Miraculous and deadly magic of paintings

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

Many people know that works of art (paintings, sculptures, arts and crafts) carry a certain charge of energy. Many people like to decorate the walls of their home with paintings or just photographs, but who ever wondered what exactly paintings bring to our lives, what impact do they have on us? When choosing a painting, we look at the plot, composition, painting style, writing technique, color scheme, etc. Each picture carries a certain energy, some kind of mood and this "state" of the image can be easily captured.

Art lovers know that it is pleasant and easy to stand near one picture, as if you feel exciting, fresh air, while the other creates a feeling of tension and discomfort.

The influence of painting, music … this is the influence of art. This is surprising for a person who first felt the "magic power of art". And this, every time, is amazing for everyone who cannot imagine their life without art … it both heals and supports in difficult times, it delivers the greatest pleasure and delight. But there are other interesting phenomena in painting …

Historians are aware of many cases when people depicted in portraits died prematurely or a violent death.

Leonardo da Vinci agreed to paint for the Florentine citizen Francesco del Giocondo a portrait of his wife Mona Lisa, who was then 24 years old. Leonardo worked on the portrait for four years, but did not manage to complete it: Mona Lisa Gioconda died. Delight and admiration for the creation of the great Florentine is mixed with mystery and fear. We will not dwell on the famous smile of Mona Lisa, but it is worth talking about the strange effect of the image on the viewer. We noticed this amazing ability of the canvas to bring impressionable people to swoon in the 19th century, when the Louvre opened to the public.

The first such person from the public was the writer Stendhal. He unexpectedly stopped at the "La Gioconda" and admired her for some time. It ended badly - the famous writer immediately fainted at the picture. And to date, more than a hundred such cases have already been recorded.

The great artist never worked on an ordinary portrait for so long. It would seem to be an ordinary custom-made thing. But no, the artist will not be satisfied with the work until the end of his days and will rewrite the picture for the remaining six years of his life. All this time he will be haunted by melancholy, weakness, exhaustion. But the main thing is that he will not want to part with the "La Gioconda", he will look at her for hours, and then, with a trembling hand, will again begin to make amendments.

The wife of the great Rembrandt, Saskia (was the model of "Danae" and "Flora") died at thirty. Rembrandt painted portraits of his children - three died in infancy, the fourth at the age of 27. Rembrandt's second wife, depicted in many paintings, also did not live long.

The Duchess Alba, a beautiful and healthy woman, posed for the Spanish artist Goya for the paintings "Maha Unclothed" and "Maha Clothed". While posing, her beauty faded, and three years after meeting Goya, Alba died.

The artist Ilya Repin was a great portrait painter, but with each brilliant portrait, those who wanted to pose for him became less and less. Whoever Repin wrote, death was not long in coming. Of the most famous portraits, the images of the composer Mussorgsky and the surgeon Pirogov turned out to be fatal - they died a day after the completion of the work. And Stolypin, the minister of the royal court, was shot by the revolutionary Bogrov. The writer Garshin committed suicide - he threw himself into the flight of the stairs and died in agony. (Repin wrote the head of the prince from him). Repin was friends with psychologists and psychiatrists, was very interested in science, tried to find an explanation for what was happening himself, but the only explanation was that the artist intuitively saw in the image of a person the features of impending illness and death, unconsciously displaying them in the picture, choosing them as models. those famous people on whom the "seal of death" was already laid. If in the case of Mussorgsky, a chronic alcoholic, this explanation is somehow understandable, then how to explain Stolypin's violent death? The huge canvas "Session of the State Duma" depicts many dignitaries and politicians; almost all of them died shortly after the painting of the group portrait.

The painting "The Cossacks are Writing a Letter to the Turkish Sultan" was exhibited for public viewing. For various reasons, almost all the friends whom he captured in the picture began to die. Frightened, the artist painted over the image of his own son. Such misfortunes accompanied the models Modelyani, Alexander Shilov, Ilya Glazunov and others.

Here are some examples of how portraits CHARITABLY influence the fate of the people depicted on them.

The daughter of a poor baker Margarita Luti, nicknamed Fornarina (translated as baker), posed for the Italian painter Rafaello Santi for the famous "Sistine Madonna" and some other canvases. After that, her fate turned out to be unexpectedly successful - she married a rich nobleman and lived a long and happy life.

The model for the magnificent Madonnas of Rubens was his wife Elena Fourman. He painted her portraits all the time and, as the heroine of many mythical subjects, she became more and more beautiful, gave birth to many healthy children and outlived her husband a lot.

Salvador Dali's wife Elena Dyakonova, posing for artists, recovered from tuberculosis. She was the model for the famous "Gala". Dali painted her almost every day - young, beautiful without gray hair and wrinkles. She died at the age of 88.

There are also many miraculous paintings. Many people are interested in the mechanism of both the bad and the good influence of paintings.

Here are the opinions of experts. N. Sinelnikova, Candidate of Art Criticism: “Those who are closely related to art know well: creative communication with an artist does not pass without leaving a trace for the one who poses. Why? A real artist, creating a picture, puts his soul into it, saturates it with great energy. the artist is necessarily fed by something - from chocolate to cosmic energy, who can do anything. The level of "connection to the power source" obviously determines the influence of the creator on the people around him. In the circle of artists this is called emotional impact, energy. joke of artists: "I can't write today, there is no inspiration. It promised to come, but did not say when. "This is a joke, but there is some truth in every joke. Someone will think that this is laziness or disorganization. In fact, such a state means exactly what the artist has at the moment not enough energy to start or continue working.

Some artists give off tremendous energy - they throw it out on paintings, as well as on models, family and loved ones. This was, for example, Rubens, with whom all women flourished. And there are artists, like a sponge - they suck energy from others in order to give HER to the picture, so models and family members wither before our eyes, as it was, for example, with Picasso.

This does not happen with artisans who draw people who wish in crowded squares - they do not put their soul into the image. A portrait that really has internal energy differs from the others - you look into his eyes and feel: another moment, and you will find yourself in the looking glass, behind the picture ….

Scientists from different countries are working on the mystery of the fateful paintings. Paintings of concern are carefully studied by specialists. Chemists study paint and canvas, physicists - the effect of sunlight on an image, psychologists - color, shape, geometry, plot. They do not reveal anything supernatural. Several years ago, the Hermitage took an unprecedented step - they removed from the exposition an ancient icon depicting Christ. Employees complained that staying near the icon for a long time caused them to feel unwell. Several caretakers from this room died suddenly. The invited specialist carried out an examination and found that the icon spreads around itself energy that makes the human brain vibrate at a high frequency. And not everyone can endure this. Other researchers came to similar conclusions at different times: in the New and Old Pinakothek in Munich, in the Louvre, and in other galleries.

With the help of thermography, it was recorded: in a state of creative ecstasy, a large amount of energy enters the artist's brain - he develops an altered state of consciousness. On the electroencephalogram at this time, special slow waves are observed, characteristic of the active work of the subconscious, which do not occur in an ordinary person. It is in this state that the artist is able to perform miracles."

In many cases it was found that when the artist's energy rises, the sitter's biopotentials of the brain sharply decrease! The artist "burns" his model, feeding on its energy. The model is influenced by the creative energy of the artist and in most cases it is dangerous for the person who poses. In addition, a sad fact was revealed: when a person who is not close to him poses for an artist, he takes less energy than when he draws his own children or his wife.

At the same time, in some workshops, the biopotentials of the brain increase in models during posing. Obviously, in these cases, artists, on the contrary, give energy to those around them.

Professional models, who pose for dozens of artists every day, usually do not suffer from their work - they know how not to "let the artist into the soul."

It is known from history that miraculous pictures, having high energy, healed the sick. How were icons drawn before? Before starting work, people fasted in prayer and a blissful state. And only then did they start working on the icon. Only such works had the correct energy, and sometimes healing properties. Especially good "sound" of the icons of A. Rublyov. The powerful positive energy of the canvas creates the impression that the whole picture is filled with some kind of inner light.

Today, these conditions are not always observed: the icons are mainly of artificial origin, or they are drawn by simple artists without observing the "correctness of writing." Therefore, these icons are "empty", and some are destructive, regardless of the plot, no matter how blissful it may seem. It is very important what mood the icon painter is in when he starts working.

But what the scientist Nikolai Viktorovich Levashov said about this:

The myrrh streaming of icons is a real process, but in no way connected with religion.

It's just that religion is very skillful in using some physical processes.

If an artist who painted a certain image "put his whole soul" into writing a picture, then paints in the form of a liquid crystal absorb the energy of the one who

"puts his soul" into the painting. The image is alive, or the image is dead.

Plus, when people begin to pray, and prayer is, in its essence, a potential directed with the help of attention, then they simply send their energy and if they purposefully saturate this image, then this icon accumulates the quality potential of those praying and at a certain moment when the potential becomes critical, conditions arise for the synthesis of certain substances and the icon begins to synthesize a substance, the so-called myrrh flow.

This has nothing to do with the icon itself, and this is due to the fact that many people direct their energy to this object, and since oil paints, with the help of which icons are mainly painted, have a liquid crystal structure in their composition and wood also has a biological structure, then with the help of this, the process of accumulation of potential takes place.

That is, all this creates a critical condition for the accumulation and synthesis of liquid that begins to appear. And all sorts of clergymen simply use it very effectively for their own purposes.

An icon is just a specific kind of painting.

Therefore, everything depends not on the image on the icon or painting, but on the person who painted something, since the impact does not come from the image depicted on the icon or painting, but from the embedded potential of the artist himself. Consciously or not, but the artist puts in your energy into this image.

And if the artist had negative energy, then such icons or paintings can destroy and destroy.

So there is no Divine manifestation here, you just need to understand the physical and natural processes."

Here is what Nicholas Roerich writes about the works of the great masters of art:

“These great works are treasuries of tremendous energies that can activate and transform millions of viewers, influencing countless generations through the message of beauty radiating to them. Such is the extraordinary power of art, a hidden force that is always present and active in a great work"

Interesting are the results of the research of Leonardo Olazabal (Bilbao, Spain), which formed the basis of his therapeutic methods, about which he reported more than once at scientific conferences. He considers the main business of his life to be the study of the physics of microvibrations in the painting of N. K. Roerich and his son S. N. Roerich. Leonardo Olazabal used various works of painting, primarily mountain landscapes. Much has been written about the mountain landscapes of Nicholas Roerich. But for Olazabal, the paintings of the Roerichs became the subject of natural science research. Based on many years of experience, he fixes a specific healing effect associated with the contemplation of paintings. He writes: “Let's take, for example, the paintings of Nicholas and Svyatoslav Roerichs. We can take pictures of just sunsets and sunrises, with hills and mountains. Let's conduct a special test and see that these paintings emit the highest vibrations. " Evaluating the results obtained over several years, the scientist concludes: “Nicholas Roerich's painting has a therapeutic therapeutic effect, even when we just look at his paintings. This healing effect is definitely there, although for the observer it is something unthinkable, inexpressible through words."

It is possible to determine the energy potential of the picture on your own, based on personal feelings. Linger a little longer at the picture you like, look carefully at the colors, the plot, try to feel its energy, and if the picture evokes inexplicable pleasant sensations, then there is a coincidence of energy potentials, and such a picture, being in the house, will definitely give a healing effect.