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Meditative Vail Paintings by
Sirkku M. Sky Hiltunen (AKA Dr. Sky)
Master Teacher of NohKiDo™ and
Therapeutic Noh Theater®
History and Development
Meditative Vail Painting method was inspired by Veil Painting created
initially by Liane Collot d’Herbois, whose students introduced
it in the USA. I studied with two of her
students starting in the 1990s. My Meditative Vail Painting method
(which employs the arcane usage of “vail” instead of the
modern “veil”)
draws its inspiration directly from the art of Collot d’Herbois.
In the Meditative Vail Painting, her theoretical framework, however,
has been substantially simplified and additional, crucial meditative
steps
have been added. Meditative Vail Painting as a method is offered for
those art appreciators, artists and art therapists who are interested
in widening the scope of their projections or the projections of their
clients/patients, in order to draw imagery from beyond their Personal
body/ego consciousness.
Rudolf Steiner (1861-1925) stated “The very essence, the secret
of modern initiation: To get beyond the words to a living experience of
the spiritual.” Meditative Vail Painting offers a direct experience
of the spiritual, both for the viewer and the artist. This brochure
offers examples of Meditative Vail Painting as a transpersonally – based
method.
About Meditative Vail Paintings
Meditative Vail Paintings rely on
visual memory of the natural phenomenon of light. They are simplified
representations of light as well as atmosphere
and matter in front of and behind the light. In the Meditative Vail
Paintings the cool colors naturally have a withdrawing movement;
hence they represent what is behind the light. The warm colors have
an essential quality of coming towards the viewer; hence they are used to express
what is in front of the light. The light itself is represented by
Viridian Green, Turquoise, Cobalt Blue, Pale Vermillion, Charcoal Grey,
or Cobalt Blue.
The process requires the specification of the designated watercolors
to represent the three elements (light, darkness and matter) of the
painting, though some additional hues may be added by using Magenta
or Rose Madder. The painting process is extremely slow. The vails
can not be too thick or the color applied too fast or else the painting
will lose its essential translucent quality, its transparency as
well as its potential contact to transpersonal consciousness.
The first step is to still one’s mind in order to begin applying
the vails in extremely thin washes. This form of painting can not be
made in noisy surroundings or with a noisy group of people. The ability
to settle in the moment and time and stop mental or emotional activities
is essential. The creation of the atmosphere begins with the decisions
of the directionality, distance and the source of light. First, the color
representing light is used alone. Secondly, the color representing darkness
behind the light will be introduced with soft vails. Only after the atmosphere
has gained enough substance is the darkness in front of the light introduced.
But again, only soft edges of vails or washes are applied. Once the canvas
has begun to create enough substance, then the meditation begins. The
most crucial step of the process calls for enough time to allow one’s
imagination to see the imagery projected, from the unconscious, conscious
or beyond the body/ego consciousness, onto the canvas.
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