Canon Legends Sai Baba Art Panels - Canvas Print

Canon Legends Sai Baba Canvas Art Panels - Being omniscient, omnipotent and omnipresent, every Sai image will speak to you, though it is precious to say "All Names and Forms" are fine. It is impossible to limit him. Devotees have experienced him in dream initiations or in the physical, coming as God or Avatar, an attendant or even a biker arriving out of nowhere in Africa or the deserts of California on a Harley. He can be anywhere, anyone at any time. For those who remember him, Sai Baba was and is omniscient, omnipresent, omnipotent; friend, saint and perfect Lord. He was recognised by his followers as the dweller in every heart, the Perfect Friend, the divine director and universal architect. The immanent absolute (of God) perfect, permanent, pervading and that which is self-sustaining the universe.. He was in the hearts of devotees all names and forms representative of his mission, as stated by Sai Baba "All names are mine, all forms are mine, there is no need to give up the chosen god, when you have seen me and heard me. . ." "When I am in the midst of men, I am a Man. When I am amidst women, I am Woman. When I am amidst of children, I am a Child. When I am alone, I am Brahman. . ." "Practice silence, for the voice of God can be heard in the region of your heart only when the tongue and the inner storm are stilled, and the waves (of the mind) are calmed." "I have a task: To foster all mankind and ensure for all of them lives full of (bliss). I have a Vow: To lead all who stray away from the straight path again into goodness and save them. I am attached to a work that I love: To remove the sufferings of the poor and grant them what they lack. "All things that are seen are transient, unreal. God alone is eternal, real. Attachment with objects ends in grief. God is your own Reality. That Reality, the God in you, has no relationship with the changing transitory objective world. He is Pure Consciousness only." "Even if you posit some relationship for it, it can only be the type of relationship that exists between the dreamer and the objects seen and experienced in dreams. . ." “For the Lord, this drama of time in three acts - past, present, and future, is clear as crystal. In the twinkle of an eye, He grasps all three, for He is omniscient, and it is His plan that is executed, and His drama that is being enacted on the stage of creation. . ." "The entire play must be witnessed for the story to reveal itself. . . When the mystery is cleared and the play is discovered as ‘mere play’, conviction dawns that you are in Him and He is in you. " "I rescue all who worship and adore me, aright. I have my definition of the "devotion" I expect: Those devoted to me have to treat joy and grief, gain and loss, with equal fortitude. This means that I will never give up those who attach themselves to me." "There is no one who can change My course or affect My conduct to the slightest extent." "My power is immeasurable; My truth inexplicable, unfathomable." " You may endeavour your best for thousands of years and have all mankind with you in your search. But you cannot understand My Reality." —Sai Baba Painting the image, darshan or glimpse of the divine is a sadhana or spiritual exercise that purifies the mind and imagination and helps to focus the concentration and deepen one's meditation. Tips for using the Canvas Prints as the undercoating for painting one's personal canvas prints: Step 1 Lay the printed canvas on a heavy-duty fabric drop cloth. Do not use a plastic drop cloth as this will allow the paint to pool up and can create a mess. (Stretched canvas? You might create a support to set the canvas over so that it remains flat.) Step 2 Apply a base coat by spraying the canvas with water-based acrylic spray paint. Spray in short intermittent bursts, rather than in one long stream, to avoid runs in the finish. Step 3 Allow the printed canvas to dry for at least two hours and then apply the design or art you wish, using craft or artists' brushes and water-based acrylic paints. (Liquitex Paints might be best to match colour with lights.) Personal Notes: Be careful when applying a clear coat spray to protect the inks. Test with a small sample if unsure about the original production. A printed image can turn cloudy white due to the primer on the canvas reacting with the acrylic coating. Some brands of canvas have problems with sprayed coatings. Which is better, oils or acrylics. Oils may crack after they dry, which has been noted. But whichever you prefer, if you don’t have a lot of painting experience you might prefer acrylics simply for the ease of cleaning up afterwards. Acrylics dry much quicker than oils. Wet the paints on your pallet every now and then as needed if painting slowly. Some artists use a spray bottle with a little water to occasionally rewet their paints. Some have not had any instance where there was a problem using either oils or acrylics, though we have heard of oils becoming dry or flaking off if poorly treated. Add a bit of an acrylic gel medium to the paint. This will thicken it. Once mixed or after selecting the paint and adding the paint to the pallet, include the gel. This thickens up the paint and gives the daubs applied more texture. A good brand of paint to start with is Liquitex. [Notes for the occultists: This is also true when using lights and dimmers to animate the symbolic imagery, since these liquitex paints conform perfectly with light filters and integrate with colour science. These colours can be calculated for use in ceremonial magic; when using sound, stage lights, i.e., the creating of transitional changes in time using transformers, to generate animated imagery. This is applied creatively in stage magic techniques, particularly in Kabbalah and Tarot. This is for creating magical and psychological effects in sound and light imagery. These techniques are used along with after imaging and techniques of light and sound changes in timings to produce secondary astral events through psychic evocation. The limit is truly individual. The lighting methods can be extremely low level, once the eye is light adapted to the darkness. These methods create internal communications through the psyche that communicate symbolically directly with the Cosmic Consciousness or with Divine Intelligence. Western Rosicrucian Occultists, who were taught by Irwin Watermeyer, used the music of Satie, Debussy or Scriabin in their performances due to these composer’s techniques that used clear investigations into the use of sound as an occult medium. Of course, the test is in the performance of these. It may be necessary to test for variations in the timing. These three composers first introduced these techniques in their music in the West, for creating timed dynamics for animating the silence (time) in between the tones and the use of dissonance. Much of this may also be true of techniques found in raga compositions from those traditions that are applied in the tabla timings and tonal variations of Eastern musical arts. These are found in both North and South Indian traditions.] Start out by deciding on those areas you want to add paint, begin with a small brush. Try to conform to the brush strokes of your digital painting as much as possible. You can also take some of the gel medium without any paint mixed in and with larger brushes apply brush stroke texture to areas. There are no rules. Applying actual daubs of paint and a gel gives it a more authentic and painted look.