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REFLECTION III
 REFLECTION III—A Mandala in Three Dimensions Background: Hopi elders pas on prophecies from generation to generation trough oral tradition and reference to ancient rock pictographs and tablets. Reflection III is based on one of these prophecies as told to Leah by Grandfather David, a remarkable Hopi healer. He described four worlds in which the Hopi people have lived, inhabiting each with only limited success. The First World was destroyed by fire because the people had “forgotten” their Creator. The Second World was frozen into solid ice for much the same reason. In the Third World, people became so occupied with earthly considerations that they also “forgot” their Creator, and it, too, was destroyed, this time by great floods. In seeking the Fourth World the people had to search long and hard for a place to establish themselves and start over again. The Hopi tradition tells of endless journeys by boat, paddling uphill all the way. From time to time they would find a place to land, beautiful and bounteous, only to be told by Spider Woman that they must move one: this place was too easy, and soon they would fall into evil ways if they stayed. Finally, completely exhausted from their fruitless efforts, the people “opened their doors” and let themselves be guided. The water carried them gently to a sandy shore, where they were greeted by Sotuknag and given further instructions. They were to separate into different groups, each heading in a different direction, to claim land for the Creator. Each group would have to “follow its own star” to a place where the earth met the sea. They would complete such a journey four times in all, to cover all four directions, before being guided back together again to settle permanently. Before the newcomers to the Fourth Wold set out on their migrations, they were given a tablet containing symbolic representations of their journey and final resting place, and events that would confirm their adherence to the Creator’s plan. This tablet, which has always had one corner missing, today remains in the possession of the Fire Clan. The missing corner is in possession of a “lost white brother” called Bahana who will someday return with it, signaling a new brotherhood of mankind. Grandfather David told Leah that the end of the Fourth World was imminent. “These are the Signs that great destruction is here: the world will rock to and fro. The white man will battle people in other lands—those who possessed the first light of wisdom. There will be columns of smoke and fire such as the white man has made in the deserts not far from here. Those who stay and live in the places of the Hopi will be safe. Then there will be much to rebuild. And soon, Bahana will return, bringing with him the dawn of the Fifth World. He shall plant seeds of wisdom in our hearts. Even now the seeds are being planted in our hearts, in the land of the heavens.” Many believe that Bahana is not a white man but rather a White Buffalo, two of which will appear to usher in a new brotherhood of man according to the Sioux, Crow, Chippewa, and many other Indian nations. With their births, the “hoop of nations will be mended” and the family of man will return to a spiritual way of life. Reflection III was created within the context of this version of the Hopi prophecy and its counterpart in the Tibetan culture which tells of the coming of Maitreya who will unite mankind in caring kindness. It attempts to honor the emergence of the Hopi’s Fifth World and the concomitant increased participation of women (and children) in the practical and spiritual life of mankind. Though they may inhabit opposite poles of the planet, the Hopis the desert of the west, the Tibetans the mountains of the east, the painting attempts to demonstrate the remarkable similarities and synchronicities of these peoples who reflect each other’s worlds so perfectly with differences found only in style not substance. Composition: Reflection III was designed as a mandala in three dimensions. From Inside to outside it is comprised of a central axis made up of two intersecting circles which are within a circle within a square which overlaps yet another circle within a square. Mandals traditionally are designed to help the viewer meditate. In this case, Reflection III’s intention is to help shift levels of consciousness by moving energy in and out, around and back and forth. Examining the painting closely from outside in, the outside border is primarily comprised of the water clan symbol which appears in both Hopi and Tibetan iconography. It also includes the triangular, four color Four Direction as well as white dots in its own four corners which signify the Great Spirit and the unity of life. Next we come to the outer ring of the large, primary circle which is engraved with actual Hopi words: Qoosta Mosayry-White Buffalo, Ooja-high above, K’oopat-Center Whirl, Pongya-altar, Sakwa Ootsina-Blue Kachina, Saloqa’at-spinal cord, Kwaahu-Eagle, Anosqat-chant, Nakwakus-prayer feather, Kokomaqao-violet corn, Hom’oya-cornmeal, Sopuawfaqani-all people, Paavis-trice, Naantupkomu-sisters. Before we go on to examine the rest of this circle, let us address the corners of its overlapped squares. The first and larger corner is comprised of pictographs which represent the passing on of wisdom from generation to generation, as well as important elements of life like water, corn, and spiritual growth. The smaller red corners with their connection white line to form a square are red to symbolize governance and the spiritual need to live by universal laws with a connecting white line and icon which allude to the Great Spirit and our journey toward Him. The next circle in is indicated by a gold ring which represents the sun and the circle of life and love. Now let us discuss the main body of the painting. Three Hopi women stand at the edge of a body of water (which is connected to everywhere else on the planet through a kind of earthly vascular system). Behind them is a heard of buffalo with two White Buffalos entering the circle from east and west. The place the women are standing is unmistakably Hopi desert ringed by purple sandstone mountains and bathed in white light. Reflected in the mirror-like still water are the visages of three Tibetan women. Though their garb is far more colorful than the white and black of the Hopis, the Tibetan women’s outer aspect (shape) is virtually identical to the Hopi womens’. Where the Hopi maidens put their hair up into “butterfly” bobs, the Tibetan weave their hair into circular, jeweled saucers to create a similar silhouette. Both trios wear coral and turquoise beaded jewelry. There are other synchronicities which will be left to the viewer to discover. The central axis of the painting is made up of two overlapping circles marked by the intersection of a vertical line (will) and a horizontal line (earth). This, or course, is where the two great cultures meet—the center of the earth. |