The translation into English was commissioned by the «Odysseia» club. Commentaries on his own paintings—visions of the legendary artist-shaman Pablo Amaringo.
We present some visionary paintings by the famous shaman-artist from Pucallpa, Pablo Amaringo, with his own commentary stories. He talks about the visions that came to him during Ayahuasca ceremonies and which he captured on his canvases. Pablo Amaringo’s paintings are displayed in major museums in America and Europe. Two years ago, Pablo left this world. Visiting him at his home in Pucallpa and talking with him, we always noted that he was not just educated but a wise person, well-versed in mythology, customs, rituals, and shamanic traditions of various Amazonian tribes. He himself was a descendant of the Cocama Indians and spent several years of his life in shamanic and healing practice. Through his paintings, he brings us closer not only to the world of visions from Amazonian indigenous shamanic ceremonies but also to his own rich inner world.
Ayahuasca Visions of Pablo Amaringo.
Every tree and every plant has a soul. People may say that a plant has no mind. But I say that a plant is alive and conscious. A plant cannot speak, but it has a conscious soul that sees everything, which is the heart of the plant, its essence, what makes it alive. The channels through which water and sap flow are the veins of the soul.
Part 1: Teacher Plants and Shamanic Powers
Vision 1. Preparing Ayahuasca
We see the Ucayali jungle with local trees, shrubs, plants, grasses, and underbrush. There is a peasant house with a roof of shebon leaves [Scheelea], its fork-shaped support from incira wood [Chiorophora tinctoria], a floor made of ponas [iriartea exorrhiza, Socratea], and a hammock in the middle. We see a shaman on the riverbank who has dedicated many years to gaining knowledge through Ayahuasca. He first cuts the Ayahuasca vine growing along the capirona tree [Calycophyllum spruceanum]. Before this, the shaman must follow certain rules. He must not be with his wife for three days. He should avoid contact with irritable and troubled people. He cannot eat salty, sweet, or bitter food, and must not get drunk. Then he becomes cleansed.
The shaman rises early in the morning and goes out to gather the Ayahuasca vine. He leaves his house, taking with him a cigarette and tobacco. By the Ayahuasca vine, he leaves his offering: tobacco, matches, and a few dry leaves taken from the very heart of a banana tree, used as cigarette paper. Then he addresses the ancestor [the spirit of Ayahuasca]: «I leave you tobacco, matches, a banana leaf for rolling a cigarette. I ask you to allow me to take your plant for healing, not to harm but to heal sick people.» The shaman then watches for the chicua [Piaya cayana], a bird that always flies nearby. We see it in the left corner of the painting, as well as on the right near the capirona tree. If the bird says «Chis, chis,» the vine can be cut. But if it says «Chikua,» it cannot be cut. The shaman will simply return another day; otherwise, he might be attacked by an enemy, killed, or something else might happen. If the bird says «Chis, chis, chikua,» it means that things will start well but will change later. Perhaps he will not be able to cure the sick as he wishes. Once he has gathered the Ayahuasca, the shaman cuts it into pieces, wraps it up, and takes it home. There, he cuts it into smaller parts, grinds it, and brews it. After boiling it for three or four hours, he pours the juice into pots. Then he grinds it again and places fresh cuts of the vine into the now empty pot, boiling it again. And he continues like this. He always has three or four full pots from which he takes Ayahuasca juice. Then he adds fresh cuts of the vine. The shaman also adds chacruna, which he picks in the morning on an empty stomach. He first places the Ayahuasca into the pot, whistles an icaro—a shamanic song—and blows over the pot. Then he adds the chacruna, placing it with the side that was heated by the sun on the bottom, with the «offshoots» on top. Next, he adds another layer of twelve to fifteen crushed vine cuts. He takes two handfuls of chacruna leaves and pours water, filling the pot to the brim. It is best if the pot is made of clay, not aluminum. The shaman places a handful of tobacco to brew the mixture; he may also add other ingredients when preparing the Ayahuasca remedy. But mixing too many ingredients is not always beneficial. It is better to always add chacruna and optionally one more plant, but no more. The shaman prepares the brew in a secluded place where no one will look into the pot, as it is forbidden for anyone to see. Therefore, the shaman chooses a small village or a hidden spot where no one will come and talk to him. His wife, assistant—no one—is nearby. Otherwise, the remedy will fail if improperly prepared, it will not have a positive effect because the essence or spirit of the plant will not help prepare the remedy. To prepare the vine, one must have spiritual contact to transmit power; one must behave accordingly because we are influenced by spiritual beings. Even if we do not see them, they exist. They live in these plants. These are the guardians who care for the plants, so they do not appear to people who do not follow the requirements of shamanic science, known in ancient times as aiquimia pah’stica [plant alchemy]. You can become a good shaman only if you follow a diet or fast for many years, and then you will know the science of muraya, sumi, and banco—the three pillars of traditional Amazonian shamanic medicine.
Here we see the shaman with his dog, a physical protector, scaring off other animals or people. But the dog also has spiritual sight; it can sense the approach of an enemy who might harm its master. Then the dog awakens and alerts its master. Even if the shaman wears arkanas [protective tools], he does not always have enough sensitivity to perceive a distant enemy. But the dog can because it can see many different spirits. The dog has something mystical, magical, and spiritual about it. Therefore, many shamans have dogs.
Vision 2. Experiencing Ayahuasca
Here is what came to me in a vision—something that almost killed me. I know that among the most remote tribes of Peru there is one called Shins, to which great warriors belong. Among them was a king named Sinchihuyacui, who, after being defeated by another tribe and filled with grief, went to a garden where he planted many trees. There he died and was buried next to the trees.
Years later, he appeared in the dream of his wife, Queen Ganmacuina, and asked her to go to his grave with the princesses, bringing with them his shield, spear, bronze club, and belt, the cup he drank from, and the vessel for chicha [corn beer]. He then gave her instructions on what to do with the plant that grew on his grave.
The queen did as he commanded. And when she laid her husband’s weapons by his grave, she was horrified to see him rise from the grave, his body glowing and radiating light, holding a golden club in his hands.
The queen and her companions fell to the ground in fear, unable to look at the king. One of them cried out, «Runa!! Reimi!!! Ayaruna!!!!» The king said, «Do not be afraid, sumac huar tas. Listen to me so that you can communicate with me in the future. I died in sorrow and grief over a defeat I could not foresee. Whenever you wish, you can get good advice and learn about other worlds. I created a plant from hair. This vine grew and wound around the tree on my grave, then it bloomed and bore seeds. You must cut this plant and call it ayahuasca, from ‘aya’—dead man, and ‘huasca’—bitter vine. That’s why the songs of this plant are sad and mournful, as if played on harps and kenas [Incaic flutes]. And you should mix it with a plant called chacruna, which grows at my feet. With these two plants, you will be able to see fantastic colors and sounds, develop your spirit, and gain deep knowledge of past cultures.»
In the center of the lake in the image is a huge rayamama [Fotamotrygon Hystrix], also known in these parts as pam bamuri. This fearsome mythical creature is greatly feared due to its size: 30 to 40 meters in circumference. It is capable of sinking boats in the river and manipulating witches to erode riverbanks and property of chosen victims. It acts as a lid for underground tunnels connecting cities at the bottom of lakes and rivers. At the end of pambamuri is a nymph named Kimat, the queen of the underwater world. They say when she appears, strong storms occur. She is summoned by curanderos to protect against evil sorcerers. Around pambamuri are four puka-bufeos [pink dolphins] casting magical spells. Behind them is the beautiful fairy Amet sitting in a chariot pulled by winged horses. She is accompanied by a red horse with white wings and a two-headed horse named ishcayuma [two heads]. The fairy is about to enter the enchanted city called Thodz, a refuge for great gurus and sumis.
On the left, we see the giant Liborim with a magical flying dagger, defending himself from enemies. Three flying saucers behind him emerge from Andromeda to influence those who study magical sciences with mysterious vibrations. In front of the flying saucer is a house where several curanderos are indulging in beautiful visions under the influence of Ayahuasca.
Vision 3. Ayahuasca and Chacruna
This drawing depicts the two plants needed to prepare the Ayahuasca brew. From the vine emerges a black snake with yellow, orange, and blue spots surrounded by a yellow aura. There is also another snake, the chacruna snake, bright and glowing with colors. From its mouth emits a purple glow surrounded by blue rays. The chacruna snake penetrates the Ayahuasca snake, creating visions through these two magical plants.
On the left, we see a teacher and his students in the rays of Ayahuasca and chacruna. The effect of the rays on the nervous system is felt at the tips of the fingers and toes, in the ears, lips, eyes, and nose. That is why these parts are shown in red. The joint effect of these plants is esoteric: due to their supernatural properties, psychic visions are created that were previously impossible to see, and these strange new facets astound a person. This world enters the head, and the aura stimulates the glands between the eyebrows.
In the upper left corner, we see a bird called rompe-mortajas [owl] that has emerged from a tobacco leaf. Below we see the great queen with a golden scepter—Mariquita Toe. She is an excellent doctor. Below her is the legendary fairy Quetfael, who knows much about medicine and unusual beauty.
Behind the chacruna snake, we see the great sylph Resfenel, the guardian of several constellations. We see him here surrounded by meteors and bright sapphires illuminating his clothes. On the right, we see the great gardener with a golden cane and a snake-shaped horn. This being holds the position of ofsatrapa pito’nico and always cares for the Ayahuasca plant. The cricket next to him screams in fear when someone cuts this plant without offering a sacrifice. If a sacrifice is made, it listens to prayers. If Ayahuasca is taken, it will have a beneficial effect. The skulls here show that Ayahuasca teaches the experience of death. One must be properly prepared before taking this brew.
Vision 4. Spirits of the Plant Mothers
We see in the image a Shipibo shaman in a trance. One of the shamans is visited by visions, but an old Indian helps him come out of this state. The visions are so strong that the walls of the house they are in have disappeared, and the shamans are now in the jungle. There they see the guardian spirits and mothers of the plants.
On the left in the upper corner, we see the remocaspi tree [Aspidosperma excelsum, Pithecellobium laetum] and its spirit, the spirit of an old wise Chinese king with a golden crown on his head. He grants the greatest wisdom to those properly prepared to take the remedy from this plant. The king holds a scepter of death and brings down his power on those who have not followed the strict diet before consuming the potion from this plant. The purgative remedy from this plant helps to comprehend the knowledge of magical esoteric sciences.
The tree in front of him is called puka-lupuna [Cavanillesia hylogeiton], also known as lupuna cobrada [red lupuna]. The spirit mother of this tree is a dark-skinned woman with cat-like eyes and a golden chain around her neck. She assists evil sorcerers. What this princess grants is almost always aimed at sorcery and very rarely for healing and saving lives. This tree also requires a strict diet, and those who are unprepared face immediate death.
The third tree is called ajosquiro [Gallizia corazema]. Its spirit is a very small curly-haired man dressed in a red cape and red clothing. Few people use decoctions from the leaves of this tree; for this, a very strict diet is necessary. It symbolizes alicomachines, a group of fierce monkeys that hang by their tails and jump wildly. This medicine is used for protection against enemies. People who consume this plant feel very hot and constantly want to bathe.
Behind and to the right, we see the renaquilla bush, wrapping around a tree. Its spirit is a Shipibo woman. If those who consume this plant properly follow the diet, the Shipibo woman will come to them in a dream and teach them how to heal using this plant. It is unmatched in healing power for treating fractures and other injuries and can be applied raw or cooked. On the right is the great fakir Kadat. He is an expert in aiquimia pah’stica [plant alchemy].
In the upper right corner is the angel of solitude, playing songs of loneliness on his lyre. These songs soothe the sadness of a lonely lover and help them forget the loss of a loved one.
In front of renaquilla is yahuar-toro [blood bull], nourished by yahuar-piripiri [Eleutherine bulbosa]. The icaro of this animal and plant serves as medicine for those suffering from malaire [an illness brought by an evil wind, see the note on Vision 6], or who have been affected by ayanahui [from aya = dead man, and nahui = eye; firefly] or other evil beings such as Chullachaki [forest spirit] or Maligno [evil spirit].
Ahead are plants whose images appear as talking women. In visions, these women are known as sacha-huarmi [forest women]. These plants can be found in certain places in the Amazon, where large stones are usually found. But they are very difficult to find and recognize.
In front of the ajosquiro tree is the horse caballo piripiri [Cyperus]. Those who consume this plant gain great strength. The brew from this plant is prepared by mixing jagua or huito [Genipa americana]. Jaguar is carefully mixed in the exact proportion with piripiri, and in the morning, it is poured over the entire body, after which one must not go out into the sun, consume salt, sweets, garlic, alcoholic beverages, and pork fat for eight days; one must also refrain from sexual relations and communication with those who are sexually active. The next day after applying this liquid to the body, the skin will turn black as if stained with ink. On the eighth day, this color disappears. Below caballo piripiri is a horned snake that climbs trees. This brightly colored snake is known as marupa-machaco. Its icaro is sung by shamans who swallow virotes [magical arrows] extracted from poisonous snakes, fish fins, or wasp and scorpion stings.
In the foreground to the left of the center is machashca cantaro [vision jar]. Many shamans sing icaros stored in this jar to protect themselves from enemy visions and to strengthen the power of their own vision.
In the background, on the shore of the lake, sits a snake charmer with a magical plant called pichanamachaco [unknown]. This plant has an icaro used to treat bites from poisonous snakes and other animals.
Further in the background is a large garden whose roots reach an enchanted castle on the outskirts of the city of Ankord. Ankord is a mysterious city located in an unknown part of the earth. Above the city hovers a strange ship.
The large snake Killo-urku-purahua [killo = yellow; urku = forehead] emerges from the middle of the lake. With its magical gaze, it can hunt and capture any animal it encounters. Here it subdues the enemy sarara [Anhinga anhinga, bird].
Vision 5. Gaining Shamanic Power
In this vision, we observe a gathering of three famous and noble shamans. One of them holds a pipe; this is I Co. Another on the right is a muraya, and the one in the background on the left is a sumiruna. Two students study medicine.
On the right, a student is inspired by the sacred power of mystical Ayahuasca. He sits on a golden throne while the queens of the great Tion dress him in royal robes, golden bracelets, and gems, and place an imperial crown on him. Queen Sittja places the crown on him, while Queen Baroty offers flowers at the coronation altar, Queen Car carries a diamond scepter, and the task of the powerful lady from Ber Camira is the coronation of great sorcerers, psychometrists, masters of telekinesis, sorcerers, rabdomantes, murayas, ban, and sumirunas.
Muses of songs descend from above with harps, lyres, and lutes, singing the icaro huiksa-nanay. On the right is the lupuna tree [kapok tree] with its spirit, a wise old nymph who is about to climb the ladder leading to the canopy that serves as the dwelling or sanctuary of the forest nymph.
In the background and to the left are agile dryads with their hypnotic nets, spears, shields, slings, bows, and arrows. They have supernatural abilities and can teach how to use plants to extend life; over time, they can even pass on knowledge of eternal life.
