Sage & Maya Installation

Yurii Yermolenko, Sage & Maya, (day lighting), 2019, ("GOLDILOCKS ZONE" project), fluorescent acrylic on vinyl, 30x30 cm. Maya (Devanagari: माया, IAST: māyā), literally "illusion" or "magic", has multiple meanings in Indian philosophies depending on the context. In ancient Vedic literature, Māyā literally implies extraordinary power and wisdom. In later Vedic texts and modern literature dedicated to Indian traditions, Māyā connotes a "magic show, an illusion where things appear to be present but are not what they seem". Māyā is also a spiritual concept connoting "that which exists, but is constantly changing and thus is spiritually unreal", and the "power or the principle that conceals the true character of spiritual reality". In Buddhism, Maya is the name of Gautama Buddha's mother. In Hinduism, Maya is also an epithet for goddess, and the name of a manifestation of Lakshmi, the goddess of "wealth, prosperity and love". Maya is also a name for girls. According to Monier Williams, māyā meant "wisdom and extraordinary power" in an earlier older language, but from the Vedic period onwards, the word came to mean "illusion, unreality, deception, fraud, trick, sorcery, witchcraft and magic". However, P. D. Shastri states that the Monier Williams' list is a "loose definition, misleading generalization", and not accurate in interpreting ancient Vedic and medieval era Sanskrit texts; instead, he suggests a more accurate meaning of māyā is "appearance, not mere illusion". According to William Mahony, the root of the word may be man- or "to think", implying the role of imagination in the creation of the world. In early Vedic usage, the term implies, states Mahony, "the wondrous and mysterious power to turn an idea into a physical reality". Franklin Southworth states the word's origin is uncertain, and other possible roots of māyā include may- meaning mystify, confuse, intoxicate, delude, as well as māy- which means "disappear, be lost". Jan Gonda considers the word related to mā, which means "mother", as do Tracy Pintchman and Adrian Snodgrass, serving as an epithet for goddesses such as Lakshmi. Maya here implies art, is the maker’s power, writes Zimmer, "a mother in all three worlds", a creatrix, her magic is the activity in the Will-spirit. A similar word is also found in the Avestan māyā with the meaning of "magic power". Words related to and containing Māyā, such as Mayava, occur many times in the Vedas. These words have various meanings, with interpretations that are contested, and some are names of deities that do not appear in texts of 1st millennium BCE and later. The use of word Māyā in Rig veda, in the later era context of "magic, illusion, power", occurs in many hymns. One titled Māyā-bheda (मायाभेद:, Discerning Illusion) includes hymns 10.177.1 through 10.177.3, as the battle unfolds between the good and the evil, as follows, पतंगमक्तमसुरस्य मायया हृदा पश्यन्ति मनसा विपश्चितः । समुद्रे अन्तः कवयो वि चक्षते मरीचीनां पदमिच्छन्ति वेधसः ॥१॥ पतंगो वाचं मनसा बिभर्ति तां गन्धर्वोऽवदद्गर्भे अन्तः । तां द्योतमानां स्वर्यं मनीषामृतस्य पदे कवयो नि पान्ति ॥२॥ अपश्यं गोपामनिपद्यमानमा च परा च पथिभिश्चरन्तम् । स सध्रीचीः स विषूचीर्वसान आ वरीवर्ति भुवनेष्वन्तः ॥३॥ The wise behold with their mind in their heart the Sun, made manifest by the illusion of the Asura; The sages look into the solar orb, the ordainers desire the region of his rays. The Sun bears the word in his mind; the Gandharva has spoken it within the wombs; sages cherish it in the place of sacrifice, brilliant, heavenly, ruling the mind. I beheld the protector, never descending, going by his paths to the east and the west; clothing the quarters of the heaven and the intermediate spaces. He constantly revolves in the midst of the worlds. — Rig veda X.177.1-3, Translated by Laurie Patton The above Maya-bheda hymn discerns, using symbolic language, a contrast between mind influenced by light (sun) and magic (illusion of Asura). The hymn is a call to discern one's enemies, perceive artifice, and distinguish, using one's mind, between that which is perceived and that which is unperceived. Rig veda does not connote the word Māyā as always good or always bad, it is simply a form of technique, mental power and means. Rig veda uses the word in two contexts, implying that there are two kinds of Māyā: divine Māyā and undivine Māyā, the former being the foundation of truth, the latter of falsehood. Elsewhere in Vedic mythology, Indra uses Maya to conquer Vritra. Varuna's supernatural power is called Maya. Māyā, in such examples, connotes powerful magic, which both devas (gods) and asuras (demons) use against each other. In the Yajurveda, māyā is an unfathomable plan. In the Aitareya Brahmana Maya is also referred to as Dirghajihvi, hostile to gods and sacrifices. The hymns in Book 8, Chapter 10 of Atharvaveda describe the primordial woman Virāj (विराज्, chief queen) and how she willingly gave the knowledge of food, plants, agriculture, husbandry, water, prayer, knowledge, strength, inspiration, concealment, charm, virtue, vice to gods, demons, men and living creatures, despite all of them making her life miserable. The contextual meaning of Maya in Atharvaveda is "power of creation", not illusion. Gonda suggests the central meaning of Maya in Vedic literature is, "wisdom and power enabling its possessor, or being able itself, to create, devise, contrive, effect, or do something". Maya stands for anything that has real, material form, human or non-human, but that does not reveal the hidden principles and implicit knowledge that creates it. An illustrative example of this in Rig veda VII.104.24 and Atharva veda VIII.4.24 where Indra is invoked against the Maya of sorcerers appearing in the illusory form – like a fata morgana – of animals to trick a person. Māyā pre-exists and co-exists with Brahman – the Ultimate Principle, Consciousness. Maya is perceived reality, one that does not reveal the hidden principles, the true reality. Maya is unconscious, Atman is conscious. Maya is the literal, Brahman is the figurative Upādāna – the principle, the cause. Maya is born, changes, evolves, dies with time, from circumstances, due to invisible principles of nature, state the Upanishads. Atman-Brahman is eternal, unchanging, invisible principle, unaffected absolute and resplendent consciousness. Maya concept in the Upanishads, states Archibald Gough, is "the indifferent aggregate of all the possibilities of emanatory or derived existences, pre-existing with Brahman", just like the possibility of a future tree pre-exists in the seed of the tree. The concept of Maya appears in numerous Upanishads. The verses 4.9 to 4.10 of Svetasvatara Upanishad, is the oldest explicit occurrence of the idea that Brahman (Supreme Soul) is the hidden reality, nature is magic, Brahman is the magician, human beings are infatuated with the magic and thus they create bondage to illusions and delusions, and for freedom and liberation one must seek true insights and correct knowledge of the principles behind the hidden magic. In Puranas and Vaishnava theology, māyā is described as one of the nine shaktis of Vishnu. Māyā became associated with sleep; and Vishnu's māyā is sleep which envelopes the world when he awakes to destroy evil. Vishnu, like Indra, is the master of māyā; and māyā envelopes Vishnu's body. The Bhagavata Purana narrates that the sage Markandeya requests Vishnu to experience his māyā. Vishnu appears as an infant floating on a fig leaf in a deluge and then swallows the sage, the sole survivor of the cosmic flood. The sage sees various worlds of the universe, gods etc. and his own hermitage in the infant's belly. Then the infant breathes out the sage, who tries to embrace the infant, but everything disappears and the sage realizes that he was in his hermitage the whole time and was given a flavor of Vishnu's māyā. The magic creative power, Māyā was always a monopoly of the central Solar God; and was also associated with the early solar prototype of Vishnu in the early Aditya phase. In Sangam period Tamil literature, Krishna is found as māyon; with other attributed names are such as Mal, Tirumal, Perumal and Mayavan. In the Tamil classics, Durga is referred to by the feminine form of the word, viz., māyol; wherein she is endowed with unlimited creative energy and the great powers of Vishnu, and is hence Vishnu-Maya. Maya, to Shaiva Siddhanta sub-school of Hinduism, states Hilko Schomerus, is reality and truly existent, and one that exists to "provide Souls with Bhuvana (a world), Bhoga (objects of enjoyment), Tanu (a body) and Karana (organs)". The various schools of Hinduism, particularly those based on naturalism (Vaiśeṣika), rationalism (Samkhya) or ritualism (Mimamsa), questioned and debated what is Maya, and the need to understand Maya. The Vedanta and Yoga schools explained that complete realization of knowledge requires both the understanding of ignorance, doubts and errors, as well as the understanding of invisible principles, incorporeal and the eternal truths. In matters of Self-knowledge, stated Shankara in his commentary on Taittiriya Upanishad, one is faced with the question, "Who is it that is trying to know, and how does he attain Brahman?" It is absurd, states Shankara, to speak of one becoming himself; because "Thou Art That" already. Realizing and removing ignorance is a necessary step, and this can only come from understanding Maya and then looking beyond it. The need to understand Maya is like the metaphorical need for road. Only when the country to be reached is distant, states Shankara, that a road must be pointed out. It is a meaningless contradiction to assert, "I am right now in my village, but I need a road to reach my village." It is the confusion, ignorance and illusions that need to be repealed. It is only when the knower sees nothing else but his Self that he can be fearless and permanent. James Ballantyne, in 1885, commented on Kapila's Sánkhya aphorism 5.72 which he translated as, "everything except nature and soul is uneternal". According to Ballantyne, this aphorism states that the mind, ether, etc. in a state of cause (not developed into a product) are called Nature and not Intellect. He adds, that scriptural texts such as Shvetashvatara Upanishad to be stating "He should know Illusion to be Nature and him in whom is Illusion to be the great Lord and the world to be pervaded by portions of him'; since Soul and Nature are also made up of parts, they must be uneternal". However, acknowledges Ballantyne, Edward Gough translates the same verse in Shvetashvatara Upanishad differently, 'Let the sage know that Prakriti is Maya and that Mahesvara is the Mayin, or arch-illusionist. All this shifting world is filled with portions of him'. In continuation of the Samkhya and Upanishadic view, in the Bhagavata philosophy, Maya has been described as 'that which appears even when there is no object like silver in a shell and which does not appear in the atman'; with maya described as the power that creates, maintains and destroys the universe. Maya in Yoga school is the manifested world and implies divine force. Yoga and Maya are two sides of the same coin, states Zimmer, because what is referred to as Maya by living beings who are enveloped by it, is Yoga for the Brahman (Universal Principle, Supreme Soul) whose yogic perfection creates the Maya. Maya is neither illusion nor denial of perceived reality to the Yoga scholars, rather Yoga is a means to perfect the "creative discipline of mind" and "body-mind force" to transform Maya. The concept of Yoga as power to create Maya has been adopted as a compound word Yogamaya (योगमाया) by the theistic sub-schools of Hinduism. It occurs in various mythologies of the Puranas; for example, Shiva uses his yogamāyā to transform Markendeya's heart in Bhagavata Purana's chapter 12.10, while Krishna counsels Arjuna about yogamāyā in hymn 7.25 of Bhagavad Gita. The theory of māyā was developed by the ninth-century Advaita Hindu philosopher Adi Shankara. However, competing theistic Dvaita scholars contested Shankara's theory, and stated that Shankara did not offer a theory of the relationship between Brahman and Māyā. A later Advaita scholar Prakasatman addressed this, by explaining, "Maya and Brahman together constitute the entire universe, just like two kinds of interwoven threads create a fabric. Maya is the manifestation of the world, whereas Brahman, which supports Maya, is the cause of the world." The Early Buddhist Texts contain some references to illusion, the most well known of which is the Pheṇapiṇḍūpama Sutta in Pali (and with a Chinese Agama parallel at SĀ 265) which states: Suppose, monks, that a magician (māyākāro) or a magician’s apprentice (māyākārantevāsī) would display a magical illusion (māyaṃ) at a crossroads. A man with good sight would inspect it, ponder, and carefully investigate it, and it would appear to him to be void (rittaka), hollow (tucchaka), coreless (asāraka). For what core (sāro) could there be in a magical illusion (māyāya)? So too, monks, whatever kind of cognition there is, whether past, future, or present, internal or external, gross or subtle, inferior or superior, far or near: a monk inspects it, ponders it, and carefully investigates it, and it would appear to him to be void (rittaka), hollow (tucchaka), coreless (asāraka). For what core (sāro) could there be in cognition? One sutra in the Āgama collection known as "Mahāsūtras" of the (Mūla)Sarvāstivādin tradition entitled the Māyājāla (Net of Illusion) deals especially with the theme of Maya. This sutra only survives in Tibetan translation and compares the five aggregates with further metaphors for illusion, including: an echo, a reflection in a mirror, a mirage, sense pleasures in a dream and a madman wandering naked. In Theravada Buddhism 'Māyā' is the name of the mother of the Buddha as well as a metaphor for the consciousness aggregate (viññana). The Theravada monk Bhikkhu Bodhi considers the Pali Pheṇapiṇḍūpama Sutta “one of the most radical discourses on the empty nature of conditioned phenomena.” Bodhi also cites the Pali commentary on this sutra, the Sāratthappakāsinī (Spk), which states: Cognition is like a magical illusion (māyā) in the sense that it is insubstantial and cannot be grasped. Cognition is even more transient and fleeting than a magical illusion. For it gives the impression that a person comes and goes, stands and sits, with the same mind, but the mind is different in each of these activities. Cognition deceives the multitude like a magical illusion (māyā). Likewise, Bhikkhu Katukurunde Nyanananda Thera has written an exposition of the Kàlakàràma Sutta which features the image of a magical illusion as its central metaphor. The Nyānānusāra Śāstra, a Vaibhāṣika response to Vasubandhu’s Abhidharmakosha cites the Māyājāla sutra and explains: “Seeing an illusory object (māyā)”: Although what one apprehends is unreal, nothing more than an illusory sign. If one does not admit this much, then an illusory sign should be non-existent. What is an illusory sign? It is the result of illusion magic. Just as one with higher gnosis can magically create forms, likewise this illusory sign does actually have manifestation and shape. Being produced by illusion magic, it acts as the object of vision. That object which is taken as really existent is in fact ultimately non-existent. Therefore, this [Māyājāla] Sūtra states that it is non-existent, due to the illusory object there is a sign but not substantiality. Being able to beguile and deceive one, it is known as a “deceiver of the eye.” In Mahayana sutras, illusion is an important theme of the Prajñāpāramitā sutras. Here, the magician's illusion exemplifies how people misunderstand and misperceive reality, which is in fact empty of any essence and cannot be grasped. The Mahayana uses similar metaphors for illusion: magic, a dream, a bubble, a rainbow, lightning, the moon reflected in water, a mirage, and a city of celestial musicians." Understanding that what we experience is less substantial than we believe is intended to serve the purpose of liberation from ignorance, fear, and clinging and the attainment of enlightenment as a Buddha completely dedicated to the welfare of all beings. The Prajñaparamita texts also state that all dharmas (phenomena) are like an illusion, not just the five aggregates, but all beings, including Bodhisattvas and even Nirvana. The Prajñaparamita-ratnaguna-samcayagatha (Rgs) states: This gnosis shows him all beings as like an illusion, Resembling a great crowd of people, conjured up at the crossroads, By a magician, who then cuts off many thousands of heads; He knows this whole living world as a magical creation, and yet remains without fear. Depending on the stage of the practitioner, the magical illusion is experienced differently. In the ordinary state, we get attached to our own mental phenomena, believing they are real, like the audience at a magic show gets attached to the illusion of a beautiful lady. At the next level, called actual relative truth, the beautiful lady appears, but the magician does not get attached. Lastly, at the ultimate level, the Buddha is not affected one way or the other by the illusion. Beyond conceptuality, the Buddha is neither attached nor non-attached. This is the middle way of Buddhism, which explicitly refutes the extremes of both eternalism and nihilism. "As a magician creates a magical illusion by the force of magic, and the illusion produces another illusion, in the same way the agent is a magical illusion and the action done is the illusion created by another illusion." What we experience may be an illusion, but we are living inside the illusion and bear the fruits of our actions there. We undergo the experiences of the illusion. What we do affects what we experience, so it matters. In this example, Nagarjuna uses the magician's illusion to show that the self is not as real as it thinks, yet, to the extent it is inside the illusion, real enough to warrant respecting the ways of the world. For the Mahayana Buddhist, the self is māyā like a magic show and so are objects in the world. Vasubandhu's Trisvabhavanirdesa, a Mahayana Yogacara "Mind Only" text, discusses the example of the magician who makes a piece of wood appear as an elephant. The audience is looking at a piece of wood but, under the spell of magic, perceives an elephant instead. Instead of believing in the reality of the illusory elephant, we are invited to recognize that multiple factors are involved in creating that perception, including our involvement in dualistic subjectivity, causes and conditions, and the ultimate beyond duality. Recognizing how these factors combine to create what we perceive ordinarily, ultimate reality appears. Perceiving that the elephant is illusory is akin to seeing through the magical illusion, which reveals the dharmadhatu, or ground of being. Buddhist Tantra, a further development of the Mahayana, also makes use of the magician's illusion example in yet another way. In the completion stage of Buddhist Tantra, the practitioner takes on the form of a deity in an illusory body (māyādeha), which is like the magician's illusion. It is made of wind, or prana, and is called illusory because it appears only to other yogis who have also attained the illusory body. The illusory body has the markings and signs of a Buddha. There is an impure and a pure illusory body, depending on the stage of the yogi's practice. The concept that the world is an illusion is controversial in Buddhism. The Buddha does not state that the world is an illusion, but like an illusion. In the Dzogchen tradition the perceived reality is considered literally unreal, in that objects which make-up perceived reality are known as objects within one's mind, and that, as we conceive them, there is no pre-determined object, or assembly of objects in isolation from experience that may be considered the "true" object, or objects. As a prominent contemporary teacher puts it: "In a real sense, all the visions that we see in our lifetime are like a big dream [...]". In this context, the term visions denotes not only visual perceptions, but appearances perceived through all senses, including sounds, smells, tastes and tactile sensations. Maya is a closely related concept to Mithyatva, with Maya a source of wrong information while Mithyatva an individual's attitude to knowledge, with relational overlap. In Sikhism, the world is regarded as both transitory and relatively real. God is viewed as the only reality, but within God exist both conscious souls and nonconscious objects; these created objects are also real. Natural phenomena are real but the effects they generate are unreal. māyā is as the events are real yet māyā is not as the effects are unreal. Sikhism believes that people are trapped in the world because of five vices: lust, anger, greed, attachment, and ego. Maya enables these five vices and makes a person think the physical world is "real," whereas, the goal of Sikhism is to rid the self of them. Consider the following example: In the moonless night, a rope lying on the ground may be mistaken for a snake. We know that the rope alone is real, not the snake. However, the failure to perceive the rope gives rise to the false perception of the snake. Once the darkness is removed, the rope alone remains; the snake disappears.

Installation:Paint on Plastic

Original:One-of-a-kind Artwork

Size:11.8 W x 11.8 H x 0.1 D in

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