Benjamin Creme
lithographs

Modern mandalas

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Benjamin Creme described his later paintings as modern ‘mandalas’: paintings that can represent symbolically aspects of the hidden, spiritual universe and through the release of the energy contained in their forms can be used as objects for meditation and greater enlightenment. They can give the viewer an awareness of oneness with the object of contemplation and, through that, of oneness with all that exists (see particularly Open Mandala). For Creme this experience of oneness is beauty, which is to be found in all aspects of life:

“Beauty is an expression of a divine idea, and when our expression achieves the revelation of the idea, beauty is created. 

(Benjamin Creme, The Art of Co-operation, 2002)

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Creme said that, like most painters, he was reluctant to talk about and give a ‘meaning’ to his paintings, wanting them to “speak for themselves”. Indeed the The Benjamin Creme Museum of Art in Los Angeles tells of visitors sitting for several hours in front of a large painting, contemplating it in silence; and many visitors comment on the ‘energy’ present in the place. 

 

Esoteric symbolism

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At the same time Creme also said that his paintings are symbols, with meanings beyond the sign. He wrote explanations of his paintings in ways that help the viewer to understand esoteric concepts such as Antahkarana, Solar Fire, Central Spiritual Sun. These explanations and commentaries serve to disseminate the Ageless Wisdom teachings. In this way the paintings may be appreciated both intellectually and intuitively, each response reinforcing the other.

The move in Creme’s painting to his esoteric art accompanied and reflected the new and lasting phase in his life – to make known the emergence of Maitreya, the World Teacher.

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Many of Benjamin Creme's esoteric paintings were published on the cover of Share International, the magazine that he edited for many years, now edited by Felicity Eliot. They have also been produced as limited edition lithographs, many still available to buy. 

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