Portraits of the Masters - Revision history

Pablo Sender: /* By Hermann Schmiechen */

2022-08-01T15:03:47Z

By Hermann Schmiechen

← Older revision		Revision as of 15:03, 1 August 2022
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	<blockquote>Take her [Laura C. Holloway] with you to [[Hermann Schmiechen\|Schmiechen]] and tell her to see. Yes, she is good and pure and chela-like; only flabby in kindness of heart. Say to [[Hermann Schmiechen\|Schmiechen]] that he will be helped. I myself will guide his hands with brush for K[oothoomi]'s portrait.<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>		<blockquote>Take her [Laura C. Holloway] with you to [[Hermann Schmiechen\|Schmiechen]] and tell her to see. Yes, she is good and pure and chela-like; only flabby in kindness of heart. Say to [[Hermann Schmiechen\|Schmiechen]] that he will be helped. I myself will guide his hands with brush for K[oothoomi]'s portrait.<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>

	~~The presence of Master M. was confirmed~~ by [[~~Koot Hoomi\|Mahatma K.H~~.]] ~~himself in a letter~~ to ~~[[Alfred Percy Sinnett\|Mr~~. ~~Sinnett]] that said~~:		In an account by [[Laura C. Holloway]] she seems to have seen Master K.H. helping the artist:

	<blockquote>~~I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way~~. ~~Only while~~ the ~~others are~~ the ~~productions of [[chela]]s~~, the ~~last one was painted~~ with ~~[[Morya\|M.]]'s hand on the artist's~~ head~~, and often on~~ his ~~arm.<ref>Vicente Hao Chin~~, Jr.~~, ''The Mahatma Letters~~ to A.P. ~~Sinnett in Chronological Sequence'' No~~. ~~129 (Quezon City: Theosophical Publishing House, 1993), 430~~. ~~See [[Mahatma Letter No. 129#Page 2\|Mahatma Letter No. 129 page 2]]~~.~~</ref></blockquote>~~		<blockquote>... saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She [the seer] leaned over to her friend and whispered: "It is the Master K. H.; he is being sketched. He is standing near Mr. Schmiechen."

	~~However~~, in ~~an account by [[Laura C~~. ~~Holloway]] she seems to~~ have seen ~~Master K~~.H. ~~helping~~ the ~~artist:~~		"Describe his looks and dress," called out H. P. B. And while those in the room were wondering over Madame Blavatsky’s exclamation, the woman addressed said: "He is about Mohini’s height; slight of build; wonderful face full of light and animation; flowing curly black hair, over which is worn a soft cap. He is a symphony in greys and blues. His dress is that of a Hindu - though it is far finer and richer than any I have ever seen before - and there is fur trimming about his costume. It is his picture that is being made, and he himself is guiding the work."<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>

	~~<blockquote>... saw~~ the ~~figure~~ of ~~a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood~~ by ~~him without a sign or motion. She~~ [~~the seer] leaned over to her friend and whispered: "It is the Master~~ K. H.~~; he is being sketched. He is standing near~~ Mr. ~~Schmiechen."~~		However, the presence of Master M. was confirmed by [[Koot Hoomi\|Mahatma K.H.]] himself in a letter to [[Alfred Percy Sinnett\|Mr. Sinnett]] that said:

	~~"Describe his looks~~ and ~~dress," called out H. P. B~~. ~~And~~ while ~~those in~~ the ~~room were wondering over Madame Blavatsky’s exclamation,~~ the ~~woman addressed said: "He is about Mohini’s height; slight~~ of ~~build; wonderful face full of light and animation; flowing curly black hair~~, ~~over which is worn a soft cap~~. ~~He is a symphony in greys and blues. His dress is that of a Hindu - though it is far finer and richer than any I have ever seen before -~~ and ~~there is fur trimming about his costume. It is~~ his ~~picture that is being made, and he himself is guiding the work~~."<ref>~~[http~~:~~//www~~.~~blavatskyarchives~~.~~com/holloway2~~.~~htm# The Portraits of the Mahatmas~~] ~~at Blavatsky Study Center~~</ref></blockquote>		<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in Chronological Sequence'' No. 129 (Quezon City: Theosophical Publishing House, 1993), 430. See [[Mahatma Letter No. 129#Page 2\|Mahatma Letter No. 129 page 2]].</ref></blockquote>

	== See also ==		== See also ==

Pablo Sender at 15:02, 1 August 2022

2022-08-01T15:02:42Z

← Older revision		Revision as of 15:02, 1 August 2022
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	<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in Chronological Sequence'' No. 129 (Quezon City: Theosophical Publishing House, 1993), 430. See [[Mahatma Letter No. 129#Page 2\|Mahatma Letter No. 129 page 2]].</ref></blockquote>		<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in Chronological Sequence'' No. 129 (Quezon City: Theosophical Publishing House, 1993), 430. See [[Mahatma Letter No. 129#Page 2\|Mahatma Letter No. 129 page 2]].</ref></blockquote>

	However, in an account by [[Laura C. Holloway]] it seems ~~that finally it was the~~ Master K.H. ~~himself who helped~~ the artist:		However, in an account by [[Laura C. Holloway]] she seems to have seen Master K.H. helping the artist:

	<blockquote>... saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She [the seer] leaned over to her friend and whispered: "It is the Master K. H.; he is being sketched. He is standing near Mr. Schmiechen."		<blockquote>... saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She [the seer] leaned over to her friend and whispered: "It is the Master K. H.; he is being sketched. He is standing near Mr. Schmiechen."

SysopJ: /* Portraits of Mahatma Koot Hoomi */

2021-09-16T02:14:54Z

Portraits of Mahatma Koot Hoomi

← Older revision		Revision as of 02:14, 16 September 2021
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	The presence of Master M. was confirmed by [[Koot Hoomi\|Mahatma K.H.]] himself in a letter to [[Alfred Percy Sinnett\|Mr. Sinnett]] that said:		The presence of Master M. was confirmed by [[Koot Hoomi\|Mahatma K.H.]] himself in a letter to [[Alfred Percy Sinnett\|Mr. Sinnett]] that said:

	<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in ~~chronological sequence~~'' No. 129 (Quezon City: Theosophical Publishing House, 1993), ~~???~~.</ref></blockquote>		<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in Chronological Sequence'' No. 129 (Quezon City: Theosophical Publishing House, 1993), 430. See [[Mahatma Letter No. 129#Page 2\|Mahatma Letter No. 129 page 2]].</ref></blockquote>

	However, in an account by [[Laura C. Holloway]] it seems that finally it was the Master K.H. himself who helped the artist:		However, in an account by [[Laura C. Holloway]] it seems that finally it was the Master K.H. himself who helped the artist:

SysopJ: /* By Hermann Schmiechen */

2020-05-23T19:23:18Z

By Hermann Schmiechen

← Older revision		Revision as of 19:23, 23 May 2020
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	<blockquote>On 13th of June I returned to London in company with [[W. Q. Judge\|Mr. Judge]]. . . . A little while before this I had instituted a friendly competition between certain of our London associates who were either professional or amateur artists, to try an important psychical experiment. . .<br>		<blockquote>On 13th of June I returned to London in company with [[W. Q. Judge\|Mr. Judge]]. . . . A little while before this I had instituted a friendly competition between certain of our London associates who were either professional or amateur artists, to try an important psychical experiment. . .<br>
	I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of this divine face. Upon broaching the subject — three professional and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile and a third, my respected friend Mme. De Steiger, of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 162-163.</ref></blockquote>		I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of this divine face. Upon broaching the subject — three professional and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile and a third, my respected friend [[Isabelle de Steiger\|Mme. De Steiger]], of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 162-163.</ref></blockquote>
	[[File:Moryaportrait5.jpg\|170px\|right\|thumb\|Portrait by Hermann Schmiechen]]		[[File:Moryaportrait5.jpg\|170px\|right\|thumb\|Portrait by Hermann Schmiechen]]
	It was then that Schmiechen came into the scene:		It was then that Schmiechen came into the scene:

Pablo Sender: /* By Hermann Schmiechen */

2019-04-04T23:16:43Z

By Hermann Schmiechen

← Older revision		Revision as of 23:16, 4 April 2019
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	<blockquote>On 13th of June I returned to London in company with [[W. Q. Judge\|Mr. Judge]]. . . . A little while before this I had instituted a friendly competition between certain of our London associates who were either professional or amateur artists, to try an important psychical experiment. . .<br>		<blockquote>On 13th of June I returned to London in company with [[W. Q. Judge\|Mr. Judge]]. . . . A little while before this I had instituted a friendly competition between certain of our London associates who were either professional or amateur artists, to try an important psychical experiment. . .<br>
	I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of this divine face. Upon broaching the subject — three professional and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile and a third, my respected friend Mme. De Steiger, of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 162-163.</ref></blockquote>		I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of this divine face. Upon broaching the subject — three professional and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile and a third, my respected friend Mme. De Steiger, of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 162-163.</ref></blockquote>
			[[File:Moryaportrait5.jpg\|170px\|right\|thumb\|Portrait by Hermann Schmiechen]]
	It was then that Schmiechen came into the scene:		It was then that Schmiechen came into the scene:

	<blockquote>Before this competition was finished, [[Hermann Schmiechen\|Herr Hermann Schmiechen]], a very well-known German portrait-painter, domiciled in London, joined the Society and, to my great delight, at once agreed to have the inspirational test tried with him. The photograph was handed him with no suggestion as to how the subject should be treated. He began work on 19th June and finished it on 9th July. Meanwhile I visited his studio four times alone and once with H.P.B. . . . Unlike the others, who all copied the profile idea of Harrisse, Schmiechen gave the face in full front view, and poured into the eyes such a flood of life and sense of the indwelling soul as to fairly startle the spectator.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 163.</ref></blockquote>		<blockquote>Before this competition was finished, [[Hermann Schmiechen\|Herr Hermann Schmiechen]], a very well-known German portrait-painter, domiciled in London, joined the [[Theosophical Society\|Society]] and, to my great delight, at once agreed to have the inspirational test tried with him. The photograph was handed him with no suggestion as to how the subject should be treated. He began work on 19th June and finished it on 9th July. Meanwhile I visited his studio four times alone and once with [[H. P. Blavatsky\|H.P.B.]] . . . Unlike the others, who all copied the profile idea of Harrisse, Schmiechen gave the face in full front view, and poured into the eyes such a flood of life and sense of the indwelling soul as to fairly startle the spectator.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 163.</ref></blockquote>

	<blockquote>The marvellous result—the seventh attempt at a portrait—is known to all of us; his portrait of this Master, as well as the one of the other [Master Koot Hoomi], which he painted from a crude sketch in Mr. Sinnett’s possession, seeming as life-like as if the subjects had posed to him in the usual way.<ref>A Historical Retrospect — 1875-1896 — of the Theosophical Movement, (Madras, India: Theosophical Society), 13.</ref></blockquote>		<blockquote>The marvellous result—the seventh attempt at a portrait—is known to all of us; his portrait of this Master, as well as the one of the other [Master Koot Hoomi], which he painted from a crude sketch in Mr. Sinnett’s possession, seeming as life-like as if the subjects had posed to him in the usual way.<ref>A Historical Retrospect — 1875-1896 — of the Theosophical Movement, (Madras, India: Theosophical Society), 13.</ref></blockquote>

Pablo Sender at 23:13, 4 April 2019

2019-04-04T23:13:41Z

← Older revision		Revision as of 23:13, 4 April 2019
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	The production took place as follows:		The production took place as follows:

	<blockquote>Harrisse was then asked by H. P. B. to draw us the head of a [[Hinduism\|Hindu]] chieftain, as he should conceive one might look. He said he had no clear idea in his mind to go upon, and wanted to sketch us something else; but to gratify my importunity went to drawing a Hindu head. H. P. B. motioned me to remain quiet at the other side of the room, and herself went and sat down near the artist and quietly smoked. From time to time she went softly behind him as if to watch the progress of his work, but did not speak until it was finished, say an hour later. I thankfully received it, had it framed, and hung it in my little bed-room. But a strange thing had happened. After we gave the picture a last glance as it lay before the artist, and while H. P. B. was taking it from him and handing it to me, the cryptograph signature of my Guru came upon the paper; thus affixing, as it were, his imprimatur upon, and largely enhancing the value of his gift.<ref>Henry Steel Olcott, ''Old Diary Leaves'' First Series (Adyar, Madras: The Theosophical Publishing House, 1974), 371.</ref></blockquote>		<blockquote>Harrisse was then asked by H.P.B. to draw us the head of a [[Hinduism\|Hindu]] chieftain, as he should conceive one might look. He said he had no clear idea in his mind to go upon, and wanted to sketch us something else; but to gratify my importunity went to drawing a Hindu head. H.P.B. motioned me to remain quiet at the other side of the room, and herself went and sat down near the artist and quietly smoked. From time to time she went softly behind him as if to watch the progress of his work, but did not speak until it was finished, say an hour later. I thankfully received it, had it framed, and hung it in my little bed-room. But a strange thing had happened. After we gave the picture a last glance as it lay before the artist, and while H.P.B. was taking it from him and handing it to me, the cryptograph signature of my Guru came upon the paper; thus affixing, as it were, his imprimatur upon, and largely enhancing the value of his gift.<ref>Henry Steel Olcott, ''Old Diary Leaves'' First Series (Adyar, Madras: The Theosophical Publishing House, 1974), 371.</ref></blockquote>

	As to the likeness and method of production of the portrait, the Colonel wrote:		As to the likeness and method of production of the portrait, the Colonel wrote:

	<blockquote>At that time I did not know if it resembled the Guru or not, as I had not yet seen him. When I did, later on, I found it a true likeness and, moreover, was presented by him with the turban which the amateur artist had drawn in the picture as his head-covering. Here was a genuine case of thought-transference, the transfer of the likeness of an absent person to the brain-consciousness of a perfect stranger. Was it or was it not passed through the thought of H. P. B.? I think so.<ref>Henry Steel Olcott, ''Old Diary Leaves'' First Series (Adyar, Madras: The Theosophical Publishing House, 1974), 371-372.</ref></blockquote>		<blockquote>At that time I did not know if it resembled the Guru or not, as I had not yet seen him. When I did, later on, I found it a true likeness and, moreover, was presented by him with the turban which the amateur artist had drawn in the picture as his head-covering. Here was a genuine case of thought-transference, the transfer of the likeness of an absent person to the brain-consciousness of a perfect stranger. Was it or was it not passed through the thought of H.P.B.? I think so.<ref>Henry Steel Olcott, ''Old Diary Leaves'' First Series (Adyar, Madras: The Theosophical Publishing House, 1974), 371-372.</ref></blockquote>

			=== By Hermann Schmiechen ===

			In 1884, [[Henry Steel Olcott\|Col. Olcott]] brought to his European tour a photo of Harrisse's portrait. He writes:

			<blockquote>Desirous of getting something better, than this amateurish sketch, I asked five of our London members, who were professional or skilled amateur painters to compete in a friendly way in the attempt to get by intuition a clearer view of the Master’s face. They willing agreed and, each taking the photograph in turn, the five pictures were made and given me. Neither, however, were very successful.<ref>A Historical Retrospect — 1875-1896 — of the Theosophical Movement, (Madras, India: Theosophical Society), 13.</ref></blockquote>

			In his book [[Old Diary Leaves (book)\|''Old Diary Leaves'']], he explained this further:

			<blockquote>On 13th of June I returned to London in company with [[W. Q. Judge\|Mr. Judge]]. . . . A little while before this I had instituted a friendly competition between certain of our London associates who were either professional or amateur artists, to try an important psychical experiment. . .<br>
			I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of this divine face. Upon broaching the subject — three professional and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile and a third, my respected friend Mme. De Steiger, of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 162-163.</ref></blockquote>

			It was then that Schmiechen came into the scene:

			<blockquote>Before this competition was finished, [[Hermann Schmiechen\|Herr Hermann Schmiechen]], a very well-known German portrait-painter, domiciled in London, joined the Society and, to my great delight, at once agreed to have the inspirational test tried with him. The photograph was handed him with no suggestion as to how the subject should be treated. He began work on 19th June and finished it on 9th July. Meanwhile I visited his studio four times alone and once with H.P.B. . . . Unlike the others, who all copied the profile idea of Harrisse, Schmiechen gave the face in full front view, and poured into the eyes such a flood of life and sense of the indwelling soul as to fairly startle the spectator.<ref>Henry Steel Olcott, ''Old Diary Leaves'' Third Series (Adyar, Madras: The Theosophical Publishing House, 1972), 163.</ref></blockquote>

			<blockquote>The marvellous result—the seventh attempt at a portrait—is known to all of us; his portrait of this Master, as well as the one of the other [Master Koot Hoomi], which he painted from a crude sketch in Mr. Sinnett’s possession, seeming as life-like as if the subjects had posed to him in the usual way.<ref>A Historical Retrospect — 1875-1896 — of the Theosophical Movement, (Madras, India: Theosophical Society), 13.</ref></blockquote>

	== Portraits of Mahatma Koot Hoomi ==		== Portraits of Mahatma Koot Hoomi ==

Janet Kerschner at 03:03, 14 May 2016

2016-05-14T03:03:28Z

← Older revision		Revision as of 03:03, 14 May 2016
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	<references/>		<references/>


	~~[[Category:Sanskrit terms]]~~
	[[Category:Mahatmas and Adepts]]		[[Category:Mahatmas and Adepts]]

Pablo Sender at 16:32, 8 July 2014

2014-07-08T16:32:32Z

← Older revision		Revision as of 16:32, 8 July 2014
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	"Describe his looks and dress," called out H. P. B. And while those in the room were wondering over Madame Blavatsky’s exclamation, the woman addressed said: "He is about Mohini’s height; slight of build; wonderful face full of light and animation; flowing curly black hair, over which is worn a soft cap. He is a symphony in greys and blues. His dress is that of a Hindu - though it is far finer and richer than any I have ever seen before - and there is fur trimming about his costume. It is his picture that is being made, and he himself is guiding the work."<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>		"Describe his looks and dress," called out H. P. B. And while those in the room were wondering over Madame Blavatsky’s exclamation, the woman addressed said: "He is about Mohini’s height; slight of build; wonderful face full of light and animation; flowing curly black hair, over which is worn a soft cap. He is a symphony in greys and blues. His dress is that of a Hindu - though it is far finer and richer than any I have ever seen before - and there is fur trimming about his costume. It is his picture that is being made, and he himself is guiding the work."<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>

			== See also ==
			*[[Masters of Wisdom]]
			*[[Adepts]]
			*[[Brotherhood of Adepts]]

	==Online resources==		==Online resources==

Pablo Sender: /* Portraits of Mahatma Koot Hoomi */

2014-07-07T19:52:17Z

Portraits of Mahatma Koot Hoomi

← Older revision		Revision as of 19:52, 7 July 2014
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	===By Hermann Schmiechen===		===By Hermann Schmiechen===
	[[File:Portrait KH.jpg\|right\|200px\|thumb\|Portrait of Master K.H. painted by Hermann Schmiechen in London, July 1884]]		[[File:Portrait KH.jpg\|right\|200px\|thumb\|Portrait of Master K.H. painted by Hermann Schmiechen in London, July 1884]]
	~~[[Mahatma]]~~ [[Morya\|M.]] wrote to [[H. P. Blavatsky]]:		[[Morya\|Mahatma M.]] wrote to [[H. P. Blavatsky]]:

	<blockquote>Take her [Laura C. Holloway] with you to [[Hermann Schmiechen\|Schmiechen]] and tell her to see. Yes, she is good and pure and chela-like; only flabby in kindness of heart. Say to [[Hermann Schmiechen\|Schmiechen]] that he will be helped. I myself will guide his hands with brush for K[oothoomi]'s portrait.<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>		<blockquote>Take her [Laura C. Holloway] with you to [[Hermann Schmiechen\|Schmiechen]] and tell her to see. Yes, she is good and pure and chela-like; only flabby in kindness of heart. Say to [[Hermann Schmiechen\|Schmiechen]] that he will be helped. I myself will guide his hands with brush for K[oothoomi]'s portrait.<ref>[http://www.blavatskyarchives.com/holloway2.htm# The Portraits of the Mahatmas] at Blavatsky Study Center</ref></blockquote>

	However, in an account by [[Laura C. Holloway]] it seems that finally it was the ~~[[Mahatma]] [[Koot Hoomi\|~~K. H.]] himself who helped the artist:		The presence of Master M. was confirmed by [[Koot Hoomi\|Mahatma K.H.]] himself in a letter to [[Alfred Percy Sinnett\|Mr. Sinnett]] that said:

			<blockquote>I believe you are now satisfied with my portrait made by Herr Schmiechen and as dissatisfied with the one you have? Yet all are like in their way. Only while the others are the productions of [[chela]]s, the last one was painted with [[Morya\|M.]]'s hand on the artist's head, and often on his arm.<ref>Vicente Hao Chin, Jr., ''The Mahatma Letters to A.P. Sinnett in chronological sequence'' No. 129 (Quezon City: Theosophical Publishing House, 1993), ???.</ref></blockquote>

			However, in an account by [[Laura C. Holloway]] it seems that finally it was the Master K.H. himself who helped the artist:

	<blockquote>... saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She [the seer] leaned over to her friend and whispered: "It is the Master K. H.; he is being sketched. He is standing near Mr. Schmiechen."		<blockquote>... saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She [the seer] leaned over to her friend and whispered: "It is the Master K. H.; he is being sketched. He is standing near Mr. Schmiechen."

Pablo Sender at 19:25, 12 July 2013

2013-07-12T19:25:24Z

← Older revision		Revision as of 19:25, 12 July 2013
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	== Portraits of Mahatma Koot Hoomi ==		== Portraits of Mahatma Koot Hoomi ==
			===By Hermann Schmiechen===
	[[File:Portrait KH.jpg\|right\|200px\|thumb\|Portrait of Master K.H. painted by Hermann Schmiechen in London, July 1884]]		[[File:Portrait KH.jpg\|right\|200px\|thumb\|Portrait of Master K.H. painted by Hermann Schmiechen in London, July 1884]]
	[[Mahatma]] [[Morya\|M.]] wrote to [[H. P. Blavatsky]]:		[[Mahatma]] [[Morya\|M.]] wrote to [[H. P. Blavatsky]]: