NDLI: Painting the masters in Britain

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Painting the masters in Britain

Content Provider	Scilit
Author	Introvigne, Massimo
Copyright Year	2017
Description	This chapter explores the significance of the Masters' portraits for the Theosophical community, arguing that their production was compatible with the Theosophical Society's general reluctance to portray holy or divine beings or use sacred images. Although portraits of the Masters would ultimately become rare in Theosophical milieus, this was not yet the case in the period of Blavatsky's early career, which coincided with surrounding practices of spirit painting. The Harrisse portrait was painted by a human artist telepathically guided by Blavatsky and was not a precipitation. The most important portraits of the Masters in Theosophical history were produced by the German painter Hermann Schmiechen. Schmiechen's Koot Hoomi and Morya are typical examples of Orientalist "noble Indians", although the portraits also subtly refer to another iconographic register. The semi-canonical status of Schmiechen's works discouraged further portraits, and Theosophical iconoclasm was strong enough to prevent Master paintings from becoming a prolific genre. Book Name: The Occult Imagination in Britain, 1875–1947
Related Links	https://api.taylorfrancis.com/content/chapters/edit/download?identifierName=doi&identifierValue=10.4324/9781351168328-12&type=chapterpdf
Ending Page	226
Page Count	21
Starting Page	206
DOI	10.4324/9781351168328-12
Language	English
Publisher	Informa UK Limited
Publisher Date	2017-12-15
Access Restriction	Open
Subject Keyword	Book Name: The Occult Imagination in Britain, 1875–1947 History Masters Portraits Schmiechen's Blavatsky Master Paintings Divine Beings Artist Telepathically Theosophical Milieus
Content Type	Text
Resource Type	Chapter

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