The very last supper, new creation (2019) 絵画 Kiko Cristoni によって

The work delves into the birth of a new level of awareness, detached from religious dogmas or fundamentalist thoughts but rather embracing real freedom achieved through self-awareness. The title, "Very Last Supper," alludes to the notion that traditional religions, comprised of dogmas and impositions, have reached their end, and the new creation will not incorporate them.
The painting depicts 14 characters, each having made a significant contribution to humanity, whether positive or negative, and they have undeniably influenced my personal perspective. However, the new awareness refrains from judgment, recognizing the intricate connections beyond human understanding, refraining from blaming others even if they are perceived as guilty of heinous crimes.
Each of the 14 characters carries a specific meaning. The orange sun shines on the two Masters of Masters: Jesus and Sai Baba, who imparted essential teachings to the world. This is why there are 14 characters instead of 13, as in Leonardo da Vinci's Last Supper. In this rendition, two Masters share the spotlight, with the sun radiating between them, and Nature acknowledges their presence, showering them with attention.
Starting from the left, the depicted characters include Dante Alighieri, Stalin, Steve Jobs, Albert Einstein, Mother Teresa, the two Masters of Masters, Leonardo da Vinci, Vincent Van Gogh, Marie Curie, Dalai Lama, Muhammad Ali, Frank Zappa, and Hitler.
Dante Alighieri symbolizes the Master of literature and poetry, positioned at the head of the table not for conventional judgment but to represent a form of karma that operates through subtle energy levels, guiding us through experiences essential for our evolution. His calm demeanor underscores that judgment is merely energy manifesting when needed, devoid of a punishing god waiting in a hell of fire.
Stalin is portrayed in a state of anger directed at an unseen subject, still confined to the circles of ignorance, persisting even beyond his physical existence. Ignorant souls continue to wander in subtle worlds appropriate to their consciousness.
Steve Jobs, the Master of communication technology, sits beside Stalin, smiling with maintained calmness and centrality, regardless of his surroundings.
Albert Einstein, the Master of physics, is the only character making direct eye contact, tasked with envisioning the future of souls and guiding them toward self-awareness through science.
Mother Teresa, the Master of peace, is positioned beside Sai Baba, reflecting their synergy. Sai Baba's teaching that the work of hands surpasses mere verbal prayers finds its embodiment in Mother Teresa.
The two Masters of Masters stand side by side, not needing to look at each other, existing in perfect harmony with the Non-Form. Their mere presence serves as a source of teaching and profound serenity for the diners.
Beside Jesus sits Leonardo, the Master of science and arts, advising him while he says his prayer. Like many characters in the painting, Leonardo has a strong contact with the Self, and their work is guided by the Non-Form, transcending human limits.
Behind him, the Master of Painting Arts, Vincent Van Gogh, touches Leonardo’s shoulder, seeking comfort and inspiration from the great predecessor. Van Gogh, in his earthly life, experienced moments of madness, realizing in the Astral world that it was all illusion, yet still needing support.
Marie Curie, the Master of medicine, engages in calm conversation with the Dalai Lama, amused by an angry Hitler. The Dalai Lama points at Hitler and smiles, conveying that, sooner or later, he will escape the circles of ignorance.
Muhammad Ali, the Master of sports, gazes at Hitler with a clenched fist, expressing anger. Even he has not fully embraced the concept of non-judgment, perhaps still lingering in Dante’s Purgatory.
The second-to-last character is Frank Zappa, the Master of music, who looks amused outside the canvas, seemingly drawn to something more intriguing than Hitler's presence.
Hitler, in the Astral World, seeks diners' attention but is ignored as they let him yell. His almost calm expression signifies his near surrender to the evident reality. Hitler wears the Swastika, originally a religious oriental symbol.
The painting depicts the dichotomy of "good and bad," a dualism that shall no longer exist in the new awareness. It portrays different places on Earth where the characters manifested and the diverse races.
The background of the Very Last Supper is nature, emanating powerful energy from the sea's waves directed towards the diners and red-tinted clouds, painted in a conic perspective. The focal point is the tip of the cone from which energy emanates.

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Last SupperReligionConscience