In the teaching from the spiritual dimension to the five women in Stockholm more than one hundred years ago, it was said that one goal of the work was to bring forth knowledge about evolution and reincarnation. At the same time, the teaching was about the mystery. When I experienced the completion of the mystery I realized that it also was the fulfilment of the evolution of the spirit in the material universe. I then came to understand that the mystery is the evolution of the Spirit, the Self, in us human beings. Reincarnation is thus a prerequisite for spiritual evolution. The High Masters want to convey the truth about reincarnation by showing the connection between Hilma af Klint's life and mine.
The proof of reincarnation is the fact that my own life is a direct continuation of Hilma af Klint's life, and it consists of the following elements:
Hilma af Klint's paintings from the early 20th century contains many pictures of the qigong training I had just started when I first saw her paintings in the fall of 1999. This training was very central in my spiritual development.
This example comes from Hilma af Klint's Serie US Grupp 8 from 1913. The picture on the right, where I train Qigong was taken in 2002.
Below are more examples from Hilma af Klint's Serie WUS / Sjustjärnan Grupp 6 Evolutionen from the beginning of 1908.
Conformity between sections of my qigong training and motives from Hilma af Klint's Serie WUS/Sjustjärnan Grupp 6 Evolutionen from the beginning of 1908.
More examples of consistency between my qigong training and Hilma af Klint's Serie WUS/Sjustjärnan Grupp 6 Evolutionen.
Hilma af Klint's painting Aftonfrid (Evening peace) from 1907. This painting was as Hilma saw it completely painted by her as a spiritual medium. She did herself not know what the painting represented, except that it appeared to be a forest landscape in evening light.
View from my workroom in 2003
Suddenly one day in 2003, I realized that the view from my workroom was conforming with Hilma's painting Aftonfrid from 1907. Hilma's motif had taken physical shape in my life almost 100 years after she painted it. My picture was taken on the evening of 12/8 2003.
Through the great advances in technology and science, humanity for the first time in history could get a more detailed picture of Saturn's rings through the photos taken by the space probe Voyager 1 in 1980. I eventually discovered that the development of our knowledge of Saturn's rings was documented in Hilma's painting Kunskapens träd nr 6 above.
Saturn's rings documented by Voyager 1 in 1980 (Source: NE)
To the right in Hilma af Klint's painting Kunskapens träd nr 6 above, you can see Saturn's rings with their strangely regular patterns of black "dots". This pattern was documented for the first time in history in 1980 by Voyager 1, and Hilma could of course not have seen any picture of it when she made her painting in 1915.
Through the space probe Cassini, mankind got an even more detailed picture of Saturn's rings. I discovered that the left part of Hilma af Klint's painting, Kunskapens träd nr 6, depicted the new view of Saturn's rings from 2004.
Saturn's rings photographed from the Cassini space probe in 2004
Compare the picture with the left part of Hilma af Klint's painting Kunskapens träd nr 6 above.
Hilma of Klint's painting Kunskapens träd nr 6 from 1915 thus contains two different views of Saturn's rings from our time. The driving force for this transfer of information between my life and the life of Hilma af Klint was the karmic interest in understanding the universe's structure, which has been manifested in many incarnations.