Theosophy and the Society in the Public Eye

Richard at work

I’d like to share four small paintings from a collection my wife and I have gathered over the years — works that hold deep personal meaning for me. These four pieces were created by two artists who have shaped my life in quiet but profound ways: my former art teacher and mentor, and his wife. Both studied under Joseph Beuys and have spent their lives immersed in the practice of painting, living with quiet integrity and intensity.

Though not Theosophists, their presence opened my inner path more than any other teaching. When I was sixteen, I spent several days in their home — days immersed in painting, in the study of artists, and in long conversations about Astrology, the Tarot, and the I Ching. One night, lying in their guest room, I experienced what I now recognize as my first awakening — a moment of unmistakable clarity and inner connectedness. So clear, I knew it wouldn’t last past sleep. And yet, its imprint stayed with me. That quiet, expansive sense of being wholly part of all life has returned only a few times since — but I have never forgotten it, and it continues to shape all of my decisions to this day.

Kathleen Hall – Canada

Jack Wise

Jack Wise was a painter whose work reflected his deep spiritual values. He studied Eastern mysticism and western esotericism and was influenced by Buddhist philosophies. His artworks reflect both his personal journey and spiritual explorations. In particular, the mandala paintings he created served as visual representations of spiritual principles mapping a pathway toward enlightenment and universal truths.  

UNUM PULSATIO CORDIS CHRISTUS, Joma Sipe holding the framed work 

Following the series of panels I started doing with the Christ Energy and Light, I now share the fifth artwork that I have done this year. This work is called UNUM PULSATIO CORDIS CHRISTUS (A Beat of the Heart of Christ). It is not a very large panel, like the previous ones. This one measuring approx. 45.5x35.5cm, visible size, and a golden frame with 60x50cm size, all done with gold-based ink pens and crystals.

Text and photos by Richard Dvořák

Richard, photographer, artist and sincere seeker

This series of three images explores the interplay between light, form, and perception. Captured in the late afternoon of a winter’s day in Saxon Switzerland, in the mountainous Erzgebirge, these photographs embody a moment of quiet discovery—where attention is instinctively drawn to the reflections of sunlight, allowing beauty to reveal itself in its most ephemeral state.

Much like our relationship with the divine, what we perceive is shaped by the position we take. Looking toward the source—one sees an interplay of radiance and shadow, where clarity dissolves into abstraction. The intensity of the light can overwhelm, making it difficult to see details clearly, just as an unfiltered encounter with the divine might surpass our understanding. Turning away, other patterns emerge—softer, more familiar, yet still shaped by the light that illuminates them.

The images focus on delicate plants bathed in golden sunlight, their details illuminated against a softly blurred backdrop.

[Click on the images to enlarge] 

Joma Sipe

I share with all of you the Artwork (Special box with Pendant) that I created for Christmas 2024. It is the VISHVA-VAJRA 2024 (The Double Thunderbolt Sceptre — The Diamond of Power). See explanation below. This symbol was inspired by the Vajra symbol used by Tantric Hindu and Tibetans, also called Dorje. This is a double Vajra or Dorje version.

Text and photos by Richard Dvořák

Introduction by Jan Nicolaas Kind

Richard’s regular offerings to Theosophy Forward are highly appreciated by the magazine’s readers. As editor I consider myself fortunate that for many years now, I can count on the partnership with two gifted photographers, David M. Grossman in the USA and Richard of course, in Germany, both lifelong students of Theosophy. When I look at the work of the latter I am always fascinated. The images induce a sense of harmony and peace. With his lens as a musical instrument Richard works as a composer, his compositions seem to blend into wondrous adagios.

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Kathleen F. Hall – Canada

[Part 1 of this article traced the life and work of the major Canadian artist Lawren Harris from socially conscious urban cityscapes through lyrical landscapes to transcendent, mystical interpretations of the land. This part examines Theosophical influences that led Harris to abstraction in a process that mirrors his own evolution into spiritual realization.]

The influence of the spiritual writings and paintings of Kandinsky can also been seen in Harris’s work. Harris read Kandinsky’s Concerning the Spiritual in Art and understood Kandinsky’s references to Charles Leadbeater and Annie Besant’s book Thought-Forms, which Harris had read as well (Adamson). That book identifies colours with symbolic meanings based on states of consciousness that descend from spirit to matter: yellows, higher intelligence; blue, spirituality; and pale azure, union with the divine. Thought-Forms describes a radiating vibration that people emit when formulating a thought, with which colours combine to create a distinct form visible to clairvoyants. Adamson (p. 133) quotes from Thought-Forms to describe how these forms relate to art:

"In many respects, a work of art was a materialized thought-form of the artist, containing a spiritual significance and adhering to the three principles underlying all thought forms: 1. Quality of thought determines color. 2. Nature of thought determines form. 3. Definiteness of thought determines clearness of outline."