罗伯特谈绘画灵感

?此段摘自《灵魂永生》第二十章  问答篇

罗伯特：我画过某个说法者的像吗？

赛斯：画过。一幅是卡尔和苏·华京斯买去的（我们曾半开玩笑地叫它“摩西”）；一张是我的画像；一张你尚未画完——即教务长（赛斯对ESP班的一个成员Tom.M的友善称呼）最近提起过的一个女人的画像，以及你的蓝色男人。这些就是答案。

?在珍为赛斯说话五年之后，罗于1968年根据一个异象创作了这幅赛斯画像。

罗伯特注：在第十七章，赛斯告诉过我和珍，我俩都曾是说法者。既然我没画过任何自画像，那么我就肯定不包括在内。但赛斯真的忘了我为珍画的像。我没注意到这个遗漏，因此也没追问……

当赛斯告诉我，我完成了一张说法者的画像时，我的解释是，有众多人格组成了那位说法者的“存有”，而我只是对其中之一对准了频率。

自从赛斯课开始以来，我便着手创作一系列人物肖像，而这些人我在意识层面中并不“认识”。首先我不大了解这些画作的灵感从何而来；我只是把想要画他们的冲动付诸行动。当我在想别的事情时，画肖像的念头便不由自主地跑了出来。我总是很惊讶。有时我直接看见一幅异象，呈现得十分清晰且色彩饱满。这些异象要么是已完成的画作，要么是那个将被我画的人。好几次，我“知道”那个主人公已经去世。显然，说法者的画像很少，而且我也从未意识到自己在画一个说法者。

我最近完成了赛斯提到的那幅蓝色男人。我画的是一个现代衣着的男人，但赛斯被逗笑了，他告诉我，事实上主人公是个有天眼通的女人，生活在十四世纪的君士坦丁堡；我无意识的知觉扭曲导致她在我笔下成了男人的形象。赛斯叫她Lanodiala。这幅油画画得很成功，以蓝色和绿色为主色调。

早年我完全没有怀疑过这些灵感的来源。现在我相信它们一直就存于无意识层面中；但为了尽量扩展创造行为的潜能，我乐见别人学着去有意识地培养这种幻象与感知。在我看来这样做好处多多。在这方面有颇多可学之处。

（“Number twenty-eight: Have I painted any portraits of Speakers? ”）

You have indeed. One was a painting purchased by Carl and Sue Watkins （which, half jokingly, we had called Moses）; one, the portrait of me: and one that you have not completed —that the Dean （Seth’s friendly title for Tom M., one of the members of ESP class） asked about recently, of a woman. And your blue man.That is your answer.

（In Chapter Seventeen Seth told Jane and me that we’d both been Speakers. Since I haven’t painted any self-portraits I wouldn’t have been included in the list anyhow, but Seth did neglect to mention my painting of Jane. I didn’t catch the omission, so I didn’t ask about it....

（When Seth tells me I’ve done a Speaker’s portrait, I translate this to mean that I’ve tuned-in on but one personality out of the very many making up that Speaker’s entity.

（After the sessions began I started a series of portraits of people I don’t “know” consciously. At first I understood little about the possible sources for their inspiration; I simply put my urge to paint them to work. Ideas for the portraits “come ” to me spontaneously when I am mentally occupied with something else. I am always surprised. Sometimes I see an outright vision, objectified quite clearly and in full color. The vision is either of the finished painting, or of the individual who is to be portrayed. On several occasions I have “known” the subject was dead. Few of the paintings are of Speakers, obviously, and in no case did I realize I was working with such a personality.

（I recently finished the blue man that Seth refers to. I painted a male in modern garb, but in reality, according to an amused Seth, the subject was a female clairvoyant who lived in Constantinople in the fourteenth century; unconscious distortions in my own perceptions led me to the male figure. Seth has given her the name Ianodiala. The oil is very successful, and is done in blue and green.

（Such sources of inspirational material were entirely unsuspected by me in earlier years. I believe now that they are among those usually present at unconscious levels; but in order to expand the potentials for the creative act as much as possible, I would like to see others learn to cultivate such visions and perceptions on a deliberate, conscious basis. It seems to me the benefits would be many. There is much to be learned here.）

编译： /Laujenny婷          美编：Laujenny婷

《赛斯说●第187期》

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