Channeling the Sacred through Art

 In a course for my Masters of Divinity titled "Book as a spiritual vessel" I created many of my own books, and in a lot of ways furthered my personal story of self realization. 

The process of creating books has been an interesting opportunity to understand more fully what art is. It is not simply the product or the means with which beautiful expressions are created.  To engage in an artistic project from the perspective of a spiritually inclined individual, is often to enter into a meditative process of communion with the Divine. 

Art has the potential to be more than just a hobby, it can nourish the soul. “We get so caught up in the flurry of our lives that we forget the essential thing about art that the act of creating is a healing gesture, as sacred as prayer, as essential to the spirit as food to the body.” (Myers, 126) 

This dawning realization arose of the process of creating art as a trance induction method; through which the ability is gained to become a channel or vessel for divine presence to move and nourish. In its creation, the art becomes the sacred vessel for channeling spirit. The book as a sacred vessel takes on an eternality in it’s holographic fractal context. Sacred text remains a portal or vessel for others to be touched by the source. The touched individual then enters into an openness to connect and create. The potential to become a vessel, to sacrifice the small self to the sacred, in the channeled actions is present. Some speak of this essence in the creation of art as a muse, as Bell Hooks writes there is an understanding of the presence of spirits in the process. Just as in life you can access all kinds of energetic tones in art; accessing all kinds of spirits. Art as well as, “Writing becomes then a way to embrace the mysterious, to walk with spirits, and an entry into the realm of the sacred.” (Hooks, 130)

Just as someone further developed on the spiritual path can engage dimensions of divinity with a mystical clarity, so too can someone more spiritually inclined access the Divine essence through this practice. Still at any moment anyone has access to the divine presence because that presence is samad (there is no place that it is not). With art it does not matter if you believe in God even if you are a non-theist you can reach a spiritual convergence in the art. This is why Buddhist calligraphers write a circle to symbolize sunyata or the void.  However, if your consciousness is not able to drop into the zone (the space of emptiness), a place of naiskarmya (a state where you are not bound up mentally when completing your actions), you may feel like the results are less inspired.

“In the Beginning was the word and the word was with God and the word was God.” The word has always held a power and a glory that far exceeds our understanding of it. Sacred texts recognized to have a formulaic significance that lends a potency to the utterance. Book making can become a ritual sacrifice to the power of the sacred. 

The process of book making for me has felt very channeled. After flipping through countless magazines for words or images that drew me I discovered a title that was a major catalyst for my process. It became my lectio divina, a phrase that drew personal focus and assisted intimately in unpacking my creative current. Facilitating this heart centered reverent and intimate connection with the presence of spirit that effortlessly flows. "God is already praying in us. Through lectio, we make ourselves available to join this unceasing prayer already happening in our hearts.” (Paintner, 8) I find the concept of lectio divina to be very similar to the yogin’s bhakti or the Sufi’s rabbikya, heart centered (intimate divine convergence) activation. The phrase that connected aspects of my creative process forging a clarity, and focus of realization was ‘In Search of the Cosmic Dawn.’ My name Sahar means Dawn. 

Often engaging art for me became a meditative process where I entered into the perspective of the witness. Upon experiencing an analysis of an artist’s repetition of an image as well as a fellow classmate’s statement that she was often recreating the same themes, I had an epiphany about art as an extension of our process of self realization. I realized the title ‘In search of the cosmic dawn’ spoke volumes about how what I was creating was a reflection of myself and perspective of reality. This in a sense granted me permission through ownership. As I claimed my art through this title, I was even more able to fully claim my artistry. Understanding bloomed that what I created as art was sacred as it was a result of divine communion or a manifestation of the nourishment from that same essence in creation. 

My developing artistic style is a self realization process. I worked in a collage style a kind of puja where I create a spiritual altar in which images, words, and patterns speak to how I see the divine essence in myself and experience of creation. The different symbols and objects hold a symbolic or archetypal significance to my spirit. Triangular tribal or geometric designs speak to my primitive but visual identification with the perfection of reality, the raw energetic tone of existence. The color burnt orange is significant in multiple spiritual traditions from Hindu siddhis to Chishti dervishes. It happens to be my favorite along with being a visual representation of the sun. Many Esoteric spiritual traditions consider gold (a color I favor in my artwork) a high vibrational color and material as well.  

 

The different aspects of the Divine feminine, receptive to fierce, speak to honoring the potential for variance in diverse individual expression. Depicting the feminine as Madonna and crone, the Goddess as elemental and energetic exuberance in eternal potency.  Images are used of sensual potency; macabre women as well as lovers which in part represents the integration of duality. All are sacred expressions. All speak to the aspects of creation I wish to bring more focus and honor to. By having images of divine personhood that depict people of color I am able to honor the dignity of each human soul (including ones who look more like me!) through inclusivity. Archetypes that reflect purity such as the Madonna recreated with variance, help to honor the generational suffering of people of color. Bringing my spirit animals into my art has been especially nourishing. Giving that aspect a face and a tone and the added color brings into my awareness the mythic tales, and transformative presence of symbol.

Exploring the ability to utilize the book shape to take my book art to another dimension. I created a large accordion book to portray it literally as the metaphoric altars it is. Also by utilizing the accordion style and adding branching off pages. From two dimensional to three dimensional, I designed my final book as sun shaped as with the interwoven solar theme of the book. The term Sahar, or Dawn, denotes the sun breaking through the darkness. 

Transformative fire is a theme of my art collage creations. Embodying the yogic element of tejas, which describes a fire, radiance, fierce or potent tone of concentration. Often I have images in fire to denote change moments of transformational annihilation and regeneration. The sun has been a major personal symbol for me, as It has been for many people through a variety of spiritual disciplines and religious traditions. The sun has represented God and source energy for various traditions including the Egyptian Sun God Ra, and the Hindu Sun God Surya.

I am in the process of clarifying contemplative conundrums through the creation and integration of themes in my art book. I look forward to continuing to widen my understanding, and spiritual path through the artistic process and its potential to take me deeper. Penetrating as it is, to the state of my sub-consciousness and super-conscious mind.

I will share my artwork soon

Bibliography 

Hooks, Bell. Remembered Rapture: The Writer at Work. New York: Henry Holt, 1999.

Myers, Tona Pearce. The Soul of Creativity: Insights into the Creative Process. Novato, CA: New World Library, 1999. P126

Paintner, Christine Valters. Lectio Divina--the Sacred Art: Transforming Words and Images into Heart-centered Prayer. Woodstock, VT: SkyLight Paths Pub., 2011. P. 8

Sufi and Vedic studies: The esoteric science of the Beloved

Rabbika a concept which denotes an intimate relationship with Allah is from the root rabb a term for God that reflects a context of nurturance. An term in relation to our gender binary, which has a feminine connotation. The concept of devotion is core in sacred studies. Even the term sacred means something to be revered. Not all who come to ministry, religion or spirituality are interested in the loving relationship with Spirit, but intimate connection is an essential part of truly relating to anything. 

This tone of relationship with the Divine is made in the cave of the heart. The intimacy of this connection with the sacred is termed rabbika in Islam, and in yogic studies it is carefree to as bhakti yoga. The Sacred then becomes the Beloved.

Finding Connections Everywhere

The intersectionality between yogic and Sufi studies is not surprising. I find all mystic sects have a common thread. In yogic studies there is a categorization of the ego or ahamkar, in Sufi studies this occurs with the different stages of the nafs. 

The Nafs al`Ammara Bissuu' being the lower stage and the higher being the nafs exhibited by the saints and prophets. Just as there are tamasic and sattvic ego states in yogic studies, the sattvic ones corresponding with the consciousness of the guru and ascended masters. 

 They also both make a distinction from the sattvic state or purified state of nafs and the state of 

annihilation into the Beloved or La illaha illallah. 

That there is the expansiveness, and self 

(individual unit, concept, or categorization) 

annihilation when you surrender to merging with 

the source of creation. It forms for me another 

argument for developing a multi-religious 

perspective. 

In yogic studies they also speak of the higher and lower triangles as a division made among your chakra, or body's energy system, with the heart as center. Operating from the higher chakras, is recommended, though practice is needed since we live on a planet with gravity, and the lower ones naturally have more pull. 

Opening to Becoming 

For the Muslim or Devotee having an intimate relationship with Spirit allows for revelation. It is revelation because it is revealed to you when it is obscured otherwise. “As for those whose fate is disbelief, whether you warn them or do not warn them - it is all one for them; they will not believe. Allah has sealed their hearts and their ears, and on their eyes is a covering” (Baqarah 2:6-7).

“And of them there are some who listen to you; but We have set veils on their hearts, so they understand it not, and deafness in their ears; if they see every one of the Ayat (proofs, evidences, verses, lessons, signs, revelations, etc.) they will not believe therein; to the point that when they come to you to argue with you" (Al-An’am 6:25). 

The clear signs are apparent to true believers. Indeed I believe the Ayats or signs become clearer and clearer the more true you become. True believers are ones who learn to honor God in all things. The more you witness and honor the totality, Malik-al-Mulk (the position of creator as owner of all) the more the veils thin and things become apparent. Positing unification with source on a continuum, which reflects the fluid aspect of creator/creation. 

The Donkey is your Vehicle,  Don't let the Ass ride you 

For the Sufi striving in the way of truth toward totality means to call “a spade a spade” condemn what is wrong and lift up what is right, but it also means to be soft like wool with each other. To do Salat, dhikr, any protocols which focus and train the ego to be a good vehicle (a good donkey) on the path. 



This training from the practices or Salat, is much like the concept of yoga. Yoga comes from the root yuj which means to yoke. It is used several times throughout the Vedas in analogy to horses drawing a chariot. The horses are the senses and the yoke (yoga) is a harnessing tool that tames and unifies the erratic aspects of your vehicle with the whole. Just as Salat and dhikr train and unify your ego into resonance with the remembrance of divine presence. 

Devotion the Best Polish

To truly engage an expanding realization of Allah you must strive to understand more of the totality. In yogic studies this could be understood through the concept of jnana yoga or union with the divine through knowledge and wisdom. The 99 names show Source to be made manifest in many forms as Rachman (compassionate) Raheem (merciful), Haqq (truth) Chay (life), Wadud (love), and to come to know the source in its many forms we understand a relationship can develop between us and those attributes.
 Honoring the sacred has the potential to crack open the cave of the heart bringing an element of reverence that is a combination of the impressions of your experience which are unique and private compositions of devotion. In yogic studies they speak of a great seal of the absolute made onto the worshiper who has cleared the misimpressions of the ego enough to be malleable to a saintly imprint from Divine embrace.

A Entrance in Every Direction

In terms of Rabbika I find it is true that the Hanif or internal compass that points to Allah is made clearly apparent by an intimate connection. I also resonate with the concept of portals to Allah. Our heart, and our devotion is a portal. Our heads or higher centers especially when prostrate in remembrance of Supan Allah, (much like touching the feet of the guru or representative of the divine in yogic studies). put to the lowest point in a stance of humility, creates a portal to the Beloved. Each spiritual and religious path a portal to the Divine. I find myself unable to cut off any access points to the Infinite. Ever opening to many divine expressions of the totality.  

Allah brought me into this life and sees me through each day. I have learned to be grateful for my losses as well as my gains. I have come through my life experiences with an unflinching conviction in the pure nurturance of divine presence. It fills every void and is the foundation on which I weather every storm. I continue to strive not to judge but to encourage toward practices of remembrance. For when we are in the current of divinity, in a sattvic state or a state of purified nafs, we remember there are no barriers and no distinctions just La ilaha illallah. There is nothing outside of The Sacred. 

What is Tantra really? The Wisdom of Liberation

Finding Self in Tantra

“Tantra is ‘an attempt to place kama, desire, in every sense of the word, in the service of liberation… not to sacrifice this world for liberations sake’”

The practitioner of Tantra seeks to attain liberation, a goal defined through harmony or resonance with the divine, by subverting the dominant or status quo, and replacing it with its opposite hierarchically. This cultivates spiritual development through integration of paradox. In narrative and iconography there is the Goddess instead of the God. The fierce woman instead of the submissive. The warrior aspect of the sacred, not simply the benevolent. Still within each iteration is its opposite. Eastern philosophy is able to pulse along the spectrum seeking to gain balance in their exploration of the Totality.

I had a brief understanding of Tantra prior to taking a course through my studies, (I am studying for my Master's of Divinity and Masters of Art of Social Change at the Starr King school of the Ministry an affiliate of the GTU [Graduate Theological Union] of UCB [University of California in Berkeley])  We explored a book by David White. I had some undergrad coursework on tantra, and my yogic/ayurvedic intensive trainings and practices, as well as through awareness of popular appropriation. 

Reading Tantra in Practice I found myself so clearly expressed. I found Tantra was an accurate term to describe my own multi-religious integrative perspective and experience. I feel represented as an individual vested in many of the traditions described in this text, and as a result of my core interest in trance induction methods for the (nis karma) Spirit channeling liberatory appeal. Also as someone interested in the full potentiality of the human being I have always been intrigued with the topic of the siddhis. 


As a highly intuitive and empathic being the veils have always been thin, and I have felt the need throughout my life to develop psychic defense. I found countless points of resonance in this comprehensive perspective of Tantra written by David Gordon White. Before this course I had otherwise no more accurate label for the context of my own unique relationship with reality. 

I appreciate that in tantric spiritual practice the utilization of trance induction states of divine convergence is “a ritual technique …for combatting demons” (White, 10). The idea is if you are ready to handle more of the totality, that you will lift the veils between your self and various energetic beings, both benevolent and malevolent. Thus the practices or states are utilized consistently in experience with these various beings. Understanding the siddhis in the context of tools along the path also seems more integrative then to only note them as the temptation of super powers.

I utilize practices and understanding (jnana yoga) from the various traditions to, “ritually appropriate and channel that energy [divine energy of the godhead that creates and maintains the universe], within the human microcosm, in creative and emancipatory ways” (White, 9). 

Utilizing the Atman/Brahman or holographic link of pure self to explore waves of energy toward the liberatory state of dissolution into oneness. Like the Parmahansa Yogananda chant I resonant with “wave of the sea dissolve in the sea.” 

I felt viscerally drawn to the description of the “spontaneous existential gesture of the condition of liberation” (White, 581). In fact I read this repeatedly to let it sink in. I completed my praxis in a previous course on mysticism with, a spontaneously arising gratitude practice. I considered my experience of mantram. Upon enough consistency of recitations, it weaves the sound current into your spirit to be a spontaneously arising principle of practice.

 I am a practitioner of Qi gong, and I understand historically that all the practices I have learned in every school to once have been a dance between the soul of a person and the universe. This point is so very important to my perspective of reality and the deep truth of my being. Though I know a variety of energetic practices to cultivate the self I always feel a push and a pull from the universe that modifies or creates new energetic movements of liberation. I know that spontaneous existential gestures communicate the presence of Spirit. I understand this to be true communion.  

I highly resonated with the understanding that, “Tantra is ‘an attempt to place kama, desire, in every sense of the word, in the service of liberation… not to sacrifice this world for liberations sake’” (White, 8). This soteriology seems more effective for liberatory pursuits as it doesn’t create a dualistic perspective between desire and liberation. The creation of a dualistic binary is a microcosmic representation of the experience of separation. Separation being the antithesis of liberation, as liberation is often understood in terms of oneness or unification with divine consciousness. Integrating the paradox or creating (tai chi yin yang esque) interwoven binaries seems to be the best unification method. It appears to me that a practitioner on a path that is further able to integrate any binary paradoxes is more apt to effectually recondition their consciousness to experience liberation. Unlike a practitioner whose tradition’s perspective considers with antipathy desire. Surrendering rigidity, like the description of the great seal of the absolute meeting a more malleable form of the reconditioned yogin to be graced with divine imprint. 

The seal of the absolute makes me think of the Mandelbrot set (nicknamed the thumbprint of God) a math equation and symbol of perfection. A fractal with infinitely smaller representations of itself hidden within it's geometric design. The great seal of the Absolute is described as a liberatory seal of perfection which is noted as “mudras of consciousness.” (582, White) 




Surya Yantra                         Surya Mudra                            Surya Mantra


Mudras being like yantras in that they are like physical manifestation of an ineffable divine presence. The very act of reading White’s description of the great seal, with my mind witnessing paradox falling into Wajd (ecstasy) through the potent content, I am spurned to create Jamal the beautiful in my own creative exploration. These points of divine inspiration are a fractal manifestation of the sacred. To think how just discussing or analyzing discussions of the absolute can bring a liberatory energy is another reflection of the fractal holographic universe, “communicate (nivedanda) the direct experience (anubhava) of the Absolute.” (White, 584)

The paradox is the meeting and inextricable relationship between pairs of opposites. In the tantric context this is contemplated through aspects of divinity. Divine intelligence is nudging us through this thing called tantra toward integration of paradox to expand our relationship with Totality. “Such a state is not understood to exclude the dynamic swirling and abundant variety of the world. Rather it is the full revelation of the intrinsic and unchanging source from which this kaleidoscopic drama of samsara continuously emerges and manifests.” (White, 582). 

The path towards integration of paradox is a clear theme both in spiritual pursuit, and in experience of human life. It becomes clear that all the seeming negative experiences form one end of a necessary (for maturation or evolution) continuum of occurrence. In gratitude for our losses and gains, and humble observance of our attachments and aversions, we cultivate intimacy with the Beloved. 

Reading about tantric mandala brought many things to mind. Tantra in Practice seemed to bring to us mandala as a “key to understanding” (White, 9) (jnana yoga) positing it and Tantra again as liberatory agents.  The description brought to mind yantras and Masaru Emoto’s water research that proved human emotion (energy in motion) effected geometric molecular formation. Mandalas are described as an “energy grid that represents the constant flow of divine, demonic, human and animal impulses in the universe, as they interact in both constructive and destructive patterns.” (White, 9) The subtle reality of this is perceived at least in part through Emoto’s experiments. He freezes and observes the molecular changes of water intentionally beamed by human consciousness of varying controlled emotional states.  Emoto’s research proved that the geometries of molecules (energy grid) are in a constant state of flux in constructive and destructive ways which is effected by human impulse.

The mandalic description in Tantra in Practice also brought to mind the image of things rhizomatically shaped. Basically networks like the internet or neurons, dna, molecules as well as tree roots or the very structure of the universe.
 The microcosmic macrocosmic similarities, and other forms where you can more clearly observe energy grids effected by impulse. These too are mandalic aspects of reality. “The mandala is the mesocosm, mediating between the great and small…as well as between the mundane and the sublime (the protocosm of the visible world of human experience and the transcendant-yet-immanent metacosm that is its invisible fount)” (White, 9). To me it also feels like the relationship of Prakriti as the manifest form of Purusha, or to think of the Tao in form. Though it is truly this unseen mystery and void, it is wisely known when honored as omnipresent cosmic sublime perfection. 

When observing geometries such as the ones noted, but especially when experienced 3 dimensionally as artistic representations, (such as the Borobudur in Indonesia and Islamic mosques that convey tessellation formations or shamanic journeys and psychedelic trips) we can almost grasp the ever present ineffable form or mandala. I have always resonated with the liberatory context of form, and questioned the dualistic nature of aversion toward idolatry, which is just a conceptual perceptive of iconography. That which can be defined in one sense as honoring the sacred in form, and in another as subverting the position of the Absolute. 

One spiritual truth that I understanding on a subtle but visceral level is that the Absolute can not be contained. As such it will never fit fully into human consciousness. However, we strive as a people to know the Infinite through as many ways, including images and icons, as resonate. It is how we seek and maintain connection. God the Omnipresent Totality which can never fully be understood through our dimensional perspective. We must be aware of the limitation of iconography, but not forgo that aspect of the spectrum, in turn continuing towards limitation rather than expansion into the Infinite. It is not either or but both and. As Tantric theory shows utilizing the opposite helps to liberate us from our aversion. Aversion being just another form of separation. 

Just as witnessing the unknowable through a 3rddimensional material representation in form can create that deeper knowing, so too we must understand, “the body is the indispensable organ for contact with the absolute” (White, 10). Rather than abhor in varying degrees our bodies, mortal lives, experiences, and conditioned aversions, we must appreciate their context, and utilize them for knowing, in variant forms, the divine essence. For more of the Totality will be eclipsed by our rigid identifications if we do not come to know It in a multiplicity of ways.  

It was also amazing to see Dakinis noted as common Goddess forms in tantric worship. I have a personal affinity for the Dakini. One women role model stands out who had a dakini spirit, her name is Tenley Wallace.  One of the Godmothers of my first son embodied this sacred feminine energy. Without touching on her actions she emanated grace. She is a master belly dancer and Qi gong practitioner. I remember vividly meeting her and thinking how amazing it was to see a woman who embodied the Goddess. I realized in that moment how I personally resonated both with embodying the Goddess within the self, as well as with my interpretive understanding of the Dakini archetype. I currently have a Dakini Goddess alter on my land. Coming from a sex negative culture I definitely feel the tantric quality of my personal adoration of the Dakini was a safe guard for my sacred sexuality. Which along with many other spiritual things for me is very intimate, and became privatized. “In fear of them I hide the Mother; I place Her carefully, secretly on the throne of my heart” (McDermott, 114) This quote alone speaks volumes to the intimacy of my relationship with the Beloved. The purity reflected in the image and concept of the Dakini, as raw vessel of sensual power, and the honoring of that context as sacred neutralizes subconscious cultural conditioning that demeans feminine sexuality. The Dakini creates a perspective and appreciation for the neutral reality of that energy. 

The neutral context can be understood in terms of the relationship between purusha (pure consciousness) and prakriti (the prime material energy of which all mater is composed). Both pure but when misidentified create confusion in context of relation. We condition the raw neutral energy with our minds misidentification with prakriti. Whether this representation of prakriti is money, sex, devotion. We color our identification or misidentification with it as good, bad, wanted, abhorred. It just is. Tat tvam asi. Like the heart beat or the dhikr of the trees. There are varying levels of resonance, but to attune is simply discerning the difference between purusha and prakriti while aligning with the totality of being. 
This brings vividly to mind the tai chi or yin yang symbol which portrays two different ‘separate things’ opposite things coexisting in interwoven inseparable reality. One existing within the other each of the other, and both necessary for the balance of creation. Without this relationship you have the void or primordial womb. There is nothing to abhor in this basic description of the reality of binaries. This awareness is what Tantra describes. Conditioning neutrality by subverting aversion through the integrative appreciation of the opposite of our socially conditioned ideal. 

Bibliography

McDermott, Rachel Fell. Singing to the Goddess: Poems to Kālī and Umā from Bengal. Oxford: Oxford University Press, 2001.

White, David Gordon. Tantra in Practice. Princeton, NJ: Princeton University Press, 2000.