Native butterfly mandala

Native butterfly mandala

Acryl on paper


This colorful mandala is inspired with beautiful Indian tribal butterfly. It contains all basic native colors, as red, jellow, green and blue. These colors give this mandala especial energy. Native butterfly mandala expresses dinamics and joy of native world.

Night flower mandala

Night flower mandala

Acryl on paper

Crystal mandala

Crystal mandala

Acryl on paper

Cultural history of lucid dreaming

Lucid dreaming through the history

Even though it has only come to the attention of the general public in the last few decades, lucid dreaming is not a modern discovery. Lucid dreaming is the western term used to denote a practice similar to Yoga nidra. The distinguishing difference is the degree to which one remains cognizant of the actual physical environment as opposed to a dream environment. In lucid dreaming, we are only (or mainly) cognizant of the dream environment, and have little or no awareness of our actual environment. The concept of Yoga nidra is very ancient in Indian traditions such as Hinduism and Buddhism. Krishna is often associated with Yoga nidra in epic Mahabharata. Similarly, many yogis and rishis are supposed to have experienced Yoga nidra throughout their life. In modern times, Yoga nidra was experienced by Swami Satyananda Saraswati[citation needed] when he was living with his guru Swami Sivananda in Rishikesh. He began studying the tantric scriptures and, after practice, constructed a system of relaxation, which he began popularizing in the mid 20th century. He explained yoga nidra as a state of mind between wakefulness and sleep that opened deep phases of the mind, suggesting a connection with the ancient tantric practice called nyasa, whereby Sanskrit mantras are mentally placed within specific body parts, while meditating on each part (of the bodymind). The form of practice taught by Swami Satyananda includes eight stages (Internalisation, Sankalpa, Rotation of Consciousness, Breath Awareness, Manifestation of Opposites, Creative Visualization, Sankalpa and Externalisation).

Also, in early Buddhism it was a common practice among people in the monastic community. As preserved in the ancient Sarvastivada school's Sutra on Mindfulness of the Body in the Madhayama agama (equivalent of Pali Kayagatasati) it states that monks and nuns under practice should be 'Understanding (having awareness in) the four postures and states of being asleep or awake'. Documented since the 8th century, Tibetan Buddhists and Bonpo were practicing a form of dream yoga held to maintain full waking consciousness while in the dream state. One important message of the book is the distinction between the Dzogchen meditation of awareness and dream yoga. The Dzogchen awareness meditation has also been referred to by the terms rigpa awareness, contemplation, and presence. Awareness during the sleep and dream states is associated with the Dzogchen practice of natural light. This practice only achieves lucid dreams as a secondary effect—in contrast to dream yoga, which aims primarily at lucid dreaming. According to Buddhist teachers, the experience of lucidity helps us understand the unreality of phenomena, which would otherwise be overwhelming during dream or the death experience.

In Western culture, the phenomenon had been referred to by Greek philosopher Aristotle who had written: "often when one is asleep, there is something in consciousness which declares that what then presents itself is but a dream". Also in a letter written by St. Augustine of Hippo in 415 AD about a story of a dreamer, Doctor Gennadius, refers to lucid dreaming. The dreamer reported that he didn't realize he was in the dream world but the man whom he met in his dream reminded him about this and pointed out that his experience was a proof of life after death.

An early recorded lucid dreamer was the philosopher and physician Sir Thomas Browne (1605–1682). Browne was fascinated by the world of dreams and described his own ability to lucid dream in his Religio Medici: "...yet in one dream I can compose a whole Comedy, behold the action, apprehend the jests and laugh my self awake at the conceits thereof". Similarly, Samuel Pepys in his diary entry for 15 August 1665 records a dream "that I had my Lady Castlemayne in my arms and was admitted to use all the dalliance I desired with her, and then dreamt that this could not be awake, but that it was only a dream". Marquis d'Hervey de Saint-Denys argued that it is possible for anyone to learn to dream consciously. In 1867, he published his book Les Rêves et les moyens de les diriger; observations pratiques ("Dreams and How to Guide them; Practical Observations"), in which he documented more than twenty years of his own research into dreams.

The term lucid dreaming was coined by Dutch author and psychiatrist Frederik van Eeden in his 1913 article "A Study of Dreams". This paper was highly anecdotal and not embraced by the scientific community. Some consider this a misnomer because it means much more than just "clear or vivid" dreaming. The alternative term conscious dreaming avoids this confusion. However, the term lucid was used by van Eeden in its sense of "having insight", as in the phrase a lucid interval applied to someone in temporary remission from a psychosis, rather than as a reference to the perceptual quality of the experience, which may or may not be clear and vivid.

In the 1950s, the Senoi hunter-gatherers of Malaysia were reported to make extensive use of lucid dreaming to ensure mental health, although later studies refuted these claims.

A 2012 report by the BBC claimed that "interest in lucid dreaming has grown in recent years", and corroborated this with examples of the many smartphone apps that exist to help people experience the phenomenon. One such app was downloaded half a million times in six weeks, the report says.

Blue flaming mandala

Blue flaming mandala

Acryl on paper

Mandala necklace with Pink rose mandala

Pink rose mandala necklace

DuneArt

Pink rose mandala

Acryl on paper

Mandala earrings with Red flaming mandala

Mandala earrings

Red flaming mandala earrings

DuneArt 

Red flaming mandala

Acryl on paper

Mandala ring with Orange sky flower mandala

Red flower Mandala ring

Orange sky flower mandala

Acryl on paper

Mandala earrings with Green sky flower mandala

Green sky flower Mandala earrings

Mandala necklace with Red mandala

Red Mandala necklace

Red mandala

 Acryl on paper

Mandala ring with Violet flower mandala

Violet flower Mandala ring

Mandala necklace with Night lily mandala

Night lily Mandala necklace

Night lily mandala

Acryl on paper

Mandala ring with Green star mandala

Green star Mandala ring

Mandala earrings with Red sky flower mandala

Red sky flower Mandala earrings

Red flower Mandala earrings.

Mandala earrings in vintage style have made by me with lot of love.

Beautiful antique bronze earrings features a image of my original drawing Mandala.
 

Mandala talisman with Mystical mandala

Mystical Mandala talisman

Mystical mandala

Acryl on paper

Amulet

Amulet

An amulet (Latin amuletum) can be any object but its most important characteristic is its alleged power to protect its owner from danger or harm. Amulets are different from talismans as a talisman is believed to bring luck or some other benefit, though it can offer protection as well. Amulets are often confused with pendants—charms that hang from necklaces—any given pendant may indeed be an amulet, but so may any other charm which purports to protect its owner from danger.

Potential amulets include gems, especially engraved gems, statues, coins, drawings, pendants, rings, plants and animals; even words in the form of a magical spell or incantation to repel evil or bad luck.

The word "amulet" comes from the Latin amuletum; the earliest extant use of the term is in Pliny's Natural History, meaning "an object that protects a person from trouble".

DuneArt

Mandala necklace with Sky mandala

Sky Mandala necklace

Sky mandala

Acryl on paper

Ancient talismans

Talisman

 

Mandala amulet with Second chakra mandala

Second Chakra Mandala amulet

Print of original Mandala painting in vintage pendant.

This is Second Chakra Mandala.

Necklace is amulet too.

Swadhisthana is described as a black lotus, with six vermillion-colored petals which have the following syllables written on them in the colour of lightning: बं baṃ, भं bhaṃ, मं maṃ, यं yaṃ, रं raṃ and लं laṃ.
Inside this lotus is a white crescent moon, formed by two different sized inner circles, one inside the other. The crescent moon is the water region presided over by Varuna, who is white in color, four-armed, holds a noose and is seated on a crocodile. The two inner circles also have petals; the larger one eight outward facing petals, and the smaller one eight inward facing petals.
The seed mantra, located in the innermost circle, is a moon-white वं vaṃ. Within the bindu, or dot, above the mantra is the deity Vishnu. He is dark blue, wears a yellow dhoti, and holds a conch, a mace, a wheel and a lotus. He wears the shriwatsa mark, and the koustabha gem. He is seated either on a pink lotus, or on the divine eagle Garuda. His Shakti is the goddess Rakini (or Chakini). She is black, dressed in red or white, seated on a red lotus. She is either one faced and two armed, holding a sword and a shield, or two faced and four armed, holding a trident, lotus, drum and vajra, or an arrow, skull, drum and axe.

The six petals represent the following modes of consciousness, also known as vrittis: affection, pitilessness, feeling of all-destructiveness, delusion, disdain and suspicion.
Swadhisthana is associated with the unconscious, and with emotion. It is closely related to the Muladhara in that Swadhisthana is where the different samskaras (potential karmas), lie dormant, and Muladhara is where these samskaras find expression. It is associated with the element of water, the sense of taste, and the act of procreation.
Swadhisthana contains unconscious desires, especially sexual desire, and it is said, to raise the kundalini shakti (energy of consciousness) above Swadhisthana is extremely difficult for this reason. Many saints have had to face the sexual temptations associated with this chakra.
One who meditates on Swadhisthana is believed to obtain the following siddhis or occult powers: freedom from enemies; the status of a lord among yogis; eloquence and clarity (words flowing like nectar in well-reasoned discourse); loss of fear of water; awareness of astral entities; and the ability to taste anything desired for oneself or others.

Music relaxation

Beautiful music for meditation

…the glow produced by a state of total awareness, is seen as a burst of incandescence in the entire luminous egg. It is an explosion of light of such a magnitude that the boundaries of the shell are diffused and the inside emanations extend themselves beyond…For seers, this is the moment when they burn from within…And in full awareness they fuse themselves to the emanations at large, and glide into eternity.

- don Juan Matus

Igniting ‘the fire from within,’ burning with a glow of awareness inside, is the moment when all of the inter-connecting parts of ourselves – our minds, bodies, emotions, and spirits – fuse in a single, luminous burst of cohesion, propelling us into infinity. And in preparation for this culminating event, the ancients sought to experience their ‘internal fire burning within’ – in their passion for living during their earth-walk, in all aspects of their lives.

Our ancestors watched the moon and galaxies move across the night sky, and daringly laid out their cities and planned their migrations based upon their observations. They noticed how many days of sun were followed by how many days of rain and then sun again, and, guided only by their internal knowing, measured the seasons in months and determined when to plant and harvest. They paid attention to the cycles of sun, Earth and Moon, light and dark, and developed, without precedent, a twenty-four hour system of marking time.
Creatively living lives inspired by the earth and its wonders, those seers shared in the earth’s emanations. They aligned their minds, bodies, emotions and spirits, igniting the emanations they shared with the earth, much like the way air, matter, water, and heat mix to fire the earth’s core, and swam amidst the earth’s currents, receiving and feeling its energetic boost.
This endeavor remains possible today. Knowing our daily cycle of when we ‘simmer with passion within’ and when we don’t, within the cycle of the earth’s light and dark, activity and calm, gives us the power to creatively live and manifest our most longed-for dreams with the ‘spark of presence’ — our ability to bring our best selves to the situation at hand.
And so we must ask ourselves: Do we know when our minds, bodies, emotions and spirits come into alignment, glowing with fervor, and when they calm and cool? Are we aware at which part of the day, afternoon or night we ‘glimmer from within’ and when we ‘cool off?’ And if we are aware of this flow – do we plan our physical activity when we are most physically adept, our work projects and decision-making when most mentally alert, our time with loved ones and friends when emotionally available, our deepest connection with spirit when most inspired, and our sleep and nurturance when we naturally relax?
Aligning ourselves in this way, choosing to live within our own internal cycle of fire and calm in alignment with the earth’s cycle, saves us energy. We may no longer find ourselves running breathlessly after every invitation, saying ‘yes’ out of duty, guilt, or the search for approval or affection. Similarly, we may find ourselves no longer saying ‘no’ to important possibilities, because of lack of energy, being unprepared, and possible fear of failure or looking foolish. Instead, we can develop seers’ impeccability — the art of knowing and checking in with ourselves and our internal rhythm, and deciding when in our days, in our lives, is our best time to act, refrain, share and exude with others, and rest.

Vintage Gaudy Mandala

Vintage Gaudy Mandala

Original Gaudy Mandala put on antique paper.

Ethno Mandala necklace

Ethno Mandala necklace

This unique Mandala necklace has made by me with a lot of love and care.

The pendant measures are 1,9 inch ( 4,8 cm ) round and is hung on an 20 inch ( 50 cm ) black satin ribbon.

Pendant is created with a antique metal base and my original artwork.

Artwork is printed on high quality photo paper which is protected by resin glaze.

Dream flower Mandala

Dream flower Mandala

Amethist flower Mandala

Amethist flower Mandala

Meditation Mandala

Meditation Mandala

Acryl on paper

Gaudy flower Mandala

Gaudy flower Mandala

Acryl on paper

About abstract art

Abstract art

Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.

Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning.

Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction.

Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.