Gallery of Soul Portaits & Energy Signatures

One of the main themes that came in as I initially meditated on these Archangels was the six-sided crystal formations in light blue, with the pink circle in the background. This is the ‘essential’ energy signature of Charmuel and Charity. To me the crystal forms indicate the ‘crystallization’ of ideas into a definite structure. This in turn reflects how the 3rd ray energy represents the crystallization of abstract ideas into definite forms and structures that can be practically applied to life.

This light blue crystal formation is above a large sphere of yellow light looking like a Sun, which you can see is now in the central part of the actual portrait. This embodies the very active and life-giving energy of the Archangels, and of the 3rd ray. It is an energy that helps us to actively accomplish tasks that we have set ourselves.

In the lower portion of the picture there is a red four-pointed form outlined in violet. This is a connecting point between the energies of the 3rd ray Archangels and the energies of the Earth on a 3rd dimensional level.

In the background there are a pair of wings and a pair of hands, again emphasizing the active and accomplishing energy of Charmuel and Charity that can help us to accomplish our tasks on a day to day level. On either side there is bamboo. Bamboo has the quality of being light and flexible, yet strong. I felt this was a suitable embodiment of the energy of Charmuel and Charity as they might appear in the plant kingdom.

Image and Text ©Toby Ouvry July 2006.

In this Soul Portrait I felt guided mainly to try and create an image of Archangels Gabriel and Hope in a way that communicated their connection to Nature and the Devic kingdoms, which over-lights the growth and development of our natural environment. I also wanted to create an image that communicated harmony and the creative spirit which Gabriel and Hope are so full of. The energy of the two Archangels is represented by the two four pointed star formations, amidst the branches of a tree, with () a ‘skyscape’ in the background.

Image and Text ©Toby Ouvry July 2006.

The 5th ray Archangels and Angels have strong healing qualities, and this soul portrait shows their combined energies working on the healing of the earth. Mother Mary is represented as the hooded figure in blue, whilst Raphael is shown by an orange (the colour of the 5th ray), pink and yellow heart in the centre of the composition. Their hands can be seen radiating light to the earth in the lower third of the composition, whilst their wings are spread across the Universe in the back ground One of the main ideas that I was trying to convey is the combination of loving and yet very precise and scientific healing that I felt when I contemplated the 5th ray Archangels and Angels and the work that they do for humanity and for the earth. I hope that this picture may prove to be an inspiration for people to become loving and scientific healers of the earth in their daily lives and work.

Image and Text ©Toby Ouvry November 2006.

In the centre of this piece is the indigo sixth ray flame, surrounded by the wings of the Archangels. Uriel’s wings are in green and Aurora’s are in pink. Beneath the Archangel’s wing there is a stone doorway, within which is the image of the sun rising over a chalice. The idea with these two symbols was to convey the energy of the sixth ray, which is fiery as well as being deeply emotional and receptive.

The upper part of the image is a little more AA Aurora, and the lower part is a little more AA Uriel. The upper part of the portrait behind the wings shows a skyscape in blues, with windows in it, through which can be seen green, yellow and rose coloured light. By doing this I was trying to give the impression of a ‘Sky Cathedral’ inhabited by the 6th ray Archangels and Angels. In the Lower part of the picture you can see columns interspersed with trees, as if the sky cathedral is supported at the base by both stone columns and the ‘columns of nature’ the trees.

Image and Text ©Toby Ouvry December 2006.

The figure seated on a golden chair, holding a crystal egg-like structure, and channeling violet light into the Earth was the first clear image that came into my mind when I meditated in preparation for this soul portrait.

Framed from behind by the wings, this Archangelic figure sits holding the crystal as if in a magical ceremony, magic being one of the main themes of the seventh ray. The violet/purple energy flows through the soles of the feet of the seated Archangel, transmuting and purifying polluted and imbalanced areas of the earth, and providing structural blueprints for life on earth to grow in harmony with God’s laws.

The faces of the Archangels themselves can be seen in the top corners, Zadkiel on our right within the Sun, and Amethyst on our left within the Moon. The seventh ray angels are depicted as butterflies flitting around plants and flowers.

Image and Text ©Toby Ouvry February 2007.

Archangel Sandalphon is the Archangel over-lighting the physical plane and the energies thereof. Consequently, in this soul portrait you can see a tree and a leaf formation interpenetrating one another. This gives an impression of solidity and grounded-ness, as well as of the complexity, subtlety and beauty of nature and the earth plane. There are three circles at the bottom, middle and top of the portrait. The lower red form is the energy of the earth element, the middle circle the water element, the upper circle the fire element. The colours surrounding and radiating from the circles further emphasize their connection to their particular element. The air element is pervasive, throughout the picture. The black and purple ‘skyscape’ in the upper portion of the picture connotes the receptive and feminine aspects of the earth plane and of Sandalphon, as well as his darker aspects.

Image and Text ©Toby Ouvry May 2006.

May 2005

The central structure for this portrait of the I AM University was the Star of David (Violet), Wheel of Dharma (Gold/Yellow), and the Cross (light brown). These three forms embody the paths of Judaism, Buddhism, and Christianity respectively. I wanted to make the colours and forms geometrical to give it a slightly Islamic feel (Islamic artforms often express their faith in terms of geometrical forms). There is also a formalized sun (gold) and moon (silver/white) to connote both the Taoist path of Yin/Yang balance, as well as Masculine/Feminine, God/Goddess balance.

The colours of the rays radiate from the intersections of the wheel, the ray of synthesis being in the centre, and at the top. Overall, I tried to give the impression of the I AM University as an inclusive, expansive and integrated energy that is universalistic and eclectic, whilst at the same time being precise and in depth in its structure!!

23rd January 2005

This image initially came through as a red circle, with other colours moving in and out from the centre. The red ring is indicative of a powerful and energetic personality which is able to hold down quite a few different tasks at once, whilst there are lots of different energies coming in and out of your Gloria’s sphere! This theme of ‘multi-tasking’ is then amplified by a tree that has many branches with hands on the end, indicating all the different activities that Gloria is engaged in! The hands are blues and violets at the bottom, reaching down , indicating bringing spiritual energies down to the earth. The upper hands in turn are more earthly colours indicating bringing grounded-ness and ‘down-to-earthness’ into the spiritual realms! This theme is also indicated by the green plant growing in the upper part of the tree, surrounded by the more spiritual energies, indicating the integration of spiritual and earthly within Gloria’s being!

The picture is also anthropomorphic in as far as it shows the spiritual energies coming in from above in yellow (3rd ray energy I think) and proceeding down through the torso to feed the roots that are growing into the earth.

July 2005

This image came thru quite clearly and quite intuitively. I wanted to make the image not just a Soul Portrait of Lady Nada, but also an image that can be meditated on in order to cultivate particular qualities within self. So here, the image I see as being like a co-creation between myself and Lady Nada, resulting in a final composition that can then be used for a specific purpose.

In this case, this image is designed for: Those who want to develop their mastery of the intuitive and feminine aspect of self, cleanse their subconscious mind and develop a strong sense of inner love, humility and peace. The central swirling circular blue-green form is the 8 th ray of higher cleansing (said to be particularly useful for cleansing the sub-conscious mind). The back ground is in soft blues and blacks, connoting the night, and the feminine. The theme of the feminine is further enhanced by the two pink flowers at the bottom. At the upper right (as you look) there is a golden star form, radiating warmth, comfort, nurturing and hope thru—out the picture. All of the major forms in the composition are very flowing and embracing.

July 2005

This portrait of Quan Yin is based on a clear image that I got upon meditation, and really then just drafting it out into a picture.

It has an almost skyscape quality, the background being made up of blue’s, magenta’s indigo’s and blacks with white/silver cloud formations in the lower half.

The portrait has a very tonal, feminine quality. The main feature is a kind of violet star formation from which pulses a soft violet & lavender light. There is also a piece of beautiful blue material coming from this form. It has an organic and flowing feel, while at the same time being focused and strong. Also it combines a feeling of age, while at the same time still being beautiful,strong and vital.

Above this there is an orange/pink light formation, that seems to carry a lot of intelligence and awareness, I thought of the pink and orange combining the energies of love and the Goddess combined with a scientific type of precision.

The golden bubbles are like different aspects of Quan Yin’s consciousness radiating out from her in order to bless and guide those under her care.

May 2005

My first main image that came through for this portrait was the golden wheel suspended above the blue bowl. The wheel is a ‘Wheel of Dharma’ or wheel of truth. To my mind this has the connotation of the development of one’s inner sight & understanding that comes from the clearing of delusion and fear based thinking from one’s consciousness. Gold is the colour of the Buddha, or the Christ within. The wheel has jewels on each of the spokes, earthly colours at the top, more ‘spiritual’ colours at the bottom. I think of Lord Buddha in his role as Planetary Logos as being someone who particularly brings together the energies of heaven and earth.

The bowl is receiving much energy (reds and blues) from Spirit, the moon is a reference to the full moon in Taurus (The Wesak Festival), when Lord Buddha receives energies and light from God, which is then distributed to the Planetary Hierarchy. The energy and light can be seen radiating downwards from the bowl, being distributed to the Planet!

There is a yellow/gold tree form interpenetrating the main forms. This is a reference to the ‘Bodhi Tree’, or tree of Enlightenment, or Tree of Life. The Moon and night sky are symbolic of the cooling and calming nature of Buddha’s blessings, helping all sentient beings to find inner peace and connect with their Buddha Nature!

April 2005

There are three principal geometrical shapes at the centre of this portrait. In the centre there is a green octagonal jewel, above this is a pink diamond, and above this is an octagonal orange form. The green is the heart centre of Maitreya, the orange is the ‘mind centre’, like a third eye. They are connected by the pink diamond, showing that Maitreya’s heart and mind are totally integrated thru his Mastery of Christ/Buddha/God consciousness.

Maitreya’s heart and mind center’s are octagonal in shape indicating that they contain within them Mastery of the seven rays, and of the ray of synthesis.

There is an interplay of light and dark blue forms in his energy, which is his embodiment of the second ray love/wisdom energy in particular.

At the bottom of the portrait are Maitreya’s feet, which give the portrait an almost anthropomorphic feel, it almost looks like he is seated on a throne staring regally down at us! I thought this was appropriate considering he is this planets ‘Master of Masters!’

The interplay of the colours and forming this portrait are playful and gentle, whilst at the same time being powerful and assured, and I felt like I was being given an inkling of what it is like to be Maitreya!

June 2005

In this portrait I was a little influenced by Islamic art, where they use geometrical shapes, letters and forms to represent the divine.

The shapes and forms are arranged to make a robust and strong series of patterns, whilst at the same time, the colours are strong, but not to loud. The feeling I get with Allah Gobi is that his energy is strong and powerful, but it is not something he makes a show of!

The square and rectangular shapes are juxtaposed with circles, showing a balance of the masculine and feminine energies. Much of the colours that play out in the portrait are reds and blues, which are the interplay of planetary and cosmic first ray energies respectively, which Allah Gobi is intimately connected with.

Spiritual fire radiates from the central red circle, which could be thought of as the fires of God radiating from the heart and mind of Allah Gobi.

Allah Gobi is reputedly quite a quiet character, a Master of few words, so I don’t want to say to much more, enjoy!

The starting point for this Soul Portrait of Djwhal Khul was the blue letter HUM in Sanskrit in the centre. I felt that this was an appropriate image for a few reasons: Firstly it embodies DK’s enthusiasm for spiritual knowledge, and his vast esoteric learning. Secondly, the HUM in Buddhism is a symbol for the clear light mind, or the clear light of God, which is considered one of the supreme objects of attainment in both eastern and western mystery schools. So the clear light mind is something that brings together eastern and western traditions of spiritual knowledge, and DK has done so much in his own teaching to bring together east and west into an eclectic and unified whole!

The patterning and lettering on the left and right are more eastern in flavor, but the arches and columns are more church-like and western, so again here is the theme of unity of east and west, embodied in the consciousness of DK! I was also reminded by the architectural features of the halls of learning on Sirius, which is where DK would now call home I guess.

There is a multi-coloured crystal formation at the top of the picture radiating many coloured lights, which is DK’s love and embodiment of synthesis. I also thought the crystal formation was a little bit like a harlequin pattern, which reminded me of the humorous nature of DK!

The main image I got before the start of this portrait was a head revealing the brain structure. This felt quite appropriate as Master Hilarion over-lights the ray of concrete science!

The right brain is built of organic, curved lines to indicate the intuitive, emotional, feminine side. These curved shapes radiate curved lines and a lot of green energy, further emphasizing the right-brain function

The left brain is made up of structured, strait lines interlocking each other. This is to emphasize the more mental, structured and masculine function of the right brain. There are reds, oranges and yellows radiating from this side of the brain to further emphasize the more structured left-brain function.

Overall the colours radiating from his brain convey a feeling of harmony and balance between the two sides of the brain, and shows how Hilarion helps humanity to achieve this balance thru his use of scientific energy.

The 3rd Eye is an orange crystal, from which the light of the orange 5th ray radiates and pervades the picture.

There is quite a lot of Gold radiating from him, showing the Christed way in which he uses his Spiritual and Scientific capabilities.

The brown semi circle around the top of his head that curves up at the sides is actually meant to be a ‘bowler hat’. This is an old English hat that gentlemen used to wear in the 1st half of the 20th Century. When I think of Hilarion, I often see him in this type of hat. To me it kind of conveys the energy of ‘friendly precision’ and ‘informal attention to detail!!’

21st January 2005

One of the most powerful feelings I got when doing this piece was as sense of tremendous power of communication combined with an irrepressible enthusiasm and ‘innocence’! Consequently one of the central features in this energy portrait is a mouth which is red inside (signifying energy and power) and superimposed on this there is the image of a child with his arms raised aloft looking like he is in the midst of a joyful celebration. Joy was another major theme that came out as I worked, and the facial features in general seem to have a sense of geniality and humor about them, and a sense of performance and ‘story-telling’ in the higher sense of the word! The eyes are ‘full spectrum prism eyes’, which is a wisdom theme, and the theme of wisdom is also reflected in the violet of the beard, ears and around the eyebrows. The blue coming in from above and between the eyebrows is 2nd ray energy coming in from the monad (?). This in turn flows down to the mouth indicating the theme of spiritual education connected to Joshua’s power of expression!

The whole facial structure is placed in a naturalistic setting, which to me was trying to indicate a kind of ‘Earth Father’ type feel, a connectedness and resonance with the elemental realms and the planet in general!

The lamb on the bottom left gain returns to a sense of joyfulness and purity, like the ‘Lamb of God’.

The wing motif in Master Kuthumi’s portrait has two main connotations. Firstly they look like Angels wings. Kuthumi is the Lord / Chohan of the 2nd ray of love/wisdom, and these wings show that Kuthumi’s love is all embracing, and embraces us like angels wings. The second is a reference to nature and the nature kingdoms. As St Francis, Kuthumi enjoyed a special relationship to the animal kingdoms, and this, for me came out quite strongly in his energy signature.

This connection to the nature kingdoms is further emphasized as the wings/bird form sits within a nest in a tree. The nest also emphasizes the nurturing and loving qualities of Kuthumi and the 2nd ray.

In the centre there is a chalice/cup form, in pinks and greens, pinks again emphasizing the love aspect, and greens the heart chakra. The pinks, greens and blues mix thru-out the picture.

After I had done this portrait, I realized that there was a Tree of Life, that was being fed by the Water of Life, which is in the River of Life (flowing behind the tree). I thought this was very interesting as Kuthumi was (according to my understanding) John in the Bible, who wrote the ‘Revelation of John’ where the image of the Tree, River and Water of Life originates. So I think Master Kuthumi is in this work inviting us to grow and evolve our own ‘Tree of Life’ within ourselves!

June 2005

In this Soul Portrait of Master Paul, the main feeling that I got was to create a composition of forms and colors which harmonized the usage of structured and formal elements with organic and free flowing ones. This could also be described as combining more architectural forms with organic ones.

The two major energy centers almost look like stain glass windows. The organic purple and brown forms extending from their edges make them look a bit like flowers or crystalline forms seen from above. The top energy center looks more feminine, the lower one more masculine.

They have several spherical forms surrounding them, I kind of felt that these were spheres of wholeness and joy. Finally, there is an obvious and strong connection to the nature and Devic kingdoms.

There was a message that I channeled from Master Paul, when I asked him to help me with doing a Soul Portrait of him and this was: "God is the only real Patron of the Arts!" which I thought was a nice quote, and this image is really a response to it!

’There is no Crown without the Cross’ - The Universal Mind

The main imagery in this Soul Portrait of Sananda is the ’Crown of Life’ (Enlightenment) juxtaposed with the Cross ( The death and sacrifice of the lower self). The idea to do a Soul Portrait of Sananda this way came to me after reading the chapter in Dr Stone’s Sananda Correspondence Course whose title is the Universal Mind quote above.

For me this image embodies a lot of what I find meaningful in the example of Jesus in his life embodying the Christ on earth. Sananda was prepared to sacrifice his own mortal life in order to accomplish enlightenment. He was also fully prepared to sacrifice and crucify his own lower self in order to do this. The centre of both the crown and the cross is a pink and green crystal formation, symbolic of the energy of unconditional love and the heart chakra. These colours, together with the gold and yellows of the crown play out as a main theme in the portrait.

The reds and darker greens radiating from the chakras in the hands try to give the dual connotation of enlightened healing energy, whilst at the same reminding us of the holes created by the nails that would have fastened Sananda to the cross when he was crucified. So the theme of a sacrifice made for one’s ascension and enlightenment, and for the benefit of ones fellow men and women is echoed here as well.

The indigo/dark blue within the crown is a reference to Sananda as the Chohan of the Sixth ray of Devotion. All in all I felt Sananda was encouraging us in this portrait to go for the Crown of God and Self realization, and to have the courage to sacrifice our lower selves for this purpose!

The theme of a Single eye, like a third eye, within a pyramid was an obvious one to me for Master Serapis from several points of view. Firstly his incarnations as an Egyptian Master, secondly his 3rd ray ashram of active intelligence being located in Luxor, thirdly the eye indicating alertness and active seeing, and the pyramid being a very grounded structure, broad at the base and narrow at the top.

There is much light and energy being brought into the top of the pyramid from the higher dimensions, indicating a lot of active grounding of spiritual energy onto the earth plane. These light energies are then being drawn into the base of the pyramid, from where they are being projected out into the earth’s atmosphere as light languages and sacred geometries, to be picked up telepathically by Christed businesses and organizations thru-out the world!

I tried to give the impression of profound esoteric knowledge being combined very comfortably and masterfully with practicality and grounded ness, which are principal impressions I get from Master Serapis.

On the left side of the picture it is daylight, the right side it is night-time. The idea here was to show that although Master Serapis is very active, he also balances this very well with his receptivity and ability to relax and ‘chill out’! I think this is a nice example for many of us today who are very busy and workaholic, but unable to combine this with just being!

If you put the sun, the moon (eyes), the tip of the pyramid (nose) and the central eye (mouth) together, you get a face. This was not intentional, but it is quite an interesting impression of what might be a ‘Serapis Face’!!

I felt it appropriate to do this Soul Portrait of St Germaine as an actual figure, because St Germaine has a very personable and approachable energy, and he is very socially cultured. So he appears here before us in a very approachable and ’human’ way!

The portrait shows him enjoying his new position as the ’Mahachohan’, over-lighting the planetary development of the third ray, and the four sub-rays (rays 4-7) into which the 3rd ray is divided. He is wearing a waistcoat which has three ’buttons’ on the front which embody the first 3 rays (red ray one, blue ray two, yellow ray three). Rays 4-7 radiate from the ’sequins’ at the four edges of the waistcoat. Thus the colours of all seven rays radiate from him.

He still has much violet energy, which is radiating from his third eye. There are two jewels radiating from his forehead that contains within them the colours of all the seven rays. This is basically a portrait of him enjoying his new post!

May 2005

OK, I have to come clean about this Soul Portrait; actually, it was a bit of an accident! My original intention with this was to do a Soul Portrait of Lord Maitreya, but I had recently been listening to a lot of the music of Mike Rowland, whose material deals a lot with Nature and the Devic Kingdoms.

So when I started to do the portrait, suddenly a lot of organic forms started to pop up on either side of the central colour structure (which was Lord Maitreya). I thought about it as I was going along, and decided to ‘go with it’, and the picture you see is the result!

I quite like it because to me it juxtaposes the energies of Lord Maitreya and the Spiritual Hierarchy next to the energies of the Nature Spirits and Devas, showing how they work together in perfect harmony. I hope humanity may be able to harmonize with our environment and the other kingdoms in the same way!

July 2005

This portrait is a reworking of an earlier image that I got for the Violet Master. I see it as a co-created image that can be used for meditation and intuitive assimilation of the qualities of:

Order and Structure, Alchemy and transmutation, Ceremony and Magic, the Grounded Spirit. Also in general for the absorption of the higher aspect of the energy of the 7 th ray.

The central image is that of a Faberge Egg (as in those commissioned by the Russian Tsars). One of the reasons for this was that these eggs connote refinement, culture and craftsmanship, which is to me one of the aspects of the 7 th ray and the Violet Master himself. Another is that the egg is symbolic of birth, and the 7 th ray is over-lighting the new birth of the Aquarian Age, as of the year 2005. The seven coloured leaves arising from the top of the egg indicate the themes of the integration and synthesis of the seven rays, which is a touchstone for the new Aquarian age.