Theosophy and the Society in the Public Eye

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.

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."

Kathleen F. Hall – Canada

“The power of beauty at work in man, as the artist has always known, is severe and exacting, and once invoked, will never leave him alone, until he brings his work and life into some semblance of harmony with its spirit” (Harris, “Theosophy and Art”).

Lawren Stewart Harris is well-known as a Canadian landscape painter and the founder of the Group of Seven. He was also a Theosophist whose art was highly influenced by his spirituality. Over the course of his career, Harris engaged in seeking spiritual knowledge, which in turn caused his work to evolve and change from an objective interpretation of the Canadian landscape to a non-objective representation of the spiritual.

Harris was born October 23, 1885 in Brantford, Ontario, but as a youth moved to Toronto. While a young college student attending University College, the University of Toronto, he was recognized for his artistic ability and was encouraged to study art in Europe. Consequently, in 1904 he attended art school in Berlin. In Europe, Harris had three important encounters that were to have a great influence on his life and art. One was an exhibit of nineteenth-century German art, including works by Caspar David Friedrich, whose vast open landscapes provoked a heightened spiritual sensibility. Another was meeting Paul Thiem, a poet, philosopher, Theosophist, and regionalist painter, who quite possibly introduced him to a Theosophical art exhibit in Munich at this time (Adamson). The third was the opportunity to go on hiking and sketching trips into the mountains. These three events marked a course for the direction that Harris’s life would follow thereafter.

Joma Sipe

Following the previous series of panels, I started with Christ Energy and Light. In this note of mine for the readers of Theosophy Forward I will share the fourth artwork that I have completed this year. This panel is called SANGUINIS VAS CORDIS CHRISTUS (Vaso Sanguíneo do Coração de Cristo l Blood Vessel of the Heart of Christ). It is  a very large design, just like the first and second ones, measuring approx. 100x70cm, visible size and a golden frame with 120x90cm size, all done with gold-based ink pens and crystals. It was inspired by a Vision of a Blood Vessel of the Heart of Christ, and the meditation on the Turim Shourd. I have made the “insertion” of this work on the Shroud and a video is available of this process. Click HERE 

Text and photos by Richard Dvořák

Richard, author and photographer

Experimenting with a macro lens (Canon RF 100mm f2.8 L Macro IS USM) and wide-screen formats, specifically 2.35:1 (21:9), has been a delightful exploration. In my professional work as a photographer, I rarely get the chance to use macro lenses, making each opportunity especially meaningful. The macro lens unveils intricate details and hidden worlds that captivate my imagination, offering viewers an intimate glimpse into often overlooked and fascinating microcosms. It also helps me feel connected to, or at least a part of, nature.