Artistic Visions #14 – Bynopar
About the Artist
I started studying in 2004 privately with a studio artist in Maine, then continued with self-study after my arrival in Canada in 2005. In 2008 I began working with my husband, Donald Tyson, illustrating his books, and have continued over the past year. I work with different mediums or even a mix. My favorite so far is watercolor.
Bynopar (and Butmono)
These paragraphs detail Jennifer’s evocation of these two kings, as a special bonus addition to her painting below. — Ed.
These spirits have highly shamanistic attributes. They were present before the ritual even started, while I was doing preparation and requesting to start the working. The appearance of the king reminded me strongly of an image of the Lord of the Dance, which I had seen on a plaque in Enchantments, in Maine. The only difference was that he had clothes on, though I would not have been surprised to see him as this image appeared. Initially, I felt very self consciously aware of the times I had not respected life. Though most of this was in the distant past, I was hesitant to complete the connection with these two spirits. They sensed my hesitation and reassured me of welcome in spite of my past shortcomings.
The music of Lord of the Dance seemed to be appropriate to the imagery. The crown was ram’s horns placed on either side of the head, and the torch was more like a scepter — but then it almost seemed like the torch would be more appropriate. Creative energies streamed from this spirit, diffusing through the entire universe. The effect of the energy made everything mundane seem trivial, and a steady white light and feeling of unity and being the phrase I am perhaps the most appropriate expression of this experience. Worries of the physical world became as trivial as the dust on the floor. Questions and worries were silenced, and a quiet stillness took their place. At the same time, there was also an awareness of the dance of life, that this spirit danced the universe into being. The stillness aspect of these energies was perhaps more represented by Butmono. He appeared priestlike with a gnarled staff. The brilliant white like came from Butmono’s heart chakra, into my head, filling me up totally until I was unaware of anything or anyone else.
I then had the realization that a conversation from earlier that morning was related to the influence of these two spirits. The conversation had been about plants, and I realized that the growing of plants, not necessarily the ingesting of them, could be used for the purpose of certain esoteric effects. The spirits pointed out to me the influence of the plants that I have growing in the house, and suggested things that could be added to them to increase the desirable effects of their auras. My task the afternoon following this rite was to re-pot the plants with worn out soil, as well as a couple that needed larger pots in which to grow properly. Only two of these plants have edible parts; the rest are house plants, yet their influence becomes apparent when the Butmono shows me how their auras actually work. An aftereffect of this evocation was a huge influx of physical energy. I re-potted all the plants, fixed a big lunch, and walked a few kilometers.
During the rite, I brought up two concerns with the spirits. That week, there had been some kind of interference with information and with mailing certain items out to another occultist. According to these spirits, the interference had been dealt with already and should not occur again if I allow the package to be charged before sending out. The interference was trivial and prankish in nature, even though it was rather disturbing to the people on my end who were involved in the incident. That was the first concern.The second was regarding our living situation and setting up a physical space for occult workings. The spirits reminded me that these things will occur in due time and that my concern was with the present. I was also reminded that the greatest temple was myself and the environment where I interact with the spirits. There needs to be a stronger emphasis on outdoor work.
The painting of Bynopar was originally watercolor, then scanned and continued with digital tools to improve the painting.
©2009 by Jennifer Tyson. All rights reserved. Used with permission.
©2010 by Jennifer Tyson.
Text edited and image resized by Sheta Kaey.