Ayahuasquero - Wiktionary
Амаринго, Пабло — Википедия
В главе 44 / Chapter 44 - "The Plant Teachers: 1985" автобиографии «Brotherhood of the Screaming Abyss» Деннис Маккенна подробно рассказывает историю знакомства и дружбы с прославившимся своими визионерскими картинами художником и бывшим аяваскеро Пабло Амаринго / Pablo Amaringo
По словам Денниса, Луис Эдуардо Луна / Luis Eduardo Luna простимулировал у Амаринго желание рисовать картины, описывающие видения под Аяваской.
During our chat, Pablo brought out some of his paintings to show to us. Eduardo asked him if he’d ever tried to paint his ayahuasca visions. It was almost as if a light had gone off in his head. No, he said, that had never really occurred to him; but he was willing to give it a try. When we came to his house the next morning, he showed us two visionary ayahuasca paintings that he’d done overnight. They were somewhat primitive and crude but affecting in their simplicity. It was indicative of Pablo’s innocence and complete lack of any commercial motive that he had not even signed the paintings. A day later, he had created two more. He gave two to me, and two to Eduardo, and the paintings that Pablo gifted to me have been proudly displayed in a place of honor in every home I have lived in since then.
Those four paintings marked the beginning of an extraordinary career. Pablo went on to create hundreds of visionary paintings over the years until his death in 2009. Luis Eduardo forged an alliance with Pablo and took on the role of his agent.
Луис Эдуардо Луна — близкий друг обоих Маккенн, он написал и предисловие к упомянутой автобиографии Денниса.
In a chance encounter in a tienda, they (Terence with her girlfriend) met a guy who was home for Christmas from Europe. The son of a local journalist, Luis Eduardo Luna was about a year younger than Terence. Terence was trying to buy a few items using his broken Spanish. Luis Eduardo, overhearing him, offered in perfect English to help. Luis Eduardo had been studying philosophy and literature at the Universidad Complutense in Madrid. After hearing an account of what had led the weary travelers to Florencia, he invited them to stay in a small house his family owned a few miles out of town. Thus began a friendship that was to last until Terence’s death.
До этого момента Пабло рисовал обычные картины с животными и природой:
Introducing himself in Spanish as Pablo Amaringo, he said his mother had mentioned I’d been looking for him. I explained what I’d been doing in Peru and how that led me to meet his cousin. We had a nice conversation in Spanish and English over a couple of beers. (...) Opening a dresser in his bedroom, he pulled out a bunch of paintings on what appeared to be fiberboard. They were representations of various jungle scenes—pretty, I thought, but unremarkable.
Впечатлившись новыми картинами Пабло, Луис Эдуардо стал его агентом. В 1991 году они выпустили книгу репродукций «Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman»
https://www.ayahuascavisions.com/
'The Ayahuasca Visions of Pablo Amaringo
ОСОБЕННОСТЬ КНИГИ
Деннис Маккенна рассказывает про особенность книги — подробные комментарии Луиса Эдуардо к каждой из 49 картин .
The book consists of full-color reproductions of forty-nine painted “visions” depicting various aspects of the ayahuasquero’s apprenticeship and practice of vegitalismo. On each facing page, Luis Eduardo, writing in English, explains the various elements of the painting and their significance. These elements are not random, he notes. Every depicted plant, animal, and spirit has a symbolic significance and archetypal status in the mestizo belief system. The result is a remarkable window into the cosmology of contemporary mestizo shamanism and ayahuasca’s place in it. By studying the paintings and their interpretation, one could learn a great deal about what it takes to become an accomplished vegetalista. Of course, the practice cannot be learned from a book alone, since two essential elements would be missing: the master who teaches the apprentice, and the teacher plants themselves, particularly the plants used in making ayahuasca.
НЕ ВСЕ "ПСИХОДЕЛИЧЕСКОМУ" КОТУ - МАСЛЕНИЦА
В дальнейшем они даже организовали школу Usko-Ayar Amazonian School of Painting
Но все закончилось не очень хорошо, в особенности для Луиса Эдуардо — он столкнулся с обвинениями в растратах и напрягся связями Пабло со «Свидетелями Иегова», которые начали использовать Школу в своих целях.
Like many feel-good stories, this one ended sadly, at least for Luis Eduardo, as he explained in a recent email. Beginning in 1988, he worked tirelessly to promote the school. He helped obtain a grant from the Finnish government to support the school and organized exhibitions and found buyers for the paintings. He bought high-quality art supplies for the students, photographed the paintings for promotional purposes and archiving, and wrote articles about the school in various periodicals. He finally resigned in 1995, exhausted by internal squabbles, and by the apparent misuse of the money he had raised by an individual who was close to Pablo. He’d also grown concerned about Pablo’s use of the school as a platform to espouse his religious beliefs as he became more involved with the Jehovah’s Witnesses. The final blows were the baseless accusations leveled at him, Luis Eduardo wrote. The more money he brought to the school, the more others suspected that he was putting money into his own pocket. He’d had enough.
КОНЕЦ "ПСИХОДЕЛИЧЕСКИ-ВИЗИОНЕРСКОГО" БАНКЕТА
В результате Луис Эдуардо расстался с Пабло и несмотря на то, что последний пытался продолжить устраивать выставки с другим агентом, тема с «визионерскими» рисунками пошла на спад и заглохла.
In 1995, he stopped selling Pablo’s work. The two briefly reconnected in 1998, though Luis Eduardo made it clear he wanted nothing more to do with the school. He had organized an exhibition for Pablo in London and was supposed to attend another show for him in Japan. Instead, Pablo went there with someone else representing him, with unfortunate results. As Luis Eduardo put it, “he did not sell a single painting, as his work is practically unintelligible without the cultural context I was providing.”
The two men never did business again.
ИСТОРИЯ ИСЦЕЛЕНИЯ ПАБЛО АМАРИНГО
Деннис Маккенна рассказал также интересную историю из жизни Пабло Амаринго — как тот впервые столкнулся с Вегетализмом/ Vegetalismo
И вылечился волшебным образом от смертельно опасных проблем с сердцем при помощи Аяваскеро - шамана, работающего с Аяваской.
Во время одной из сессий, находившийся в трансе Пабло, пережил мистическую операцию, проводящуюся над ним загадочными фигурами «докторов в белом».
Они вскрыли его грудную клетку и произвели манипуляции над сердцем, в результате которых он в реальности полностью вылечился и стал сам Аяваскеро:
Pablo also described to us how he had gotten involved in vegetalismo in the first place, which was another fascinating story. In his early twenties, he said, he had been diagnosed with an intractable heart defect. The physicians told him there was nothing they could do; he had a congenital illness that would likely shorten his life by several decades. He consulted an ayahuasquero as a last resort. After a series of powerful sessions, he was visited during one ceremony by a number of white-coated figures he described as “American doctors.” In his trance, he seemed to be lying on a table in a domed operating room, surrounded by high-tech equipment and these spirit healers. Disembodied, he watched as they sliced open his chest and removed his heart. They held it up above his chest and did things do it, making various incisions at strategic points, then they reimplanted it and closed up his chest. After that, he claimed, his heart condition was cured and his human doctors could detect no heart murmur or other indications of a defective heart. Pablo’s tale resembled other stories in the mestizo ayahuasca tradition of “spirit doctors” performing magical surgeries. Given the remarkable reports of physical and spiritual healing that have been attributed to this medicine, perhaps there is something to it. It seems certain that we do not yet fully understand the dynamics of shamanic healing.
БРУХО - КОЛДУНЫ АЯВАСКЕРО
Что такое бруха или брухо в колдовстве? - Гуманитарные...
Brujo (disambiguation) - Wikipedia
Но у Амазонского Вегетализма есть и темная сторона — это практика навлечения проклятий и конкуренция, доходящая до смертельных сражений между шаманами в иных реальностях. Пабло был вынужден прекратить свою шаманскую практику под страхом смерти или мести, когда он столкнулся с brujos:
The big surprise was that Pablo had been a powerful ayahuasquero years earlier, but had given up that practice after getting into fights with other shamans, brujos, on the astral plane.
Those familiar with the traditions of vegetalismo know that it has a serious dark side. Much of the practice involves witchcraft and battles between shamans. The causes of illness and misfortune (which are viewed as aspects of the same thing) are attributed not to physical causes but to magical ones. Brujos and brujas are unscrupulous sorcerers or witches who harm their victims by introducing the magical darts called virotes into their bodies. As I noted earlier, virotes are akin to pathogens or infectious agents, but they act on the psychic plane. They are psychic darts that the shaman produces and keeps in his phlegm. But like pathogens, they can cause physical and mental illnesses as well as accidents and other misfortunes. A jealous lover, for example, might pay a brujo to project a virote into a rival for the affections of a husband or boyfriend, to harm them or make them regret their actions in some way. There is a strong element of jealousy and rivalry in mestizo society in Peru. If someone gains an advantage over another, for example, or is simply perceived to possess more wealth or social status, it’s widely understood that they achieved it through skullduggery of some kind, not through hard work or good fortune. That person then becomes a target for brujeria.
Most vegetalistas are neither all good or all bad; they are “guns for hire,” and if one wants to put a spell on another, there are other vegetalistas that one can pay to neutralize the spell, to grab the virote and send it back to the person who intended the harm. It’s very much about power play, a shamanic arms race. A shaman’s power is measured by how many teacher plants he or she has mastered, how long he or she has kept the diet, and various other criteria. If you suspect you have been hexed by an evil brujo or bruja, then you have to pay a stronger, tougher shaman to protect you and deflect the energy back.
All of this emerged in our conversation with Pablo. He had been a powerful ayahuasquero, he said, but had gotten into a battle with a bruja, a witch. It became clear to him that if he stayed in the game he faced a choice: he either had to kill her or be killed. Instead, he elected to step away. He stopped practicing. He no longer took ayahausca or used the power plants.
ДОПОЛНИТЕЛЬНЫЕ ССЫЛКИ:
ЖЖ: Психоделическое искусство Пабло Амаринго, шамана...
Шаманские картины Пабло Амаринго (Pablo Amaringo).
Шаман, видящий сердцем–Пабло Амаринго
Пабло Амаринго (Pablo Amaringo)