Heaven and earth
begin in the unnamed:
name’s the mother
of the ten thousand things
Tao Te Ching, Lao Tse
We have already mentioned the artist Arun Kumar, born in a farming household at the Western Ghats in Kanatka, south of India. He had left his hometown and moved to New Delhi to study and begin his art practice. It was the distance, combined with his trained artistic sensitivity, that was fundamental to understanding the irreplaceable value of nature in the places where he was raised as a kid. But he also mentioned it was his connection to something else. Arun believes that both art and nature have connections with bigger senses than the rationale, beyond technicalities: they figure cosmovisions that enrich themselves mutually.
When actively looking at the surroundings where he was raised, the artist brought the mythological beliefs around the mountains close to his hometown. He resembles mountain Kodachadri, a huge forest and mountain where he resided, which is also the home for a goddess called Mookambika. This goddess is regarded to be a form of Shakti, the divine feminine energy, representing creativity and ingenuity. Shakti itself is considered in Hinduism as the “universal power” that underlies and sustains all existence. In this stance, Kumar says that mythological beliefs around this goddess helped preserve the local biodiversity as “sacred groves.” Human interventions were minimal at that time because they felt that there was a divine power there.
The Indian writer and artist Sumana Roy also brings in mountains as teachers of one of the greatest lessons of her life: not to take herself too seriously and always feel the immensity of the mountains’ permanence. Sumana also believes that spiritual and intellectual everyday practice are not separated. Her instinct drives her towards a perspective of ecosophy. Laughing about “weekend retreats” where people go to experience nature, Sumana brings a deep reflection about the nature that resides in us, which we are all a part of and where we are all interconnected. A key component of Hindu beliefs that Sumana brings in is the concept of rasas. Conceived more than 2,200 years ago by Bharata Muni, the treatise Natya Shastra evokes eight rasas representing different emotions and states of mind expressed in art as pure emotion awakened in the spectator. A ninth rasa, that Sumana highlights to sway her approach to ecology and life, was added centuries later representing a transcendent peace called Shanta rasa. Art couldn’t only represent human emotions, but also a state of quietness and meditation as a target of spiritual realization allowing the experience of unity with the divine.
Bakibab Borkar is a renowned poet from Goa who has written Majhya Govyachya Bhumit (”in my homeland of Goa”). It is written in Konkani, an Indian dialect from the South-Western coast. A quick Google search won’t give back any results in English or Spanish. The biologist and storyteller Nandini Velho refers to its importance saying that when you feel like you are from a particular land, and you are from Goa, you can feel Goa almost in your pose, as part of your skin. In Velho’s words, Borkar’s poem goes on about how the landscape shapes people: It gives you this feeling—Velho says—that there are supernatural spiders continually weaving the web of our life and our heritage together through these crafts, festivals, rituals, fairs, and frolics.
With these notions we dive into non-Western beliefs and traditions that lead the way in reflecting the essence of what we call the unnamed. Nevertheless, there’s plenty of ancestral knowledge in the West coming from Indigenous communities and practices in relation to natural cycles and medicine plants.
There are also overall theoretical frameworks such as the concept of Sumak Kawsay (“Buen Vivir” or “Good Living”), which, according to the political economist Alberto Acosta, also serves as an alternative vision of wellbeing rooted in Indigenous Andean thought, centred on harmony among people, communities, and nature rather than endless economic growth. This concept has penetrated the political structure of countries such as Ecuador and Bolivia who had incorporated it into their National Constitutions.
The Colombian anthropologist Arturo Escobar overcomes the cartesian dualism and the traditional binary rationalism typical of modern Western culture when he builds on the concept of relational ontologies,
ways of understanding the world in which beings do not exist as separate, autonomous entities but are constituted through their relationships with humans, non-humans, and the environment. They emphasize interdependence, reciprocity, and the inseparability of nature, culture, and community.
Ángel Ñamandu Ramos Armoa is a Guaraní fellow whose middle name means the origin or the creator: an invisible, eternal, omnipotent and omnipresent entity who conceived the universe. Not considering himself as a believer, he thinks that spirituality is key to communities: it brings inner peace, a bond between the immaterial, the natural, the unfathomable. This also refers to the divine knowledge of sacred plants in indigenous cosmovisions.
In this regard, María Clara Botero Zapata brings a personal experience of how volcanic rocks had shaped her and her family in overcoming situations where traditional allopathic medicine could not nail down the problem. Other plants or combinations, such as yagé, deepen the perception of the threads that bond us all. Such as in Peruvian writer Carlos Castaneda’s The Teachings of Don Juan, where he describes the universe not as a collection of separate objects but as an infinite web of luminous filaments or fields of energy that connect all beings. What ordinary perception presents as distinct entities is viewed as a relational field of living forces. It points to a direct, embodied encounter with the living world, where knowledge emerges through participation rather than representation.
From East to West, the echoes of our ancestors bring a dimension of our relationship with the world that comes before rational explanation. Wonder, contemplation, reverence, and a sense of belonging are the baseline conditions that enable a deeper understanding of our place within the fabric of life.
Cultural Echoes ⌄
- The concept of rasas in Hindu beliefs, in The Nectar of Devotion by Srila Rupa Gosvami Prabhupada, translated by A. C. Bhaktivedanta Swami Prabhupada.
- Further exploration of the concept of rasas, in Aesthetic Rapture by Jeffrey Moussaieff Masson and M. V. Patwardhan.
- The Abya Yala (aka Latin American) Indigenous concept of Sumak Kawsay, in Buena Vida, Buen Vivir: imaginarios alternativos para el bien común de la humanidad.
- The concept of feeling-thinking, in the book Sentipensar con la tierra, by Arturo Escobar.
- Pensar con los peces, Arias-Henao.
- The Mexican author Carlos Castaneda wrote on The Teachings of Don Juan and sequels a lot of the wonder of life that can’t be described or analyzed by the rational mind.
- The version of the epic Chinese work Tao Te Ching by Lao Tse as translated by the author Ursula K. Le Guin goes into much of the Tao of what can’t be described.