The situation is even more complex and various with paintings of the mythological, psychological, historical, and folk genres. Morozova, the noblewoman in Surikov's painting, had a metaprototype in Zheram, as did some of the secondary figures on the canvas, and the metaprototype has been raised up to Kartiala thanks to the artist's work. In addition, Surikov is at present working in the Heavenly Kremlin on a dazzling variation on the picture.
Repin's depiction of Ivan the Terrible's murder of his son tied a knot that Repin has been unable to unravel to the present day. This he must do in Drokkarg-the shrastr of Russian antihumankind counterposed to the Heavenly Kremlin, where Ivan the Terrible now abides as captive and slave.
The situation is worse still for the Fallen Demon of Vrubel-a stunning, unprecedented case of a demonic infraportrait. To unravel the knot, Vrubel was forced to descend to Gashsharva, to the angels of darkness. It is a terrible thing to have to say, but it might be better, despite the brilliance of the work, if it were destroyed in Enrof.
Landscape painting, in spite of its immense cultural and psychological importance, very rarely possesses any transphysical meaning. Such meaning is present either in those cases when the artist is able to communicate to the viewer his or her feeling for the worlds of elementals visible in Enrof through nature, or to hint at the landscapes of some other plane through the use of unique combinations of lines and colors. In my personal opinion, the Russian artist who succeeded best in that was Roerich, and at times the dubious, scorned, even untalented artist Churlonis.
As for literature, in the overwhelming majority of works, there are no metaprototypes behind the characters. For example,
almost all Soviet literature, with a few exceptions, has none. As well, characters of a historical nature-for example, Pushkin's Boris Godunov or Shakespeare's Julius Caesar-cannot have a metaprototype. But Macbeth has one, because the work is not historical. Generally speaking, the presence of a metaprototype in a work entails a sharp departure from historical accuracy in attributing particular depth to the personage and a greatness of character that does not have any basis in the historical prototype. That is not to be found either in Pushkin's play orJulius Caesar, which is proof of the lack of metahistorical depth in those works.
After the death of artistic geniuses in Enrof, the metaprototypes of their works in Zheram meet and spend time with them, as the karma of artistic creation draws them together. Many great artistic geniuses have in their afterlife had to assist the prototypes of their heroes or heroines in their ascent.
Dostoyevsky spent an enormous amount of time and energy to raise up his metaprototypes, for the suicides of Stavrogin and Svidrigailov, dictated by creative and mystical logic, threw proto-Stravogin and proto-Svidrigailov down into Urm. At present, all Dostoyevsky's heroes have been raised up by him: for example, Svidrigailov has been raised to Kartiala, and Ivan Karamazov and Smerdyakov to Magirna, one of the worlds of Higher Purpose. Also there are Sobakevich, Chichikov, and other heroes of Gogol, and Tolstoy's Pierre Bezukhov, Andrei Bolkonsky, Princess Maria, and Natasha Rostova, whom Tolstoy raised from Urm at the cost of tremendous exertions. Goethe's Margaret already abides on one of the upper planes of Shadanakar, while Don Quixote long ago joined the World Synclite, which Faust, too, will soon enter.
I would like to take this opportunity to say a few words about the transphysical meaning of the dramatic arts. Christianity's traditionally negative attitude toward such forms (regardless of how it has been explained by cultural historians and even religious teachers) arose because the early and medieval Christians, in a manner of speaking, sensed unconsciously with their religious intuition the close relationship between the dramatic arts and the ancient organism that is partly linked with Lilith, and partly with an even darker demonic world, called Duggur. (In a later chapter I will describe that world in more detail.) Duggur is bound up with human sexuality, and although it was not discerned clearly in the Middle Ages, its diabolical radiations evoked fear, disgust, and shame in the people of that time. Properly speaking, theater can possess, on a transphysical level, widely varying, even contradictory, meanings. Shaliapin was fully justified in fasting and praying after performing the role of Mephistopheles. The play The Life of a Man was harmful for the playwright, the cast, and the audience because it lacked what the ancients called catharsis. All drama that takes actors and the audience through catharsis-that is, spiritual elevation and enlightenment, however brief is deeply vindicated. As for metaprototypes, the effect of performances in Enrof are like that experienced by Dostoyevsky's Smerdyakov. While he was in Urm, thrown down there by the mystical- creative impulses of Dostoyevsky, the performance of his role on stage pained, burdened, and slowed him. Now it is of no consequence. The performance of morally uplifting roles or roles leading to catharsis are good for everyone, including metaprototypes.
With the daemon sakwala, my account will for a time leave the four- dimensional worlds. Fongaranda, a lone five-dimensional plane that is not a part of any sakwala, is now before us.
A warning is in order here: we are about to deal with concepts that are far from customary. For Fongaranda is the abode of shelts of masterpieces of architecture. There they possess the ability to move and grow; they evolve in the sense of spiritual maturation. Their external appearance closely resembles that of enlightened elementals, but they are not fluid in form as those spirits are, nor are their bodies interpenetrable. The reader should bear in mind that the construction of their images in Enrof by architects of genius, whose intuition caught their gleam in Fongaranda, gives them an ether body, which forms inside the physical body of the buildings after many years of receiving radiations from thousands and millions of people. If enough time has passed for such an ether body to form, the destruction of the physical body in Enrof is no longer of any transphysical consequence. The shelt in Fongaranda dons the ether body and moves to one of the zatomis. After the turn of the eon (the global period when the zatomis will cease to exist as such) the shelts of those monads, together with their coatings, which by then will have been completely transformed, will merge with their monads on one of the planes of Higher Purpose and subsequently enter the Elite of Shadanakar.
It is primarily the shelts of churches and palaces that abide in Fongaranda. There are, for example, spectacular prototypes of an Orthodox monastery, an Egyptian pyramid, a ziggurat, a gopuram of South India, a Catholic abbey, and a Rhenish castle. But there are also shelts of some individual buildings, for instance, St. Peter's Cathedral, the Cathedral of St. Basil the Blessed, the Temple of Heaven in China, even the palaces at Versailles and Pushkin. There are also shelts such as those of the Parliament buildings in London and the Admiralty in St. Petersburg.