Spiritual Alchemy

Дамата с хермелина

Leonardo da Vinci, “Lady with an Ermine”

Transmutation, or Spiritual Alchemy, is a science based upon Divine Facts in Nature, which we, as conscious Souls, can learn and apply to the betterment of our world. In a very real sense we are, in this series of instruction, dealing with the transmutation process. We begin first with the very core of the ideal identification.

New ideas have to be formulated as the blueprint after which is patterned a positive disciplinary program for the persona. What are the basic characteristics of this Spiritual being the student intends to become? They are three in number, three characteristics which form a triangle of Spiritual force about the central core of Christ Light. They are:

1. Divine Will. This is the first point of the triangle. Divine Will is inherited by the Son from the Father. It overshadows and infuses Him from above and directly aligns Him with the Father. Divine Will works out in the inner being of the persona as it (Divine Will) infuses the threefold nature (mental, emotional, and physical) of that persona, as the Will to Good. It is expressed outwardly in the world of affairs as good will toward all members of the human family.

2. Divine Love Wisdom. This is the second point of the triangle, located below and to the right of the first point.

Divine Will
Divine Love-Wisdom

Divine Love is the basic nature and therefore the essential characteristic of the Son Himself, created by the interplay of Divine force between His Divine Parents. It constitutes His atonement with all other human life. Divine Love Wisdom works out as Right Understanding or Empathy or Altruism in the innermost nature of the persona as it infuses that persona.

It is expressed outwardly as brotherhood, and constitutes the quality of the His actions as well as the reason for them.

3. Intelligent Activity. This is the third point of the triangle located below and slightly to the left of the first two points.

Divine Will
Divine Love-Wisdom
Intelligent Activity

Intelligent Activity is inherited by the Son from the Mother. It underlies and substantiates Him, giving Him appearance or form.

Intelligent Activity works out as the creative imagination (the ability to formulate ideas into plans) in the innermost nature of the threefold persona as it infuses that persona.
It is expressed outwardly as right action in the life and affairs of the persona.

We have now the basic structure of the ideal a point of Christ Light and Life within a triangle of Spiritual force, that triangle constituting the basic characteristics of the ideal.

The next step is the rounding out of the essential identity and its characteristics into a whole being. To do this we have but to add the four attributes that form the magnetic aura of the Spiritual Soul, or ideal. These attributes are:

1. Divine Harmony

All of the tones of the persona have been tuned to the pure tone of the Christ, and harmony prevails in the auric influence of the whole being. They are in tune with the One Life. The effects they create in the world of affairs are in harmony with the Spiritual growth and development (The Divine Plan) of humanity.

2. Concrete Science and Knowledge

The forms within their magnetic aura are patterned after the Divine Facts in Nature. They are rational, reasonable, positive, and constructive. They are the application of the basic characteristics, found in the triangle of Spiritual force, in the daily affairs of the persona.

3. Devotion to an Ideal

The magnetic aura is aspirational in nature. It devotes its attractive force to that which is of Spiritual Import, and is thus constantly filled to overflowing with the Life of the Spirit.

4. Divine Law and Order.

All forms within the magnetic aura are attracted into right relationship with one another and the One Life so that order prevails throughout the system of the whole entity. The Son of God lives according to Divine Law, therefore, manifesting via His auric influence, Divine Order, within the life and affairs of those whom he contacts.
The ideal is now formulated. Sincere students know what it is they wished to become. They comprehend in degree the goal of Spiritual growth and development they are initiating. They have only to relate the abstract ideal to concrete form, to step it down into a planned activity that will enable them to embody it. This they do via meditation, application, and reflection.

Lucille Cedercrans, Creative Thinking, Lesson 27

Enroll and read more about the free online course:Dear Reader

Lady with an Ermine

As in many of Leonardo’s paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo’s lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro’s court poet, Bernardo Bellincioni, was the first to propose that Cecilia is poised as if listening to an unseen speaker. This work in particular shows Leonardo’s expertise in painting the human form. Cecilia Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke’s court. At the time her portrait was painted, she was about 16 years old and was renowned for her beauty, her scholarship, and her poetry. There are several interpretations of the significance of the ermine in her portrait. The ermine, a stoat in its winter coat, was a traditional symbol of purity because it was believed an ermine would face death rather than soil its white coat.

The symbols of Leonardo

 

 

Advertisements

SALVATOR MUNDI

Salvator Mundi attributed to Leonardo da Vinci

Leonardo da Vinci’s Salvator Mundi is one of the greatest and most unexpected artistic rediscoveries of the 21st century.

Its illustrious 500-year history, and the story of its re-emergence, restoration and authentication, is as fascinating as any of the bestselling thrillers about Leonardo’s life and times.

The painting was sold at Christie’s New York, November 15, 2017, for $450.3 million, making it the most expensive painting ever sold.

2005

The painting is discovered — masquerading as a copy — in a regional auction in the United States. After acquiring it from an American estate, its new owners move forward with care and deliberation in cleaning and restoring the painting, researching and thoroughly documenting it, and cautiously vetting its authenticity with the world’s leading authorities on the works and career of the Milanese master.

Technical examinations and analyses demonstrate the consistency of the pigments, media, and technique discovered in the Salvator Mundi with those known to have been used by Leonardo, especially in comparison to the Mona Lisa  and St. John. As the possibility of the great master’s authorship becomes clear, the painting is shown to a group of international Leonardo scholars and experts, including Mina Gregori (University of Florence) and Sir Nicholas Penny (then, Chief Curator of Sculpture, National Gallery of Art, Washington, D.C.; subsequently Director of The National Gallery, London), so that an informed consensus about its attribution might be obtained.

2010

The painting is again examined in New York by several of the above, as well as by David Ekserdjian (University of Leicester) and a broad consensus is reached that the Salvator Mundi  was painted by Leonardo da Vinci, and that it is the single original painting from which the many copies and student versions depend.

The reasons for the unusually uniform scholarly consensus that the painting is an autograph work by Leonardo are several, including the previously mentioned relationship of the painting to the two autograph preparatory drawings in Windsor Castle; its correspondence to the composition of the ‘Salvator Mundi’ documented in Wenceslaus Hollar’s etching of 1650; and its manifest superiority to the more than 20 known painted versions of the composition.

Furthermore, the extraordinary quality of the picture, especially evident in its best-preserved areas, and its close adherence in style to Leonardo’s known paintings from circa 1500, solidifies this consensus.

2011

Salvator Mundi  (‘Saviour of the World’) is unveiled in the exhibition Leonardo da Vinci: Painter at the Court of Milan at The National Gallery in London. One of 16 paintings in existence generally accepted as from the artist’s own hand, its inclusion in the exhibition comes after more than six years of research and inquiry to document its authenticity.

In the catalogue to the exhibition, curator Luke Syson presents the most insightful and broad-ranging examination of the painting yet.

2017

Celebrated author, Walter Isaacson, includes a chapter on Leonardo’s Salvator Mundi  in Leonardo da Vinci, his biography of the artist.

2018

Margaret Dalivalle, Martin Kemp, and Robert Simon’s forthcoming book Leonardo’s Salvator Mundi and the Collecting of Leonardo in the Stuart Courts  to be published by Oxford University Press.

In: http://www.christies.com/features/Salvator-Mundi-timeline-8644-3.aspx