herself, and when the canvas was finished she found it strangely different from everything that she had ever created. Such queer states repeated afterwards, each time brining into existence very strange paintings which the artist herself described as "foreign to her and quite enigmatic. The same I can say about the sacred symbols and inscriptions that I put in these canvases as if in a dream", she writes. The painter feels both the images of her canvases and their artistic manner with its peculiar expressiveness of the colour scheme and abstractionism of forms absolutely foreign. Their origin remains a secret for her, as well as the meaning of the inscriptions in an unknown language performed through her hand in fanciful hieroglyph-like signs. Here the contact with CPW manifested itself in a form of motor automatism with preservation of clear consciousness and the critical ability.
    We have as far purposely omitted one curious detail - a striking coincidence that made the painter send coloured snaps of her works to that very magazine. The thing is that on August 9, 1999 the magazine ( 32) had published K. Butusov's article 'Archeological Discovery: a Message from the Future?' telling of amazing rock paintings found in the northern part of the New Mexico state in 1972. Dated by 8 AD (unfortunately the basis for such dating was not pointed), they "had nothing in common with other ancient pictures found in the American continent. Their investigators had gradually come to a conclusion of an extraterrestrial origin of their unusual subject" ("NLO", 48, 1999). The Next page step was still more startling. When Olga Saiko saw the photographs of the vividly coloured (as if just out of brush!) New-Mexico paintings, her eye was caught by their striking resemblance to her own sketches born in the described altered conditions of conscience. The astonished painter decided to send her works to the magazine. All who compared these to the New-Mexico paintings could not help noticing their amazing kinship in style. Both the artistic thinking and the pictorial manner along with the unknown 'hieroglyphs' spoke for "one and the same hand, one and the same accent".
    It is noteworthy that art critics failed to find any analogues of such imagery or pictorial style not only in the eighth-century America, but anywhere on earth before the early 20 century, when abstractionism was brought into being by V.V. Kandinski, H. Mirro, M. Ernst, K.S. Malevich, M.F. Larionov and other "subject-less" painters. Besides, the rock paintings' safety is really unique (especially for the 8 c.) and can be compared only to that of a newly-done canvas. All this suggests that the New-Mexico phenomenon should be dated by a much later period, maybe even the early 20 c., and its origin is probably due to the same rational beings that maintained a contact also with O. Saiko producing through her some more pieces of art in 1990.
    SPW's pictorial creativeness is well represented in the Israeli illusionist Uri Geller's internet page (www. Uri-geller.com), where coloured reproductions of abstract paintings made by one of the creatures of parallel world with the hand of its medium U. Geller may be found. Their pictorial language, colour scheme and the manner of colour spots combination is strangely akin to both Olga Saiko's meditative painting and the New-Mexico phenomenon.
    Let us not forget that the Moscow painter called the sacred images and symbols on her canvases "foreign to her and quite enigmatic".
    Abundance of symbols and 'hieroglyphs' was pointed out as very much typical of the pictorial language of psychiatric patients by prof. Lombroso, who considered this trait to be common for his patients' "pictorial works of mixed technique and for the Hindu and Japanese paintings and the ancient Egyptian wall pictures" (see 'The Genious and Madness', St-Petersburg, 1892, p. 101). Certainly, we are not going to speak of the equality of such diverse fields of pictorial art, but still the resemblance is not merely fortuitous. Look at the different kinds of cabalistic voluminous writings: they all are speckled with the similar pictures and diagrams. And not only the quantity of written symbols, but also their quality unite all such pictorial production: the same symbols and the same accent mark all this disperse variety of pictorial forms and point at the same roots: contacts with the creatures of parallel world. Compare, for instance, an illustration in the mentioned Lombroso's book (p.103) - with the alchemic diagrams in the occult encyclopaedia by Manly P.Hall ("Encyclopaedia of Masonic, Hermetic and Cabalistic Symbolic Philosophy", St-Petersburg, 1994, c. 533-546; 597-622). It would be, of cause, naive to establish a direct connection between the pictorial language of schizophrenics and "the ancient Egyptian wall pictures", but let us bear in mind that the latter were usually intended as symbols of the mystical esoteric doctrines used in the course of initiation, that is of introducing those consecrated into a direct contact with CPW.
    With a certain degree of generalisation it might be stated that all the above mentioned phenomena have parallel superfine world as their informational source, and that the same beings belonging to this superfine world take part in the history of mankind through their mediums in different epochs and cultures. The Chaldean magi and Ancient-Egyptian priestesses drew information from one and the same original source as the American-Indian pagan priests did. The information was given in symbols that might differ in shape yet had very much in common in their inner content and inherent mystical structure.
    All this can be supplemented by several additional conclusions.
    The first is that all ancient and modern religions invented by mankind are due to contacts with the creatures of parallel superfine world, who seek either to make people venerate them as gods or, on the contrary, to conceal their objective personal existence - craving to one and the same goal: to prevent people from giving the true God and Creator of all things His full meaning and worship. The only exception in the ancient history was the religion of Moses that made very strict provisions against worshipping pagan gods. In the New-Testament times such exception became Christianity that disapproves of contacts with creatures of parallel world with the same strictness, which made it so irritating to the latter that they are doing everything in their power to wipe it off the face of the earth, or, if it is not possible, to falsify or calumniate it.
    The second point is that the overwhelming majority of mental disturbances is very much likely to be a result of a contact with CPW in more or less explicit form.

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