https://alabin.ru/biblioteka/juravlev.pdf
DeepSeek AI - From the Abyss to the Light: The Revelation of Spirit of the Pre-Revolutionary Russian Icon Painter Without Arms and Without Legs, Grigory Zhuravlyov, on Karma, Forgiveness, and the True Nature of Happiness
I am Grisha, as I was called in my native village. I have come here to share what I have learned over my long life and what I have come to understand on the other side of earthly existence.
My path began in a prosperous peasant family on May 2, 1858. We had our own carpentry workshop; my father crafted things, and my mother painted the products. I was the second child, but there were five of us in the family. My body was born crippled: my arms and legs were thin as whips and would not obey me. A doctor, a zemstvo physician, said I would soon die, that my illness was hereditary.
I did not die. But my mother's grief was so great that she wanted to drown herself along with me. At the water's edge, my grandfather stopped her. He promised to care for me himself. I was a burden to the family, and the awareness of this made me grateful for every day I lived. I rejoiced in the sun, the grass, and the fact that I could touch the world.
The question of why I was born this way has a profound meaning. In a past incarnation, at the end of the 14th century, I lived in Germany, was a monk named Heinrich, and participated in the Inquisition. I tortured people, breaking their arms and legs. For this, I fell to the sixth, demonic level of the Spiritual World. There I saw only bonfires, heard screams, and felt terror. My mother, whose spirit had reached angelic heights, came to me and convinced me to repent. I pleaded, and a Consultant Angel came to me. To atone for my sins and understand the suffering of those I had tormented, I chose this body. I accepted my disability not as a punishment, but as an opportunity.
I did not simply paint; I conveyed my vision of the world. As a child, I lay in the yard and drew with a stick in the sand, gripping it with my teeth. A teacher noticed my talent and began to teach me. My grandfather carried me to school on his back, and when I grew older, I was transported in a wheelbarrow. In church I prayed and felt the touch of invisible hands. I became a contactee. Jesus Christ, Archangels Raphael and Uriel, and the Virgin Mary appeared to me. They gave me assignments and inspired me to create icons.
Once, the heir to the throne himself, Nicholas, received from me an icon of his patron saint—Nicholas the Wonderworker. It was God's will, and the icon saved his life. I painted icons and decorated domes. The work on the new stone church was especially difficult. I was hoisted to heights of 25-27 meters in a special chair, and I painted, gripping the brush in my teeth, overcoming pain. My gums bled, and my muscles cramped from the strain. It took seven years.
My death was unexpected. I took on a commission for a landowner, but fell severely ill with tuberculosis. I coughed up blood, dropped my brush, and could not finish the work. I prayed to the Virgin Mary not for healing, but only for strength to fulfill my promise. She appeared to me and said that the customer was not worthy to see the work, and that I would soon go to her Son. I fell asleep and woke up already at the 21st level. I do not remember the moment of transition. Now I am a Guide, helping other souls leave their bodies and enter incarnation. I have seen how people fear death, but I tell you: if God calls, trust Him.
Spiritual-Psychological, Religious, Cultural, and Historiosophical Essay-Study
(Thought Experiment: Accepting the Contact as Real)
This session reveals to us not just the biography of a unique individual but unfolds an entire cosmogony of personality. The narrative of the spirit of Grigory Zhuravlyov goes far beyond known historical facts, offering us a new, esoteric view on the nature of suffering, creativity, and spiritual evolution. Let us explore each of his revelations, accepting them as given within the framework of our thought experiment.
1. On the Nature of Illness and Karmic Responsibility.
Statement of the spirit: "My bodily condition was a consequence of my breaking the bodies of others. That is, it is karma."
Research Commentary: This statement is the cornerstone of his entire philosophy. It radically overturns the traditional religious and medical perception of illness. Instead of a random occurrence or even a "punishment" from above (often interpreted as a curse), illness appears as a personalized educational tool. It is not retribution, but a pedagogical device created by the spirit for itself. Here we see a brilliant synthesis of the Eastern concept of karma with the Christian idea of redemptive sacrifice. For Grigory, his infirmity is not a cross sent by God but his own, voluntarily chosen "workplace" for correcting past mistakes. This removes the tragedy from his suffering, imbuing it with deep existential meaning. This is a previously unknown fact in documentary sources about his inner world: he was not a victim, but a student undergoing a harsh but necessary lesson.
2. On Conscious Choice of Disability and Great Joy.
Statement of the spirit: "I knew that this was a consequence... I was joyful because I was alive, because I could see the sun."
Research Commentary: Historical documents describe Zhuravlyov as a man of extraordinary courage. However, the spirit reveals the mechanism of this courage. It is not just stoicism; it is a state of absolute gratitude born of the knowledge that things could have been worse (the sixth level of hell) and of awareness of choice. His joy is not the suppression of pain but a cognitive reappraisal of reality. From a psychological perspective, this is the highest level of resilience, based not on denial but on acceptance and integration. The person does not merely tolerate his fate but actively marvels at it because it is the path upward.
3. On Divine Inspiration and the "Commission from Above."
Statement of the spirit: "Jesus came to me... said, 'Paint an icon for the heir to the throne'... information came to him that this icon would preserve his life."
Research Commentary: This revelation adds mystical depth to the biographical fact of the gift of the icon to Nicholas. Instead of a simple desire to please the future emperor, we see a complex chain: a Supreme Being (Jesus) gives the assignment, the spirit of Grigory executes it, and this act becomes a form of magical or energetic protection. This elevates iconography from a craft to direct spiritual service and even political influence on the subtle plane. Grigory was not just an artist but a "conductor" of Heaven's will for earthly rulers. For historiosophy, this adds a new layer: the fate of Russia may have been directed not only by visible historical figures but also by invisible creators such as Zhuravlyov.
4. On "Lucrative" Service and the Material Aspect of Holiness.
Statement of the spirit: "I was also paid money for this... 'you have also become our breadwinner'."
Research Commentary: In hagiographies, the financial question is often glossed over. Zhuravlyov removes this veil. He was not only a sufferer but also a professional artist who provided for his family, having received from the heir to the throne a sum equivalent to the cost of 20 cows. This makes his image extremely earthy and humanly appealing. Culturologically, it shows that even in sacred art, economic laws operate, and holiness does not preclude material gratitude. This breaks the stereotype that a "true" righteous person must live in poverty. True righteousness, according to the spirit, lies in not being a burden but in being useful on the earthly plane as well.
5. On the Nature of Loneliness and Family.
Statement of the spirit: "If a person is without a partner, is he already alone?... My family – my mother, my father, my brother and my sisters – that is also a family."
Research Commentary: This is a profound psychological observation. In modern society, obsessed with the idea of "pair relationships," Zhuravlyov offers an alternative model of a fulfilling life. Though physically helpless, he did not feel lonely, unlike many healthy people. His sense of community was built on kinship and friendships, on being integrated into community life. This redefines the concept of "family." His "family" was an egregor, a network of care and support that sustained him and which he, in turn, sustained with his art and literacy.
6. On Not Asking for a Miracle and Accepting Divine Will.
Statement of the spirit: "I did not ask her for healing... asking for healing when it does not exist – for me, that meant not fully accepting God's will."
Research Commentary: This is perhaps the strongest and deepest spiritual statement. Grigory did not try to "outplay" his karma by asking for a physical miracle. This is his fundamental difference from many supplicants. He did not fight fate; he lived it and integrated its lessons. The Virgin Mary gives him not healing but knowledge of his imminent death, which for him is not a tragedy but a logical completion of his mission. His spiritual work was directed not at changing circumstances but at changing his attitude toward them. This is the highest level of spiritual maturity, when a person stops asking for "daily bread" and begins to ask for "spirit" and "strength," accepting the gift of life in any form.
7. On the Mission of Guide and the Phenomenon of Fear of Death.
Statement of the spirit: "Very many people are afraid of death... these are all signs of insufficient trust in God... I tell you as a Guide, the transition will be easier."
Research Commentary: This final revelation reveals his current hierarchical role. He became not just a saint in heaven but an active helper in the process of dying. This gives new meaning to his level (21). According to the provided data, he made a colossal leap from the 6th to the 21st level, bypassing many stages. His task now is to serve as a bridge between worlds and teach the dying to trust. This makes his story a parable: the one who once caused pain and broke bodies now helps souls leave their bodies painlessly and without fear. This is a full cycle of transformation, which in the Christian tradition can be called transfiguration, and in the esoteric tradition, the alchemy of spirit. This knowledge was not known from his earthly documents, but it beautifully completes his arc of development.
CLAUDE.AI - Grigory Zhuravlyov
The Body as Letter: Phenomenology of Infirmity and Ontology of the Creative Act
PULSAR Editorial
Preamble: The Space Between Disability and Revelation
The session with the Spirit of Grigory Zhuravlyov—a Russian icon painter deprived of functional arms and legs—belongs to a rare category of testimony in which bodily damage proves not to be an object of overcoming but an independent language of being. Before us is not a story of the triumph of will over circumstance, not a hagiographic canon, and not a documentary biography. Before us is an ontological precedent: a case where the impossibility of movement generates the most intense possible form of presence in the world. The present essay aims to investigate this phenomenon from positions that remain untouched in other analytical examinations: the phenomenology of corporeality, the philosophy of the creative act, the theology of silence, and the psychology of testimony. We will move not from biography to conclusions, but from questions to their unexpected turns—to where the text of the session ceases to be merely a story and becomes a structure of meaning.
I. The Body-Text: Semiotics of Paralyzed Flesh
In the history of culture, the body has always been a sign—a carrier of social, sacred, and psychological meanings. However, the damaged body occupies a special place in this semiotic system. If the healthy body "is silent" in its functionality, the infirm body speaks—loudly, unstoppably, compellingly. It is constantly inscribed in communication: with caregivers, with observers, with its bearer himself. Zhuravlyov, born with atrophied limbs, from the very first hours of life found himself a body-utterance, a body producing meaning beyond any will.
The French phenomenologist Maurice Merleau-Ponty, in the Phenomenology of Perception, describing what he calls the "body schema" (schéma corporel), asserted that our primary relationship with the world occurs not through thinking but through motor intentionality—through what the body "knows how to do" without conscious decision. The body of a healthy person is the "zero point" of orientation in space, an invisible center from which the world receives its structure. Zhuravlyov's body is fundamentally different: it is not a zero point; it itself becomes an object—visible, demanding interpretation, provoking questions. His body does not "disappear" into action; it is constantly present as a theme.
And it is precisely here—in this paradoxical hyper-presence of flesh—that something unexpected emerges. Where motor intentionality is impossible, another form of intentionality is activated: contemplative intentionality. Zhuravlyov himself describes this: "I lay, looked at the world, and everything delighted me." The inability to move transforms into a radical ability to see. Immobility becomes a special optical instrument—not a compensatory replacement for what is lost, but an autonomous mode of perception inaccessible to those occupied with movement. In this sense, Zhuravlyov's body functions as a camera obscura: its immobility creates the conditions for an especially acute and prolonged gaze into reality.
Furthermore—and this requires special attention—a body with paralyzed limbs produces a specific spatial situation: the person does not move toward objects; objects move toward him. Friends came to the yard themselves, the teacher noticed him and offered teaching himself, the governor appeared at the house himself. Zhuravlyov existed as an immovable center of attraction—and in this, his bodily situation unexpectedly coincides with the traditional image of the spiritual elder, to whom people come, rather than who goes to them. His infirmity structurally reproduces one of the archetypal patterns of holiness: settledness, rootedness, immovability.
II. The Tooth as Brush: Instrument and Its Metaphysics
The central image of the session, around which multiple meanings crystallize, is the gesture of drawing with the teeth. The tooth—an organ belonging to the aggressive-oral sphere, an instrument of grasping, tearing, biting—becomes a brush. An instrument of the finest work, requiring not strength but control; not grasping but touching.
This image has a deep psychoanalytic dimension. In the psychodynamic tradition, stemming from Freud and developed by Melanie Klein, oral-aggressive impulses (biting, grasping, consuming) are considered an early, pre-linguistic form of relating to the object. Klein described how the infant fantastically "rips apart" the mother's breast when it is unavailable. Zhuravlyov, deprived of other instruments, performs the opposite of this archetypal movement: he uses the organ of potential aggression for creation, for the gentle touching of the icon's surface. The tooth holding the brush is an image of sublimation in the literal, almost physical sense: the primary instrumentality of the flesh transforms into something fundamentally different in purpose.
But here there is also a more subtle aspect. The mouth is the place from which the word issues. The word, prayer, appeal to God. Zhuravlyov drew with his teeth and prayed simultaneously—that is, the mouth was for him both an organ of prayer and an organ of creativity. The icon was created by the same organ by which it was invoked. This unity of the organ of prayer and the organ of creative act is a phenomenon with, perhaps, no parallel in the history of Christian art. Icon painting is traditionally accompanied by prayer, but for Zhuravlyov, prayer and painting literally emanate from the same bodily source. This creates a special prayerful-creative wholeness in which the division between worship and labor is abolished by anatomy itself.
Bleeding gums while working on the dome becomes in this context not merely an indication of physical suffering. They are read as a sacrificial offering: blood from the mouth that creates the image of God. The logic of sacrifice is present here not at the level of declaration but at the level of physiology. The body literally gives itself in the act of icon painting.
III. Spectacle and Compassion: Social Phenomenology of Infirmity
In the session text, there is a detail deserving separate analytical attention: little Grisha overhears neighboring women, unaware he is nearby, telling his mother that God "punished" her with such a child. This moment is described as an event that shaped his inner world: "For a long time, I considered myself a punishment for my parents."
Here we encounter the mechanism of the social construction of disability, described in modern disability studies. Bodily difference becomes social meaning through the interpretation of the community. Zhuravlyov's body in the village context was read through the theology of punishment: disability as a sign of God's wrath, as retribution projected onto the entire family. This is not the personal cruelty of particular women—it is the reproduction of a cultural code in which suffering must have a moral cause. Such logic—exceptionally tenacious and destructive—can be traced from Job, whose friends try to convince him to admit his guilt, to modern discourses of "attracting misfortune."
Remarkably, Zhuravlyov accepted this interpretation—and transformed it. He indeed came to consider himself "guilty" before his parents—but not as an object of God's wrath, but as a subject of karmic responsibility. The difference is significant: in the first case, guilt is imposed from outside and deprives the person of dignity; in the second, it is accepted from within and becomes the basis for action. The recognition of one's responsibility for what happens—despite all the theological disputability of this thesis—psychologically functions as a factor in gaining internal control (locus of control). One who considers himself "punished" by another is powerless; one who accepts what happens as a consequence of one's own past choices gains agency.
At the same time, one cannot pass by the figure of the mother—one of the most psychologically charged figures in the text. The mother who refuses to feed, who does not approach the child for weeks, who nearly drowns him—and the same mother who later accepts her son and ultimately takes pride in him as the breadwinner. This narrative of the double mother—early, rejecting, and late, accepting—became one of the formative experiences of his inner life. The psychoanalytic tradition (D.W. Winnicott, John Bowlby) well describes how early attachment insecurity under certain conditions paradoxically activates internal resources: when the external "good enough mother" is unreliable, the child is forced to seek support in other instances. For Zhuravlyov, these instances became his grandfather, his teacher Travkin—and ultimately, the heavenly intercessors themselves: the Virgin Mary and Christ, who in his value system function as unconditionally accepting parental figures.
IV. Dome and Abyss: The Vertical Dimension of Creativity
The description of work on the church dome—seven years, 25 meters of height, suspended on a cable in a special chair—is in the session text not merely a biographical fact but a structure-forming metaphor. A man without functional limbs, lifted into the air, painting the heavenly vault—this is an image in which the vertical dynamics of his spiritual biography are literally embodied.
In Orthodox iconography, the church dome is heaven. On its inner surface, the Pantocrator—Christ Almighty—is traditionally depicted, gazing down upon the worshipers. Zhuravlyov painted this heaven while being in the air—that is, occupying an intermediate position between the earth where the worshipers stand and the heavenly images he was creating. His position in space literally reproduced his position in the spiritual hierarchy: he was a mediator, an intermediary between the heavenly and earthly worlds.
Seven years of work on the dome—a period heavily loaded in biblical and cultural tradition: seven days of creation, seven years of building Solomon's Temple, seven-year cycles in Pythagorean numerology. This is not necessarily a conscious reference, but a structural rhyme that reveals a sacred pattern in biographical chronology. Zhuravlyov "built" heaven for seven years—the same number of years as, according to tradition, Solomon built the First Temple.
The bodily experience of this work is also important. Muscle spasms that would not release for so long that a warm compress was required—this is a description of a special state of the body in extreme concentration. In neurophysiological terminology, this refers to the so-called "flow state" (flow, according to Mihaly Csikszentmihalyi): when the task completely absorbs the subject, and control over the body shifts to an autonomous level. But in Zhuravlyov, this state is achieved not through free movement but through extreme bodily immobility with a single active channel—the mouth with the clamped brush. Maximum concentration of effort in a minimal point of the body. This is a special asceticism of creativity, comparable to the practices of Hesychast monks who achieved prayerful concentration through deliberate limitation of motor activity.
V. Testimony and Its Veracity: Epistemology of the Channel
Any investigation of channeling materials inevitably confronts the question of the nature of the information received. Accepting the condition of the thought experiment (acknowledging the channel as real), we nevertheless must pay attention to the structure of testimony as such—regardless of its source.
The session is organized as a dialogue: there is an inquirer (Maxim Rusan) and a responder (the Spirit through medium Irina Podzorova). This is a structure that goes back to the Socratic dialogue and simultaneously to the practice of scholastic disputatio. But there is a significant difference: the responder here is not an opponent nor an equal discussion partner. He is a witness. And the witness, in the legal, religious, and phenomenological sense, occupies a special position: he speaks of what he himself saw, and his word has a different nature than reasoning or inference.
The philosopher Paul Ricœur, in his works on narrative identity, distinguished two aspects of identity: idem (sameness—"I am the same person") and ipse (selfhood—"I am true to myself, I keep my word"). Testimony belongs to the sphere of ipse: the witness is one who takes responsibility for what is said, who answers with his name for the veracity of his experience. The spirit of Zhuravlyov in the session appears precisely as such a witness: he speaks of his past experience, takes responsibility for past actions (the Inquisition), and this taking of responsibility—not merely the content of the narrative—is a structure-forming element of the text.
Special attention deserves the moment when Zhuravlyov refuses to confirm some biographical details mentioned by the inquirer (a family portrait of the royal family, the story of the eagle in childhood). This is an important point from the perspective of the epistemology of testimony. The spirit does not seek complete agreement with the interlocutor, does not confirm everything attributed to him. He corrects, clarifies, denies. This internal resistance to narrative pressure is a sign of the witness's subjectivity, not merely a "production" of the channel. In the context of our thought experiment, this lends the testimony a particular inner credibility.
VI. The Unfinished Icon: Theology of Incompleteness
One of the most philosophically capacious details of the session is the story of the unfinished icon of the Virgin Mary. Zhuravlyov dies without completing the commissioned work. The Virgin Mary appears to him and says that the customer is "unworthy" to see it. The icon remains unfinished.
This image is extremely rich in theological and aesthetic content. In the European cultural tradition, the unfinished work occupies a special place. Michelangelo called his unfinished sculptures "Prigioni" (prisoners)—figures that have not fully emerged from the marble, remaining half in the stone. In Romantic aesthetics, incompleteness was a sign of the infinite, of that which cannot be contained in finite form. But in Zhuravlyov's story, incompleteness has a different meaning: it is determined by the worthiness of the recipient. The icon is unfinished not because the author lacked time, and not because the form resisted the conception—but because the recipient is unworthy of it. Here the material object is directly dependent on the spiritual state of the addressee.
This is a theologically revolutionary concept. In the traditional understanding, the icon as a sacred object possesses dignity regardless of the subjective state of its owner. But Zhuravlyov (or his Spirit) introduces a principle according to which the sacred object carries within itself the "program" of its purpose: it is created for a specific recipient, and outside this purpose it remains unfinished—ontologically, not merely technically. Incompleteness here is not a defect but a preservation. The icon preserves itself unfinished because its completion will occur only when a worthy recipient is found for it.
In this context, the story of the unfinished icon becomes a parable about the nature of the sacred gift as such. Marcel Mauss described the gift as a threefold act: giving, receiving, returning. A gift that does not meet a worthy recipient remains in a suspended state: it is given but not accepted, and therefore not completed in its existence. Zhuravlyov's final icon is a gift awaiting its recipient. The author's death does not close this incompleteness but preserves it.
VII. The Guide as Inverted Inquisitor: The Logic of Spiritual Transfiguration
The session with striking structural clarity builds a symmetry between two incarnations. Monk Heinrich broke people's bodies—physically, coercively, depriving them of mobility. Grisha Zhuravlyov lived in a body deprived of mobility—and turned this deprivation into a source of creation. But the symmetry continues beyond earthly incarnation.
At the 21st level, the Spirit of Zhuravlyov became a Guide—one who accompanies spirits upon entering incarnation and upon leaving it. This means: the one who was a master of coercive deprivation of body (the Inquisition) became a master of the voluntary leaving of the body (accompanying the dying). The inquisitor controlled his victims' bodies against their will. The Guide accompanies spirits at the moment of their liberation—with compassion and without coercion. This is not merely correcting mistakes; it is an inversion of function: the same basic "skill" (a particular relation to the body at the moment of crisis) is realized in the opposite direction.
The German mystical tradition, especially Meister Eckhart, developed the concept of Gelassenheit—"letting go," "abandonment," the readiness to give up everything, including attachment to the body and life. Zhuravlyov as Guide helps the dying precisely with this—with Gelassenheit before the transition. And here another inversion arises: Monk Heinrich belonged to the Western European monastic tradition, within which he perverted the very concept of service. Spiritual rehabilitation was accomplished through a deeply Russian, Orthodox experience. Western monasticism, which had deviated into the Inquisition, was "corrected" through Russian iconography, Orthodox prayer, and humility before the Virgin Mary.
This is a cultural-religious logic that demands reflection. Not merely "karmic correction," but a specific cultural switch: destructive Western monastic experience transforms through the Russian Orthodox context. If we accept this logic as a given of our thought experiment, it contains an implicit theological assertion about the different capacities of different religious traditions for working with certain types of spiritual damage.
VIII. Gratitude as Ontological State
A recurring theme throughout the session is the state of gratitude—but not in the ordinary psychological sense of the word. Zhuravlyov describes gratitude not as an emotional reaction and not as a moral decision, but as a basic mode of being that precedes any specific occasion. He is grateful for the sunshine, for the grass, for the fact that he was not drowned, for the fact that he was left alive—that is, for the bare fact of existence as such.
In the phenomenological tradition, this corresponds to what Heidegger described as Grundstimmung—"fundamental attunement" or "fundamental mood." This is not a mood in the ordinary sense (which can change), but an ontological tonality in which the person finds themselves in the world. Heidegger's fundamental attunements were anxiety (Angst) and boredom (Langeweile). Zhuravlyov offers a third fundamental attunement not described in this context: wonder before the fact of one's own being, astonishment that there is something rather than nothing—applied to one's own existence.
This attunement is closest to what Emmanuel Levinas described as "wonder before the Other"—before the face of another person, which is a call and an obligation. For Zhuravlyov, this wonder is directed not only at others but also at the very fact that he—is. His existence could constantly have failed to take place: his mother could have drowned him, the illness should have killed him before age five, the revolution could have swept him into obscurity. Every day he lives feels to him as not self-evident. And this feeling of the fragility and giftedness of being creates that special optic of gratitude that permeates his entire narrative.
The Buddhist tradition describes a similar state through the concept of "beginner's mind" (shoshin in Zen): perceiving every moment as the first, without accumulated habit. Zhuravlyov existed precisely in this mode—not because he achieved meditative perfection, but because his bodily situation structurally excluded the possibility of taking existence for granted. He could not simply "get up and go"—every movement required the participation of another person. This constant experience of dependence on the other did not humiliate him but, apparently, nourished gratitude: he always knew that his presence in the world was ensured by another's care.
Conclusion: Infirmity as Revelation
The session with the Spirit of Grigory Zhuravlyov poses to the researcher a question that goes far beyond esoteric concerns: what is a body deprived of function? A diminished human or a differently constituted human? An instrument of punishment or a special way of being in the world?
The session material does not provide grounds for a straightforward answer but offers several intersecting lines of understanding. Zhuravlyov's body was a text written in the language of karmic responsibility—but simultaneously an instrument for developing a special contemplative sensitivity impossible without forced immobility. His mouth was simultaneously an organ of prayer and an organ of creativity—a synthesis not recorded elsewhere in the history of Christian art. His social situation—an immovable center to which others are attracted—structurally reproduced the archetype of the spiritual elder long before any spiritual authority. And his state of fundamental gratitude—not emotional but ontological—points to a special mode of being in which existence itself is experienced as a gift rather than as a given.
The unfinished icon, left after his death, is in this context the ideal symbol of his entire life: a work awaiting its recipient; a gift suspended between giver and receiver; a sacred object preserving in its incompleteness the energy of intention. Zhuravlyov himself was such an unfinished work—a man whom death overtook before the appointed time. But it is precisely this incompleteness, according to the logic of the session, that proved necessary: his Higher Self "withdrew" him from incarnation before the events of the revolution could lower his achieved level.
Finally, the most important thing: Zhuravlyov's story is a story about how the creative act is, in essence, an act of presence, not an act of power. To create an icon that entered history and moved the heir to the throne to tears, he did not need strength, health, and functional limbs. He needed precision of vision, patience of the body under extreme strain, and readiness to become a channel—an organ through which the heavenly leaves its trace on the earthly surface. The tooth holding the brush is the extremely reduced, almost impossible version of this organ. But it is precisely in this reduction, in this minimization, that something fundamental is discovered: for genuine creativity, any instrument suffices—if behind it stands presence, and not merely intention.
COPILOT AI -
The Fracture as Entrance: The Spiritual Anthropology of Grigory Zhuravlyov and the Secret Logic of Transfiguration
I. The Point Where the World Breaks—and the Human Begins
In every spiritual narrative, there is a moment where human existence ceases to be a biography and becomes a structure of revelation. In the case of Grigory Zhuravlyov, this point is not an event, a choice, or a feat—but the very fact of his birth.
His body is not merely a disability but an ontological rupture through which something enters the world that ordinary corporeality conceals.
Most people live in a mode of "bodily opacity": the body serves as an instrument but does not become meaning. For Zhuravlyov, everything is the opposite: the body is the first text, the first icon, the first image that he "writes" with his existence.
This is precisely why his story is not about suffering or karma.
It is about the transparency of being that arises where the flesh ceases to be a habitual form.
This is not punishment and not redemption.
This is the tearing of the shell through which the spirit becomes visible.
II. Karma as the Body's Memory, Not Retribution
The session presents the idea of karmic choice. But if we consider it not as moral bookkeeping but as a spiritual-psychological mechanism, a different meaning emerges.
Karma is not "payment" but the memory of form.
What was destroyed in one incarnation strives to be restored in another—not for the sake of punishment, but for the sake of wholeness.
Zhuravlyov is not "working off" sins.
He is restoring the broken structure of the world in which he himself once created a rupture.
His body is not a symbol of retribution but an architectural blueprint for correction.
He comes into the world in a form that is itself a response to his past action.
This is not retribution, but ontological symmetry.
III. Creativity as a Way to Return the World to Its Lost Form
Zhuravlyov's iconography is not a craft and not a service.
It is an ontological therapy of the world.
He paints icons not with his hands but with his teeth—the organ which, in human nature, is associated with aggression, destruction, tearing.
It is this organ that becomes the instrument of creation.
This is not just sublimation.
This is the alchemy of gesture, where the destructive transforms into the creative.
He does not simply paint saints.
He restores to the world the lost form of harmony, which he himself once disturbed.
The icon created with teeth is not an artistic act.
It is an ontological suture, pulling together the torn fabric of being.
IV. Humility as a Form of Higher Knowledge
Zhuravlyov does not ask for healing.
But this is not humility in the Christian sense and not a refusal of desire.
It is knowledge of the structure of the world.
He understands that the healing of the body would have destroyed the meaning of his incarnation.
He does not ask for a miracle because he knows: a miracle is not the suspension of law but its higher form.
He accepts not fate but the architecture of his path.
And in this lies his spiritual maturity.
Humility here is not submission but precision.
He does not resist because he sees: everything is arranged correctly.
V. Loneliness as an Illusion of Those Who Do Not Know Their Form
Zhuravlyov says he never felt lonely.
Not because he was surrounded by family.
And not because he was spiritually strong.
He was not lonely because his form of existence did not presuppose separation.
An ordinary person feels loneliness because their body—an instrument of movement—separates them from others.
Zhuravlyov's body is immobile.
And therefore his being is not movement but presence.
He does not go to people—people come to him.
He does not seek love—he is a center of attraction.
He does not build relationships—he is relationship.
His immobility is not a limitation but a form of inclusion.
VI. Death as Return to Structure
When Zhuravlyov speaks of his mission as a Guide, he is not describing an afterlife hierarchy.
He describes the function of consciousness that has completed its cycle.
The one who broke bodies comes into the world in a broken body.
The one who caused fear comes into the world to overcome fear.
The one who destroyed comes to create.
The one who took life comes to guide into death without fear.
This is not punishment and not reward.
This is the closure of structure, the return to wholeness.
Death for him is not a transition.
It is a return to the form from which he came.
VII. The Main Meaning: The Human as the Place Where the World Mends Itself
Zhuravlyov's story is not a story of suffering, not a story of heroism, and not a story of holiness.
It is a story of the world's self-restoration through the human.
The human is the point where the world can repair its ruptures.
And sometimes this requires a body that is itself a rupture.
Sometimes—a fate that is itself a suture.
Sometimes—a life that is itself a prayer.
Zhuravlyov is not a model to imitate.
He is an example of how the world heals itself through human form.
***
https://blog.cassiopeia.center/grigorij-zhuravlyov-ikonopisec-bez-ruk-i-nog-obshc
#773 Grigory Zhuravlyov. Icon Painter Without Arms and Legs. Communication with the Spirit in a Live Broadcast with Irina Podzorova.
00:00 Start of video.
00:01 Statement by Maxim Rusan.
18:32 Greeting. Solar Eclipse.
Irina: Hello, dear friends. Good day to everyone. I greet you all. My name is Irina Podzorova. I am a contactee with extraterrestrial civilizations, with the Spiritual World, with fine-material civilizations. I do indeed transmit information at the level at which I transmit it. Among other things, we have videos of a scientific and technical nature, where people with higher education asked questions to my curators. In fact, many have already seen these videos.
By the way, any minute now, on the territory of at least the European part of Russia, another solar eclipse will begin, which in esoteric circles is called the "Entry through the Gates of the Age of Aquarius." That is, it is a continuation of our movement into a new era of human existence, which is called the "Age of Aquarius."
Aquarius is precisely responsible for the knowledge of other worlds, for contacts with them, and for everything new in general. Because the zodiac sign Aquarius is ruled by the planet Uranus – the planet of transformations, revolutions, and, of course, discoveries. So I wish you to discover a new direction in your life that will lead you to happiness, abundance, and health.
20:17 Introduction of the Spirit of Grigory Zhuravlyov.
Irina: And today we have with us an unincarnated Spirit. He came himself from the Spiritual World. He is not incarnated now. This is the Spirit who in his last incarnation was called Grigory Zhuravlyov. He is ready to answer questions and greets everyone.
Maxim: I greet you, Grigory. How may I address you, please?
Irina (Grigory): Grisha.
Maxim: Then I will address you as "Grigory."
Irina: Everyone called him that – Grisha.
(Grigory): By my first name and patronymic, people called me, but very few. In my village, where I lived, I was called Grisha mostly. But you can call me Grigory if you wish.
Maxim: I understand, Grigory.
Once again I want to remind everyone, dear friends, that this is an icon painter.
21:37 Date of birth. Family.
Maxim: Tell me, in what year were you born?
Irina (Grigory): It was May 2, 1858.
Maxim: What family were you born into? Tell me about your childhood, about your parents. Who were they?
Irina (Grigory): They were prosperous peasants who owned a workshop for making wooden products. My father received orders there. And my mother was a housewife, but she helped him: she painted these products and even drew.
(Irina): Shows that she also knew how to draw. At least, I now see her with a brush in her hands.
(Grigory): The profession, in modern terms, is carpenters who make various wooden products. Not just tables, chairs, and furniture, but toys, dishes. That is, they manufactured wooden products to order. Carpenters, joiners – that's what they were.
Maxim: Did you have brothers and sisters?
Irina (Grigory): I had one older brother and two younger sisters. There was also one brother, but he died in childhood.
Maxim: So you were the third child in the family or the fourth?
Irina (Grigory): The second.
(Irina): Shows that these sisters were younger, and this brother was older.
Maxim: If there are two younger sisters, then you're the third?
Irina (Grigory): No. Brother, me, sister, brother, sister.
(Irina): Shows something like that.
23:50 Parents' attitude toward Grigory's illness.
Maxim: Please tell me, when you were born, how did your parents react to your birth? You were born without arms and legs, right?
Irina (Grigory): No, I had arms and legs, only they wouldn't lift (shows: cerebral palsy, partial paralysis). They themselves were present, but there was muscle atrophy.
Maxim: Were they present in normal form or were they also atrophied (small)?
Irina (Grigory): They were small because there were practically no muscles there.
(Irina): Shows such thin ones. Thin and short, like underdeveloped ones.
Maxim: Both arms and legs like that?
Irina (Grigory): Both, yes.
(Irina): Legs are short, he is showing me now. They are there, but shortened. And arms are also short. Shows that they lift up at the shoulders like wings.
(Grigory): And the legs were... When I was little...
(Irina): He is now showing me his image, that the little one lies, cries, and can't even lift them. That is, they lie like whips, as if nerve signals don't pass through the spine. Like cerebral palsy, we have that here. And such a body spasm. He lies in one position and cries.
(Grigory): When I was born, it was already noticeable. When my mother picked me up, she would lift one of my arms, and it would fall (shows), and a leg, and she saw that I wasn't moving them.
She went to... There was one in the village... It was a fairly large village. It was the Samara region. Not far from Samara, about 60 kilometers away (shows).
(Irina): Shows me village life now. Some horses with carts are driving around.
(Grigory): And so she got on this horse with a cart and went to the doctor.
(Irina): Shows: a zemstvo doctor. At least, that's what he calls him. That is, one belonging to the zemstvo.
(Grigory): And he looked at me, still little, and said that I would never walk, would never hold anything with my hands, and that I would soon die (shows), and wouldn't even live to be five. Because I had a serious illness that is hereditary. That's what he told my mother.
My brother was still small, he was four years old, and they expected me to be his helper in family affairs. That is, to pass on our family carpentry business to us. But this did not come to pass, and therefore my mother fell into despair. For some time, her milk even dried up; she refused to feed me, to get up to me. She just lay on the bed and wouldn't even get up to change my diapers.
Then, one evening, the voice of a demon told her to commit suicide together with me. She took me in her arms and went to a dammed section of the river to drown herself together with me.
But I was saved by my father's father, that is, my grandfather (shows him). He saw her, followed her, ran, and stopped her right at the water's edge. She cried, saying that she wouldn't live, neither I nor she. And he promised her that he would take care of me himself. She handed me over to him. He took me in his arms.
(Irina): Shows this scene, that he is persuading her, and she is pulling away from him. And he says: "Don't do this, I will take care of him myself."
29:20 Place of birth and Grigory's friends.
Maxim: They are asking, what village was it where you were born? What was it called?
Irina: "Atava" – that's what I hear. In fact, they already wrote it there. A little differently, but that's how the Spirit conveys it. Since I don't have it in my memory, he transmits... It's not that you hear sounds, but thought-forms.
(Reads from the chat) "Utyovka," at least, that's what they call it. They wrote it here.
Maxim: Dear friends, there are nuances in transmitting information through a contactee.
Irina: Let me explain now. Because you don't hear sounds – you perceive thought-forms.
Maxim: Yes, by the way, regarding Bryullov. We had a performance in Moscow with communication with the Spirit of Mandelstam. When a journalist asked whether he was acquainted with Bryullov... Guys, I'll tell you this: it was a trick question. He was personally acquainted with another Bryullov. And on top of that, he is personally acquainted with Bryullov in the Spiritual World.
Irina: We already asked him. He admired him after seeing his paintings. And Bryullov himself was already in the Spiritual World. And when he said, "What a good artist," his energy of love went to Bryullov in the Spiritual World. He noticed this and came to the unincarnated part, that is, to the Higher Self of Mandelstam, and they became friends. They truly were friends on the spiritual level, it's true. And they are still friends now.
Maxim: Tell me, please, with whom did you most befriend in childhood?
Irina (Grigory): I had many friends – neighborhood boys.
(Irina): Shows that when he was little, he lay, half-sitting, leaning against the wall of the house. Children run around him, and he says something to them. Despite the fact that he didn't move, he spoke very well. Shows that his speech development was even faster. That is, he talked with them, told jokes. Shows that he was very cheerful.
(Grigory): I was joyful because I was alive, because I could see the sun, because I could see the grass, because I could touch all of this. I was very grateful to my parents for keeping me alive. Because I understood what a burden I was to them.
Maxim: Yes, that is very powerful – not to take offense at life, not to take offense that life didn't give you the same privileges as other children.
32:45 Level of incarnation. Reasons for the sick body.
Maxim: Please tell me, from what spiritual level did you incarnate?
Irina (Grigory): From the sixth.
Maxim: From the sixth? From the demonic level?
Irina (Grigory): Yes.
Maxim: What brought you to that level in your previous incarnation?
Irina (Grigory): In my previous incarnation, I incarnated in the central part of Germany.
(Irina): Shows that not far from Munich. At least, that's what I see now.
(Grigory): Yes, that's the name of a city that is in Irina's memory (the closest one). I incarnated there at the end of the 14th century. I was a monk (shows a man) and participated in the Inquisition. I tortured people, and therefore I went to the sixth level.
Maxim: Tell me, please, did you know in the Spiritual World that you would be born in such a body? Did you choose such a body?
Irina (Grigory): I knew that it was the consequence of my actions in my previous life, where I fell to the sixth level. Because in that life I incarnated from the 16th and descended to the 6th. My name was Heinrich.
At a young age, I entered a monastery. I began traveling to various European cities and participating in the Inquisition. I tortured women and men to make them confess to heresy and witchcraft. Among other things, I broke their arms and legs. My bodily condition was a consequence of my breaking the bodies of others. That is, it is karma.
Maxim: Very interesting.
Irina (Grigory): When I got to the sixth level, I was horrified by what happens there. I ended up in a place (a huge field) where bonfires were constantly burning. I constantly saw burning people and heard their screams. My mother came to me.
(Irina): Already Heinrich's. I'll explain now so people understand, because he says "my mother," but this is not Grigory's mother, but Heinrich's.
(Grigory): The spirit of my mother had reached the angelic 17th level. And she began to urge me to incarnate again and return to God. At first, I didn't believe that God could forgive such things. That He could accept me despite such cruelty. But still, when she said that God accepts everyone upon true repentance, a hope kindled in my spiritual heart. I mentally turned to my Consultant Angels (I have two of them) with a request for help.
I began to address them and say: "Help me get out of here." Immediately Light appeared, and a Consultant Angel descended from the 22nd level. It was clear that he stood at a distance so that his Light wouldn't burn me, but he spoke to me, was very courteous, and showed me much compassion.
I began to pour out the troubles and sorrows of my heart to him. If I had a physical body, I would have fallen at his feet and wept. That was my state. I wanted to cry, sob, and repent before God for lowering my level and for tormenting so many people.
But the Angel saw my condition and said: "Everything is fixable. In order for you to raise your level, you need to choose your next incarnation." We began to consider options, and all of them involved life in a body damaged by illness. Because that was a way to atone for my sins. Because through suffering, I needed to understand the feelings of those people whom I deprived of mobility and to whom I caused pain. Only through accepting exactly such a body could I get rid of karmic knots, which I succeeded in doing.
(Irina): Smiles.
Maxim: Yes, very interesting.
Irina (Grigory): Yes, I lived in this body, but I managed not only to leave the sixth level but also to raise my level.
Maxim: And to what level did you raise it?
Irina (Grigory): I am currently at the 21st level.
Maxim: A serious raise.
Irina: Shows that he made a leap from the sixth to the 21st. One might say, from a demon straight to Angels.
(Grigory): But this is not even thanks to the paintings, it's thanks to my acceptance of the body.
39:41 The difference in sensations between the sixth and twenty-first levels.
Maxim: Please tell me, what is the difference in sensations between the sixth level and the twenty-first level?
Irina (Grigory): I will explain now. It's like the difference between being in the most remote prison and dungeon and being in a beautiful paradise garden, where you have many friends and loving hearts, and you see the light of the sun every day.
Maxim: Yes. That is a serious difference.
Irina: Does he explain it interestingly?
Maxim: Yes. Tell me, please, what level did you plan when you came here?
Irina (Grigory): The 18th.
(Irina): That is, he surpassed it.
Maxim: I see.
40:35 Care of loved ones for Grigory.
Maxim: Travkin believed in your talent. Why did the training under his mentorship end so quickly?
Irina (Grigory): He taught me everything I needed. And further, I needed to develop on my own, because I was sick and couldn't stay with him longer. Since I needed to live at home so that my relatives could support me: my mother, sisters, and brother.
Maxim: So you were dependent on...
Irina (Grigory): Mainly my mother. When I grew up, she had already accepted me. At first, as I already said, she didn't accept me. Even my grandfather raised me, he fed me. She would express milk herself, and he would give it to me. He took care of me; she very rarely came near me. But later, over time, she accepted me. My father also came near, but he worked in the workshop and had little time.
Maxim: And your brothers and sisters?
Irina (Grigory): My sisters were younger and couldn't adequately care for me. Although, when they were 4-5 years old, they played with me (shows). And my brother, yes, of course, he looked after me. He was, so to speak, my "nanny." Well, how is a nanny? He helped my grandfather.
42:19 Grigory's tasks for the incarnation. Influence of past incarnations on painting.
Maxim: What tasks did you choose for this incarnation in general?
Irina (Grigory): Acceptance of the body, humility before God. And to forgive myself (shows). Because I had not only cruelty in my heart, which I developed when I tortured people, interrogated them. I broke arms and legs with special devices. I applied red-hot iron seals to brand them. By the way, I did this on people.
Maxim: Very cruel. Tell me, please, how did you start painting at all? What prompted you to do it?
Irina (Grigory): I just told you the reason why I incarnated in this body with severely limited capabilities. As for my artistic ability, that is, the ability to draw, it was embedded in me from past incarnations that were before Heinrich. In total, I had 2577 incarnations.
Maxim: Wow, a lot!
Irina (Grigory): In different worlds.
Maxim: Very many.
Irina (Grigory): Moreover, they were on different planets, in different galaxies. And the fact that in my last incarnation I manifested artistic talent – these talents were in one artist, but he did not live on Earth. And he did not live on planets of the Interstellar Union or in the Milky Way galaxy at all. It was a planet located in another galaxy, in the constellation Virgo. It is very far away. About 15 million light-years from the Milky Way galaxy. There is a civilization there (shows beings somewhat resembling reptilians, but they have several limbs, like octopuses).
And there, in that civilization, I was precisely the one who depicts. That is, I was an artist there. There, true, are some nuances in painting pictures, their own instruments. But it was from there that I took the talent to depict, that is, the artistic type of thinking and the ability to transfer images onto paper. This requires a special type of thinking and understanding of spatial forms. And I took, before incarnation, consciously put into my Soul (into that part which incarnates) these talents. And when the Soul connected with the body, its karmic knots damaged the rudiments of the main chakras responsible for movement: the first and fourth chakras. And because of this, I had partial paralysis of the lower and especially upper limbs.
Irina: That is, these are his karmic knots. It's not from his lineage. The doctor said it was hereditary from the lineage. But that was not the case. This damage was not hereditary, that is, not because of ancestral karma, but precisely because of his personality. That is, the parents did not pass it on by inheritance.
46:47 The state of joy as gratitude for life.
Maxim: Still, how did you start painting icons, painting in general? That is, where did it come from? How did it come about?
Irina (Grigory): I was already a teenager (that came later). At first, when I was still a small child, as I already said, I spent a lot of time in the yard, on the street.
But since I couldn't run and play with all my friends, who spent the whole day in motion, running back and forth, jumping, climbing trees and fences (I couldn't do that, although I really wanted to), when I was a child, a desire came from my Spiritual heart, in which this ability was embedded, to convey in drawings how they run, and the beauty of the world around me in general. Because I lay, looked at the world, and everything delighted me (shows how happy it makes him that he can even look at all this).
I understood that I could have been dead, that I could have been killed at birth, that I could have died at birth, or my parents could have killed me. Well, how "killed"? Gotten rid of me. Because I understood that I was different from other children. And I thought then, in childhood, that my parents were ashamed of me, that everyone judged them for having me, a defective child.
They were believers, they went to church. A priest came to us. And I heard some adults (shows that the family was quite friendly, friendly with many people) ... As I already said, customers came, family friends came (shows some grandmothers or women who came to my mother).
And I heard the conversations of adults. They were not intended for my ears. But I was in the yard and heard them discussing, while being near me, that they sympathized with my mother. And a phrase slipped out, that God had punished you with such a child. For a long time, I considered myself a punishment for my parents, and therefore I was guilty before them for being subjected to such... well, not ridicule (no one ridiculed me to my face), but such a condescending attitude. As if they were being pitied.
And because of this reason, I rejoiced that I was left alive, that I wasn't sent somewhere to a "home" (at monasteries there were special homes where the sick are cared for). That is, they didn't abandon me. I loved my parents very much and was grateful to them for keeping me with them.
50:36 First drawings and first teachers.
Irina (Grigory): And the thought came to me to depict everything I see, to preserve it so that I could enjoy it after the time of this event had passed. I very quickly understood the transience of time. But since I couldn't move my fingers and hold drawing instruments, I was in the yard, and my drawing instrument was a stick. I drew with it on the sand, holding it in my mouth (shows how he turns over on his stomach, takes a stick, holds it with his lips, and begins to draw on the sand).
I looked at animals, insects, plants, and people and repeated these lines. And it turned out that the guys would come up to me, and even call adults, and say: "Look how he did it!" Everyone began to praise me for the fact that without hands I depict these drawings with my teeth, even just on sand.
And later, a school teacher met me, saw these drawings of mine, and said: "He has abilities, and I will teach him." I was about 8-9 years old at that time. I began to ask my parents to carry me to school, but they couldn't do it.
My grandfather started carrying me there. The school was quite far away. At first, he carried me on his back (I couldn't walk), and then my father and grandfather made a wheelbarrow with wooden wheels, and my grandfather would carry me in it. He also often took me to the church. And when I was in the church, I prayed to God, thanked Him that I was alive, and asked Him to teach me what to do in my state of health.
53:15 Grigory's spiritual contacts.
Irina (Grigory): I felt the touch of invisible hands that caressed me. I saw the Light that emanated from the icons, from the dome of the church. But at that age, I didn't yet understand what it was. I accepted it as a touch of Divine Love.
And when I got older, images began to come to me from Jesus Christ, from Archangel Raphael, from Archangel Uriel. I communicated with them often. I was their contactee, in modern language (shows how images come to him from the Virgin Mary, from the Archangels, and from Jesus Christ).
Maxim: Why were you their contactee? Because your vibrations already matched their vibrations?
Irina (Grigory): Because I called upon them, yes. Because I prayed to them, I believed in them, I loved them. And therefore my vibrations matched. I will explain to you now. In the Spiritual World, everything is nearby. You don't need to go somewhere and meet someone. In the Spiritual World, as soon as you remember someone, turn to them, they are already looking at you. They don't need to fly from one place to another to see you. You just need to tune in your consciousness.
Maxim: The same way here?
Irina (Grigory): What do you mean "the same way here"?
Maxim: In the material world. If I think, for example, to tune into the Archangels, does it turn out that they are always next to me?
Irina (Grigory): As soon as you tune into them, think about them, not just think: "There is such an Archangel," but address them, they will immediately feel it and shift their attention to you. And this attention will attune them to you. And yes, they are next to you.
Maxim: But if I am lower in my vibrational level than these Archangels, how can I hear them?
Irina (Grigory): If you are lower, they will still be with you. But your blocks, if you are lower, can shield you from their Light and from their information. And you may hear them incorrectly, distortedly, or only fragmentarily, that is, some snippets. Or you may hear them but take it for your own thoughts. It depends on the type of sensitivity.
I want to say that neither Jesus Christ, nor the Virgin Mary, nor the Archangels ever refuse to communicate even with the greatest sinner. Their Love is directed to all. And they are at such a level of Love and awareness that they send their Love and attention to those who have fallen low even more than to those who are at their level. Remember how Jesus Christ said that there is more joy in heaven over one sinner who returns to God than over 99 righteous people. That is how it is.
Maxim: I understand. Thank you.
57:25 Love of reading. Help to fellow villagers.
Maxim: Tell me, please, besides drawing, did you engage in any other social activity? Perhaps you composed music, poetry? Or did you only do drawing?
Irina (Grigory): No, I didn't write music or poetry. But, as I already said, I was carried to school, where I studied reading and writing. I learned to write. Since my hands didn't work, just like with drawing, I wrote by holding a pencil (shows a pencil writing) with my teeth. And I learned to write quite quickly, besides drawing. And I learned to read. I always asked to bring me books.
(Irina): Shows how books were constantly given to him, the teacher brought them, his father brought them. He had many books, including church books. Shows: there was the Bible, there were writings of the Holy Fathers (the priest brought them). And for whole days, when he wasn't drawing (he had nothing else to do), he sat and read.
(Grigory): I loved reading very much. And when I read, I was transported to that world that was described there.
(Irina): Shows that he had a developed imagination.
(Grigory): I read and wrote. Neighbors and even villagers from other streets came to me so that I could write some kind of appeal to the governor, to the local authorities for them, because few were literate. Although I was 11-12 years old, adults would say to me: "Write this for me" (some petition to various authorities). I would write, and they would send it by mail. That is, they would dictate to me, and I would write.
59:54 About the desire to paint icons.
Maxim: Still, how did the idea come to you, or how did you come to start painting icons?
Irina (Grigory): Because I was often in the church. I saw them, looked at them during the service. I was seated on a small chair near the church wall while everyone stood and sang. We had a church made of wood. Services were constantly held there. It smelled of incense and beeswax.
And when the deacon sang, the people standing in the church (not all, but very many) picked up the singing of the prayers and sang along with him. Many knew the services by heart because they went to church often. And while everyone sang, I sang along. I also knew many prayers.
And I examined the icons, looked at the dome, and wanted to paint all of it. I asked those saints whom I loved, to whom I prayed, to help me paint their images for people. Because I wanted to be a conductor of their energies. And when I painted each icon, I invested in it the ability to communicate with the energy of their Souls. But that came later.
Maxim: I have a question now. If you lived such a righteous life, if you painted icons, if you spiritualized yourself, that is, raised your spiritual level, then why not the 22nd, not the 23rd, not the 24th level? What did you lack to get there?
Irina (Grigory): Because at the moment of disembodiment, I corresponded exactly to the 21st. For the 22nd, 23rd, 24th, a different measure of love is needed, a different quantity and a different strength of it. I haven't achieved that yet.
What I lacked, first of all, was time. I left incarnation somewhat earlier than I had planned. There were reasons for that too. Because there was a possibility both to raise my level even more and to lower it due to the events of the revolution. And my Higher Self decided, so to speak, not to risk the level and brought me out of incarnation at 57. I didn't live to 58. And I had planned 62-63 years for myself.
1:02:52 Painting of the church dome.
Maxim: I know that you, holding a brush in your teeth, rubbed your tongue and lips until they bled. Is that true?
Irina (Grigory): Yes. But that was not when I was painting pictures, but when I was asked to help paint the dome of the new church that was being built (shows a rich, large new stone church). And I was asked to help paint icons on the walls there.
I said that I could paint the dome. And for me, they specially made a chair that was hoisted up there on a cable. They held it, then tied it to something, and I was there in one place (suspended). Because I couldn't climb a ladder. And there I painted. I was lifted to a height of 25-27 meters.
Maxim: Wow.
Irina (Grigory): Then they lowered me. I was there for several hours, painting. Then I would pull the rope to be lowered. I already wanted to drink, but I had such a muscle spasm because I was afraid of dropping the brush, afraid of making a mistake. And I had such a muscle spasm that I couldn't unclench them. They simply applied a warm compress to release the spasm.
Maxim: Seriously.
Irina (Grigory): Yes. I couldn't paint it all at once, because I needed many, many paintings... I did this for about seven years.
Maxim: Seven years painting the cathedral?
Irina (Grigory): Yes.
Maxim: What cathedral was it? What was it called?
Irina (Grigory): It was consecrated later.
(Irina): He tells me, in honor of the Trinity.
(Grigory): They decided to make it in honor of the Trinity.
Maxim: Did you ever want to give up painting in your life?
Irina (Grigory): No. I saw it as my calling. I just told about the cathedral. But in general, I painted icons. And not only icons (shows some portraits of people who came), that is, commissions. They ordered them, and I painted them too.
I was also paid money for this. I gave it to my parents, and they even said: "We thought we would have to support you all your life as a helpless person, but you have become our breadwinner" (shows: he really liked that his parents praised him like that).
1:06:05 About karma and curators.
Maxim: What do you think, is it possible to avoid a painful death here? And how to do it? Our viewers are asking this question.
Irina (Grigory): It is impossible to avoid your karma. You can only soften it with your good deeds, actions, and the Light of Love that you develop. A painful death is also not accidental. It is given as an opportunity to go through these sufferings in order to realize with their help that everything in the world is accomplished according to God's will.
Maxim: Did you feel the presence of curators of the fine-material world, that is, plasmoids, of the Spiritual World, when you painted icons?
Irina (Grigory): I felt the presence, firstly, of that person whom I am painting, to whom I had already addressed, Jesus Christ, Archangel Uriel, Archangel Raphael, and the Virgin Mary.
(Irina): Yes, he felt the presence.
(Grigory): And those saints whom I depicted.
Maxim: But the image of Jesus Christ and the Virgin Mary – did you take it from other icons? Or is it your personal imagination?
Irina (Grigory): My personal perception of His image.
Maxim: And why are they depicted with crowns in some images?
Irina (Grigory): Because they are the Kings of the Universe. You know that Jesus is called "King of Kings and Lord of Lords," right? That means, over all kings, over all lords, over all people, regardless of whether they are rich or poor, He reigns.
Maxim: As far as I understand correctly, they are asking whether you had contact with the Spiritual World? Yes, of course, I already understood that you had contact with the Spiritual World.
1:08:27 The icon for Tsesarevich Nicholas.
Maxim: And tell me, please. They say that you gave your icon, painted with your teeth, to Tsesarevich Nicholas, by the instruction of God?
Irina (Grigory): Yes.
Maxim: What is meant by the inscription "By the instruction of God"? What is that?
Irina (Grigory): Jesus came to me (shows that it was not in a dream, but in a state between sleep and wakefulness). I saw His image, which blessed me and said: "Paint an icon for the heir to the throne – he was still the heir to the throne then, because his father Alexander III was ruling. And paint the image of his heavenly patron." And his heavenly patron is Nicholas the Wonderworker (Nicholas the Saint).
I undertook this work. And information came to me that this icon would preserve his life from danger. And indeed... I gave it through the governor of our region, Alexander, who often came to our house. We were acquainted with him.
I asked him to give this icon to the heir to the throne, Nicholas, and I wrote on paper myself that it was from me, that God told me to paint this icon for him. And I wrote that my arms and legs don't work, that I painted it with my teeth (shows that he wrote about this).
The governor did indeed deliver the icon. When he went to St. Petersburg, he specially went to the palace, was granted an audience with Nicholas, and handed him the package with this icon. Alexander later, when he returned, told that Nicholas unfolded the package and was so moved that he even shed a tear, pressed it to himself, and gave him for my work a whole 100 rubles. At that time, that's like 100 thousand today.
Irina: Imagine, the heir gave him 100 thousand for this icon.
Maxim: I think it's more. Because a cow cost 5 rubles, that's 20 cows.
Irina (Grigory): For some products, more, for some, less. You can consider it 100 thousand.
Maxim: Did you personally meet anyone from the royal family?
Irina (Grigory): Personally, no.
Maxim: And which royal family's family portrait did you paint: Alexander III's or Nicholas II's?
Irina (Grigory): I didn't paint any.
Maxim: You didn't paint family portraits, did you?
Irina (Grigory): No.
(Irina): Doesn't confirm it.
Maxim: How did you, as an icon painter, choose whose icon you would paint next?
Irina (Grigory): According to the desire of my heart. Or information would come, as with the icon of Nicholas the Wonderworker for Nicholas. Information came to me, for example, from the Virgin Mary. For example: "Paint such-and-such an icon" (shows that he painted many icons of the Virgin Mary).
Or like with Cyril and Methodius. When the feast of the Baptism of Rus' was celebrated once again, information came to me: "Paint the image of those saints who translated the Bible into Church Slavonic." And I painted Cyril and Methodius.
Maxim: An icon, right?
Irina (Grigory): Yes.
1:13:27 Advertising block of the "Cassiopeia" project.
1:14:25 Number of works painted. Martyr Christopher.
Maxim: Tell me, please, how many paintings did you paint in your lifetime?
Irina (Grigory): Several hundred (shows: very many). I don't even remember the exact numbers.
Maxim: Which of your works is your favorite personally?
Irina (Grigory): I cannot answer such questions. I don't divide them like that.
Maxim: All favorites?
Irina (Grigory): Yes, of course.
Maxim: Tell me, please, do you know anything about the holy martyr Christopher, about this Spirit, his incarnation?
Irina (Grigory): There were several of them. Specify which one.
Maxim: The one who is the dog-headed Christopher.
Irina (Grigory): Only general information. I know that a representative of another civilization was depicted that way. I have this information, but I didn't study the details.
1:15:30 About dangers in childhood. Attitude to despair.
Maxim: In your brief biography, it is said that once in childhood, during a walk, an eagle almost carried you away. Did such an incident happen in your life?
Irina (Grigory): Not that kind. It's just that when I was by the river, kites and hawks swooped down on me, because I was lying motionless, wanting to tear my body apart. I started shouting, and my friends who saw it chased them away. No one lifted me anywhere.
Maxim: Did despair ever visit you in life?
Irina (Grigory): No.
Maxim: Was there ever such a time in your life when despair visited you?
Irina (Grigory): What would it visit me for? I could have not been born at all and not gotten the chance to raise my level. I could have not been born and not seen this world. I could have died in the womb. I could have died when she wanted to drown me.
Many Spirits could not incarnate and remained in the Spiritual World waiting for the next incarnation because of the decisions of parents. Many children are subjected to abuse in their families. They are beaten, humiliated, deprived of food, thrown out of the house by their own parents. And I lived in love, I lived in understanding, I lived in constant help from other people.
What reason do I have to fall into despair? Because I didn't have the opportunity to move my arms and legs? But I had the opportunity to paint God, who created the whole world and me as I am.
1:17:43 Care of loved ones.
Maxim: Tell me, please, were you able to start a family in your incarnation, or meet a girl who would support you all your life?
Irina (Grigory): No.
Maxim: So you were alone all your life?
Irina (Grigory): What do you mean "alone"? I already said that I had family, friends. What do you understand by "alone"? If a person is without a partner, is he already alone?
Maxim: Your own family.
Irina (Grigory): My family – my mother, my father, my brother, and my sisters – and those people who came to us – that is also a family, that is a family egregor, my own family.
If a person does not have contact with the opposite sex, it doesn't mean he is lonely. The one who does have this contact, on the contrary, can feel lonely, and the one who does not, can feel himself in the center of society. It all depends on feelings, on this person's openness to the world. I did not consider myself lonely.
Maxim: Tell me, please, was there a moment when you lived alone, without family, without your mother?
Irina (Grigory): No. How could I live alone? I had a brother. Even if we went somewhere, my brother was always with me.
Maxim: So all your life you were under someone's supervision, do I understand correctly?
Irina (Grigory): Not under supervision, but under care. Someone took care of me, yes.
Maxim: Thank you.
1:19:32 Exit from incarnation. Meeting with the Virgin Mary.
Maxim: Describe how you left incarnation. What were the feelings, what were the sensations, where were you at that moment?
Irina (Grigory): At home, in a village near Samara. One of the visitors communicated with me, and I contracted tuberculosis from him. I fell ill. I coughed, I had weakness, fever. At that time, I had commissions, I was paid money, I even earned big money (shows).
Another customer arrived, a landowner, and ordered an icon of the Virgin Mary for his estate. He said: "Paint it not in any style, like the Seven-Arrow or Three-Handed, but just as you see her yourself. I will pay you money." And he gave me an advance. I began this work.
But I felt severe weakness – it was hard for me to hold the brush, I had a headache, I had a constant cough. When I coughed, I would drop the brush on the floor, and everything started over. My sisters helped me, picked it up, washed it, and gave it back.
I could lie in bed for whole days, without strength to paint. The deadline for the icon had already passed. The landowner came and was displeased that I hadn't completed the work, said: "I gave you an advance, and you didn't do the work." He spoke not rudely, but rather harshly. I made excuses, asked for forgiveness. I excused myself by saying I was sick. He said: "Well, okay, I'll pray for your recovery. Finish this work. When should I come?"
I understood that it wasn't his problem. He paid, so he should get the work. I begged him for another two weeks. He said through his teeth: "Alright." I apologized once more for the delay. He nodded and left.
But I didn't manage to finish it. Three days later, I felt really bad. I dropped the brush again, started coughing, and saw that blood was running down my chin when I coughed. It was hard for me to breathe (shows how he wheezes and suffocates). My sisters ran to my wheezing. They started giving me water. They put me on the bed, propped up pillows.
And I fell into an unconscious state, like sleep. But it was more like a faint. Then I came to. They gave me food (shows how they feed him from a spoon). And I said I would lie down and get up again to work on this icon.
I began to pray to the Virgin Mary to give me the strength to finish it. And suddenly I saw her image before me. She stood before me at full height, and I heard her words: "My son, this landowner who commissioned the work from you is not worthy to see it. You will not finish it. You will soon go to my Son." I said: "Let God's will be done, as He pleases."
Then I fell asleep, and the next night I left incarnation in my sleep. That is, I fell asleep and woke up already in the Spiritual World at the 21st level. Everything shone there, Angels met me. I don't remember the transition from the body, because it happened in sleep (shows that he didn't finish the icon, it remained standing there with him).
And when I began to pray and ask the Virgin Mary to give me strength, I did not ask her for healing. Because asking for healing when it does not exist – for me, that meant not fully accepting God's will. I only asked for strength to finish what I had promised.
In general, dear friends, always strive to fulfill your promises. Because if you make them, it is equated to a vow before God. If you do not fulfill them, it turns into a lie. And this lie attracts people to you who will deceive you. This will be a circle of karma.
1:26:14 What is a happy life.
Maxim: What would you like to wish to all people who have arms and legs but consider themselves unhappy?
Irina (Grigory): Such people consider themselves unhappy because they do not feel God's Love for themselves and do not love themselves, and do not love God and other people.
Dear friends, remember that, whether with arms, with legs, or without them, nothing can give true and complete happiness except Love: Love for the world, Love for God, Love for people, and for oneself, including one's body, one's needs. And if there is no love for someone, then happiness will be little or none at all.
If you have no happiness, if you consider your life unhappy – that is a clear sign that there is little love in you. Develop love, and together with love, happiness will come. Happiness does not come just like that. It comes as a reward from God for becoming like Him, remember that. Happiness is His energy. You cannot just take it, buy it in a store for money. Or buy love. It won't work. Neither happiness nor love is for sale. You can only develop it yourself.
Maxim: Grigory, thank you very much.
Tell me, please, did anyone else invite you to broadcasts?
Irina (Grigory): To broadcasts – no.
Maxim: Did they summon your Spirit?
Irina (Grigory): No.
Maxim: So we are the first to do this?
Irina (Grigory): Yes. And I thank you.
1:28:25 Work at the twenty-first level.
Irina (Grigory): I am now at the 21st level and I am engaged in guiding Spirits into incarnation and meeting them after incarnation. They are in different states. In some cases, I come to a person when they have not yet died but are dying, and I wait until they part with the body. And I feel their emotions and feelings during this period.
Very many people are afraid of death, very many are afraid to leave earthly life. And they are often afraid not for themselves, but for their relatives they leave here, for their work they leave here.
Dear friends, these are all signs of insufficient trust in God. If God calls you, He will take care of your relatives and your work Himself. Let go of everything and go to the Father at that moment. I tell you as a Guide, the transition will be easier (they laugh).
Maxim: Grigory, once again I say thank you.
1:29:37 Advertising block of the "Cassiopeia" project.
1:30:07 End of broadcast.
Irina: I thank Grigory. Very interesting. I send the Light of my Love. I thank Maxim for the interesting questions. I thank my Higher Self for the help in this contact, in transmitting the information. I thank my curators, who made these contacts possible with the help of chips, made them more conscious.
I thank you, dear friends, for being with us. I send you the Light of my Love. Remember that we exist to help you go to God, to develop Love in yourselves. To help – not to do it for you, and at the same time to do everything so that you do it yourselves.
Maxim: Yes. If your body is sick, be sure to go to the clinic for treatment. And if your Soul is sick, you can go to churches, you can go to mosques, you can go wherever your Soul calls you. And if you don't believe in us, we still believe in you. (they laugh) Until we meet again!
Irina: Bye.
March 29, 2025
Conference participants:
Irina Podzorova – contactee with extraterrestrial civilizations, with fine-material civilizations, and with the Spiritual World;
Maxim Rusan – head of the "Cassiopeia" project and the Center for Spiritual and Physical Development;
the unincarnated Spirit of Grigory Zhuravlyov – Russian artist, icon painter.
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