Tag Archives: amazonian art

The Evolution of the painting ‘Chacruna Versucum (Canción de la Chacruna)’ – by Pablo Amaringo


The Evolution of the painting ‘Chacruna Versucum’ (Canción de la Chacruna) by Pablo Amaringo

Two versions of this painting are presented in the book ‘The Ayahuasca Visions of Pablo Amaringo’. We originally had Chacruna Versucum professionally photographed in April 2007. The following year Pablo showed us a revised version of this work. This was an exception as he had painted over the original canvas (something that he did not usually do). Pablo commented that on reflection he regretted repainting the canvas, and this is one of the reasons we felt it important to include both versions. We talked with him to understand his thinking and development between the two paintings. Versucum is a Latin word meaning “verse,” or “canto.” (Note that both versions are dated 2003 on the paintings.)

Chacruna Versucum (2003) by Pablo AmaringoChacruna Versucum 2003 Version (Summary Narrative)

The five dryads sing gently to heal through the circle of chacruna leaves; they transmit love and healing energy. These fairies accompany the plants of the rainforest. They represent the five outer senses, and the many inner faculties which are derived from them: intelligence, consideration, knowledge, discernment, spiritual perception and wisdom. In the central circle the celestial aspects of chacruna are represented by the circle of leaves while the ayahuasca vine represents the Earth.

 

Chacruna Versucum 2007 Version (Summary Narrative)

Chacruna Versucum 2007 version by Pablo AmaringoThis is the second version of the painting which was painted on top of the first. In the centre Pablo added the triangle of life to represent body, soul and spirit, and the triangular geometry of the human body. The triangle has an eye on each corner to symbolise intelligence, wisdom and the merging of wisdom with ignorance. Our inner depths are reflected through our eyes. Pablo adds the golden horses around the circle to represent the energy from working with ayahuasca and also elaborates on how the yacurunas kidnap the man fishing from his canoe in the cocha.

Pablo said “After I had painted the earlier version, I realized that chacruna has many other attributes and I wanted to emphasise its celestial aspects. This is the reason why I have painted this second”

NoteAyahuasca is a sacred medicine of the indigenous people living in the Upper Amazon area of South America. Ayahuasca is a name derived from two Quechua words: aya means “spirit, ancestor, deceased person,” and huasca means “vine” or “rope.” Hence it is known as “vine of the dead” or “vine of the soul.” It is important to note that the term ayahuasca refers to both the vine itself (Banisteriopsis caapi), and the psychoactive brew made from combining the vine with at least one other ingredient, typically the leaves of the chacruna plant (Psychotria viridis). The vine is an inhibitor that contains harmala alkaloids, and the leaf contains vision-inducing alkaloids (DMT). Chacruna (Psychotria viridis) leaves are boiled with the ayahuasca vine to produce the ayahuasca brew.

 

This painting  is featured in the book ‘The Ayahuasca Visions of Pablo Amaringo‘  published by Inner Traditions 2011. Authors Howard G Charing and Peter Cloudsley.

Click to visit the website of the book for articles and interviews with Pablo Amaringo, also photo galleries and see the paintings with summary narratives.

To purchase high quality fine art reproductions and Greeting Cards of the paintings click to visit our store

25% Promotional Discount until December 31st 2012. Promotion Code: JXXUEV

 

The Ayahuasca Visions of Pablo Amaringo

 

Pablo Amaringo at Usko Ayar 2007

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Escenas Del Paraiso – Scenes of Paradise


‘El Dominical’ review of the art exhibition ‘Amazonica’, at the Centro Cultural Ricardo Palma in Lima, Peru.This would be of interest to students taking online college art classes.

A crude translation of the feature;

Forty Amazon artists from different generations, trends and styles come together in a charity show at the Centro Cultural Ricardo Palma de Miraflore. The objective is to obtain funding to develop cultural programs for children in our forest.
The Amazon is a woman, “says the artist Gino Ceccarelli.” And a woman is the most beautiful display of creation “. That’s why his paintings are always women who are merged with nature, relating to the many stories he heard as a child about the mythical goddesses, counted wise river towns, who met at sunset to watch the death of the sun between infinite forest. draws on ancient wisdom of founding myths of ancient explanations of the world, but also more contemporary material flows. This communion is rooted in the Amazonian wealth of art today. There are pictures to prove themselves by Gino Ceccarelli (Italian father and mother Amazon), based on myths and legends, or the whole aesthetic of pop and kitsch Christian Bendayán or visual strength of Harry Chavez.
A powerful art

The discovery of the Amazon by Lima has revealed, among other things, a powerful art that draws on ancient wisdom of founding myths of ancient explanations of the world,

Several generations

This exhibition, called “Amazonica”, brings together forty artists Amazon, from the masters of the sixties and seventies to young exponents of the latest generations. They can be works of the great painter Pablo Amaringo shaman of the pioneers of integral art of the Amazon as Cesar Calvo de Araujo and Eduardo Meza Saravia, young and talented artist like Rember uitoto Yahuarcani and Roldan Pinedo Lopez, a native of the district Yarina Cocha, who developed techniques of the Shipibo-naturals Conibos.
The presence of the nature

According to the artist Gino Ceccarelli, who has supported in the conservatorship of the sample, if a large communicating vessel uniting all artists Amazon, this would be the natural landscape. “We all start from the strong presence of nature is so powerful and so strong that it may go unnoticed. Every day there are spectacular sunsets, the colors are so intense that even light gray are. The presence of the nature
has influenced each of us is a great starting point from which arise all other aspects. ”

The reinvention of myth

Then, the other major recurring theme in art Amazon is the recreation of myth, allegory, that magical and religious vision of the world that characterizes oral people connected with the environment around them. “The Amazon is the latest magic corner of the planet, hence different energies converge, very powerful magmas, which are expressed in shamanism, religion, faith healing, witchcraft, this is manifested in pictures. The heritage that we have all the Amazon is the oral literature. Since children have heard stories that reinvented with the passage of time, “says Ceccarelli.
The Artists displaying their works at the exhibition;

Ronald Alvan , Alberto Ayarza, Christian Bendayan, César Calvo de Araujo, Lastenia Canayo, Cesar Calvo de Araujo , Enrique Casanto , Harry Chávez , Gino Ceccarelli , Maximino Cerezo , Victor Churay, Samuel Coriat , Nancy Dantas , David Hewson, Orlando Izquierdo, “The Ocelot” , Emilio Lopez , Eduardo Meza Saravia, Joseph Morey, Dimas Paredes , James David Paredes , Gerardo Petsaín , Harry Pinedo, Roldán Pinedo , Reninger Reategui, “Rucoba” , Diana Riesco), Hildebrand Rivers, Brus Rubio, Miguel Saavedra , Malena Santillana , Sixto Saurin, Fernando Sovero, Luighi Tang, Elena Valera, Celia Vasquez, Juan Manuel Vasquez , Armando Williams, Rember Yahuarcani, Santiago Yahuarcani

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Catalogo Art Amazonica -Catalogue of the Exhibition ‘Amazonica’, Lima Peru


Amazonica Art Exhibition

‘Amazonica’ – The Catalogue of the Art Exhibition held at the Centro Cultural Ricardo Palma in Lima, Peru – June – July 2011.

“Forty Amazon artists from different generations, trends and styles came together in a charity show at the Centro Cultural Ricardo Palma de Miraflore. The objective was to obtain funding to develop cultural programs for children in our forest.”

“Cuarenta artistas amazónicos de diversas generaciones, tendencias y estilos se congregan en una muestra benéfica en el Centro Cultural Ricardo Palma de Miraflore . El objetivo es obtener es obtener fondos para desarrollar programas culturales para niños y niñas de nuestra selva.”

The Artists displaying their works at the exhibition;

Ronald Alvan , Alberto Ayarza, Christian Bendayan, César Calvo de Araujo, Lastenia Canayo, Cesar Calvo de Araujo , Enrique Casanto , Harry Chávez , Gino Ceccarelli , Maximino Cerezo , Victor Churay, Samuel Coriat , Nancy Dantas , David Hewson, Orlando Izquierdo, “The Ocelot” , Emilio Lopez , Eduardo Meza Saravia, Joseph Morey, Dimas Paredes , James David Paredes , Gerardo Petsaín , Harry Pinedo, Roldán Pinedo  , Reninger Reategui, “Rucoba”  , Diana Riesco), Hildebrand Rivers, Brus Rubio, Miguel Saavedra  , Malena Santillana  , Sixto Saurin, Fernando Sovero, Luighi Tang, Elena Valera, Celia Vasquez, Juan Manuel Vasquez , Armando Williams, Rember Yahuarcani, Santiago Yahuarcani

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Encantu Rumi by Pablo Amaringo – Fine Art Prints and Art Cards


Encantu Rumi

This stone is forged in space and brought down to earth when summoned by the sumiruna (the highest grade of shaman) for initiating his disciples in voyaging to other galaxies. The sumirunas below are learning how to receive spiritual fire and how to withstand extreme conditions which they will experience on their lone voyages.

The eagle represents the sublime beauty of the stone, the jaguar its magnetic power and the bull its soul. Above you see the puya runas (cloud people) and the guacamayo runa: people with the head of a guacamayo and the body of a man.
ABOUT: THE AYAHUASCA VISIONS OF PABLO AMARINGO

Illustrating the evolution of his intricate and colorful art, this book contains 48 full-color reproductions of Amaringo’s latest works with detailed explorations of the rich Amazonian mythology underlying each painting. Through their longstanding relationship with Amaringo, coauthors Charing and Cloudsley are able to share the personal stories behind his visions and experiences with Amazonian people and folklore, capturing Amaringo’s powerful ecological and spiritual message through his art and words.

With contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen, this book brings the ayahuasca experience to life as we travel on Amaringo’s visionary brush and palette.

Visit the website of the book;

http://www.ayahuascavisions.com

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Jehua Supai by Pablo Amaringo


Jehua Supai – Espiritus Sublimes

Here you see a sumiruna, a great maestro and man of esoteric knowledge who can transform his physical body into pure spirit. He is surrounded by a magnificent aguajal: a wet area where aguaje palms grow. An aguajal is a temple of nature, a beautiful sacred grove where the spirits like to gather. He calls the yana puyurunas, spirit people of black clouds whose faces appear in the sky above him. They teach how to heal using the wind, the mist and the dew. They can heal illnesses arising from problems of love or separation and also legal problems.

This painting  is featured in the book ‘The Ayahuasca Visions of Pablo Amaringo‘  published by Inner Traditions 2011. Authors Howard G Charing and Peter Cloudsley.

Click to visit the website of the book for articles and interviews with Pablo Amaringo, also photo galleries and see the paintings with summary narratives.

To purchase high quality fine art reproductions and Greeting Cards of the paintings click to visit our store

25% Promotional Discount until December 31st 2012. Promotion Code: JXXUEV

 

ABOUT: THE AYAHUASCA VISIONS OF PABLO AMARINGO

Illustrating the evolution of his intricate and colorful art, this book contains 48 full-color reproductions of Amaringo’s latest works with detailed explorations of the rich Amazonian mythology underlying each painting. Through their longstanding relationship with Amaringo, coauthors Charing and Cloudsley are able to share the personal stories behind his visions and experiences with Amazonian people and folklore, capturing Amaringo’s powerful ecological and spiritual message through his art and words.

With contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen, this book brings the ayahuasca experience to life as we travel on Amaringo’s visionary brush and palette.

 

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José Morey – Art Exhibition ‘Amazonia 2004’ Catalogue


The catalogue of the Amazonia 2004 Exhibition in Iquitos, Peru. Featuring the work of local artist José Morey

Artist Bio – Translated from Spanish

José MOREY JOS RIOS Loreto, Iquitos natural – Peregresado School of Fine Arts in Iquitos Pea Victor.  Morey has done many exhibitions locally, nationally and internationally and eight solo Through his short but fructfera work in the field of plastic arts. Graduated the year 1992 has been developing art workshops in the school of our city as a teacher. His work was initially based on use of language to express the view Linear selvtico mostly with themes of flora and fauna, reaching proposal to establish a modern and pioneering geometric interpretation of trends within contemporary artists neo locale. The pictorial technique includes the traditional materials read on canvas applied with brush, geometrized forms and shapes, that after his first solo steps away a bit of regional issues amaznicos, to cover a comunicacinms wide, to universalize his art travs conventional geometric shapes squares, cubes, circles, spheres, triangles, polyhedra, etc .- have also the same as a conventional language itself ylneas points as independent.

In 1998 he won an Honorable Mention in the First National Biennial of Lima – Peren regional qualifying stage, which leads him to exhibit in the city of Lima that same year, with outstanding national and international artists invited to do so event. In 2001, when he attended the Complementacin s academic UNAP arises in a match between the artist and information on the antiquity of the people of America in an anthropology class in which the texts respondents talk about research in the area amaznica of Brazil, where pictorial artistic remains discovered in caves and rock paintings, stone arrowheads ago, ten to twelve thousand years of antiquity.

This knowledge motivates and stimulates the search for a way or how to interpret these facts to travs of painting, time of the encounter with the natural material used as llanchama material, which is the top surface armata Poulsenia tree, variety amazonian belonging to the family of the Morea, and abounds in Peruvian departments of Amazonas, Huanuco, Loreto, Madre de Dios, San Martn Ucayali. The fruits of this variety are similar to figs. This is native cloth sail and used by people from different ethnic groups since time immemorial, dressing, sleeping on them or covered, making ornaments and decorative painting body as headbands, bracelets and anklets. This fabric is located between the wood and bark of the tree, like a shirt sleeve, which then detach with gentle strokes are cut off the stem and dried for domestic use. JosMorey painted with oil paintings on the web natural advantage of the wide variety of textures that show, whose lines simple, compound or interrupted offer a thousand and one ways that have been printed on the fabric, the bark of these trees, as if they were carved by time stamps on these natural elements, but living inmviles. The shapes of the texture that Morey llanchama get to color, give way to the pictorial work, this texture is used in addition to his designs. These designs include in its incredible variety, may be a reflection of a pre-established unique and original composition. Iquitos – Peru 2007

Original Spanish

Artista Pintor loretano, natural de Iquitos – Perú, egresado de la Escuela Superior de Bellas Artes de Iquitos ?Víctor Morey Peña?, ha realizado muchas exposiciones colectivas a nivel local, nacional e internacional y ocho exposiciones individuales a través de su corta pero fructífera labor en el campo de las artes plásticas. Egresado el año de 1992, ha venido desarrollando talleres de arte en la Escuela de nuestra ciudad como profesor.

Su trabajo inicialmente se basó en el uso del lenguaje lineal para expresar el panorama selvático en su mayoría con temas de flora y fauna, llegando a establecer una propuesta geométrica interpretativa moderna y pionera dentro de las tendencias de artistas contemporáneos del entorno local.

La técnica pictórica recoge los materiales tradicionales del óleo aplicado con pinceles sobre lienzo, geometrizando formas y figuras, que luego de su primera individual, se aparta un poco de los temas regionales amazónicos, para abarcar una comunicación más amplia, buscando universalizar su arte a través de formas geométricas convencionales ?cuadrados, cubos, circunferencias, esferas, triángulos, poliedros, etc.- los mismos que también poseen un lenguaje convencional propio al igual que puntos y líneas independientes.

En 1998 obtiene una mención honrosa de la Primera Bienal Nacional de Lima – Perú, en su etapa clasificatoria regional, que lo lleva a exponer en la ciudad de Lima ese mismo año, junto a destacados pintores nacionales e internacionales invitados para tal evento.

El 2001, cuando cursaba estudios de Complementación Académica en la UNAP se suscita una coincidencia del artista con informaciones sobre la antigüedad de los pobladores de América en una clase de antropología, en la cual, los textos consultados hablan de investigaciones en la zona amazónica del Brasil, donde se descubren vestigios artísticos pictóricos en cuevas ?pintura rupestre- y puntas de flechas de piedra de hace diez a doce mil años de antigüedad.

Este conocer motiva y estimula la búsqueda de una manera o forma de interpretar estos hechos a través de la pintura, momento en que se produce el encuentro con la ?llanchama? materia natural utilizada como tela, que es extraída del árbol poulsenia armata, variedad amazónica que pertenece a la familia de las moráceas, y abunda en departamentos peruanos de Amazonas, Huanuco, Loreto, Madre de Dios, San Martín y Ucayali. Los frutos de esta variedad se parecen a ?higos?.

Esta ?tela nativa? es extraída y utilizada por los pobladores de las diferentes etnias desde tiempos inmemoriales, para vestirse, dormir sobre ellas o cubrirse, pintarlas decorativamente o hacer adornos corporales como vinchas, brazaletes o tobilleras.

Esta tela se sitúa entre la madera y la corteza del árbol, como la manga de una camisa, que luego de desprenderla con golpes suaves, son cortadas para retirarlas del tronco y secadas para su uso doméstico.

José Morey pinta con óleos sobre esta tela natural aprovechando la gran variedad de texturas que presenta, cuyas líneas simples, compuestas o interrumpidas brindan mil y una formas que han sido impresas sobre ella ?la tela- por la corteza de estos árboles, como si fueran sellos labrados por el tiempo sobre estos elementos naturales, inmóviles pero vivientes.

Las formas de la textura de llanchama que Morey consigue dar color, abren paso a la obra pictórica, esta textura además es utilizada por sus diseños.

Estos diseños que recoje en su increíble variedad, podrían ser el reflejo pre establecido de un sistema compositivo único y original.

Iquitos – Perú; 2007

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Pablo Amaringo RIP – at Usko Ayar, School of Amazonian Art


Pablo Amaringo – Usko Ayar

The Usko Ayar (Quechua for ‘Spiritual Prince’) School of Amazonian Painting, was founded by Pablo Amaringo.

For more info about the school;

http://www.egallery.com/coll/amazon.php

To read an interview with Pablo,

http://www.scribd.com/doc/15084813/Pablo-Amaringo-Foreword-to-th…

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