COLOR–SPATIAL REPRESENTATION
To create means to live,
To create eternally new and new.
K. Malevich
External must beget by internal, or it is dead-born.
V. Kandinsky "Steps"
ABOUT ME
I am a scholar, I am an artist, I am a woman.
Mum wished to become an actress, but has become a lawyer, and later the musical worker. Dad’s genes have won, he painted, and he was an architect. After dreams of ballet have been destroyed, at preschool age, I, later, precisely knew that I wished to become the artist. However, mum thought differently, and for 8 years, I studied music. Only in 9-th form I found an art school with the wonderful teacher – Evgeny Doron. I always carried with teachers. In Moskow Polygraphic Institute, I studied under A. Goncharov, a scholar of V. Favorsky. After graduation worked as an artist in publishing house “Art” where began practice with one of the best book designers Maxim Zhukov.
In parallel with studies at the Institute, there was a fateful meeting with a remarkable artist Vladimir Weisberg. I studied in his Studio for 3 years.
INOCULATION BY A COLOR
Painting has surrounded me and I have entered into it …
- How can I express You!
- You must live inside Me
“White on White” always excites. Subconsciously, it excited me from the very beginning, with the help of beneficial effects by V. Weisberg. Subsequently, it took a long time to get rid of this influence, but the theme of “White” lasted all my life in various forms. I loved still- life paintings and landscapes. They were always bright. The blackness and the “black” did not come easily to me. Black dot - a black ball in the still-life paintings, hypnotized me, but without them, a painting does not seem complete. Increasingly, the surface of white canvas remains untouched. Very often, my still- life paintings were taken over landscapes. More and more often, the color of the stain was separated from objects. Sometimes it was a splash of energy of bright color paint or the subtlest development of glowing pearl surface of the canvas. I wanted to jump quickly on a large canvas and start an improvisation of a Great Composition. But it happened much later, after May 1990, when I with my mother and my daughters Anna and Masha moved to Israel.
My studio was in Tel Aviv, Ben-Yehuda Street. For five years,
I painted this White City, this street, almost from one point. I carried out my desire to express my feelings, using minimal white color spots on a maximized white canvas; to express my penetration into the object, into the infinite-white space of a canvas.
In 1995, I met with Miriam Blih. Her knowledge and her influence on many others and me were invaluable. I studied with her for ten years; studying the Torah, Introduction to the wisdom of Kabala, Letters and Gematra, Reincarnation of Souls, Meditation and many other things. My outlook, my view of life and painting, began to change. There appeared a series: “The development of the Universe” - 14 paintings and the “Creation of the World”. Paintings: “Clean Waters. Flood”, “Crossing the Red Sea”, “Heaven Mann”, “the Western Wall”, “Cloud of Glory”, “Pillar of Fire”, “The Heavenly Jerusalem”, “Jerusalem the Golden”, “Roof of Safed” and many others.
Moreover, in 1998, occurred another fateful meeting with Rabbi Efim Svirsky. Six years I have traveled from Tel Aviv to Jerusalem to attend to psyho-TORAH-py at the Institute of Spiritual Training. There, along with work on our own characters, the correction of past misses and meditation, we learn to communicate with people and the world, receive information, and help others and yourself. All this, of course, has responded in paintings.
In 2004 I've moved to Jerusalem.
APPROACHING SINAI REVELATION
А Spiral is a vivification of a circle
V.Nabokov
Before the holiday of Shavuot (gift of Torah at Mount Sinai) in 1998 and 1999, I meditated with a group of disciples of Rabbi Efim Svirsky, to return to Mount Sinai when the Torah talents. The first time I saw with an internal eye, like on the screen, to the left, in the dark, a blue mountain, the people standing under it, and right on the top, big bright circle of Light broke. This lasted for a moment, and all gone out. The following year, the same pattern repeated itself, only I could perceive it longer. At the bottom left, a male figure in white appeared but I did not see his face. Again, this unusual Light rose in the same place. The Light, somehow, was connected with all events below. It was not similar to the sun, it was possible to look at, it did not blind, and it was Life-Giving. I have no more words and no such paints to portray it. Moreover, at the end of this meditation, a figure in white climbed up the spiral and declined, and dissolved in the center of glowing Sphere. Then, people in the distance, as on a spiral, counter-clockwise, directed to the center of Light. And all was over and never recurred. I draw two paintings: “The Light of Jerusalem” and “Approaching Sinai Revelation”. I think that there will be the third.
COLOR-SPATIAL EXISTENCE
A road to it was long and spasmodic. However, an exact communication and a direction are easily traced. I chose, perhaps, too long road from figurative to abstract. I passed it on a white canvas, which did not allow to be covered by paint, demanding inviolability to virgin whiteness and to immense space, in order to leave a place to potential and second-guessing. The canvas was a field of light into which all my images have plunged.
The names of the paintings and the series are not bold.
On the way of Spiritual Path
passing through the Camera, Cleansing and Birth
scraping through The Fog with Mirage and Labyrinth
Seeking to Secret and understand Hiding
saw the Golden Jerusalem and The Temple of Heaven.
Through the Screens and Windows
would look into the Spiritual Space
in the Holograms of other worlds, where open Monads *
where you can see the Sound of Shofar, Radiation, Vessel of Light,
hear the Harmony of Spheres and Song of Solomon.
Under the new Angle,
comprehend Creation and Development of the Universe
and rising Nature and Above the Sinai,
in Unity closer to the Sinai Revelation
and to witness the Links of Heaven and Earth.
And, finally, to build New Ark
find in it Paradise Garden and Joy of Life.
And looking Beyond the Horizon, experienced Astounding and Inspiration
highlight Black Square and the Moonlight.
And all this, in order to Unfinished Creation
becomes a Picture.
* A Monad – ONE which is ALL
Pythagoras
BLACK SQUARE AND MOONLIGHT
Having returned from an exhibition in Moscow in March 2008, I have seen on a wall of a room and on the painting, a moonlight entering through a window. I decided that tomorrow I would begin work with painting the moonlight on my canvas. The sudden thought has appeared: “This is a black square of Malevich and the moonlight. A canvas 100*130 was painted and then, I took A.Shatskih's book *Kazimir Malevich*, where I read: ** I also loved lunar beams in a room with the reflected windows on a floor, on a bed, on walls, and many years have passed, but these appearances were fixed up to now “. In 2008 - 130 years from the date of his birth has passed. And the new wave in my creativity has begun.
As for me, Malevich's Black square is a Screen, on which, the image of everything, which should be shown to the world, has finished, including all paints and all forms. The extinct screen, which has a huge potential. It means that it can accept a maximum quantity of light, as only the maximum quantity of water can enter into an empty vessel. Moreover, our human problem is, to connect this screen to the Source and to draw into this world New knowledge, New information, New light and New forms. From the New corner of sight to peer in invisible and hidden, in order to show incomprehensible beauty and wisdom of Creation.
FROM BLACK SQUARE - THROUGH RED TO WHITE
This is the name of one of my last paintings (summer 2008).
Breaking off blackness of a square and of our life, a red square through which the white square of light is visible is that operating force which is motivated and capable to clear the world and to show light. The humankind owns this Force. And his way is a way through red to white perfection.
“…the Suprematism is a newfound Pure Art which, eventually, have ceased to see because of a heap of subjects“.
K.Malevich
The Suprematism – the term, invented by K.Malevichem, is created from a Latin word "suprem", formed in his native Polish Language a word "supremia", that in translation means "superiority", "domination". Malevich has given this name to the new trend in painting, in 1913.
“At present, the way of the person lays through space; a suprematism, a semaphore of color – in its infinite chasm.
Dark blue color of the sky is won by suprematic system and has entered into white as a genuine real representation of infinity and consequently is free from a color background of the sky".
K.Malevich “Suprematism”
FROM BLACK SQUARE – TO UNCONSCIOUS
… Any new beauty seems therefore a disgrace, as there is no image of the past in it: it is ugly. That is why, those who can search and find a new beauty, are so much hated,
a beauty of “tomorrow” = a disgrace of “yesterday”.
V.Kandinsky
K.Malevich wrote to his friend, a composer M.Matjushin:” We conceive to let out a magazine … Whereas we are going to reduce “everything” to zero in it; we have settled it to name it “Zero”. After that we shall pass over zero”.
Many vanguard artists would like to start from Zero. However, it is impossible to create similarly to the Creator, create everything from nothing. In order to build a new precise timetable one must start from a scratch. However, this zero is not destroying or denying previous graphs, it is zero in the artist, cleaning the load of knowledge and skills, a zero of arrogance and selfishness, and it is purity of thoughts. The artist is a prophet.
V.Kandinsky stated, that “… pointless painting is not is a deletion of all former art, but is only an extraordinary and the important division of an old trunk into two main branches without which formation of a crone of a green tree would be impossible”.
100 years has passed. Kandinsky's branches have started up offshoots and formed a green crone. Branch of Malevich, which gave so many ramifications, only starts to turn green.
I think that Kandinsky and Malevich in the early 20-th century laid the foundations of abstract art and paved the way to another dimension of existence, which was encouraged by the artists of their circle: A.Rodchenko, L. Lisitsky as well as Paul Klee, Piet Mondrian etc.
Then, being based on their ideological heritage, the artists of post-war time, Mark Rothko, Barnett Newman, Joan Miró, Lucio Fontana, Yves Klein, Piero Manzoni,Pierre Soulages, Otto Piene and many others continued the re-establishment of ideological picture of the world.
Continuing the ideas of innovators of the previous generations, they were in search of True, Light, New space and ways of their expression.
“The artist tries to pull out true from emptiness … True is a search of the hidden meaning of the life”, Barnet Newman wrote.
Wishing to come off the ground, speaking about the space, breaking off with substantial, having become stronger in the “Zero level” and from there, they tried "to fly up” and break off the bonds of the matters. Plunging into black or white, feeling a “completeness of emptiness”, embodying it with various plastic means, artists of 20-th century, with their aspiration, protest, and dissatisfaction, broke through the validity and isolation of the substance. Thus, they have prepared time, when it will be possible to get actually into Secrets of a Universe and to look into inconceivable earlier Spiritual Spaces. Simultaneously, the science, religion, esoteric knowledge punches a veil, with a powerful stream, the screen in our consciousness, hiding from us unknown, invisible chambers the World.
Huge search, revolutionary work has been conducted - a research. Research is acting separately in all areas, looking for ways of rapprochement. These paths are found. We have to unite together.
”The mankind formed the pole of unity; all cultures of radiuses will come to it as the sum of all the findings, and (this sum) will spray to the formation of a new transformation of the world through the brain of mankind”.
K. Malevich “About the new systems in art” 1919
A prominent physicist Max Plank wrote: “The pioneer of science, reaching to touch the Unknown in the fog, should have a lively imagination and intuition, because new ideas are not using the deduction, but the artistic creative imagination”.
“Keys of a suprematism conduct me to opening of not realized yet. My new painting does not belong to the Earth exclusively. The Earth is thrown away as the worm-eaten house. Actually, in the person, in its consciousness lays the aspiration to space, wish for “separation from a sphere of the Earth”, Malevich wrote.
He thinks of an opportunity of interplanetary flights, “planets for earth–livings”, where people can be released from pressure of time and space. He trusted that with the developing of three-dimensional suprematic constructions, (arhitektons) it is possible to change the world by suprematic harmony.
Breaking into a star space on satellites and spacecrafts, we remain all in the same substance. The Earth should not be thrown away, the Earth is our house. And if it is consecrated similarly to the Temple, i.e. we shall consecrate our own house and ourselves. We shall rise with ideas and feelings to the Master of all Worlds, incorporate with Him; open a creative power that is incorporated by Him in us. We can move ahead in our house, into the Infinite and thus to prepare the arrival of the New Century of findings, to make the Earth the Garden of Eden and again to enter into it. BUT first it should occur in our consciousness.
When there will be an understanding, in the consciousness of Mankind, that the substance and spiritual is the Same, and this is the Creator, the result will be the unity.
“The black square” is a condition which is experienced in a current of life, it is painful-suspended, similar like a deadlock and with only one way out – into a zone of the nearest development, where new spaces are open for creation, when something moves in consciousness , and there is an “earthquake” in a soul, like new birth comes through death.
Art will be, as before, the guidebook for Mankind, awakening all best, that is on the Earth and in the person, connecting the person with its true "I". Thus, time, when substance will be consecrated, will come nearer and there will be a transformation in other measurement of life, whereto the vanguard of humanity aspired for a long time.
“Then one of us – people- inevitably comes; he is similar to us but bears in him a force “of vision” mysteriously incorporated. He sees and points. Sometimes he would like to get rid of this supreme gift, which often happens to be a heavy cross. But he cannot make it. Accompanied by mockery and hatred, he pulls the vehicle of humankind, which has got stuck in stones, always forward and up”.
V.Kandinsky “About spiritual in art”
Light and LIGHT
I always aspired to revealing Light in a painting, achieving an internal luminescence of a canvas, whether it is still-life, flowers, landscapes or compositions.
White for me is a light, piercing the canvas screen on both sides, not only physically, but also metaphysically. This light - Light forced a screen canvas to shine a special illumination. This mutual orientation and connection of lights with each other were to create a distinctive white - luminous, which is the ultimate absolute fullness of the white world and the beginning of a glowing whiteness of the nearby World.
Thus, the canvas is the boundary, the border zone and a zero, in which transformation is taking place, a quantum jump from one reality into another. In addition, there is an opportunity to fix this moment. On one hand, we possess a substance– a canvas and paints (that V. Weisberg named – a necessary resistance of a substance), and on the other – Light, energy and thin substance of otherworldly space, which wishes to manifest in this world through the power of thought, energy and emotional desires of an artist.
“The Black square” - a zero and a boundary, nothing of a canvas, light has not met Light, it is not a color and not a form, this is a condition before light. And G-D said, LET THERE BE LIGHT: AND THERE WAS LIGHT AND G-D SAW THE LIGHT, THAT IT WAS GOOD: AND G-D DIVIDED THE LIGHT FROM THE DARKNESS”. White and black are separated. But what will happen if unite them again, highlight them? This is what I wanted to portray in the series with a Black square. Just as a small light of a candle in this world, awakens and draws Light from the upper Worlds, the artist is Highlighting the hidden mysteries of Creation, on a canvas’s screen.
What is the core in my art activity for me?
To show hidden in Creation, to show Light in this world, to give the spectator a sensation of pleasure from beauty and comprehension of the World.
Waking up, I have a feeling: I am a drop of water. I merge with Ocean. Not ceasing to feel a drop, simultaneously I feel myself like an Ocean. I have a tremendous feeling of pleasure, unity, and infinity. I wish that my pictures were such an Ocean for people.
“The True Art, one way or another, invariably acts on the soul. The soul vibrates and “grows”. This is the only goal of the artist; whether he is aware of it or not.”
V. Kandinsky
We all came here, in this world of unlimited possibilities with a single purpose - to come deliberately close to the Creator; opening the infinite potential of a creative power incorporated in us. Whatever we do, we commit, here and now, our unique work, which is necessary for recreation of a unified picture of the World.
Margarita Levin
2009, Jerusalem
PUBLICATIONS
Prof. Gregory Ostrovsky, PhD, Art-History
It is very difficult to enter the creation world of Margarita Levin, but it is more difficult to release from its magic control and this is not a metaphor, but it is a very direct and precise meaning of the subject. At the beginning, you feel some invisible barrier, that separates the spectator from the picture, and after some time, releasing from the spiritual deafness and the dross of the common stereotypes, you can overcome the barrier. Moreover, from this point begins the very complicated and difficult rising to the understanding of the Upper Wisdom, governing the Universe.
Her pictures are not the illustration to some mystic statements, but art works, created in the process of deep emotional and creative feeling of existence.
These pictures may and should be described with the use of aesthetic criteria. Beauty and color harmony, wholeness of the compositions, guided by the logic and ideal intuition, contradiction and agreement of the forms, that at the beginning seem to be not belonging, but have a huge symbolic load, escape from the "real" 3 D into other dimension of the infinite space of the cosmos- and all this in a high, professional level.
In the cycle of works "Rapiss-effect", based on the discovery of the professor E.Rapiss in the field of the protein self-organization, Margarita Levine aspires to the knowledge and artistic interpretation of the structure of microcosm with the following exit, but already at the new stage of the scientific, mystic, and artistic knowledge into the deepness of the macrocosm. The search for the creating formula of undividable union of macro and microcosm, as an evidence of the Upper Wisdom of the Creator, leads to the synthesis between kabala, science, and art and this might be a start point in creating the new genre of the art.
Regarding all her being immersed into the mystic and intellectual atmosphere of tensed spiritual and creative research, Margarita Levin remains an artist that emotionally reacts to the impulses of the real and not only imaginative world. This is the reason, why the winter landscapes among her art works are understood naturally. It causes us to remember about the tradition of Russian and European landscape lyric, and art works of her teacher Vladimir Weisberg. The spiritualizing of every stroke and every motive, precise consideration about color nuances, the originality of compositions places these landscapes among the successes of this artist. Thus, they approve richness and wideness of the creative diapason of Margarita Levin that includes unobservable spaces from far cosmos until protein cells under the microscope and from phantasmagoria of "The Heaven Jerusalem" until the bare patch on the road covered by the snow…
“Midrash of Margarita Levin” by Michael Gorelik
... She is concerned with what precedes the story and the object: the color and light, in which objects are born. In fact, much of her work is a kind of Midrash (interpretation of Torah.) to the first two chapters Bereyshit (the book of Genesis). The World, is becoming, the World which was born from Element of Light, prior to any form, but potentially containing everything ... Even when she is drawn to the landscape or still-life paintings, - the color and light are primary, they dominate, dissolve objects, but also create them. Bouquets of Margarita Levin shine. In her paintings, whenever they devoted to, the world is in a continuous process of creation. It would not have lost the umbilical cord linking itself to G-d, not lost the joyful novelty. "And God saw that it was good." And this "Good" is shining in all her works.
Abstract from an article: Bulletin of Jewish Agency in Russia
#8. December 2007
“Breakthroughs into the Intangible” by Y.Marjamov
An artist Margarita Levin possesses perfect pitch – though hearing, probably, is not a necessary quality in a craft of the painter. She paints as she hears. She distinct the accords of color, overtones of paints … The word "Freedom" - perhaps, is the most universal characteristic of paintings of Margarita Levin. She is free – as the master, whose sight on surrounding, is not burdened with the task.
You can perceive her aesthetic as close peering, but not at the object of the image, not at the object itself, not even at the plot; her scanning beyond the substance, proprietary world; she peers at what creates this world, at its infinite unknowability, at its birth. This is, finally, her expression, her impulse - fearless in the face of disaster...
It seems it is acquired indisputable: there is nothing that is above the death, that all efforts, all achievements are illusive. However there is Eternity and therefore, there is Immortality; and Margarita Levin approves of it in her each canvas.
Is it a reason that her paintings exhale light? In this light subjects are washed away, dissolved, almost disappear, leaving about itself a reminder. Her brush is easy and at the same time is temperamental. It seems that the world, that she is representing, is a generation of whimsical game of light, is a willfulness of color.
Her paintings execute pleasures from Novelty. The world, in her representation, merely cannot be gloomy; she deprives its right to despondency and isolation in "present situation". The world is great and beautiful, approve her paintings, because it moves and creates itself all over again in every moment of existence …
Abstract from an Article: “Aleph" #174. 2008
ABOUT MY PICTURES
INFLUENCES OF SPACES
“Influences of Spaces”, painted in February 2009, can be included in a series of "Screens".
Minimum of plastic tools helps to maximize the identification of meaning in the intangible. There is an opportunity to understand the projection of an invisible life of four-dimensional space in our three-dimensional world.
Our world is a projection of the invisible spaces, receiving life from the Primary source; when World is “closer” to IT, the stronger is the influence.
BEHIND THE LINE OF HORIZON
Painting “Behind the line of horizon". It was painted in the summer 2008.
I wished to express sensations and a difference between our material world and the world where there is other space and there is no present time, the world of other reality. Our flat striped “bottom” world is a projection of “top” immense, even more colorful World, surrounding, feeding, and illuminating us. We are the children of that World.
Skyline was broken about 100 years ago.
In 1915, Malevich wrote: “I destroyed the ring - the horizon and got out of the range of things, from the ring of the horizon, in which the artist and the life forms are sheathed together”.
SUPERSPACE IN SPACE
About a painting “The New Ark ", autumn 2008
Torah says that Moshe-Rabeynu (Moses) by a word of the Creator has made a portable Temple-Mishkan. The main part was the Holy of Holies, where was placed the Ark of the Covenant, in which he kept the Tablet, received on Mount Sinai.
How that was possible? How could it be that the Abode of G-d was created from tangible objects? The Divine Essence was disclosed in the Holy of Holies of the Temple itself. Moreover, as it could be seen, the Holy Ark, which was there, did not borrow a place. That could be possible only at the presence of the Divine Essence that was above Space.
The space in the ark, as well as the entire temple was a special "otherworldly" space of another reality. Moreover, this is not possible to understand or prove, this is what you can feel and believe.
ABOVE MOUNT SINAI
Diptych “Above Mount Sinai” was painted in June 2008 after the Shavuot holiday - giving the Torah on Mount Sinai.
Here is how it was written in the Torah about this event:
“…when it was morning, that there were thunders and lightings and a thick cloud upon the mount, and the voice of a horn exceeding loud; and all the people that were in the camp trembled. And Moses brought forth the people out of the camp to meet G-d; and they stood at the nether part of the mount. Now Mount Sinai was altogether on smoke, because HaShem descended upon it in fire; and the smoke thereof ascended as the smoke of a furnace, and the whole mount quaked greatly. And when the voice of the horn waxed louder and louder, Moses spoke, and G-d answered him by a voice. And HaShem came down upon Mount Sinai, to the top of the mount; and HaShem called Moses to the top of the mount; and Moses went up.”
SHEMOT 19.16-20
“…and the mountain burned with fire unto the heart of heaven, with darkness, cloud, and thick darkness.”
DEVARIM 4.11
SONG OF SONGS
Wedding; men and women dance separately in the room with a partition after the Ceremony of Hupa took place. Two circles, two coils of an enormous energy rising upwards which incorporating above, gets even greater force and distribution.
GARDEN OF EDEN
Our striped flat world, enveloped in white light and love of the Creator, how much time it hears the question: "Where are you Adam?" And he revealed.
Summer 2008. There was an experiment. A white canvas 100х100, a palette with the same set of paints. Eyes are closed, ideas are not present, and there are no even feelings, a condition "Bitul" - full self-discharge, a zero point.
“The man who wants to know the Nature, this silent Reality with deprived mind, or who wishes to plunge into this mute language of not-reason, should become not-reasonable himself”.
K. Malevich
I drew this painting blindly, without any purpose, occasionally spied on a palette. When settled, I looked at the committed and did not immediately understand. Having peered more closely, I saw many creatures: birds, butterflies, animals, trees. Above is Adam, facing a two-legged standing serpent, which hands something claret-colored. On the other hand, a white image is separating from Adam, it appears that it is Light-Or* and Adam is in Or-skin* now.
Birds are flying, from left and right, to a place of this Universal Event. From the bottom of the right corner, one can see a stream of animals directed to this place; below there are crocodiles, camels are above to the left, on the right again, birds and а donkey, with a violin, deliberately painted; I also put dots-eyes to all beings that I could distinguish. A redskin warrior with spear and shield stands at the right edge of the painting.
From the Torah: “And G-d took the man, and put him into the Garden of Eden to dress it and to keep it”.
The audience named this picture as “Garden of Eden”.
* Words: Or - "skin" and Or - "light" sound in Hebrew the same way. When Adam, after the fall, lost his light, he got the skin.
BLACK SQUARE AND MOONLIGHT
Having returned from an exhibition in Moscow in March 2008, I have seen on a wall of a room and on the painting a moonlight entering through a window. I decided that tomorrow would begin work with the moonlight on my painting. The sudden thought: "This is a black square of Malevich and the moonlight." A canvas 100х130, has written, and then has gone deep into A.Shatskih's book ' Kazimir Malevich ', where I wrote: “… I also loved also lunar beams in a room with the reflected windows on a floor, a bed, walls, and have much passed years, but these phenomena were fixed and on this time “. In 2008 - 130 years from the date of his birth has passed. And the new wave in my creativity has begun.
For me, Malevich's Black square is a Screen, on which the image of all, that it should show the world, has ended, including all paints and all forms.
The extinct screen with huge potential. It means that it can accept a maximum quantity of light the same as only the maximum quantity of water can enter into empty vessel. Moreover, our human problem is, to connect this screen to the Source and to draw in this world the New knowledge, the New information, New light and New forms. From the New corner of sight to peer in invisible and hidden, in order to show incomprehensible beauty and wisdom of Creation.
FROM THE BLACK SQUARE THROUGH RED TO WHITE
This is one of my last paintings (summer 2008). Breaking off blackness of a square and our life, a red square through which the white square of light is visible, is that operating force which is called and capable to clear the world and to show light. The humankind owns this Force. And its way – is way from Red to White perfection.
APPROACHING SINAI REVELATION
The sun will no more be your light by day,
nor will the brightness of the moon shine on you
for the LORD will be your everlasting light,
and your G-d will be your glory.
Your sun will never set again,
and your moon will wane no more;
the LORD will be your everlasting light,
and your days of sorrow will end.
Isaiah 60:1-22
“А Spiral is a vivification of a circle”.
V.Nabokov
Before the holiday of Shavuot (gift of Torah at Mount Sinai) in 1998 and 1999, I meditate, with a group of disciples of Rabbi Efim Svirsky, to return to Mount Sinai when the Torah talents. The first time I saw with an internal eye, like on the screen, to the left, in the dark, a blue mountain, the people standing under it, and right on the top, big bright circle of Light broke. This lasted for a moment, and all gone out. The following year, the same pattern repeated itself, only I could perceive it longer. At the bottom left, a male figure in white appeared but I did not see his face. Again, this unusual Light rose in the same place. The Light, somehow, was connected with all events below. It was not similar to the sun, it was possible to look at, it did not blind, and it was Life-Giving. I have no more words and no such paints to portray him. Moreover, at the end of this meditation, a figure in white climbed up the spiral and declined, and dissolved in the center of glowing Sphere. Then, people in the distance, as on a spiral, counter-clockwise, directed to the center of Light. And all was over and never recurred. I draw two paintings: "The Light of Jerusalem" and "Approaching Sinai Revelation." I think that there will be the third.
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