Gardens of The Soul - Sample
Gardens of The Soul - Sample
Gardens of The Soul - Sample
95 CAN
N O LT O N
FA I T H N O LT O N
I have followed the way of the mystic and poet all my life. My images, like modern icons,
reflect a sacred world where all things are connected. Where beyond the surfaces
of everyday life the souls of plants, land, trees, and creatures sing. Faith Nolton
is a poet, author, and one of the most beloved and respected painters of visionary art.
She lives in Wales, UK, where she gives creative/spiritual guidance sessions and workshops using imagery
and sacred art ways. SoulGardens.co.uk
F A I T H N O LT O N
M
ichael Harner, author of The Way of the Shaman and
Cave and Cosmos
C
aitln Matthews, author of Singing the Soul Back Home
and Celtic Visions
The first artists were shamans, and this book shows how art can
be a powerful bridge to the spirit world.
Gardens of t he Soul
F A I T H N O L T O N M A K I N G S A C R E D A N D S H A M A N I C A R T
Conens
INTRODUCTION
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1:
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1
2:
15
3:
29
Wier Percepion
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43
Bringing For h
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S oryelling
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Soul ending
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85
Walking wi h he Spiri t s
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Songs of he Land
Spirit of place garden spirits asking for help songs of plants land shrines
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Ar of Blessing
Pictures of health blessing for all our relations blessing trees a world to bless
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Soul Gardens
Self care sanctuaries heart connection gardens of the past star garden
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INTRODUCTION
I have always seen life through the eyes of a mystic, sensing the sacred
within the everyday, wondering at the mystery at the heart of life. I
have expressed this human journey by making pictures, poems, and
stories all my life. And as I have gathered layers of experience and
information, and had an ever closer and more conscious relationship
with guiding spirits through the practices of shamanism, I have come
to realize that what I am making is sacred art.
As we are becoming aware that our world is a vaster, more complex and intricate web of life than we had assumed, many people are
seeking those things which are unchanging, sustainable, life-affirming the balanced, heart and soul-honoring ways that have stood the
test of time. The sacred art record of humanity whether inscribed
in cave and temple, tattoo and dance mask, or painted on drum, bark,
silk, and canvas, or crafted in stained glass and mosaic records and
celebrates our human trails on our Mother Earth. It shows that art
made with clear soul intention can bring healing and blessing for people, places, and situations.
And technology plays its part in this human journey now; through
internet networking we exchange creative ideas and perspectives
worldwide; we share how imagery, symbols, story and ritual can heal
and renew; see how the simplest offerings of imagination and thanksgiving can restore our individual and social dialogue and balance with
the Great Mystery.
The incredible personal and creative journey this book has taken
me on has shone a light inward, as I unpacked the information and
experiences squirreled away in many years of creative learning and
soul exploring. I had to decide what I, and more importantly my guiding spirits, really wanted to share with you.
In the end I chose those words and pictures that describe my own
personal soul journey. And as you read on I hope you will be encouraged to make your own explorations, experiments, and discoveries.
There are suggestion boxes throughout to give you ideas and inspiration. These are starting points, doors to go through and explore,
so that you can make sacred art from the center of your own unique
experience and perspective.
I ntroduction
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HOLY GROUND
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LI N K I N G WITH TH E SACR E D
Many forms of art could be described as sacred, whether they come
from the iconography of a particular spiritual tradition, or by their presence and subject matter. So when I refer to sacred art, what do I mean?
We meet the sacred in everyday life in many ways in a fleeting
moment of a dramatic sunset, or maybe a building may wrap us in such
powerful harmony of form and light that we connect with something
so much bigger than our own life. We know that our soul has been
touched, and our perception has shifted and stretched in some indefinable way we are moved.
In this book sacred art is about our inner creativity about reaching out to find the deeper layers of reality, the energy within the forms,
and recording in pictures what we discover on that search. The form
and visual language that we use may be from within a tradition, or may
be intuitive, instinctual. Such acts of life-affirming art making weave
positive threads into the Web of Life. These threads may repair broken
strands of soul, or bring blessing and healing, and are gifts to Life and
Spirit, rather than for personal fame, therapy, or ego.
Tribal peoples have a deep understanding of this health-giving
function of personal creativity often there is no word in the language of such cultures for art or artist. They understand that all
things are connected, and when we intentionally enter into a sacred
relationship with the unseen and unknowable mystery, we link into a
vital source of well-being.
In the more urbanized cultures there are now many intuitive,
soul-led art makers appearing, often self-taught, or skilled in other
energy working, such as different forms of healing. They are answering
the ages-old, deep imperative to make sacred art as a natural, health-
giving and irrepressible function of our human being. And as we are
all connected, each act of making contributes to the communal pool
of balance and health.
This book allows me to share with you how I make sacred art and
tell some of the stories that my paintings have brought me on my own
creative and soul search. I work closely with my spirit and ancestral
helpers, often receiving a painting commission directly from them.
So their voices are very much part of this book too, and I have learned
much from the many the paintings included here that they have asked
me to make.
B ody
and
S oul
WINDOWS TO SPIRIT
I know that certain paintings are not for everyday
Making sacred art is rather like tuning in a radio
or TV. What we receive then remains embedded in
display, and I ask my spirits before exhibiting or pubthe work created, linking the everyday and spirit
lishing a work. We have a kind of joint responsibility.
dimensions.
Sacred art may be kept covered or secluded until
The practical process is often accompanied by ritneeded. Then it can emerge to help focus the enerual, prayer, or meditation, to help the artist connect
gies of the event or ceremony, such as a processional
clearly with the spirit world, and so enable him or
banner joining the parade on its saints day celeher to become the physical agent of a spiritual intent.
bration, or a particular mask being worn by a Hopi
Katsina dancer according to the vision received in the
Sacred preparation, dedication, and cleansing of the
kiva from the spirit overseeing that particular point
physical materials to be used is usual, for all must be
brought into alignment to ensure the transmission
in their ceremonial year. An artefact may only be disof image and energies is precise and effective. For
played at certain significant times for pilgrims to kiss,
Navajo weavers this is known as Sitting in the Beauty
or touch, or pray to, as they seek blessing or healing. History shows us that these very ancient sacred
Place the place of centered presence. For the artists state of being during
acts go far back beyond
recorded time, depicted on
the process affects the prothe walls of caves and rock
cess and embeds itself into
what is being made.
shelters, and in the makThe work created may
ing of altars, shrines, and
have a final moment of
land decoration places
birth or empowerment, with
to connect and tune in with
a symbolic act such as addthe unseen.
ing the dot of white in the
The artefact may also be
covered so that it is enereye of a Christian icon to
wake it, or the mantra writgetically asleep. A Tibetan
thangka, for instance, is a
ten on the back of a Tibetan
thangka, imbuing the work
deeply symbolic painting
with a constant prayer of
to evoke the presence of
awareness. For sacred art
an energy being, and may
is alive, with its own spirit
be displayed only during
intent, an outward form of
meditation on that beings
TREE OF SOULS [LOWER PANEL]
an inner meaning.
energy, and covered at other
This intent will dictate how, when, and where it
times with its silk curtain.
is displayed. For whether the work be kept in temple
For an image acts not only as a window into
or meditation room, displayed on mountainside, or
which the observer can look, but also a portal from
city office, it will be acting as an aerial for its original
which the particular spiritual energy, being, or blessintentional vibration or purpose. In my own work
ing can flow.
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In the West we are used to a painting being a oneFor Australian Aboriginal peoples the ancient
off creation that will stand the test of time a lot to
concept of Dreamtime is many-layered and comdo with its gallery investment value. For traditional
plex; sacred imagery, stories, dances, and music are
peoples however, sacred art is often very different,
woven into rituals and ceremonies that constantly
using impermanent materials, painted on rock or
renew reality itself the seen and unseen aspects of
body, or maybe re-painted when needed or as part of
life being an inseparable whole that must be maina repeating ceremony.
tained. The paintings, and the rights to make them,
The Navajo Blessingway sand paintings invite the
are inherited or bestowed as an honor to individuals
yei the holy, spirit people to come and perform
who have proved their worth and wisdom; sometimes
healing. A specific design is chosen by the medicine
just a single section of the image is owned, so that
man or woman, and is then traced onto the carefully
the keepers of all the pieces have to assemble to comprepared ground in lines of colored sands by the
plete a sacred painting. This sacred art reinforces
shaman or singer. Many chants and prayers accomcommunity connections and a complex clan syspany this complex process, which can spread over
tem. The Aboriginal images are often very secret and
several days and involve the whole community. The
guarded by their keepers, and such privacy should
energy choreography is so precise that if a mistake is
be respected.
made, the whole process has
Far more public are the
to be abandoned. During the
exuberant paintings of the
healing the patient actually
Madhurbani people of Rajasbecomes part of the painttan in northern India. Their
ing by literally sitting on it,
painting tradition is passed
and the sands from the paintfrom mother to daughing are then rubbed onto
ter, and is centered on the
them according to the help
home. Images of gods, godbeing sought.
desses, and the stories of the
The Huichol of Mexico,
Hindu pantheon are painted
on the other hand, make yarn
with joyous patterns and colpaintings made from brightly
ors on the walls and floors
colored threads pressed into
of the house, bringing the
a wax and resin mix. On
sacred stories right into the
pilgrimage to the sacred cereheart of the home, as part of
monial lands of Wirikuta they
everyday life.
hold traditional peyote cereTREE OF SOULS [CENTER PANEL]
I continue to learn much
monies, to receive visions of
from these different traditions, not seeking to copy
the sacred forms of the world and personal revelaor imitate them, as I respect the power and depth
tions and healings. They trace these visions in colored
that they hold, but rather finding understanding
wools, building up intense and complex images of
about the processes that are possible through complants, creatures, and sacred symbols. These yarn
paintings are both prayer, meditation, and offering.
bining imagery and ritual.
B ody
and
S oul
BIRTH OF A TREE
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INFLUENCES + FUSION
It is sometimes easy to forget how much our knowledge and experience of the sacred in other cultures
has grown over just a few decades. When travel,
trade, and territorial ambitions increased contact
between Europe and the Far East and Africa during
the 19th century, artists had new creative options:
Picasso studied African tribal masks; Gauguin found
the colors and sacred dreaming of the Marquesas; the thirst for historical artefacts not always
ethical of course brought ancient Greek, Egyptian, and Mayan imagery and sacred symbolism and
sacred Egyptian symbols such as the lotus and sun
disk became familiar in everyday designs in the early
20th century.
All these waves of cultural interest infiltrated
Western lifestyle and awareness, whether adopted
consciously or just through the wish to have the latest thing. For everyday design has always spoken in
symbols, from Esso to McDonalds, the simple handprint to the flower symbolism of a Chinese vase.
When they arrive they soon become part of the cultural landscape. Through this time of rapid increase
in our visual vocabulary we have seen that art can
hold symbolic meaning beyond formal composition
and realistic representation of a subject.
We have likewise been brought into contact with
new spiritual viewpoints and practices that connect
with the sacred. The human life markers of partnership commitment, birth, death, and all the other
change points of life, are being changed by the new
spiritual choices we can explore.
My personal path of shamanism follows the
ancient ways of walking with the spirits that help us,
the ancestors and currents of awareness that run
through the land and wider cosmos. I have learned
to receive images from spirit. I had been doing this
all along without realizing it, hence my dilemmas in
and
S oul
BLESS MY BONES
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SPIRIT REALITIES
My relationship with my guiding spirits and the
ancestors that Imeet in the trance or altered state
of the shamanic journey has been established
over time. Making sacred art for me is a service to
them that has become my life. I cannot now imagine
another way of being and I am in effect apprenticed
to my spirits. They teach and train me to continually widen my perception and understanding of
the sacred.
When a shaman enters this trance state to meet
and communicate with his or her helper spirits, they
often take the form of animals. These spirits become
very close allies. The trance itself always has a clear
purpose no recreational day tripping and
the shaman journeys to the spirits to ask for healing,
advice, information, and all kinds of support. In my
own experience the response and accuracy of these
spirit encounters is truly amazing. So accurate is the
information and help I have been given, for myself
and others, that I do not question what I am shown.
I may not fully understand what Iam shown, but I
have learned to trust it. And trust is the key both to
shamanic work and to making visionary and sacred
art. The mind and logic often have to sit still, pay
attention, and not interfere!
The painting Bless my Bones shown opposite is
an example of this.
When I received it I was sitting with three friends,
a shamanic circle with whom I work on a regular
basis. Working with a group of others in circle really
enhances and focuses how we connect with the spirits. It forms a more powerful tuning system!
On this occasion, I sat asking for a gift of
strength to help me recover from a fairly serious
bout of ill health and resulting loss of confidence.
I waited for some while in silence, wondering what
I would receive, when suddenly I was surrounded
and
S oul
SOUL DOODLE
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MOONLIGHT WOOD
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W H AT H A P P E N S I N M O O N L I G H T
What called me out
On my way to bed,
Into the mist-breath garden
Is mystery.
The hunkered stones,
The drinking plants,
The hidden scurriers
Pause,
Bathe in the sound of your
Pouring down power.
In the warp of your song
We are all connected.
And dance stillness,
Woven,
In this moment.
B ody
and
S oul
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