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Rule

 

A Spirit oil painting done in stages in a Campbell seance 1898. The picture is of Medium Allan Campbell's Guide Azur, a self portrait.

It is now on show in the Maplewood Hotel in Lily Dale USA.

 

Rule

 

Pastel portrait by the Campbell Brothers while under the influence of Spirit. Now hanging in the Maplewood Hotel, Lily Dale, USA.

Other Spirit paintings can be seen in Camp Chesterfield, Indiana.

 





The one of the most famous spiritual painting that most Catholic people might know about is the painting of the Virgin of Guadalupe. This painting was created by Divine Spirit intervention, the Medium was not named.

According to Wikipedia, on December 9, 1531, Juan Diego, a humble Indian Aztec peasant, reported seeing the Virgin Mary at the Tepeyac hill. At first, he heard music, smelled a sweet aroma in the air, and heard someone calling his name. As he approached the area where the voice was coming from, he saw a beautiful young woman. She told him that she was the Virgin Mary, and asked him to deliver a message to the Bishop. She wanted the Bishop to build a house of worship on the Tepeyac.

Upon arriving to see the Spanish Bishop, Fray Juan de Zumarraga, Diego had to wait a while before speaking to him. When he was finally called upon, he related the message exactly as it was given to him. Being a simple and uneducated man, the Bishop did not believe him.

When Diego went back to the Tepeyac hill, where he had first seen the Virgin Mary, she was there waiting for him. After telling her what had transpired, he begged her to send someone of a higher standard. He believed that he was too simple and insignificant for anyone to pay him any mind. She insisted that he deliver her message and no one else.

Once again, Diego went back and spoke to the Bishop. This time, the Bishop asked him to tell the lady to perform a miracle as a sign of her Divinity.

Diego quickly went to the Tepeyac hill and related the Bishop's request. She agreed and instructed him to come back the next day.

The next day, Diego did not go to the Tepeyac hill to visit the lady. Since his uncle was extremely ill, he felt that he needed to be by his uncle's side and attend to his needs.

A day later, convinced that his uncle was near death, Diego set out to find a priest. Trying to avoid the lady, he decided to take another path.

Suddenly, the lady appeared. Embarrassed by his behavior, Diego began to tell her about his uncle's condition. She assured him that his uncle was well.

She asked him to go up the hill and gather some flowers. Diego was amazed to see such beautiful flowers, since it was winter and not the season for flowers to bloom. He gathered the flowers and carefully placed them inside his tilma-a outer garment, similar to a long apron, worn by Aztec men and people of central Mexico. When he had finished gathering the flowers, he went back to the lady. She took the flowers and then placed them back inside his tilma. She instructed him to see the Bishop and show him the flowers.

I believe that spiritual paintings have a meaningful purpose. It is a way of telling us that we are not alone. In a world where the future looks so bleak, it is good to know that we are surrounded by Divine Spirits.

For those who do not believe in spiritual paintings created by Spirit, such as the one mentioned above-Virgin of Guadalupe, no words are possible.

For those who believe that everything is possible in this world, no words are necessary. I salute you for having an open mind.

 

When a seance is conducted for creating a Spirit Painting, a new and clean canvas is used. The canvas can be placed on an easel. In certain cases, the canvas is laid flat, facing up on the table, with all in attendance placing their palms down on the table around the canvas.

In addition, a container of paint, with all the colours of the spectrum, is placed in close proximity to the canvas. There are no brushes in the site.

As the Medium, one who communicates with Spirits, goes into a trance, the sitter, one who requests a Spirit Painting, and observers remain in a meditative state. The sitter is instructed to think of or visualize their departed loved one.

In a short while, a painting begins to manifest. The process can take from fifteen to ninety minutes.

One important fact about some of these paintings is that they contain no visible brush strokes.

 The first reported display of this phenomenon was in 1894 by Elizabeth Bangs and Mary Bangs. Below is a painting created by Spirit through the Bangs Sisters.

Spirit Painting
The Bangs sisters possessed the ability to receive Spirit communications through direct writing as well as direct painting.

Information collected states that the Bangs sisters conducted these sessions in broad daylight, and in front of several eyewitnesses. Additionally, they remained in their seats and avoided physical contact with the painting during its formation.

In addition to the Bangs Sisters, the Campbell Brothers were well known Mediums, who were best known for their precipitated Spirit Paintings.

In 1898, the Campbell Brothers manifested one of their famous Spirit Paintings called Azur, a Spirit Guide painting. The session was conducted in a room that contained sufficient amount of light for those present to witness the spiritual phenomena. To ensure that the 40"x 60" canvas was not switched, the invited guests were encouraged to place their personal markings on the back of the canvas. During the process, the guests could witness the gradual development of the painting on the canvas. The painting was completed in one hour and thirty minutes.

 

 


Nora-Spirit Painting

Skeptics have tried to discredit the validity of such paintings. They are so determined to prove their point that sometimes they miss the point- that there is a great unseen Higher Force.

The most famous painting done by the Spirit World intervention is the Virgin of Guadalupe.

Throughout the years, this painting has been studied and investigated. The result is, "image is inexplicable."

There are times when we must put aside our personal beliefs and accept the fact that some things have no tangible explanations.

 

 

With slight alterations from spiritual-healing-artwork-4u.com

W. Usborne Moore, Glimpses of the Next State (The Education of an Agnostic). London: Watts & Co., 1911.

Test Sittings with the Bangs Sisters.

When I was at Detroit, Michigan, I thought a few days would not be ill spent if I ran over to Chicago and asked the Bangs Sisters to give me some test-sittings.  I arrived by appointment, at their house, 1759 Adams Street West, at 10 a.m., on January 28, 1911, the door being opened by Mrs. Bangs, the mother.  As usual, neither sister was ready, and I was left to my own devices for an hour, during which time I made a careful re-examination of the seance-room, and found it precisely the same as I left in March, 1909. 

 Mrs. Bangs was called in, and helped me to measure the room; the table was thoroughly examined underneath, and May Bangs’s drawer taken out.  In this I found nothing more incriminating than five dirty pocket-handkerchiefs, a pencil or two, and a small pad. About 11 a.m. I was able to collect the Bangs and explain the object of my visit.  I said: “Certain Medium-hunters in this country, and a first-rate conjurer in England [Hereward Carrington] (who is quite sincere in believing you to be conjurers like himself), have spread reports about you very much to your detriment.  One of the Americans I mention has written an article in an English magazine, saying that in June, 1909, you cheated him, quoting extensively from another person, who also says you deceived him some years ago.  I do not suppose that either of these persons had the courage to send you a copy of their charges.  You know me, and are quite aware that I have entered this room having full confidence in the genuineness of what I saw with you in 1909.  You are psychics, and must know my state of mind at the present moment.  I ask you to give me a complete test for both a picture and a letter.  Let me upset your usual conditions, and direct the proceedings myself.  Refuse me, and I think none the worse of you, for I have tested you before; but the fact that you have refused me will be reported in my accounts of this visit to America.” To this Lizzie Bangs replied: “Mr. Moore, we trust you, and will submit to your wishes; but we warn you that the very knowledge of what the man has said in the English magazine will upset conditions to such an extent that I doubt if you will be successful.  The man you mention was never in this house.  We know his description, and should sense hostility if anybody came in that way. [. . .]” I then proceeded to seal the two sashes of the one window in the room with five labels, each eight inches long.

 In the course of examination of this window, I found a peculiarity about it that I had forgotten when addressing the London Spiritualist Alliance on December 8, which effectually shatters the theories of “substitution” of a prepared picture.  May Bangs then took me out to the bottom of the small garden, and up into a loft, where I found forty-one canvases in a pile.  I selected two at random, followed her back to the house, where she left me in the seance-room alone, and marked my canvases “Next” and “Furthest,” adding my initials and the date.  I then called for the psychics, and put the canvases on the table, near the window, face to face, the word “Next” being plainly visible to all.  The blind was drawn down to a level with the top of the canvases, and curtains hung up at the sides; the three doors were thrown open; Lizzie Bangs took her seat on the east side of the table, and pinched the canvases together with her left hand; May Bangs sat where the sitter is usually placed, in front of the canvases; and I occupied the place on the west side of the table where May Bangs usually sits, and pinched the canvases together with my right hand.  The window has a southern aspect. We sat from 11.15 to 12.20 without much change happening to the canvases, nothing but a few waves of light colours sweeping over them.  The messages, however, were encouraging from the guides.  One said, “Go on sitting in this way when you come back.” 

The sisters went down to dinner.  I remained with the canvases, and something was brought to me to eat. I ought to mention that May Bangs, the more volatile of the two sisters, was specially disturbed.  She could not remain in her seat, but frequently rose from it and walked about the house, both in the morning and the afternoon, often exclaiming: “I feel these strange conditions cannot be right.  I ought to be sitting where you are.”  I became exasperated with her perpetual restlessness in the afternoon, and complained to her sister.  Lizzie said: “Well, if you can keep my sister in her seat, I tell you candidly, I cannot.” 1.45 p.m.  Assembled. 

The first thing that happened was a strange, creamy appearance over the inside of the “Next” canvas.  It is difficult to describe.  It looked something like streams and blots of light cream forming itself into faces, one of which I immediately recognised as that of [Moore’s Spirit-guide] Iola’s father.  Once a perpendicular, dark shade, four inches broad, appeared on my side of the canvas, close to its edge.  This remained for twenty-five minutes, and disappeared.  Once we thought the picture was beginning to form, but this appearance faded away. Both psychics, independently, saw my guide, and described her posing for her picture.  Lizzie Bangs described her clairvoyant vision when May was out of the room, and afterwards May told me what she saw, without collusion with her sister. 

I had arranged with my guide, in Detroit (by direct voice), how the picture was to be, and it was thus the sisters described her.  Eventually the picture itself proved the correctness of the clairvoyance of both sisters.  [. . .] At 2.50 came the message: “You are too intent.  The magnetism is used up for the day.  Come tomorrow.” Q.: “Is it necessary to leave the canvases here?” A.: “It would be better, but it would not satisfy your test.” I accordingly packed up the canvases, and took them off to my hotel, three miles off, where they were locked up.

The second day, Sunday, January 29, 1911, I arrived with my two canvases a little before 4 p.m., and we assembled for the seance at 4.15.  I put the canvases up as before, and asked Lizzie Bangs to pinch them together on her side, while I did the same on mine.  May Bangs sat opposite the canvases, in the visitor’s chair, as on the previous occasion.  The doors were thrown open, and sealings of the window examined.  Soon after the canvases were set up, the “Next” began mottling on the inside, as it did the day before.  This time, not only did the face of my guide’s father appear for a short time, but that of my father.  May Bangs, as before, left her seat several times and moved about the house.  She appeared to be absolutely unable to sit still. About 5 p.m. we were told that we were “too intent,” and that we were to get up from our chairs and move about the house to “change vibrations.”  I did not leave the room, and never lost sight of the canvases; between 5.5 and 5.55 p.m. I smoked a cigar, sitting at first in the visitor’s chair, two and a half feet from the canvases.  Lizzie Bangs came to her seat about 5.20, and I resumed mine, both of us pinching the canvases.  At about 5.45 May Bangs was sent for to take her proper seat, and I took the visitor’s seat.  Even then she could not keep still. Some of the delay was owing to a blunder of mine. 

It had been arranged at Detroit that Iola was to put round her neck a chain with locket, and that I was to put my watch on the table close to the canvases, in order that the invisible artists might extract the gold from it.  This I had done the previous day; but to-day, at 5.30, it suddenly occurred to me that I had forgotten about my watch.  I then put it down on the table. The changed in the canvas first showed by a rose-tinted light at the bottom, after the faces had appeared on the white mottling.  About 5.15 p.m. a black patch appeared right in the middle of the canvas, and increased in size and darkness.  This is the opposite to what usually happens in the precipitations under ordinary circumstances---the dark shade begins at the edges of the canvas.  Lizzie Bangs and I watched this black shade growing till 6 p.m., when it was dark outside, and we were told to light the room up.  To my dismay, the canvas appeared blank. 

We asked: “Shall we light the globe?”  (A “wandering lead.”) Answer: “Not yet.” A few minutes later the message came to “hang the globe behind the canvases.”  I did this myself.  We were soon, all three, in our places.  I was told to take up my watch with one hand, and pinch the canvases with the other.  At 6.5 the picture began.  The face and form were finished, as they are now, by 6.20; but there was a smudge on the neck, and the top of the canvas was very badly rubbed.  The background was unfinished.  I remarked on this.  The message came: “Cover the picture, put out the lights, and come back later.”  We covered the picture, put out the lights, and all went downstairs to tea, after I had examined my labels on the window-sashes.  In an hour we returned, switched on the lights, uncovered the picture, and found the defects entirely removed; the background was evidently improved, but not finished.  I was told to take away the picture, and the background would be finished in the hotel, or on the passage home; it would be “mottled.”  I departed with both canvases under my arm.  The next time I saw the picture was in London, on March 9, and found that the background was mottled. A graphophone played while the sitting was going on.  Mrs. Bangs and two dogs strayed in and out of the room.  On both days everything was of the most casual description.  The messages came sometimes by impression through one of the sisters, but more often by taps on a slate.  I obtained good evidence that all these messages were true communications from the “other side.”

Bushmen of South Africa

Subjects range from animals (mainly eland) to humans, therianthropes to ox-wagons and mounted men with rifles. In Ndedema Gorge 3 900 paintings have been recorded at 17 sites. One of them, Sebaayeni Cave, contains 1 146 individual paintings. In the Cathedral Peak- Mdelelelo Wilderness Area there are another 130 sites with a total of over 8 800 individual paintings. Other prime sites include the Main caves in Giant's castle game reserve, Battle Cave in the Injasuti Valley and Game Pass Shelter in the Kamberg Nature Reserve

.    Ancient rock art sheds light on the trance experiences of Bushman Shamans.

When Europeans first encountered rock art of the San people, or Bushmen, in southern Africa some 350 years ago, they considered it primitive and crude, like the people who made it. They were just “Bushman paintings,” two-dimensional accounts of hunting and fighting and daily life. Twentieth-century scholars had much more respect for the aesthetics of the paintings---often finely detailed and exquisitely colored---but many also viewed them largely as narrative accounts of hunter-gatherer life. A closer look in recent years has yielded another picture altogether. For the San, rock paintings weren’t just representations of life; they were also repositories of it. When Shamans painted an eland, they didn’t just pay homage to a sacred animal; they also harnessed its essence. They put paint to rock and opened portals to the Spirit World.  


San rock paintings at Game Pass Shelter 

When entering a trance, Shamans often bleed from their nose and experience excruciating physical pain. The Shamans’ arms stretch behind them as the transformation into the Spirit World takes place. Scholars believe that the trance dance serves as the foundation for rock art, and clear corollaries between cave images and trance ceremonies appear in the Drakensberg cave paintings. These ancient images offer a record into ages past.

KwaZulu-Natal's new Kamberg Rock Art Centre, now open to the public, will help visitors understand and interpret the more than 40 000 San Bushman images to be found in the Ukhahlamba-Drakensberg Park.

Opened by KZN Premier Lionel Mtshali on June 4, the centre is situated in the Kamberg Nature Reserve, near to the Game Pass Shelter.

 

It is here that the "Rosetta Stone" of San art first provided archaeologists with the key to interpreting the symbolism of the paintings as spiritual in content - showing how hunters gained power from the animals that they killed.

The Ukhahlamba-Drakensberg Park is a World Heritage Site - one of just 23 sites worldwide granted this status on the basis of both natural beauty and cultural significance. The 230 000 hectare protected area contains 500 known sites of San rock art.

The Kamberg San Rock Art Trail and Interpretive Centre together offer visitors information about the world of the San, and the opportunity to walk to Game Pass Shelter to view outstanding examples of their art in the company of a trained community guide.

The San people lived in the Drakensberg area for thousands of years before being exterminated in clashes with the Zulus and white settlers.

From south-africa-tours.com with slight alterations.


 

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