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The next two art works from Becoming Medicine: Pathways of Initiation into a Living Spirituality are both by Joseph Rael (Beautiful Painted Arrow). The first painting is “The Blowing Breath of Dark Energy.” I have a small photo of this piece in my office, near where I work. Joseph is fascinated by scientific discoveries around dark matter and dark energy. Joseph says that “darkness is where all the good ideas are.” I’m not sure how old this painting is – it is from a number of 35 mm slides of Joseph’s artwork that we had transferred to digital.

The Blowing Breath of Dark Energy, J. Rael (2020)

The next art work is “The Underside of a Far Larger Ship.” Joseph often speaks about space, ETs, and the stars as our relatives and home. He says that according to traditional teachings, we came from the stars and one day we will return there. This is an image of a vision of ship he saw flying above the Earth.

The Underside of a Far Larger Ship, J. Rael (2015)

These art works are from Chapter 7: Story Medicine and it opens with a vision Joseph had of a new creation story:

Joseph Rael’s New Creation Story


Joseph called me with a dream/vision he had one morning:


“Grandmother was making strong black coffee one morning and brought a cup to Grandfather. She also brought the coffee upstairs to the children and gave it to them so that they would get out of bed. She wasn’t supposed to do this, so she didn’t tell Grandfather this. [Joseph relates that this happened to him when he was a young boy, that he was given coffee secretly in the morning to wake him up so he would get dressed for school].

“When Grandfather drank the coffee he had an epiphany, an inspiration. He had a white sheet of paper in front of him and he hit it and it made the sound, one—weh-mu! He hit it again and it made the sound, two—wehseh! Then again, three—paah-chu! He continued to hit the paper ten times, counting out the numbers of inspiration one through ten: four—wii, five—paah-nu, six—maa-tschlay, seven—cho-oh, eight—wheh-leh, nine—whiii, ten—tehn-ku-teh. He hit the paper with a multi-colored colored pencil that he had and with each hit he created a circle of colored light that emanated out
from the Big Bang of the central point.


We talked about this vision for a while and I wondered why God needed the cup of coffee for inspiration (I do live in Seattle). I wondered if the black liquid coffee could represent the blackness of the Void that existed before creation. I like this idea that God drank in liquid blackness and out of this inspiration came a vision, which Joseph describes as the soul drinking light—and out of inspiration comes rainbow circles of light creating Creation out of sound, light, color, breath, and vibration.

In Joseph’s vision, we also have the interaction of the feminine and the masculine in creation, the feminine providing the inspiration through the liquid black of coffee, but also showing the introduction of duality and
the use of coffee for both the inspiration to create the Universe, but also abusing the coffee to force the children awake. In the exegesis of the vision, Joseph mentioned that the Grandmother was an older generation than the Grandfather, not necessarily the partner of the Grandfather, but maybe the Grandmother of the Grandfather—thus we have the interesting idea that perhaps the Grandfather was one of the children that the Grandmother was trying to get up, dressed and off to school, and what slipped out was that the child/Grandfather smacked the paper 10 times and created the Universe before running off to school.

Joseph explained that prior to the Grandfather having the epiphany, he was living in darkness, in the Vast Self. He was an artist who had learned to see in the dark, making his sketches. He hadn’t yet moved into the Circle
of Light. “Darkness is where all the good ideas are,” says Joseph, this is where the source of inspiration is. With the first hit of the paper, simultaneously a sound and light are created. This is the point of light at the center of the medicine wheel. It is the light of epiphany, the light of movement, there is now a central organizing point. With each hit of the paper, a new colored circle of light of the medicine wheel is created.


In talking about this dream/vision, Joseph says, “Of course we are God, we are the artist.” Each of us is creation, but we also keep creation going through our lives and as we cycle through the medicine wheel we create energy—the friction in our lives creates sparks and gives off light. The medicine wheel gives a structure, organization and context to all life events. It shows how life moves in circles: each year we move from winter to spring to summer to fall and back to winter again; each life comes from the earth and returns to the earth; each inspiration and epiphany begins in the North (winter/spiritual) and then moves to the East (spring/mental), then to the South (summer/emotional), and then to the West (fall/physical). The medicine wheel explains how spiritual inspiration becomes mental idea, becomes emotional feeling, and then becomes a physical thing in material reality. The medicine wheel shows that there is no artificial boundary between the spiritual and physical, rather there is a bridge, or a rolling wheel that moves the energy along, manifesting in different dimensions at different times.

(Joseph Rael, Becoming Medicine, 167-169).

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The next two art works from Becoming Medicine: Pathways of Initiation into a Living Spirituality are both by me.

“Dove of the Holy Spirit,” is a bright and vibrant painting – colors exploding out of the blackness of the void. I keep it by me, on my desk, where I work.

Dove of the Holy Spirit, D. Kopacz (2017-2018)

The next painting is, interestingly, a bird flying in the opposite direction to the first painting. I did a series of two paintings of crows flying through the darkness of the void. Joseph often speaks of dark energy and dark matter and is fascinated by these energies and spaces that we can infer but that we cannot see with our usual senses.

Crow Flying through Cosmos, D. Kopacz (2018)

“Carrying is the same as initiation. At sunrise, the sun’s light initiates the day. At sundown, the sunlight initiates the night by ending the light of the day and beginning the dark of night. Similarly, life is carrying all that is; all plants, animals, and things. Life initiates us into linear time. We live from one moment to the next one. We live inside each moment, then it passes on so that we can become something new. A past moment that just died carries and becomes the foundation for the new knowing that was just born.” (Joseph Rael, p. 165, originally from Sound, p. 111).

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The next two paintings from Becoming Medicine: Pathways of Initiation into a Living Spirituality are both by Joseph Rael (Beautiful Painted Arrow). I love this first one, “Elders Gathering at the Winter Solstice” with the Elders as different color eagles.

Elders Gathering at the Winter Solstice, J. Rael (2017)

The next painting of Joseph’s is Drinking Universal Spirit Stars Light. This is one of a series of paintings that Joseph did featuring gold paint.

“A vision is the soul drinking light. It starts with descending light, falling like rain. . . . The visionary transformation happens in the act of perception. . . . It has the quality of “heaven is here now.” What you want to achieve is here now, ready, given.”

(Becoming Medicine, p. 76, from Ceremonies of the Living Spirit, p. 40)

From Joseph’s perspective, we are in continual interrelationship with the world and the stars are our ancestors, our elders, our relatives, we came from them and we will return to them. For Joseph the separation between subject and object which we have tried so hard to perfect in Western science is more fluid. We don’t just look at the stars, we drink their light and the ancestors and relatives nourish and support us.

“Kuaua: means hello, it is the greeting that you give when you meet someone. Ku means good and aua means life, so it means good life, have a good life, it is like a blessing. So when we say hello to someone, kuaua, we are instantly bringing out the goodness that exists in the world, in the bushes, the plants, and the trees, the stones, and the mountains. It is not that we say it and it travels over there. We say it and it re-awakens what is already there in the world. In that way we are bringing out the goodness in the world through our words and our actions. We are giving birth to the world in our everyday life. Isn’t that great?” (J. Rael, p. 155-156).

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For the next two art works from Becoming Medicine: Pathways of Initiation into a Living Spirituality, we have one from Joseph and one from myself. Joseph’s painting is “Vision of the Blessed Virgin.” Joseph told me of at least three different visions of the Madonna. The first visit I made to Colorado, Joseph directed me to drive around (it felt like we were driving in circles at times!) and one of the places he took me to was a house in Bayfield where there was a gas explosion and Joseph was blown over, injuring his knees. He had another vision one time in an AA meeting. That painting is in Walking the Medicine Wheel: Healing Trauma & PTSD, entitled “Awakening at AA Meeting,” (p. 135). We also have a painting of Joseph’s in that book entitled, “Madonna Over Sound Peace Chamber,” (p. 189).

Vision of the Blessed Virgin, J. Rael (2015)

My painting I called, “Shamanic Vision,” I was trying to capture the two realities Joseph speaks of: Ordinary and Non-ordinary Reality. I also added the colors of the rainbows that Joseph uses in his paintings: yellow, orange, red, blue.

Shamanic Vision, D. Kopacz (2016)

That’s the way I live. I never know how the things I do are going to turn out. I just show up and do what I’m told. This energy follows me around, but I always know if I don’t do what I’m told I will be unhappy. I used to tell my students, be sure that you follow your guidance because that guidance is in your higher interest. From that, other experiences will come to you that will enhance your growth. (Joseph Rael, p. 108 – from House of Shattering Light, p. 110-111).

Review of the Taittirīya Upaniṣad: Ancient Wisdom that is Much Needed for Modern Times

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This short book follows the course of the Taittirīya Upaniad with commentaries by Swami Muni Narayana Prasad. The reading requires a moderate degree of concentration and has technical Sanskrit terms that are well-defined (and includes a 12-page glossary). A major theme in this, as in many Upaniads, is that the seat of the Divine is within the heart of the human being. The concept and experience of human-Divine Oneness leads to a very practical and much-needed change in our current world culture in which separateness and division lead to war, suffering, and discrimination.

The book is part of the Rediscovering Indian Literary Classics series published by D.K. Printworld out of New Delhi, India. This series is reasonably priced and attractive, with some of the larger editions in hardcover (as is this one, at 200+ pages). They include the original Sanskrit text, the Romanized transliteration, and the English translation. The Taittirīya Upaniad is the 16th in the series. The translator of this ancient text is Swami Muni Narayana Prasad, who is of the lineage of Nataraja Guru and Narayana Guru.

The Upaniads (which Swami defines as “secret wisdom,” 25) consistence of 108 texts. Ten are considered “major” or “principle” (Mukhya)   Upaniads, which includes the Taittirīya. There is a Wikipedia page (“Muktikā” meaning “deliverance”) that lists all 108 texts. They were written across the centuries, dating back as far as 6th century BCE, and as recent as 15th century CE.

In his preface, Swami Muni Narayana Prasad writes,

“Indian spiritual tradition is a great banyan tree…the Upaniads are the flowers having the fragrance and beauty of the philosophy of non-dualism, blossomed on the vast banyan tree of the Vedas which in turn are enlaced by the complexities of rituals. The Taittirīya Upaniad is one of the best among such flowers.”

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Chestnut Tree Flowers, Hever Castle, UK, © David Kopacz, 2018

Swami describes the text of the Taittirīya Upaniad which is in three chapters. The first chapter has two parts: the first part focuses on śikā (“the art of correct chanting of Vedic hymns with proper intonation”) and the second part includes instruction for a disciple leaving gurukula education (a period of time living with the guru). These instructions are “meant for leading an ideal worldly life, show clearly that Brahmavidyā or Vedānta is not merely escapism. Rather it insists on making the life in this world perfect with the guidance of the wisdom of Vedānta,” (7-8). The second chapter focuses on Brahman “directly perceived by one in his own being, as the Self,” (8). This chapter follows a “gradual interiorization” which “begins from food and ends with ānanda (Bliss or Value),” (8). From a non-dual perspective, all nourishment is spiritual nourishment. The last chapter follows the seeker’s journey toward Brahman.

I will give a few highlights of the text from here on.

“One who knows Reality…sees himself or herself in everything and hence loves everything as one loves oneself,” (18).

In discussing the “science of pronunciation,” Swami describes the non-dual relationship between sound, meaning, and spirit:

“Knowledge, when expressed through language, has three basic elements: the uttered sound (śabda), its meaning (artha), and the mysterious power of a sound to contain a meaning as its own (śakti),” (21).

Rather than approaching material reality the way that Western science does – by a process of objectification and separation – this Upaniad teaches that all that manifests as diversity is, in reality, part of One non-dual Reality, which is a complementary and opposite approach to Western science taking everything apart into pieces. Swami reminds us of his guru’s guru, Nārāyana Guru’s prayers to Subraḥmanya [one of the names of Kartikeya, son of Śiva], “Please grant me the favour of the intimate merging of you and me,” (37).

One of my favourite parts of the Taittirīya Upaniad is the discussion of God being in the heart. This brings together the microcosm and the macrocosm in non-duality. The journey to the Ultimate is through the centre of one’s own heart. I am reminded of Abhishiktananda’s discussions of the guhā, the cave of the heart (Joseph Rael and I write on this topic in our forthcoming book, Becoming Medicine). The word “guhāyām” does appear in the text of the Taittirīya, translated as “secret cavern” in the phrase “the transcendental space within the secret cavern,” (84). Here is Swami’s description of finding the Truth (“AUM, maha, Brahman, ātman”) in the space within the heart:

“To make the placement easier to conceive, the Truth is called purua (Person) in this section. The seat of that Person is within the heart. The heart here is not to be understood as the organ which pumps blood to all parts of the body. It is rather an imaginary locus of the psycho-physical entity of the individual. While the heart is the locus of the individual, space (ākāśa) is that which gives room for the universe to exist. Here the Person is described as seated in the universal space within the heart,” (49-50).

Heart Meditation

Heart Meditation, © David Kopacz, 2014

Swami unpacks nihitam guhāyām in a section entitled “Placed Within the Cavern,” which examines the non-duality of the individual and the Self that is found within the unitary centre of the heart.

     “We could conveniently say that the Self is hidden in us. This hideout could be poetically imagined to be the darkness of a cave. Hence the Upaniadic ṛṣis, at the beginning of their inward search for the Self, imagine it as seated in the darkness of the cavern of every being. We can see the same imagery in the Kaha Upaniad (II-20) as well. Nārāyana Guru also, when he defines the Self, refers to its being in darkness. He says, ‘the Self is that which knows while sitting in darkness’.

     It might sound strange that the consciousness that hides in darkness is bright. Moreover, what was thought to be inside turns out not to be inside. Really, it is neither inside nor outside. Truth subsists equally in what we call interior and exterior,” (93).

Swami tells us that education and experience in the ordinary view of the world lead us away from this place of the heart which contains the seat of the Divine, we thus “forget our real nature,” (68). Similar to my writings on re-humanisation in medicine, Swami tells us we must reconnect with our hearts in order to understand our real humanity.

“Thus we become alienated from ourselves through our educational process. The only remedy for this is to remoralize our education so as to make all the knowledge we accumulate an outgrowth of the main trunk of our real humanity. Knowing our real humanity means knowing the oneness of all humans, and seeing those we call ‘others’ as not different than ourselves. Living with a full awareness of this oneness makes us really human, and our life becomes peaceful,” (68).

The way to peace is through realizing that we are not only all interconnected, but we are all actually One. This oneness leads to compassion and peace. Thus, this esoteric, mystical doctrine of non-duality leads us back to our responsibility for each other, for humanity, and for the planet.

 

Some new artwork

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I just put up some new artwork (for more paintings, see my Website) that I have been doing since I’ve come to New Zealand. The style is different, partly due to have a different physical set up (and having to control the amount of paint splatter) and also these paintings seem to have picked up some of the aesthetic of New Zealand. The “abstract landscapes” are made by brushing in colours into the canvas and then turning the canvas on its side and using different intensities of water from a spray bottle to wash away the thickness of the paint. When the canvas is rotated back 90 degrees, they resemble landscapes. I do try to choose the colours to reflect Earth, Sea, and Sky, but the random element is how they combine as I spray the water on them.

The long, purple painting reminds me of some of the Maori “totem pole” sculptures. I am not sure what they are called, but they remind me of Native American totem poles, in that they have various figures and faces on them. It was made with a similar technique, but not as covered with paint and with less water sprayed on to maintain some of the original paint pattern.

Photograph of sunrise with moon, you can see how this landscape inspires the paintings.

Photograph of sunrise with moon, you can see how this landscape inspires the paintings.

Overall I have been happy with my painting in New Zealand and it is always fun to watch as patterns and techniques evolve!

Some artwork from the first 5 months in New Zealand

Some artwork from the first 5 months in New Zealand

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