November 2012, Acrylic on Canvas, 90cm x 70cm
Yana Huáman by Pablo Amaringo
Yana huáman means ‘black eagle’ in Quechua, and refers to a powerful maestro. The black eagle has phenomenal eyesight and can distinguish small details from a great distance, thus a yana huáman possesses the gifts of insight and discernment.The woman on the right edge of the picture is the Mother of the puca lupuna. A deserving maestro climbs the stairway (bottom right) to her temple. She is the ‘tree of the red moon’ and teaches the mysteries of the lunar rhythm that influences women’s ovulation
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
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.
I have to admit it is an exciting pleasure to get to interview artists Alex and Allyson Grey. Delving into their new book Net of Being. Which is a wonderful book showcasing the legacy of wonderous art from Alex. From his work with one of my favorite bands Tool and Nirvana and so many other topics. We get into in this extraordinary interview and speak about consciousness and the universe. Many topics I discuss on my radio show The Church of Mabus in the past but never quite like this before. I would have to say this is definitely one of my most exhilerating interviews I have ever partaken in before. I hope you enjoy it as much as I have. Presenting.
1. I first came across your art from the TOOL album you did and then later Nirvana’s album and the Beastie Boys, at once becoming an admirer of your art forever. Could you tell us a bit about that experience and explain what transpired creatively between you and the bands?
Nirvana’s manager requested the use of one of my paintings entitled “Pregnant Femaie” for the “In Utero” album. I never met Kurt Cobain but heard that he admired my art and promised to come to the studio the next time he was in New York. Then he died.
Adam Yauch called asking to use the “Gaia” painting on the “Ill Communications” album. We spoke a few times on the phone and had lovely conversations when we ran into each other at Buddhist ceremonies and speaking engagements of His Holiness the Dalai Lama.
I had a solo exhibition in Santa Monica and Adam Jones, lead guitar and founder of Tool, inquired with the gallery about my artwork and started talking immediately about album art. He described his concept of the dissectional art for the Lateralus album. He asked me to conceptualize a stage setting using my work to travel with the band on 90 city tours of stadiums throughout the world. It was astonishing the exposure that my work received through our interaction for the past two albums. I also had the opportunity to create and co-create my first two animation projects. , continue reading!
A Presentation in Bucharest April 2012 on Visionary Art by Howard G Charing , co-author of ‘Plant Spirit Shamanism’ and ‘The Ayahuasca Visions of Pablo Amaringo’.
On view from May 15 to October 21, 2012, the exhibition Histoires de voir: Show and Tell presents the works and narratives of over 40 painters, sculptors and filmmakers from around the world. They are Brazilian, Indian, Congolese, as well as Haitian, Mexican, Danish, Japanese and American. They hail from the urban centers of Paris and Port-au-Prince, or the rural communities of the Amazon and Madya Pradesh. They emerged as artists and developed their talents in uncommon circumstances; they have often been considered as naïve artists and have rarely been invited to exhibit their works in contemporary art institutions.
<div style=”margin-bottom:5px”> <strong> <a href=”http://www.slideshare.net/HGcharing/histoires-de-voir-exhibition” title=”Histoires de Voir Exhibition” target=”_blank”>Histoires de Voir Exhibition</a> </strong> from <strong><a href=”http://www.slideshare.net/HGcharing” target=”_blank”>Howard Charing</a></strong> </div>
An inventory of my collection of Shipibo Artisan work. I have been collecting for many years and there are some exemplary pieces in the collection. I’ve assembled an 80 page catalogue of their beautiful work.
It is time to get these wonderful textiles and artisan work out of a trunk, and share them with the world. Many items are for sale, and a price list is included. In addition I’ve included an article about the unique geometric designs of the Shipibo people.
The Newsletter of the Korean Art Society 2009 about the Traditional Shaman art of Korea. The newsletter is an outstanding resource of information containing detailed narratives on the depicted paintings. Robert Turley the President of the Society, writes in his introduction;
“My reasons for loving Korean art are its unaffected sincerity, earthy soulfulness, absence of artifice, energetic sense of humor, and effortless reverence for and affinity with nature. These are qualities that are well expressed in the folk art of Korea. Art that is by and for the people and that is not art for art’s sake. It’s the same qualities that draw me to early acoustic blues, tribal art, and any other unfiltered and unfettered expression of humankind’s common yearnings, fears, disappointments, and triumphs. Within the broad realm of Korean folk art, shaman art expresses the deepest desires of the Korean people.The shaman’s art and implements, such as paintings, masks, and costumes are a fundamental part of shaman rituals to protect the home, heal the sick, divine the future, communicate with the deceased, bless and protect the crop, wedding, family, and newborn baby, and provide the people with a sense of well-being and purpose.
While the court ordained official theology and commissioned art supportive of it, the commoners, from a life really lived, created and through the centuries have held onto a most syncretic belief system that borrows from Buddhism, Confucianism, Daoism, ancient animism, and elsewhere, and that engenders a strong connection to nature and its energy. Korean shamanism encourages a healthy defiance against official dogma, and an open-mindedness and sincerity that guides the creators and commissioners of these powerful works of art. That is why these wonderful creations by and for the people speak so directly to persons of all persuasions even today”.