This singular story, told across all cultures and religions since the beginning, has a much deeper cosmological interpretation when seen through myth and archetype.

The artist cannot realize that the problem is in the art system, which still acts as a hidden tool of the Cultural war, passing off a genuine Soviet-style of the “Planning economics” as the “Free market” of Capitalism.

In general the Slavonic native religions have a lot in common with the rest of the Indo-European spiritual traditions and have a direct connection to Vedanta. A Russian word Veda (t’) means “to know” or just a “knowledge”, “awareness”, came from Sanskrit.

Ritual can also be seen as a material ‘scaffolding’ that facilitates movement through immaterial informational fields (what Jung could call the collective unconscious). This scaffolding is deliberately designed to facilitate one or more of the natural (inherent in all human consciousness and culture) processes of change.

Lila is proud to present this excellent overview of visionary art by Rob Percival. “Fuchs speaks elusively of “a secret art whose traces I have discovered with almost all people and cultures, but also in nature itself, there where the primeval world appears.” The nucleus of this secret art is a shared grammar, ‘ein verschollener Stil’, … this secret grammar is the unifying factor that underpins the bewildering diversity of the genre.”

The worlds visited by the shaman, the seer, the sibyl, and the prophet are all outposts of the mundus imaginalis. But this imaginal world is also produced through the labor of traditional sacred artists, who have incarnated these visions in the mythic maps, sacred geometries, and iconographies of tribes and cultures the world over.