DUBYANSKIY ART: CALLIGRAPHY AND YANTRAS

Dubyanskiy Art. Calligraphy and Yantras
Author: Mrs. Svetlana Dubyanskaya




Giving instructions on the practice of meditation and mantra, Yogi Ramah said that in order to more deeply reveal the power of the divine vibration of mantras, it is necessary to practice calligraphy and draw yantras, mystical symbols. Before coming to the ashram of Yogi Ramaiah, S.Dubyanskiy studied the professional education of the artist. That is why the teacher's instructions corresponded not only to S.Dubyanskiy's desire to learn the science of meditation and mantra, but also to his professional skills. This is how the unique style of his esoteric painting and graphics gradually took shape. Yantras (mystical symbols) are used in various esoteric directions as visual tools that serve to work with subtle energies and to develop concentration. In Hinduism, Jainism, Sikhism and Buddhism, during meditations and rituals, visual signs - yantras - are used as an addition to the pronunciation of mantras and prayers. All kinds of yantras symbolically depict deities, the energy structures of various deities. The creators of yantras are the highest teachers such as Mahavatar Babaji and Gorakhnath. Yantras were seen in meditation by their creators, yantras are a kind of keepers of the energy of deities.
S.Dubyanskiy studied yantras for many years under the guidance of his guru, Yogi Ramaiah. The teacher showed S.Dubyanskiy how to combine elements of Sanskrit calligraphy with mystical symbols. In the process of creating such works, a spontaneous combination of "knowledge" and "intuitive sensation" occurs. In practice, the process of creating mystical images in this way takes place in a deep meditative trance state. In Buddhist and Hindu tantric systems of spiritual practice, great importance is attached to the correct choice and careful preparation of a place for meditation, pranayama (breathing exercises) and mantra practices. Usually, energetically strong places are chosen for this, remote from the social bustle and noise. There they build altars with statues of deities, and also create mandalas (circular mystical symbols). The paintings that Svyatoslav creates are also used to create a special atmosphere in the room where people do regular meditation and mantra practices.

According to Indologists, the earliest monuments of ancient Indian writing that have survived to our time are the wall inscriptions of Emperor Ashoka, applied to the stone columns in his palace. However, many spiritual teachers believe that the Sanskrit script is actually much older. In accordance with the myths, the Sanskrit alphabet was created by the immortal sage Agastya, who is one of the most important teachers of the Kriya Yoga tradition. It is assumed that initially there were several major varieties of writing. Since the second century AD, palm leaves have been used as the material on which sacred texts were written in India. Sometimes the bark of trees could be used to write texts. Palm leaves were used in place of paper, a tradition that continued even as paper became widely available in India.














Of course, modern calligraphy masters use special paper, and sometimes even create their works with paints on canvas. Epochs change, painting materials develop, but the deep tradition remains unchanged. We look at the history of writing and calligraphy in ancient India in order to better understand the roots of the tradition. Palm leaves were used throughout India because they were a comfortable, smooth writing surface. All this contributed to the beautiful, graceful style of calligraphy. Sometimes both sides of palm leaves were used, but more often only one side was used. The leaves themselves were stacked on top of each other and tied with a special rope. Holes were made in the leaves and connected with a rope, this is how handwritten books were created in past eras. These early Indian books (manuscripts) were distributed in Central and Southeast Asia many centuries ago. Naturally, different ancient cultures had their own types of writing, which were very different from each other. China and India, Tibet and Palestine, everywhere had their own alphabets and principles for creating handwritten books.
Calligraphy was used not only in books, but also to decorate the walls of temples and palaces. S.Dubyanskiy in his unique style combines several types of writing at once, this is a manifestation of the synthesis of various directions, cultures, religious and esoteric systems. The author professionally and skillfully combines Chinese characters and ancient Russian writing, ligature. In this work, elements of Sanskrit and Tibetan writing are used. Combining various philosophical teachings, S.Dubyanskiy also combines the styles of calligraphy.

It is assumed that Indian calligraphy began to spread to the neighboring countries of the East around the fifth century AD. In that era, Indian merchants and merchants, Buddhist monks spread philosophical teachings, and hence Indian writing throughout Southeast and Central Asia. There is a big discrepancy between the assumptions of the Indologists and the information we can get from various gurus. A large number of religious and philosophical concepts, teachings and schools have been created since the fifth century BC. until the 16th century. During these two thousand years, many texts were also created, which led to a significant development of writing and calligraphy. Spiritual traditions say that calligraphy developed in the East many epochs ago. However, scientists need actual evidence, so official science gives its dating. The earliest form of calligraphy in India dates from the fifth century. The earliest graphic works and painted covers of manuscript books were created in the 7th and 8th centuries. The earliest illustrated book in India appeared perhaps only in the 10th century. Of course, all the dates that Indologists talk about are based only on the manuscripts available to scientists and researchers.

Yogi Ramaiah, S.Dubyanskiy’s teacher of meditation and mantras, said that in fact, both the North Indian Aryan and South Indian Dravidian traditions had developed book art for many epochs. Modern Western art appreciates novelty, but the spiritual traditions of the East prefer to preserve and develop centuries-old wisdom and knowledge, which, among other things, are transmitted through mystical symbols (yantras and mandalas), as well as the art of calligraphy. Ancient Persia is one of the brightest examples of Aryan culture, in the context of which Zoroastrianism appeared. Iranian (Persian) influence has given rise to several unique varieties of Indian calligraphy and book graphics. India has had many calligraphic traditions for centuries. The Sanskrit script differed significantly from the script used in China, the Arabic traditions. An important stage in the development of calligraphy in India was the period of Mughal rule. A notable achievement of this period is the refined graphic compositions in manuscripts. Yogi Ramaiah had a very encyclopedic knowledge of calligraphy, mandalas and yantras, so he taught Svyatoslav many aspects of this art.
Yogi Ramaiah, S.Dubyanskiy’s teacher of meditation and mantras, said that in fact, both the North Indian Aryan and South Indian Dravidian traditions had developed book art for many epochs. Modern Western art appreciates novelty, but the spiritual traditions of the East prefer to preserve and develop centuries-old wisdom and knowledge, which, among other things, are transmitted through mystical symbols (yantras and mandalas), as well as the art of calligraphy. Ancient Persia is one of the brightest examples of Aryan culture, in the context of which Zoroastrianism appeared. Iranian (Persian) influence has given rise to several unique varieties of Indian calligraphy and book graphics. India has had many calligraphic traditions for centuries. The Sanskrit script differed significantly from the script used in China, the Arabic traditions. An important stage in the development of calligraphy in India was the period of Mughal rule. A notable achievement of this period is the refined graphic compositions in manuscripts. Yogi Ramaiah had a very encyclopedic knowledge of calligraphy, mandalas and yantras, so he taught Svyatoslav many aspects of this art.
The modern era is characterized by the synthesis of many philosophical systems, the unification of various meditation techniques. Modern people easily synthesize the practices of Hinduism and Christianity, Buddhism and Sufism. In our modern view, all spiritual traditions have an original single divine source. The graphic compositions of S.Dubyanskiy combine symbols of different traditions, mantras and the names of God, which are used in different religious directions. This creates a special impact on the audience. The cleansing vibrations of the paintings transform the consciousness and energy of the space of the human habitat. For many years S.Dubyanskiy studied Hinduism, Buddhism and Christianity. At the same time, many other spiritual traditions and esoteric directions. From the 16th century, Sikhism began to develop in northern India, which played a big role in the development of Indian calligraphy and book art. Sikhs traditionally copied the Guru Granth Sahib into a manual sacred book. They supplied their books with a large number of illustrations. Calligraphy was also used in the decoration of Sikh temples called Guru Dwara.

Throughout the ages, the purpose of Vedic calligraphy has been much more than just communication and fellowship. Calligraphy and type compositions in architecture and books helped people belonging to the same community to unite not only linguistically and informationally, but in other aspects of life, primarily in the field of culture and religion. The rich heritage of calligraphy and inscriptions on buildings has been an important element of the country's culture. In those days, printing in India did not yet exist. Calligraphy brought people together, influenced the consciousness, systematizing the ways of communication and communication. Nowadays, various types of type art are used as an art form. Until the 16th and 17th centuries, calligraphy was primarily necessary for communication, although it also had a sacred meaning.

Calligraphy in India, Tibet, China and Japan is most often used to decorate sacred texts, but also as an interior element. In all cultures and at all times, calligraphic paintings were hung on the walls in order to create special harmonizing energy vibrations in the premises. Some Buddhist and Hindu monks were trained in calligraphy and were responsible for the restoration and rewriting of religious sacred texts. One of the main religions of India is Jainism, in the context of which the centuries-old tradition of fonts and calligraphy also develops. The Jains illustrated their manuscripts on the philosophy and biographies of the holy teachers of their tradition. These handwritten books, like the Vedas, were made from inexpensive material, primarily from dried palm leaves or tree bark. Similar books also included exquisite illustrations and calligraphic inscriptions.
The usual set for writing handwritten books is special paper, pens of various shapes and sizes, and ink. In the modern era, various types of fountain pens of various colors and shades can be used for calligraphy. The calligrapher's work can also use paints such as watercolor, tempera, gouache, and more. S.Dubyanskiy uses different materials in his graphic and painting works. If he works with oil or acrylic paint, then his paintings are created on canvas, which is stretched on a stretcher. Creating paintings using traditional calligraphy allows you to penetrate the cultural and historical structures of esoteric traditions. In his paintings, S.Dubyanskiy uses ancient matras in Sanskrit. Mantras written in calligraphy, their graphic aesthetics, allows you to awaken the divine vibrational currents hidden in ancient mantras. Before the appearance of various variants of pens, written letters were carved on a polished stone surface, applied with sticks on clay or palm leaves. In the modern era, calligraphers and graphic artists use computer technology to create their works.
In previous eras, various methods were used to apply inscriptions and extrude letters on very hard stone surfaces. Soft materials such as birch bark and even wax were also used. The first feathers were reed and bamboo feathers. In Europe in the Middle Ages, the most common writing instrument was the quill pen. A little later, calligraphy pens became multi-component, they were made from different materials. In the 17th and 18th centuries, metal nibs, including steel nibs, appeared.

S.Dubyanskiy believes that in order for the picture to be energetically alive and filled, it is important to use tools that reflect the movement of the hand as much as possible. Such tools are not only pens, but also a brush, and in some cases even colored markers. The flat surface of the marker is as close as possible to many ancient tools of graphic artists and calligraphers. The techniques, styles and techniques of calligraphy are very diverse, because it is a very ancient art. Ornamental swirls and lines can be used. Hard and soft strokes, smooth lines, geometric shapes are alternately applied. The artist inscribes letters and words into complex geometric shapes. The careful drawing of some letters is combined with the soft writing of other elements of the composition. The arrangement of individual letters and words in the form of complex geometric shapes is used.
Highly artistic calligraphy often distorts the usual writing of letters, so that it is sometimes difficult to read the inscription. However, this is due to aesthetic concerns. Sometimes calligraphy distorts the usual writing of the inscription so much that it becomes very difficult and even impossible to read it. In ordinary documents, such calligraphy is of course not allowed. The art of calligraphy in our time is actively used in many unofficial documents, posters, postcards, congratulations on the anniversary. In different religious traditions, images are made with mantras and prayers. Graphic compositions are common in Christianity, Islam, Judaism, Hinduism, Buddhism. In such religious graphic works, it is not so important how much you can read what is written, the energy and aesthetic component of the image is more significant. The energy impact sometimes occurs even when formally the viewer cannot read the inscription. S.Dubyanskiy creates his paintings using calligraphy, mystical signs, symbols, yantras and mandalas. He creates a whole series of paintings while in a deep meditative state. Subsequently, his paintings begin to live their own lives, people hang them at home or in the office. The cleansing vibrations of these works of high art transform the mind of the viewer, clearing the space of the room where they are located, fill the mind of the viewer with harmony and take him into the deepest states of contemplation and meditation.

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