Who awakens the "God's gift"?

    Another creative alliance was described in M. Merzabekov's article "Hallucinations Incarnate" published in "Izvestiya" in May 1991. Unlike the cases mentioned above where the artists were no more than controlled painting automatics, here a kind of collaboration was evidently taking place. Gulsum Chikhinbaeva from the town of Ufa had never had any inclination to painting remaining perfectly ignorant of the pictorial art since the age of 50. She worked as an engineer at one of the research institutes in Bashkiria "when the God's gift awakened in her so unexpectedly" (I wonder why journalists are always so firmly convinced that any gift must have come invariably from God?) Mrs Chikhinbaeva herself is quite conscious of the fact that she was made painter nearly against her will, "an artist through misunderstanding" to use her own wording. The correspondent describes her story with a certain embarrassment for such publications were still uncommon in 1991:
    "I saw her water-colour landscapes first in the magazine 'Bashkortostan kysy' ( 1, 1991)... The readers should judge for themselves whether to believe or not the astonishing facts that follow. For the present-day science is yet unable to supply adequate explanations. How could this happened that a woman perfectly ignorant of painting, with neither inclinations for it nor skills whatsoever, turned into an artist one murky morning? What a strange visitation has dawned upon her?
    When her daughter, a university student, was killed in an accident, Mrs Gulsum spent nights wandering along the streets haunted by suicidal thoughts. Once a grey-bearded elder suddenly appeared before her - clad in white, tall, green-eyed and with light-blue hair. A man of a younger age accompanied him, also tall and wearing white and light-blue. The colours were discernible because of the bright radiance that lit the night with their appearance. The elder said to his younger companion: 'This woman is distraught with grief. Teach her painting and poetising, so that she does not perish'.
    At that very moment a board like a wall rose upwards from the ground. The young man began to paint on it with wide energetic strokes. It was a landscape of rare beauty: rocky mountains, crystalline waters, woods with dewy foliage. 'From now on you will paint like this' - said the teacher and started to erase the wonderful scenery. The pupil had a strange feeling that the landscape was being taken to pieces: stones were falling from the rocks, branches and flowers breaking from their stems, and all remained for some time scattered on the ground under her feet. The teacher was slowly moving away <...>
    From that day the craving for painting and writing poetry never left Gulsum-apai. When she feels her canvas is done well, a poem echoes what has been painted. When, on the contrary, her work doesn't go right - the teacher's silhouette passes her by. Than means, as she thinks, that the canvas needs perfecting.
    Her stellar series is all based on 'wonders'. During sleep her soul, she says, is usually roving along distant planets and constellations. Their fanciful landscapes with eerie colours and luxuriant vegetation are represented in her meticulously done painting in great detail.
    'All this has brought me some consolation, - says the sorrowful mother. - I haven't a slightest idea who are my saviours, I'm grateful anyhow. Whether they are from the parallel world or from some higher civilisations, I don't care. Wherever they come from, I reckon my visions as fact, as reality <...>'.
    Simultaneously with the pictorial gift she gained other abilities no less inconceivable... Her late daughter once descended to her from the clouds in a dream and said: 'Mum, you'd better not go to the Kazayak railway-station (she had just intended to), there is going to be a terrible train crash there'. In some two days after that not Bashkiria alone but the whole country were shaken by the tremendous explosion between the Kazayak and Ulu-Teliyak stations that devoured two passenger trains with hundreds of people... Who is this woman? A prophetess? Bashkirian Vanga? Neither she, nor anyone else knows the exact answer"
.
    Yet, her "teachers" are rather recognisable. Usually they dwell near the earth constantly "working" with people, though of course, CPW are quite capable of moving in the interplanetary space. The extraterrestrial version is their favourite ploy. It doesn't take much to make the poor woman believe it. Her nocturnal "travelling" to other constellations is obviously due to CPW's influencing her brain during sleep.
    The creatures of parallel world are very much likely to use the poor woman as part of their advertising drive to raise the number of curious agnostics not caring whom they are grateful to. To bring as many people as possible into a contact with them is their strategy, so frankly described through the already mentioned L. Kiseliova, Mikao Usui and others.
    The Bashkir case is illustrative also in that the CPW use the painter as a device not only for self-express but for their "prophecy" winning prestige among people. The described rail disaster is sure to take place not without their interference and had undoubtedly been devised by them, which allowed them to "warn" about it their "prophetess" in advance. To perform technically such an accident is merely a child's play for CPW - providing (I should stress this point) that God lets them.

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