Ghanatman n.° 3

“Be careful with your drawings,” the spirit of Ghanātman—condensed soul in Sanskrit—warns Hilma, “they are submerged images waiting for your eyes and ears to experience messages.” And so, little by little, the artist begins to capture the multiple forms of invisible realities: pyramids of light, otherworldly beings, halos, prisms, angels, ghostly spheres. A luminous geometry that only reveals itself to those whose bodily channels are open, traversed by the sublime tonality of light.

From this is born this circle divided into two halves—one bright (solar) and the other dark (lunar)—in which blue symbolizes the receptive: the state in which she painted, letting herself be guided by the messages. The dark half becomes a pastel, matte, and serene blue, like the sky when it begins to fade; and the original white becomes an iridescent mirror that does not dazzle like gold but glimmers like the moon on water, oscillating between silver, sky blue, and lilac depending on the angle and the gaze. It is no longer day versus night, but the blue hour, in which everything seems possible. Could it be the hour of the spirits?

You will find it in Mahatmas, Series II, 1920.