Tag Archives: Mystical

The Eighty-Four Mahasiddhas: Understanding Buddhist Imagery

The Eighty-Four Mahasiddhas are historical figures living between the eighth and twelfth centuries who achieved great accomplishments. A more western definition is that a “siddha” is someone with magical powers and “maha” means above all others. How they achieved these abilities came to be known as the Buddhist Tantras.

Commonly known as “siddhis”, these psychic and spiritual abilities have often been dubbed “supernatural”. They are developed through an oral tradition of teaching in addition to an extended meditation practice.

In the early Nyingma tradition (one of the four Tibetan Buddhist Practices), the “Highest Yoga Tantras” or anuttarra, carry a sword in their right hand that could grant the eight great powers or psychic attainment. These include psychic sight or clairvoyance, invisibility, transmutation of matter, translocation and multiple manifestation, the sword of discriminating awareness, the ability to traverse all realms of existence, ability to fly through the sky, levitation, and immortality.

Supernatural abilities are not what made the eighty-four mahasiddhas special however. Using the teachings of the Buddha, these individuals gained enlightenment during their lifetime. They offered a path for others to follow so they too could achieve success in their Vajrayana practice. (Vajrayana is a path that uses ordinary experiences into an opportunity for awakening spiritually).

Let me reframe this concept in a modern context: In 1995 I flat-lined during a surgical procedure. I found myself in 16th century Bengal India, dying from a fall down a flight of stairs. The details of that out of body journey were life altering for me. I began dreaming in Sanskrit and Chinese; could understand the lyrics of any language in song; could suddenly play a tamboura; chant in mantra; and I could smell when people were about to die. I also started painting miniatures, Left-handed. (I am right handed).

In the Vajrayana tradition I would probably be renamed Udana (which is how I sign my paintings), a combination of my first initial and last name that takes on a third, synergistic meaning. The Udana in tantric practice is the ascending energy current. It means, “to awaken”. If I were to write a self help book of those experiences or teach privately in workshops they would be known as “the Udana Tantras”.

16 Monks (Arhats), Miniature painting, Oil on Board, 1996, by Uriél Danā
Miniature painting, 16 Monks (Arhats), Oil on Board, 1996, by Uriél Danā

The eighty-four mahasiddhas helped bring about the growth and success of the Tantric tradition, particularly during the Pala dynasty. The supernatural stories of the mahasiddha helped establish many Buddhist lineages and traditions. For example, there is a strong connection between the Mahasiddha “Telopa” in the Kagyu sect of Buddhism and “Virupa” in the Sakya sect. Telopa is known as “the great renunciate” because he gave up the fortune he made as an oil merchant for spiritual liberation.

Made up of eighty men and four women, there is always a pattern to their stories. Their mahasiddha name is rarely the one they were born with. They are always identified by caste, which can be either low or high. A life crisis occurs through deep discontent or an inability to see their way out of a problem.  They meet a guru or teacher, usually in a place where they are confronting their fears, which more often than not is a cemetery.

(Cemeteries are traditionally the symbol of  “samsara” or those caught in the cycle of suffering) in both Buddhism and Hinduism. After years of following strict practices given by their guru, enlightenment follows and the mahasiddha inspires many people on their own path of enlightenment.

Although there is a pattern to the stories, that’s where the similarities end. The translation of their names alone shows the sheer variety of characters. There is Jayanda; the Crow Master, Lilapa; the Royal Hedonist, & Nirgunapa; The Enlightened Moron. There are two headless sisters (Kanakhala and McKhala), a gambler (Tantepa), and a compulsive liar (Thaganapa). There are kings (Campaka, Kankana), a prince (Nalinapa), and a mad princess (Laksminkara). Let’s not forget the pastry chef (Picari or Pacaripa), a glutton (Sarvabhaksa), a fearless thief (Khadgapa), and a lovelorn widower (Kankaripa). There is Godhuripa, the bird catcher, and Udhilipa, the flying birdman.  There is also a mahasiddha named Darika who was a bit of a slave to prostitutes that learned to fly on his own accord.

Dharma Publishing has published a book on the lives of the mahasiddhas by Abhayadatta. Translated into English by James B. Robinson, Buddha’s Lions; The Lives of The Eighty-Four Siddhas offers insight into the Vajrayana.  Robinson tells of when Buddhism passed into Tibet it was vital that those who shared their lineage embody the teachings of that lineage. In this way each became a Buddha himself and the doctrine became a living lineage.

Robinson goes on to tell us how the Buddha taught that wisdom comes from both knowledge and practice. ‘It is not enough to receive the oral tradition or to just memorize the data. One must sit and absorb it. The knowledge produced in meditation then becomes the culminating achievement affecting the transformation that leads to liberation.’

One example is Laksminkara, a.k.a. “the mad princess”. Her brother was a king that ruled over a quarter of a million cities in Uddiyana. Laksminkara was enormously wealthy and extremely educated. She had studied the tantras and been taught by the great siddha Kanibala himself.  Her brother arranges a marriage for her to the future King of Lanka and off she is shipped.  It wasn’t looking too good for her when she arrived; most of the people were not Buddhists. Laksminkara wasn’t even allowed to enter the king’s palace because the stars were unfavorable.

While waiting in town the prince’s entourage arrived from a hunt carrying a huge amount of meat. When she found out the prince was responsible for the death of all of these animals she was repulsed. She knew she could not marry such a man. She gave away all the wealth and jewelry she had brought as her dowry to the people, and gave instruction not to be disturbed for ten days. She cut off her hair, stripped naked and rubbed ash all over her body. The king tried to get her help and medicines for her to come to her senses but Laksminkara would not have it. Eventually she escaped and went to live in a graveyard for 7 years until she attained siddhi.

A sweeper of the king made reverence to her and she became his teacher. Once, when the king had lost his way he saw magic lights and dakinis dancing in the cave where Laksminkara slept. At first he thought she was crazy. He returned to the palace but felt so much light and faith, he was compelled to return. Honoring her with the reverence she deserved, he asked for her to be his teacher. She told the King his sweeper was her student and he must honor the sweeper as his teacher as he would become an auspicious friend.  The challenge would be for the King to find “the right sweeper” as there were so many. Laksminkara told him to look for the sweeper giving food to the people at night.

In the end, the King found the right sweeper. The king put him on a throne and asked for instructions. He received spiritual transmission from him, and the sweeper and the princess manifested many miracles for the people of Lanka.

Parts of this article were originally from a piece I wrote in 2009 for the Dharma Publishing website, a division of the Nyingma Institute Buddhist Center in Berkeley, CA. They offer courses on many aspects of Buddhism and I was lucky enough to enroll in one of its Art in Tibetan Thangka classes. It is a rare and comprehensive course on the subject.


Thank you for reading this article. For more articles on Tantra, Buddhism, and Metaphysics please click through to the articles below.


Uriél Danā has been a Professional Artist, Curator & Arts Writer since 1983 in addition to being an invitational Arts Ambassador for the US State Department. She became a Master of Tibetan Dream Yoga from age 9 to overcome a sleeping disorder under the training of a Mongolian monk on the North side of Chicago. She lives in the San Francisco Bay Area.

Gage Taylor, California Visionary Artist and My Art Master from a World before the Internet

Tropical Dream has been part of my private art collection for over two decades. I apprenticed as a painter with Gage Taylor for 4 years, served as an USIA Art Ambassador with him for the US State Department, and we collaborated professionally on canvas for many years under the signature Taylor Dana.

In his lifetime, Gage’s work was exhibited nationally in the Smithsonian, The Whitney Museum in NY, The San Francisco Museum of Modern Art, The Huntsville Museum, The Museum of Contemporary Art in Chicago, The National Museum of American Art, The Haggin Museum in Sacramento and the Oakland Museum.

Internationally it was exhibited with the Paris Biennale, the India Triennale, and Ortona, Italy.

Our collaborative work was featured in The Egyptian Rosicrucian Museum In San Jose, Ca and what is now the Bellevue Art Museum in Seattle. Internationally Taylor Dana was exhibited at The National Museum of Art in Jamaica & the Brazilian Embassy in Georgetown, Guyana.

Gage Taylor (1942-2000) was considered one of the six originators of an art genre known as California Visionary Art. (Visions, Walter Hopps, Pomegranate Press). California Visionary art followed the poster art craze made popular by record covers. These artists made history and changed the course of art. Twelve of Gage Taylor’s early works were printed as posters by Pomegranate Publishing; including ”Mescaline Woods” and ”The Road”. Artweek’s David Clark estimated that Taylor’s reproductions (and those of his compeer Bill Martin) “are on millions of walls throughout the western world.” They were profiled in publications as varied as Newsweek & Omni Magazine.

Visions by Walter Hopps
“Visions” featuring Holy Grove by Gage Taylor. This book was about the original California Visionary Art Movement.

Born in Fort Worth, Texas as Dennis Gage Taylor, he received his BFA from University of Texas, Austin (1965). Gage graduated with an MFA from Michigan State University (1967) where he later taught sculpture and drawing.

In 1969 he married his high school sweetheart and moved to California. He started working at the San Francisco Academy of Art. San Francisco was still in a post-coital summer of love phase and Gage spent hours smoking pot, dropping mescaline, and communing with the Nature Spirits. He was an avid meditator, and loved hiking and painting in nature every week. This is the time that most influenced his early work.

Ironically, Gage could not sell one painting as long as it was signed “Dennis Taylor.” In meditation, he was guided to legally drop his first name. He did, and within a year, Gage Taylor was internationally known as a painter.

Gage had his first One Person Show in 1970 at the San Francisco Art Institute. (He taught there in 1971 for one year). He also published the first of 14 posters (The Road, Pomegranate Press). In 1974 Taylor became a biographee in Who’s Who In American Art and Who’s Who In the West.

 

The Road Gage Taylor
The Road by Gage Taylor (from the book Visions). Oil on Canvas.

By 1975 he was featured in the Paris Biennalle at the Museum of Modern Art (“Mindscapes From The New Land”) in Paris, which went on to tour Germany. His “Baja” exhibit at San Francisco Museum of Modern Art was also in 1975 as well as his participation in “Hanson Fuller Gallery Pays Tribute to the Art Institute”, San Francisco.

In 1976 Gage’s work was included in the National Collection of Fine Art in Washington DC. (“California Painting and Sculpture”). This exhibit had traveled from The San Francisco Museum of Modern Art.(California Painting and Sculpture,1976).

1977 brought his work to the Huntsville Museum of Fine Art in Huntsville, Alabama (“The Modern Era-A Bay Area Update”) and he was featured in the July 11,1977 issue of Newsweek.

Gage’s paintings were also included in the India Triennalle (“California Visionary Art”) and his work then travelled as a group exhibition through Nepal and Japan.

In 1978 he began a two-year project painting California’s Endangered Landscape Series under sponsorship of the Oakland Museum of Natural Sciences Guild. His work was also featured in “Vision Quest” at the Hall of Flowers, San Francisco.

Seacoast Dunes by Gage Taylor
Seacoast Dunes by Gage Taylor, Oil on Canvas, Part of the California Endangered Landscape Series.

In Sept of 1979 Gage Taylor’s “Holy Grove” was the first art centerfold featured in Omni Magazine. “Holy Grove” was later included in the touring exhibit “Artists of Omni Magazine” in Los Angeles, San Francisco, and New York City in 1980.

Holy Grove by Gage Taylor
Holy Grove by Gage Taylor. Oil on Canvas.

In 1981 his work was included in a group show at James Atkinson Gallery in Houston, Texas and later in the year Gage’s work traveled to Ortona, Italy in an exhibit called “The Soft Land”.

Shell Landscape by Gage Taylor
Shell Landscape by Gage Taylor. Oil on Canvas.

The Nasty Bits: In 1982 Marin County was declared a State Disaster Area as rainstorms devastated the area. The irony of this was it was the very day Gage and his first wife decided to divorce. Unknown to Taylor, a swollen mountain stream by his home had created a dam of debris, turning a forest of Bay Laurels into battering rams.

The dam gave way and destroyed the house with Taylor, his wife and their two children inside. They all survived, but his wife was left a quadriplegic requiring 24-hour care for the rest of her life. Gage and his children never recovered from survivor’s guilt and post traumatic stress from the event. It was a physical and financial blow that Gage Taylor would never really recover from. It was this single event that eventually led to Gage and I painting together years later. It also began a more spiritual path for Gage in his art.

Part two of Gage Taylor’s life begins when we meet and I became his apprentice. (He had many apprentices that went on to have very successful art careers).

In 1983 Gage was invited to participate in an exhibit the San Rafael Civic Center in CA called “The San Geronimo Valley Artists”. He was also invited to participate in a similar themed exhibit at The College of Marin Gallery (Kentfield, CA) called “Artists of the San Geronimo Valley”. I was a student studying Sculpture and Museum Management and helped launch the exhibit. Gage and I met when I was receiving artwork and filling out insurance information for the exhibit. I had been a huge fan of Gage Taylor from his cards and posters going back to when I was stationed in Wiesbaden, Germany in the 1970’s. I invited him to participate in an upcoming exhibit I was curating at the College of Marin Gallery called, “Crystal Energy”. He invited me to be his student. (1983-1987)

Crystal Energy (1983) was a major exhibit about rare quartz crystals that heal from the Scientific, Metaphysical and the American Indian points of view. Many internationally known artists and speakers were featured. I took a chance and included 3 small pieces of my art in the exhibit.

Pillars of Alta by Gage Taylor
Pillars of Alta by Gage Taylor. Oil on Canvas.

The owners of The Illuminarium Gallery discovered my work and invited me to exhibit in their galleries. (They also cloned my exhibition in several of their future galleries).

Long before adding me, The Illuminarium represented Gage’s individual work from 1978 to 1988. Gage and I both exhibited regularly in their galleries in Marin, Santa Monica, and Beverly Hills.

Gage and I began collaborating together in 1984. We painted in his style on the same canvas. We were both only children and working together was an effective and pleasant way for me to learn. It allowed him to teach me and increase his income with our additional work. (Our gallery represented both of us and people liked the collaborations). Although it was an intense way to learn, I retained my own distinct voice as an artist.

In 1985 Gage Taylor’s work was in the Hall of Flowers exhibit “Bay Area Regionalists” in San Francisco, “Artists of the Bay Area -1945 to Present” at the Oakland Museum, Oakland, CA, and  “100 Vows of the Sun” at the Southern Exposure Gallery in San Francisco. (My work was also included in this exhibit).

At this time our collaborative work was featured in the gallery scenes of Shirley Maclaine’s mini series based on her best selling book, Out on A Limb (1986). It was also the first year our collaborative work was listed in the Encyclopedia of Living Artists (1986) and in Art Diary, Perugia, Italy (1986).

Moonlight Sanctuary by Gage Taylor and Uriél Dana
Moonlight Sanctuary by Gage Taylor and Uriel Dana. Oil on Canvas.

By 1988 Gage and I decided we wanted work that would be a synergy of our mutual interests. Both of us had studied all the world’s religions and mythologies, we both were meditators that honored the unseen worlds in our work. Based on archetypes that repeat in the East, the Middle East, and the West, Taylor-Dana was born.

Enlightenment and Purrsuasion by Gage Taylor and Uriel Dana
Enlightenment and Purrsuasian, Taylor Dana (Gage Taylor & Uriel Dana) Oil on Canvas.

These collaboration took on a life of their own at the Art Awards 88 (1988) National Competition in Bellevue, Washington (now Bellevue Art Museum).

Nocturne by Taylor Dana
Nocturne by Taylor Dana (Gage Taylor & Uriél Dana) Oil on Canvas. Entry into Art Awards 88 Competition.

Later, an exclusive retrospective of the Taylor-Dana work was given in 1993 at the Rosicrucian/Egyptian Museum in San Jose, CA named “The Mythic Image”. (A limited edition poster of the painting “Honoring the Goddess” was printed for the Exhibit).

The Mythic Image by Taylor Dana

Our collaborative work was sold at the Illuminarium Gallery & Isis Rising Galleries in Mill Valley, Corte Madera, Santa Monica, and Tampa; Center Art Galleries in Honolulu, Hawaii & multiple locations on Maui, Hawaii. Dyansen Galleries, Maui, HI. Our work was also sold through Addi Galleries on Maui, HI & Fine Art Collections in Kona, HI.

Valley of Light by Gage Taylor
Valley of Light by Gage Taylor. Oil on Canvas.

In Hawaii the Taylor-Dana work was commissioned for the Hyatt Regency Hotel in Kauai, and Gage Taylor was commissioned to paint 15 watercolors for the Hyatt Regency Hotel in Waikoloa, Hawaii in 1988. During this time we became Art Ambassadors for the Arts America Program for the USIA (part of the U.S. State Department) (1987). We toured and exhibited work through the Caribbean (Jamaica, Trinidad, Barbados, & Guyana) in this invitational post assisting the creative community. We also had an exhibition of our work at the Brazilian Embassy as it was near Guyana. One of our gouache paintings (Two Tigers) was acquired for the International Collection of the Jamaica National Gallery of Art in Jamaica.

We moved our studio to Sausalito, CA in 1990. Our work was represented at Hanson Galleries in Sausalito, LaJolla, & Carmel, CA., Eaton Galleries (Sausalito), Sierra Galleries, Tiburon with work represented on Maui, HI by Addi Galleries.

From 1991 Gage Taylor and I were represented by Conacher Galleries on Maiden Lane in San Francisco until Don Conacher’s death.

Conacher Galleries brochures for Taylor Dana
Conacher Galleries (Maiden Lane, San Francisco) brochures for Taylor Dana (Gage Taylor and Uriél Dana)

In addition to Gage’s dozen posters with Pomegranate Press, Taylor’s work was published on 75 Art Cards (50 with myself) with Visionary Publishing, Queens Cards and Milk and Honey Publishing. Taylor cards were published by Pomegranate Press as well as one billboard for National Tire Company (I had a billboard for Relax America Music label). His work was also used on a National ad for Boise Cascade Company, several magazine covers, and other creative works and prints.

Gage Taylor wrote one children’s book Bears at Work (Chronicle Books) and had written 4 young adult books & their screenplay adaptions that were unpublished at the time of his death.

Bears at Work by Gage Taylor
Bears At Work by Gage Taylor, Chronicle Books, San Francisco.

Late in 2000 Gage Taylor, who had never been ill, was diagnosed with 4th stage Prostate Cancer. Four months later he was gone.

Photo of Gage Taylor by Uriel Dana
Photo of Gage Taylor taken by Uriél Dana in Sausalito 3 months before his death.

It’s hard to describe what its like when you lose someone who has touched every part of your life for 17 years. My 3 oldest friends suddenly died during the same time period. I went into a traumatic shock and grief kept me from painting a long time. Tropical Dream was Gage’s idea of Heaven. For me to move on to my own version of Heaven I am letting go of his. Please contact me at [email protected] if you are interested in adding this painting to your collection.

The Marriage of Art & the Erotic: Together Again

©2017 Uriél Dana

When an artist stops painting, it does not mean they’ve stopped making art. It usually just means they’ve said all the can say on a particular subject.

Life can strike us with an experience and a new series of work can be birthed to the world in an instant. Painting a series can sometimes be the only way out of being emotionally frozen. For example, Picasso entered his Blue Period after a close friend committed suicide.

In 1995 I flat-lined during a surgical procedure. I found myself in 16th century Bengal India, dying from a fall down a flight of stairs. The details of that out of body journey were life altering for me. I began dreaming in Sanskrit and Chinese; could understand the lyrics of any language in song; could suddenly play a tamboura; chant in mantra; and I could smell when people were about to die. I also started painting miniatures, Left-handed. Did I mention I am Right handed?

The miniatures I painted (and the accompanying poems I wrote) were, unknown to me, a specific genre of work called “Sringara Rasa” and that is how I still refer to the series.

Sringara (spelled shringara in ancient times), is a Sanskrit word that means “erotic”, and rasa refers to the “flavor” or “mood” of an art form. Sringara Rasa refers to the way in which we reach love or ecstasy that is both human and divine. I began trying to blend this Eastern concept into a Western format in my work.

The art tradition of Hindu miniature painting came out of the 14th century renaissance in Central India and continued to thrive into the early 19th century. The Mughal Empire had destroyed medieval Hindu kingdoms and history begins to see the emergence of indigenous literature enter the mainstream of society.

Prior to this renaissance, the priests and nobles controlled all exposure to these great spiritual epics. (They were the only ones who understood Sanskrit).

These stories captured the minds and hearts of people, especially the love between the celestial lovers, Krishna and Radha. Radha was Krishna’s favorite consort and she became transfixed by a passionate obsession for him. To me, the allegory was clear: Radha and Krishna represent the Shiva and the Shakti, the male and female aspects of ourselves, longing to reunite with one another.

Krishna and Radha’s love inspired great art, poems, and music and marked the beginning of devotional Bhakti cults. (People who attached themselves to a personal deity).

Many of these stories inspired their followers to live out their lives in imitation of these Gods. The painters of the time found their subjects from these great poems. Many were inspired by the work of the twelfth-century Bengali court poet, Jayadeva.

As a person who loves living surrealists, I became inspired, no, obsessed, by the people who embodied the divine grace and ecstatic love of these Bhakti cults.

One of my favorite stories was of a young prince, Raja Savant Singh of Kishangarh (1699-1764), who abdicated his throne and became a poet and painter. He ran off with the courtesan-poetess Bani Thani, and they lived out their lives re-enacting the lives of Krishna and Radha at Brindaban, the holy city associated with Krishna. His brother may have taken the throne, but this young prince became quite well known under his nom de plume as a poet, Nagari Das, and the beautiful Bani Thani still lives in his paintings that survive.

When I finished the first painting of this series, “Together Again”, I felt it need a poem with it, so I wrote one. Each additional painting had an accompanying poem. I later discovered that the form of poems I was writing was classic 16th century Bengali love poetry in the tantric tradition.

My research led me to a 16th century princess that had been born in Rajasthan and was to be the first Hindu queen of medieval North India. She was widowed before her husband, the heir apparent, took the throne. Her name was Mirabai, and she was the embodiment of Bhakti.

At a young age, Mirabai had experienced a spiritual transmission, or murti, from a statue of Krishna presented to her by a wandering and low-caste ascetic. She became so connected to her God that he was with her always in a kind of “spiritual marriage”. She wrote over 400 poems and created a type of devotional song now known as bhajans.

Although Mirabai’s in-laws persecuted her for her spiritual beliefs, and she was highly controversial, she was revered by her peers and honored by kings in her lifetime. Mirabai had everything, but chose to live the life of a yogini.

As a painter, a poet, and a practitioner of Tibetan Dream Yoga for decades, I could not end this series until I understood everything about this art form in history. It reflected something very personal to me in my own awakening. Mirabai’s poems speak of someone who understood the inter-dimensional quality of dreams, and she often wrote of her lover Krishna visiting her in these worlds. There is a line from one of her poems that still wrenches my heart when I hear it; “I slept for a moment, the Beloved appeared, when I rose to greet him, he was gone. Some lose him sleeping, I lost him awake….”


Painting: Together Again, by Uriél Dana, oil on board, 8″ x 14″, 1996

Together Again © 1996 Uriél Dana

I have a kingdom deep within

Where the veils of illusion

are pale and thin.

Light and dark merge into grey,

And love and ecstasy begin

their stay.

The King and his Queen

are equal here.

We know only love,

no pain or fear.

Our dream is a magic carpet ride

Where all worlds are one,

and souls confide.

And when the dream is a waking one,

Will you know by my eyes

that I have come?


Thank you for reading this article. For more articles on Tantra, Buddhism, and Metaphysics please click through to the articles below.

Interview in Narrative Paths Journal

Uriél Danā

An eye opening interview with Bay Area fine artist Uriél Dana. Narrative Paths Journal is a literary magazine focussing on new philosophies and ideas.

You can read the full article here.

The Mystical Symbolism in a Gage Taylor And Uriél Dana Oil Painting

© Uriél Dana 2017.

Painting SymbolismGage Taylor and I rarely painted large oils. Hindsight is one of the three largest. Painted on multiple sanded coats of gesso on a surface as smooth as skin and in layers of oil glazes that create a multidimensional depth. This painting embodies every universal archetype from the East, the West, and the Middle East found in a Taylor Dana painting.

Many cultures around the world use the temple as a symbol for the body, either literally, like the great cathedrals of Europe, or metaphorically, as in the chakra system. The body or temple represented a portal to our soul in a Taylor-Dana oil.

Each of us is a temple of treasure, and as we explore that treasure, we often discover jewels within ourselves we may not be aware of. (The hidden treasure in the background).

We used carpets as the symbol for the secret doctrines, inspired by the flying carpet legends, which evolved from the use of prayer rugs.

Cats, large and small, were used in temples all around the world because of their ability to sense the non physical as well as the physical. Cheetah’s were a favorite of ours because they are the most telepathic and dog like of the feline kingdom. Joy Adamson (author of the well known book and movie, Born Free), kept and studied Cheetahs for years and revealed their astonishing personalities in a book called, The Spotted Sphinx. We embraced their character often as a symbol of the higher self.

You can see more of my artwork here.

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Artwork: “Hindsight”, Uriél Dana & Gage Taylor, ©1988.  Oil On Canvas (Gage Taylor died in 2000).