Highly stylized rendering of a line from a prayer ("there is harmony in Naught"). This is a type of ivìr ("harmonious cycle"), a recursion or co-recursion of certain Yaru glyphs in sequence including, at minimum, the glyphs a (empty noun root), Éa (bird goddess of possibility), Avrá (dragon god of void and nothingness--not as bad as he sounds, honest!), and arí (life, existence). Usually, the character irá (benevolence, grace) appears enclosed within Éa, but here the nested compound zá'i ("feathers of harmony") takes its place, a reference to the Twelve Zá'i, the twelve gods consisting of Éa, Avrá, and their ten moderately unruly fledglings whose uncoordinated nonsense manifests as forces of chaos. And reflected against zá'i is zá'avrá, the iridescent scales of Avrá, the myriad surfaces that catch Éa's light--here arí happens.
In this version, the character Éa is also mirrored across the yà in the middle (the phrase closure particle) as Zhu (sun). Éa is associated with moonlight, and while Ru know that moons only reflect sunlight, they see the sunlight, in turn, as reflecting Éa, for she is Zhu's mother. The theme of reflection is crucial--Ru think of mirrors and reflections as portals, places where images, worlds, and narratives can intersect. This metaphor is extended in meditation--a still mind reflects the light of the soul and of Éa as calm water reflects moonlight. This is another meaning of iyà avrálŭ--clear your mind (that is, fill it with avrá, nothing) and there you will find i; and where there is i, there is Éa's light and you'll feel all right.
In this version, the character Éa is also mirrored across the yà in the middle (the phrase closure particle) as Zhu (sun). Éa is associated with moonlight, and while Ru know that moons only reflect sunlight, they see the sunlight, in turn, as reflecting Éa, for she is Zhu's mother. The theme of reflection is crucial--Ru think of mirrors and reflections as portals, places where images, worlds, and narratives can intersect. This metaphor is extended in meditation--a still mind reflects the light of the soul and of Éa as calm water reflects moonlight. This is another meaning of iyà avrálŭ--clear your mind (that is, fill it with avrá, nothing) and there you will find i; and where there is i, there is Éa's light and you'll feel all right.
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So the purpose of an ivìr is basically to demonstrate how the soul and creation emanate from the divine. A distantly similar analogue from an Earth religion would be the ten sefirot--however, whereas sefirot are numbered and arranged in a very specific order from top to bottom and there are always ten of them, the elements in an ivìr nest inside each other and their order and composition are variable (owing in part to the hidden path in arí, which I explain later on.) To extend the comparison a little further--if, instead of watching the Ohr Ein Sof from the side and resolving it as so many sefirot in a line, you decided to ignore all the scary yellow warning signs, shove your way past the angels in hard hats, and look straight down the existential beamline--most Ru are of the opinion that you'd see some kind of ivìr. Sorry, I just watched a documentary about a particle accelerator, got synchrotrons on the brain.)
The triangular geometry arises from the nature of the script and the fact that the concept being expressed here entails a quasifractal conception of reality and creation--thus, things within things within things within things, so on without end--and hence characters being drawn within other characters to symbolize this. The compounds Éa, Avrá, and arí, and the character i all contain a as a radical, which is straight up just a triangle. So you can think of this whole thing as some funky semantic crystal being grown around a--except from the outside in and the inside out at the same time. Since the recursion is infinite, there is always an innermost a radical that can be visualized as containing another ivìr--the same or different. Likewise, the outermost character is implied to be enclosed within the innermost a radical of yet another ivìr.
Moreover, the lower-right corner of arí has a two-taloned stroke that, when enclosed by the next a radical in the recursion (that of i on the left; that of Avrá on the right) hints at the shape of another, hidden i--i has an a radical, so it represents just as valid a path as the a within the character arí itself. (This detail represents the option within life to choose a harmonious path--free will.)
Also, a itself is part of the cycle, because by itself it essentially means "thing" or "something"--the opposite of "Nothing", and is thus a necessary part in describing how something (a) arose from nothing, i.e. why things exist (according to a bunch of glorified magical seagulls, probably after smoking a lot of ichí.)
The triangular geometry arises from the nature of the script and the fact that the concept being expressed here entails a quasifractal conception of reality and creation--thus, things within things within things within things, so on without end--and hence characters being drawn within other characters to symbolize this. The compounds Éa, Avrá, and arí, and the character i all contain a as a radical, which is straight up just a triangle. So you can think of this whole thing as some funky semantic crystal being grown around a--except from the outside in and the inside out at the same time. Since the recursion is infinite, there is always an innermost a radical that can be visualized as containing another ivìr--the same or different. Likewise, the outermost character is implied to be enclosed within the innermost a radical of yet another ivìr.
Moreover, the lower-right corner of arí has a two-taloned stroke that, when enclosed by the next a radical in the recursion (that of i on the left; that of Avrá on the right) hints at the shape of another, hidden i--i has an a radical, so it represents just as valid a path as the a within the character arí itself. (This detail represents the option within life to choose a harmonious path--free will.)
Also, a itself is part of the cycle, because by itself it essentially means "thing" or "something"--the opposite of "Nothing", and is thus a necessary part in describing how something (a) arose from nothing, i.e. why things exist (according to a bunch of glorified magical seagulls, probably after smoking a lot of ichí.)
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