Visionary paintings by
Tontyn Hopman
c/o Rhea Quien
rhea@rq-art.com
www.rq-art.com
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BIOGRAPHY
The Order in Creation
in Number and
Geometry,
By Tontyn Hopman.
der Schöpfung
in Zahl und Geometrie
CONTEMPORARY ART GALLERY
In intense adoration, a man stands before the rising sun, symbol of the Divine.
Because of this pious act he becomes transparent,
and through his transparency he reflects the Divine light into the earth.
This experience was almost impossible to paint, and I therefore used the ancient symbol of the Uraeus to convey my impression.
(In most references the ‘Uraeus’ means the sacred cobra on Egyptian royal head-dresses etc.
– only a minority of sources seem to take it to mean the ‘sun wing’ symbol.)
Sacred
Integration
For some days I saw red roses around me, until they integrated into a wreath
(in Italian ‘corona’, which also means crown).
While I was drawing this, a Christian cross appeared behind it, which had
the proportions of the Golden Section.
Then a golden Kundalini snake with human blue eyes spiralled into the
centre.
Above it was the Holy Spirit in the form of a white dove.
It is not only radiating light, but has two triangles in it.
In the inner circle is the intersection of the male (upward-pointing)
and the female (downward-pointing) triangles, surrounded by lotus leaves.
In the central hexagram, the Divine Eye rests in the ruby.
In the centre of flowering rests the Buddha.
Lotus Glow
Before me is a waterfall, coming from a lake and two side streams, thus creating two levels of water.
Are there two levels of the unconscious in myself?
The picture has a slightly Chinese atmosphere
Chapel in the Mountain Valley
A little chapel I saw was enclosed by mountains.
Two monks were walking on a
spiralling path leading to the chapel.
The waves here move from their horizontal position to the vertical one, thus creating a fountain.
The fish, as they swim into that fountain and pass through the light, are transformed into birds.
Opening of the Rainbow
At first I saw the winged female figure approaching with a blue chalice in
her hands, which she presented to me.
It reminded me of the Grail story.
Inside the rainbow appeared the Buddha and above him the Christ.
The rainbow developed out of the female figure.
Later a contour of the Buddha came in the lower part of the picture.
(The three subsequent paintings were stimulated by two rainbows seen during
my retreat.)
As I sat there in inner stillness, suddenly three phoenixes dived down from the upper right hand corner of my vision.
Like Angels, these phoenixes did not flap their wings, but floated in the air.
They were very fast. The landscape reminded me of China.
The emphasis is on the female triangle.
The picture is the geometrical representation of creation.
The radius of the circle equals the distance between the six angles of the trines.
The Godhead resides in the circle’s centre.
Tai Gi is the combination of Yang and Yin.
One could say that the yantra is the static expression of that combination, whereas Tai Gi is the dynamic one.
Yin is by its nature the dark side of the emblem.
In Italian ‘sinistra’ means ‘dark’, which resembles the English word ‘sinister’.
It is also in the lower part of the circle, because the light is usually above.
However, thought of as diametrically opposite, Yin and Yang are connected,
not only by their touching peripheries, but also by the spiral between their centres.
If one starts to follow this spiral from the centre of Yang, it flows clockwise.
As soon as the spiral enters the area of Yin it flows in the opposite direction.
(T’ai Kimeaning ‘the Great Hinge, symbol of the dynamic great unity.*)
Universal Buddha
At first I saw a lotus like circle.
As the work proceeded, fire and water, sun and moon appeared with the
medallion of the Buddha in the centre of the circle.
Rainbow Cross
At first I saw a cross with straight bars in rainbow colours.
When starting to paint this, it did not feel correct.
The bars should have had a curved shape.
As the work proceeded, the medallion with the Buddha appeared in the centre
of the cross.
Through the transformation of the unfolding butterfly completion is revealed
Ford car
India trip 1935
with Tonyn and Clara
at Vincenzo Altepost on 27.03.2001
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Tontyn Frederik
Jan Hopman
c/o Rhea Quien
rhea@rq-art.com
www.rq-art.com