View allAll Photos Tagged Internalizing
Every thing's retreating, changing or better say trying to. The trees pull back their juices. I feel that i have to push myself to write and take pictures. so I just follow the flow and do less. Feel and think more about what's happening around me. Its a time to sit still and internalize the turbulence of summer's stories. Look back without judging, just looking at it and taking new turns where they have to be taken. Spontaneity is making place for weariness because we feel that what surrounds us reaches deeper levels. And if we can connect with these deeper levels, we try to listen to them. For they are the elders that live inside us.
I've been singing this song for a day now.
Nightminds
Missy HIggins
For BAM 38
and for Me again Monday, posting early. Theme is Moods.
My mood is quiet and solemn, not because I'm sad, but because sometimes that's just the way I cope. I tend to internalize hard times, struggles and worry. Sometimes people think I'm standoffish, but I just need to be quiet, need to be still. It's a coping mechanism.
Loving this weather, but hating the sniffles and colds that come with. Phoenix is sick again today. We did this last week too. Ugh.
Catching up on Flickr, and almost done editing my vacation photos. Got some really cool film back, if I can get my scanner to work, then I'll share.
Happy Sunday.
Number three in the little text series I have going.
I'm not exactly happy with the end result, but it was fun to just kind of free-write. It was basically impossible to get the outline right, though. Good theory, poor execution.
Oh, and a transcription of what it actually says because it lapses into illegibility:
"I am in love with language, with its malleability and idiomatic idiosyncrasies, its multiplicities of meaning. I am enamored of its endurance, of epitaphs and epigrams that outsurvive even memory of their authors' names. I exist in the space between letters, where sound and shape collide in a sublime cacophony of 26^2 lower-case possibilities. It is the perfect human link, and I will twist it, exploit it, internalize it, exchange and imbue, and its tragedy and beauty is that it is subjective, will never look the same to you as it does to me. It is human - flawed, complicated, changeable, and absolutely breathtaking.
We are defined and outlined by sound tangibly bound, wended and wound, then again read out loud."
In complex systems science, "scaffolding" are those structures necessary to move from an initial state to an emerged form. For example, when recapturing an area of land and bringing it back to its natural state (e.g. prairie), you will find that certain birds and plants have to be present during the transition time in order for the old form to re-emerge. Once the new state has emerged, the scaffolding comes down... BUT, without the scaffolding, no change would have occurred.
Another example: Mary Poppins.
The concept of scaffolding has attraction to social scientists and educators too. From: condor.admin.ccny.cuny.edu/~group4/
"Scaffolding instruction as a teaching strategy originates from Lev Vygotsky’s sociocultural theory and his concept of the zone of proximal development (ZPD). “The zone of proximal development is the distance between what children can do by themselves and the next learning that they can be helped to achieve with competent assistance." The scaffolding teaching strategy provides individualized support based on the learner’s ZPD. In scaffolding instruction a more knowledgeable other provides scaffolds or supports to facilitate the learner’s development. The scaffolds facilitate a student’s ability to build on prior knowledge and internalize new information. The activities provided in scaffolding instruction are just beyond the level of what the learner can do alone. The more capable other provides the scaffolds so that the learner can accomplish (with assistance) the tasks that he or she could otherwise not complete, thus helping the learner through the ZPD."
(Image of Philadelphia City Hall. August 2007)
(Explore 1.18.2008--Thanks friends!)
Paragon Dance Animations //Paragon_Mary - Modern Egyptian Belly Dance Vol 1 Pack
Available NOW at Uber!
maps.secondlife.com/secondlife/Uber/161/158/22
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Product Description
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Freestyled and performance captured by award-winning professional Belly Dancer Mary Winpenny.
Developed in Cairo 1920s, modern Egyptian Belly Dance or "Raqs Sharqi" has roots in Egyptian folkloric dances with some influence from western dance genres.
In Egyptian style, the movements tend to be more internalized and smaller than other styles of belly dance. Egyptian Raqs include some ballet and ballroom dance influences, such as in footwork (for example the use of arabesque) and in stance and arm positions, although adapted to an oriental style.
This set focuses on core rhythms (as opposed to drum solo sets)
Originally performed to "Mesaytara" by Lamis Kan. Tempo = 100.0 BPM
The florest floor is such a wonderful place and when I found these two little partridge berry flowers against this root, I knew i'd have to try to see if I could shoot it well. I kind of think I did. Used a 6mm extension tube to get this close.
• 47/52 •
• decay •
‘to self-destruct'
sometimes, in order to grow, you need to destroy the part of yourself that refuses to change.
I was very stuck in my ways with self-portraiture. I felt frustrated, like this project wasn't giving me what I needed, like giving it up and just dropping self-portraiture for a while. Again. Like I did in 2016 and like I did in 2017. I felt more like breaking than like bending and letting the muse (whatever that is) do its thing. And that's not an easy place to be.
I had ideas, but no will to execute them. I had awesome concepts, but also an internalized fear that somewhere, sometime, someone might have done them before and therefore, all their worth was lost. I was fighting with my own aesthetic, with my path and the recognition that I was getting (and sometimes not getting, which pissed me off too).
And then, at some point, something clicked. "What if I just did this for fun?" What if I started taking myself less seriously? *What if I just didn't care?* And just like that, I unblocked. I tore apart the Lu that was waiting for this project to be a huge thing, and the Lu that thought that art had to be serious. And out came the Lu who just enjoys taking really outrageous photos that will piss off the grown ups.
#52sisterhood
@joanacatcardoso
@niacarvalho
@martaracabral
@madalenatavares
@bringmewildflowers
David Cooper was a South African-born psychiatrist and theorist who was prominent in the anti-psychiatry movement.
Cooper believed that madness and psychosis are the manifestation of a disparity between one's own 'true' identity and our social identity (the identity others give us and we internalize)
The book "Death of the Family "may be seen as a self-reflexive attempt 'to illustrate the power of the internal family, the family that one can separate from over thousands of miles and yet still remain in its clutches and be strangled by those clutches'.
Interiør fra Nasjonalgalleriet
Ivar Lund (Norway. Born 1871 in Skjåk, death 1904 in KristianiaP)
Oil on canvas.
Width: 122.7 cm (48.3 in)
Height: 115.6 cm (45.5 in)
Depth: 2.5 cm (1.0 in)
Inventory no: NG.M.03203
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The museum's label says:
"Lund depicts one of the halls in the National Gallery, previously the Sculpture Museum [as it appeared at the turn of the 20th century.] The view shows the collection of plaster casts of famous antique sculptures. These [were and] are used, among other things, as models for art students to draw as part of their training. Can you spot which ones are present in the room where you are now?"
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Visitors to the new National Museum in Oslo may be surprised—and perhaps moved—to find a dedicated hall of plaster casts among the sleek, modern galleries. The presence of these replicas pays homage to a formative chapter in art education and museum history: a time before commercial travel, digital media, and visual saturation, when even well-educated Europeans could rarely, if ever, encounter the originals of world art.
In 1904, when painter Ivar Lund depicted the Interior of the National Gallery, cast halls served both pedagogical and cultural missions. They democratized access to Greco-Roman antiquity and Renaissance masterworks, offering a surrogate form of aesthetic communion. These casts were not dismissed as mere imitations; rather, they were prized as tools of knowledge—objects to be studied, copied, and internalized.
Importantly, many casts were made using molds taken directly from the originals. Classical sculptures in major European collections—such as the Louvre, the Vatican Museums, and the British Museum—were at times permitted to serve as sources for plaster molds, particularly in the 19th century. If viewers knew or believed that a cast had been taken from such a mold, that knowledge was often sufficient to establish the object’s authenticity in their eyes. Few would have fixated on the missing aura of the original.
This text is a collaboration with Chat GPT.
All I can tell you with certainty is that I, for one, have no self, and that I am unwilling or unable to perpetrate upon myself the joke of a self. It certainly does strike me as a joke about my self. What I have instead is a variety of impersonations I can do, and not only of myself—a troupe of players that I have internalized, a permanent company of actors that I can call upon when a self is required, an ever-evolving stock of pieces and parts that forms my repertoire. But I certainly have no self independent of my imposturing, artistic efforts to have one. Nor would I want one. I am a theatre and nothing more than a theatre.
-Philip Roth, The Counterlife
Having only a sword, shield, and the clothing on his back, Avesler set out towards the city of Dalmanutha, after the surprise ambush, or so he thought...
He thought he would know his way around the desert by now, but he soon realized that he hadn't really been paying attention to the geography lessons his father and mother taught him... At least however, he listened to his father's instruction on combat and survival.
As he aimlessly wandered in the Lorean Desert, Avesler internalized the attack, which created a buildup of anger and rage.
"If I ever see those bandits, they'll all die!"
He said at his worst moments.
Just as he was about to give up trying to get to the city of Dalmanutha, He found a road!
"Well, this will take me somewhere..." He thought.
As he was going, he began to hear horses behind him, and something inside of him told him to hide quickly. Crouching behind a rock, Avesler looked to see who it was, and when he did see who it was, all the rage, anger, and sadness that had build up in his heart began to increase tenfold. It was one of the bandits!
"Apparently I'm not the only one lost..."
Jumping up onto the rock, Avesler shouted: "You thieving chains of mail! You wrongfully plundered my caravan and killed my mother, father, brother, and many innocent lives! You'll pay!!!!!!"
The yelling startled not only the bandits, but also the horses. One horse trampled one bandit while the other two took off, leaving some of the crates and chests behind.
Avesler slayed one bandit while he was still recovering from the sudden surprise of the attack. With that man down, Avesler faced the leader and one other bandit.
The leader charged towards Avesler on his horse, but Avesler just plunged his sword into the beast's chest, instantly killing it. As the beast fell, Avesler's sword was wrought from his hand. However, the knight also fell, and in the process lost his sword as well. Avesler quickly grabbed the sword and lifted it up shouting "For the Glory of Loreos and the Family of Glatenier!"
With that shout, he thrust his sword through the knight, ending the knight's life.
Seeing this unfold before his eyes, the remaining bandit fled.
Avesler was delighted to find that the chests that he recovered from the bandits happened to be his own!
"All the possible chests that these bandits took from my family, and I happen to take back what is mine!"
After girding himself in his clothing and armor, Avesler searched through the other stolen crates to discover money, food, and... A MAP!!!! One thing he did pay attention to was how to use a map. He immediately knew which direction to head.
"To Dalmanutha here I come!"
As he journeyed towards the grand city, Avesler reminisced and contemplated on his victory. His revenge didn't seem quite as sweet as his anticipated... In fact, he was startled at his own ferocity in which he slayed the bandits.... Then he remembered the words of his father, "Do not seek death." In times past, Avesler figured his father was referring to suicide. Now however, those words struck a deep chord in his heart. Feeling remorseful, Avesler vowed not to set his heart towards avenging his family tragedy, and instead seek a new path for his life to travel down....
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For the GC X Restricted category, Revenge.
Whew! That was long. Kudos to those who read through it!
Finally started building for LoR!
Paragon Dance Animations //Paragon_Mary - Mod Egyptian Belly Dance Floorwork Pack
Available at Equal 10 until 9/5
maps.secondlife.com/secondlife/equal10/158/128/89
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Product Description
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Freestyled and performance captured by award-winning professional Belly Dancer Mary Winpenny.
In dance, floorwork refers to movements performed on the floor.
Developed in Cairo 1920s, modern Egyptian Belly Dance or "Raqs Sharqi" has roots in Egyptian folkloric dances with some influence from western dance genres. In Egyptian style, the movements tend to be more internalized and smaller than other styles of belly dance. Egyptian Raqs include some ballet and ballroom dance influences, such as in footwork (for example the use of arabesque) and in stance and arm positions, although adapted to an oriental style.
Originally performed to "Yearning" by Raul Ferrando. Tempo = 74.00 BPM
Dance 01 - 26.75 sec
Dance 02 - 25.25 sec
Dance 03 - 28.20 sec
Dance 04 - 23.00 sec
Dance 05 - 23.70 sec
Who says so, who calls it mad anyhow? Perhaps on the edges, and at the core, .. That does not leave a lot of space for anything else. And yet he was still sitting there, on the edge, on the bridge above the flower market, ready to take his flight. His eyes quite serene, lost in thought. Perhaps , there was no need to think, there is too much of that going around, too much sensorial information that is not internalized, just acted upon, resulting in some intense processes of frustrations, cravings and desires.
Hey, why not just buy some flowers for the ceremony. There are many to be chosen from, go to the temple, go to the ceremony, show some devotion and introspect … on the colors.
Another outtake from a wedding where I tagged along with Tracie & Kristine.
Had a discussion this morning about carrying too many burdens and what effect that has on our overall health. So many of us internalize the pressures that life seems to continue to throw at us and keep that smile on our face so everyone thinks we have it all together... gotta keep up appearances, right??? Everything goes along so smooth until your health starts to falter and cracks in the dam start to leak out whats being held inside. Some good advice... find that person who really cares about you and start to share a little bit at a time about some of the things that overwhelm you... not expecting them to fix anything, sometimes the best therapy is just being listened to.... I need to thank several people who I've met here on flickr for being those ears that I've been able to unload on from time to time... :)
Friends to keep in prayer... my little buddy Angel, and Moana's sister Nalani... life is such a precious gift...
Hope everyone is enjoying your weekend......
oh, btw, this was near Dana Point, CA
Yennefer: There was a theory one of the professors taught in Aretuza, that a mage with mastery over magic could internalize his power beyond mere aesthetics. There was only one problem with practitioners. They burned alive from the inside.
Geralt: Brutal.
Zatanna and Jason split up to cover more ground, walking towards opposite sides of San Francisco. Jason instructed Zatanna to teleport him to herself if/when she found Klarion, which Zatanna agreed to do, despite the fact that she’s never actually done that teleportation spell properly. She’s teleported herself through magically-formed portals on numerous occasions, but she’s never successfully teleported someone else to herself. Zatanna is a “showoff”, if you will, who might brag about a skill she doesn’t have. She disregards her own flaws, even blatantly obvious ones.
She waltzed along a sidewalk, still clad in her greyscale tuxedo and top hat, with her white-tipped wand still tight in hand. She looked left and right for Klarion, but all she saw was darkness, and all she heard was silence. Within said silence, she thought to herself about how she regretted lying to Jason. Zatanna was a very regretful person, despite her aforementioned disregard for negatives. It’s as if her positives were used as a shield to hide negatives, like lies and mistakes, from those around her, and said negatives were internalized. To put it bluntly, her mouth is saying “look at me, I’m flawless” but her brain is frequently telling her the opposite.
Abruptly, her self-deprecation was interrupted by the sound of footsteps from behind her. She swiftly rotated 180º to see a man in an orange scarf wielding a wooden baseball bat in hand. The man smirked before swinging the bat at Zatanna’s head, an attack which was managed to be avoided via summersault. From the ground, she pointed her wand toward the man’s weapon and cast a spell.
“Rewolf!”
The bat vanished in a poof of pink smoke, and in its place was a red rose.
“Heh. Very funny” he reacted before throwing the flower at the ground and pulling a handgun from his pocket. He pointed the pistol at the now standing Zatanna and lowered his finger towards the trigger. As a quick defence mechanism, Zatanna cast yet another spell, now pointing downward with the wand. A portal formed beneath her, which she fell into. The man was confused by this action. Zatanna, who had now reappeared behind him, grabbed the man by his shoulders and raised her bent leg up to his back, bashing her knee against his spine. In this quick surge of pain, the man dropped his firearm. Zatanna grabbed her wand, which was just then briefly in her pocket, and pointed it at the grounded pistol, chanting yet another spell.
“Evod!”
The pistol, like the bat before it, disappeared in a poof of smoke. This time, in its place was a dove, which quickly flew out of sight.
“Alright! You’re starting to get on my nerves” said the man while turning around. He rolled up his sleeves and threw his fist at her jaw, but she caught the fist. “You’re… Stronger than you look” he admitted.
“I know” she snarked. She shoved the wand back in her pocket with her other hand before successfully landing a punch on his abdomen. His fist released from her clutch as he stepped back and grabbed his stomach, letting out a “ugh”. As retaliation, he reached for his other pocket. In his way was a can of soup, which he swiftly rolled into a nearby alley. Zatanna’s eyes trailed off to see where the soup was going. She saw a woman sitting in the alley, clad in violet, whom the soup was presumably for. Zatanna was distracted enough by the can that she didn’t even notice the golden amulet that was now in the man’s hand. He chanted a spell, causing a flash of yellow light to appear from the amulet. The light blasted Zatanna backward, causing her to fly several feet, landing on the pavement in a seated position.
“Now” the scarfed man said into a communication device. Zatanna took note of a blue-coated gentleman who stepped foot from yet another alley. She tried to stand up and fend off both men, but her standing was prevented due to the blue-coated man reaching for a handgun and making a successful shot at Zatanna’s shoulder. In pain, she sat back down before lying back, her hat rolling off of her head and her blood making a small puddle from under her. Her limbs were weak both from her fall onto the pavement and the bullet lodged into her arm. As her injured body laid, the scarfed man ran over to her before repeatedly kicking her side. She winced, and wanted to fight back, but was in too much agony to move. She tried to chant a spell, or at least let out a shriek for help, but all that came from her lips was a quiet cough. Through her blurred vision she could barely see the man in blue coming closer. Once he arrived, he kneeled onto her stomach and gave a final blow. A punch to the nose, strong enough for her to now fall unconscious.
~Madam Web
This position would be especially logical if one believed that the fluids themselves were being recycled to nourish body tissues.The future has always been surprising. The body is loaded with 100% optimism. It’s just like you don’t have any timeTaoist alchemy and Kundalini yoga, in their respective ways, are religious traditions based on an imperative of rational, yet creative,experimentation with the relationship of the internal body to objects in the outside world, and the relationship of human physical energy with the abstracted realms of religious symbolism and ontological beliefs. Both systems present a picture which is not entirely comprehensive by the methods and assumptions of modern science. Yet these types of traditions may have something useful to teach us, if we can analyze their beliefs and practices within the historical and cultural context in an effort to understand them as they were, and as they are, within their individual cultural framework. Scientific methods such as neurobiology can give us some insight into the basic underlying causes of human experience, yet will never be able to fully explain the phenomenological idiosyncrasies of religious ritual. With this in mind, we can apply the knowledge of modern science to the study of ancient religious in a responsible and realistic way. Taoist and Tantric sexual practices conserve and utilize the precious energy within the genital fluids. The vital forces energies that sustain life are ojas and prana. One particular type of prana is kundalini or shakti. The Taoist equivalent is ching. By murmuring this energy, life is enriched and preserved. By squandering it, health suffers and death results, Yogys believe kundalini energy is coiled up like a serpent at the base of the spine to the pineal gland in the brain, and enlightenment is attained. The kundalini energy flows through the chakras, energy centers in your subtle body related to the endocrine glands. The endocrine glands are fed by your body’s central heating system, the sexual center. If that center is weak, you entire system is weak. If that center is functioning optimally, the body can survive indefinitely. Taoist and Tantric techniques strengthen the sexual chakra. Their methods conserve its precious fluids and also pump these nourishing fluids back into the body, directing them to the endocrine glands. This technique stimulates the production of ojas and soma. The only caution about Taoist and Tantric sexual practices is the following: because of the tradition of patriarchal oppression, many of theses practices are designed solely for the male to attain immortality, often at the expense of young, ignorant, inexperienced girls, whose vitality {shakti } is drained from their bodies. The male is cautioned to never let semen leave his body, to practice coitus reservatus, stopping short of ejaculation. Yet he is advised to bring his partner to orgasm repeatedly. With his sperm held in check and his vital energy pumping back into his system continually, he invigorates and rejuvenates his body. Also pumping the energy and fluids of the female into his body at the time of her climax, he obtains her vitality as well. Practitioners are advised to engage in this female-draining activity a dozen or more times a day with several 14-to 19 year old virgins. Innocent females are victims of this crime against their health, driving them to early grave.
On other hand, when both partners ate fully knowledgeable and experienced in Taoist or Tantric sexual practices, a mutually beneficial, enriching, elevating relationship can growth is only possible with mutual respect, love, honesty, commitment, and trust. When partners recognize and worship each other as divines beings, there can be an exchange of divine energy in both body and Spirit.How does this move in the body? If we cannot see it, does it really exist? Science is only just getting a few tests going that prove energy is in the body and around it. Is it real what the Ancient wisdoms teach us? Can it guide us to oneness and conscious awakening?
It has been a long road for those in the energy field of health getting the message across to the general population that energy is everywhere, particularly in the body. With proof, barriers seem a lot easier to free up. Oriental medicine and Ayurvedic medicine are the clearest and longest standing observational sciences that describe and fully believe that energy exists as long as 5000 years ago. Both have movement medicine in the forms of Yoga and Qigong.
As I already discussed in the previous article Bring the energy home, there is a cycle called the Microcosmic cycle which when experienced connects the front and back energy meridians. Also called the Governing and Conception channels, in Oriental medicine a further 12 major channels exist that run up and down the body through the limbs, arms and legs (6 Yin and 6 Yang).These energies connect to the sun (yang) and moon (yin) influences. Predominantly yang energy in the morning and more yin energies in the afternoon, changing again after midnight. Then more yang energies developing until we awake and the body starts to function optimally again in the awakened state.The logograph 氣 is read with two Chinese pronunciations, the usual qì 氣 "air; vital energy" and the rare archaic xì 氣 "to present food" (later disambiguated with 餼). Pronunciations of 氣 in modern varieties of Chinese with standardized IPA equivalents include: Standard Chinese qì /t͡ɕʰi⁵¹/, Wu Chinese qi /t͡ɕʰi³⁴/, Southern Min khì /kʰi²¹/, Eastern Min ké /kʰɛi²¹³/, Standard Cantonese hei3 /hei̯³³/, and Hakka Chinese hi /hi⁵⁵/. Pronunciations of 氣 in Sino-Xenic borrowings include: Japanese ki, Korean gi, and Vietnamese khi. Reconstructions of the Middle Chinese pronunciation of 氣 standardized to IPA transcription include: /kʰe̯iH/ (Bernard Karlgren), /kʰĭəiH/ (Wang Li), /kʰiəiH/ (Li Rong), /kʰɨjH/ (Edwin Pulleyblank), and /kʰɨiH/ (Zhengzhang Shangfang). Reconstructions of the Old Chinese pronunciation of 氣 standardized to IPA transcription include: /*kʰɯds/ (Zhengzhang Shangfang) and /*C.qʰəp-s/ (William H. Baxter and Laurent Sagart). The etymology of qì interconnects with Kharia kʰis "anger", Sora kissa "move with great effort", Khmer kʰɛs "strive after; endeavor", and Gyalrongic kʰɐs "anger".The earliest texts that speak of qi give some indications of how the concept developed. In the Analects of Confucius qi could mean "breath". Combining it with the Chinese word for blood (making 血氣, xue–qi, blood and breath), the concept could be used to account for motivational characteristics:
The [morally] noble man guards himself against 3 things. When he is young, his xue–qi has not yet stabilized, so he guards himself against sexual passion. When he reaches his prime, his xue–qi is not easily subdued, so he guards himself against combativeness. When he reaches old age, his xue–qi is already depleted, so he guards himself against acquisitiveness.— Confucius, Analects, 16:7
The philosopher Mozi used the word qi to refer to noxious vapors that would in eventually arise from a corpse were it not buried at a sufficient depth. He reported that early civilized humans learned how to live in houses to protect their qi from the moisture that troubled them when they lived in caves. He also associated maintaining one's qi with providing oneself with adequate nutrition. In regard to another kind of qi, he recorded how some people performed a kind of prognostication by observing qi (clouds) in the sky. Mencius described a kind of qi that might be characterized as an individual's vital energies. This qi was necessary to activity and it could be controlled by a well-integrated willpower.page needed] When properly nurtured, this qi was said to be capable of extending beyond the human body to reach throughout the universe. It could also be augmented by means of careful exercise of one's moral capacities.[14] On the other hand, the qi of an individual could be degraded by adverse external forces that succeed in operating on that individual. Living things were not the only things believed to have qi. Zhuangzi indicated that wind is the qi of the Earth.Moreover, cosmic yin and yang "are the greatest of qi".He described qi as "issuing forth" and creating profound effects.[15] He also said "Human beings are born [because of] the accumulation of qi. When it accumulates there is life. When it dissipates there is death... There is one qi that connects and pervades everything in the world." Another passage traces life to intercourse between Heaven and Earth: "The highest Yin is the most restrained. The highest Yang is the most exuberant. The restrained comes forth from Heaven. The exuberant issues forth from Earth. The two intertwine and penetrate forming a harmony, and [as a result] things are born." The Guanzi essay Neiye (Inward Training) is the oldest received writing on the subject of the cultivation of vapor [qi] and meditation techniques. The essay was probably composed at the Jixia Academy in Qi in the late fourth century B.C. Xun Zi, another Confucian scholar of the Jixia Academy, followed in later years. At 9:69/127, Xun Zi says, "Fire and water have qi but do not have life. Grasses and trees have life but do not have perceptivity. Fowl and beasts have perceptivity but do not have yi (sense of right and wrong, duty, justice). Men have qi, life, perceptivity, and yi." Chinese people at such an early time had no concept of radiant energy, but they were aware that one can be heated by a campfire from a distance away from the fire. They accounted for this phenomenon by claiming "qi" radiated from fire. At 18:62/122, he also uses "qi" to refer to the vital forces of the body that decline with advanced age. Among the animals, the gibbon and the crane were considered experts at inhaling the qi. The Confucian scholar Dong Zhongshu (ca. 150 BC) wrote in Luxuriant Dew of the Spring and Autumn Annals:[17] "The gibbon resembles a macaque, but he is larger, and his color is black. His forearms being long, he lives eight hundred years, because he is expert in controlling his breathing." ("猿似猴。大而黑。長前臂。所以壽八百。好引氣也。") Later, the syncretic text assembled under the direction of Liu An, the Huai Nan Zi, or "Masters of Huainan", has a passage that presages most of what is given greater detail by the Neo-Confucians: Heaven (seen here as the ultimate source of all being) falls (duo 墮, i.e., descends into proto-immanence) as the formless. Fleeting, fluttering, penetrating, amorphous it is, and so it is called the Supreme Luminary. The dao begins in the Void Brightening. The Void Brightening produces the universe (yu–zhou). The universe produces qi. Qi has bounds. The clear, yang [qi] was ethereal and so formed heaven. The heavy, turbid [qi] was congealed and impeded and so formed earth. The conjunction of the clear, yang [qi] was fluid and easy. The conjunction of the heavy, turbid [qi] was strained and difficult. So heaven was formed first and earth was made fast later. The pervading essence (xi–jing) of heaven and earth becomes yin and yang. The concentrated (zhuan) essences of yin and yang become the four seasons. The dispersed (san) essences of the four seasons become the myriad creatures. The hot qi of yang in accumulating produces fire. The essence (jing) of the fire-qi becomes the sun. The cold qi of yin in accumulating produces water. The essence of the water-qi becomes the moon. The essences produced by coitus (yin) of the sun and moon become the stars and celestial markpoints (chen, planets).— Huai-nan-zi, 3:1a/19 Characters In Yoga they talk of Ida and Pingala channels and a central channel called Sushumna with very many Nadis connecting our energy back to our Chakras. This Kundalini shakti energy moving systematically when ready to the top most Chakra Sahasara and then connects to the Supreme shiva and universe.
This energy is also affected by our emotions, the food we eat, and how we move this energy i.e. with Qigong and Yoga and how well we relax. Learning these skills help develop and refine this energy and maintain a storage where we can then start to develop longevity and preserve our inherited energy from our family.We are also affected energetically by our environment, particularly magnetic waves, microwaves sonic waves, radio waves, TV signals, mobile phones and so on. The long term effect has not been fully understood, our body’s energy is at the mercy of these frequencies unless we learn energy techniques to take control of these movements and redirect the flow. Managing our bodies and its needs sometimes can feel overwhelming but with the correct help and attitude we can soon feel the benefits of repeated Qi flow and awakened consciousness.
Yoga also uses movement to connect ourselves to the universe. We can learn so much from these practices about our bodies and how to get into a flow that benefits mind, body, and spirit. My experience when studying Kundalini Yoga was a very powerful one. Kundalini is known as the mother Yoga and when followed by its principles and ancient wisdom, allows for natural movement of the Kundalini. This is a simple but effective Yoga, often postures being held and breath sequences and Bhandas used to help move energy. Meditations and Mantras with Mudras further help reconnect the spirit and open us to the universal oneness. Both Qigong and Yoga have deep understanding of our energetic connections and make use of techniques and principles that guide us safely back to our spiritual home and beyond. Having studied and experienced both of these models extensively, I feel privileged to have great teachers and the opportunity to pass onto others these great energy healersIn Hindu philosophy including yoga, Indian medicine, and martial arts, Prana (प्राण, prāṇa; the Sanskrit word for "life force" or "vital principle")[1] comprises all cosmic energy, permeating the Universe on all levels. Prana is often referred to as the "life force" or "life energy".[not verified in body] It also includes energies present in inanimate objects.[not verified in body] In the Hindu literature, prana is sometimes described as originating from the Sun and connecting the elements of the Universe. This life energy has been vividly invoked and described in the ancient Vedas and Upanishads.[not verified in body. In living beings, this universal energy is considered responsible for all bodily functions through five types of prana, collectively known as the five vāyus. Ayurveda, tantra and Tibetan medicine all describe praṇā vāyu as the basic vāyu from which all the other vāyus arise. Indologist Georg Feuerstein explains, "The Chinese call it chi, the Polynesians mana, the Amerindians orenda, and the ancient Germans od. It is an all-pervasive 'organic' The ancient concept of prana is described in many early Hindu texts, including Upanishads and Vedas. One of the earliest references to prana is from the 3,000-year-old Chandogya Upanishad, but many other Upanishads also make use of the concept, including the Katha, Mundaka and Prasna Upanishads. The concept is elaborated upon in great detail in the practices and literature of haṭha yoga, tantra,and Ayurveda. Prana is typically divided into multiple constituent parts, in particular when concerned with the human body. While not all early sources agree on the names or number of these subdivisions, the most common list from the Mahabharata, the Upanishads, Ayurvedic and Yogic sources includes five, often divided into further subcategories.This list includes: Prana (inward moving energy), apana (outward moving energy), vyana (circulation of energy), udana (energy of the head and throat), and samana (digestion and assimilation).[citation needed] Early mention of specific pranas often emphasized prāṇa, apāna and vyāna as "the three breaths". This can be seen in the proto-yogic traditions of the Vratyas among others.[6]:104 Texts like the Vaikānasasmārta utilized the five pranas as an internalization of the five sacrificial fires of a panchagni homa ceremony.[6]:111–112 Vāyus
Poren Huang (Chinese: 黃柏仁, born 1970), a Taiwanese sculptor, was born in Taichung, located in central Taiwan. His grandfather and parents engaged in wood carving business.During the 1970s, Poren Huang's father, Mingde Huang, had a successful wood carving industry and huge export volume. As a major wood carving factory in Taiwan,the factory employed more than 100 craftsmen to produce wood handicrafts during peak seasons. Mingde Huang expected his son Poren Huang to inherit the family business, but Poren Huang preferred artistic creation to wood handicraft production, resulting in years of differences between the father and son. In 2005, Poren Huang fully expressed his ideas through his series of works, The Dog's Notes. Although he and his father held different viewpoints, he highly values family interaction. He focused on mending his family relationship before pursuing his personal ambition, and some of his works in The Dog's Notes strongly convey enlightenment and morality.After World War II, with the recovery of the global economy, prosperity and focus on human rights, the hard work of the previous generation is often reciprocated with the disregard, self-centeredness, mockery and impiety of the next generation. In The Dog's Notes, Poren Huang added the quality of loyalty and kindness to purify the human heart and create positive influence.Using the dog as a creative starting point, each piece of work is suggestive of the "human". About 10% to 90% of the works borrow from the dog to explore various human behaviors. Modern people generally feel kindly toward dogs because of their ability to soothe. Therefore, Poren Huang uses the dog as his creative theme to convey positive traits such as self-confidence, courage, loyalty or innocence, and to provoke in people deeper thoughts as they come in contact with his work. Many people are first attracted by the amusing forms; however, after a period of contact and interaction with the pieces, they seem to sense the deeper significance and remain inspired by positive ideas and thoughts. There are primarily two types of animals that appear in The Dog's Notes, the dog and the panda. They share a common characteristic of being humanized. These animals do not appear completely animal-like under Poren Huang's sculpting, but instead, they appear to have the scent of a human. That is why viewers tend to stand in front of the artwork and stare for quite a long time, unwittingly; perhaps it is because they did not get an affirmative answer as to whether the artwork is human or animal? When the dog and the panda enter the human's environment, they naturally learn to cohabitate with humans. They lose the wild nature of being wild animals, and become more humanized. People are the same way. Poren Huang wishes that humans can be more inspired by the dogs, and to learn the positive characters found in dogs, such as innocence, loyalty, kindness, bravery, and being passionate. Much like the Chinese proverb, "The son does not despise the mother for being ugly, and the dog does not blame the owner for being poor"; the dog will not despite the owner, and will not leave the owner, instead he will spend the rest of his life by his owner's side. Humans, on the other hand are different. They might look down on others or alienate others. They might even become disrespectful toward parents. The selfishness of humans causes wars and unrest in the world. Therefore, Poren Huang is not just creating artworks of animals, but instead, he is making his sculptures more humanized, so that the viewers can naturally reflect and be inspired. In addition, Poren Huang's humanized works of art also have a little bit of the "Oriental Literati" essence. Although these artworks will have various emotions, but they are never too intense, and are never over the top. Just like Ang Lee, Xi Jinping, Yo-Yo Ma, Jeremy Lin, as well as other generally well-known Chinese, whose personalities are perhaps the same way, which is gentle and refined, and with the modesty of a gentleman. Much like the Eastern literai who are well read of poetry and literature, their emotions are not easily shown; they are more restrained, and are full of character and depth.
en.wikipedia.org/wiki/Poren_Huang
Francois Gachon is an advertising agent of the By Chance agency and a watercolourist graduated from the school of applied arts, he painted this subtle body that I have inlaid in the photo. Poren Huang considered this collage to be very artistic.The wallpaper is a painting by Paul Gauguin named Delightful Land... Te nave nave nave nave fenua, 1892
John De Andrea American 1941 –
Self-Portrait with Sculpture, 1980
Polyvinyl, polychromed in oil
While recognizable as a modern iteration of the Pygmalion myth, this female sculpture is animated less by the sculptor’s apparent desire than by the illusionistic application of layers of paint, gradually suffusing her with life color. The internalized gaze of the artist/sculptor is undistracted beyond the nude presence of the female figure. In place of an erotic charge between the two figures, the Galatea-like model sits expectantly for the artist to complete the task, while De Andrea acknowledges the primacy of skin pigment in enlivening the figure through the presence of loaded brushes in his hand.
Collection of Foster Goldstrom
From the placard: The
Metropolitan Museum of Art , The Breuer
Like Life Sculpture, Color, And The Body
++++++ FROM WIKIPEDIA ++++++
Konark Sun Temple is a 13th-century CE sun temple at Konark about 35 kilometres (22 mi) northeast from Puri on the coastline of Odisha, India.[1][2] The temple is attributed to king Narasingha deva I of the Eastern Ganga Dynasty about 1250 CE.[3][4]
Dedicated to the Hindu 'god Surya, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once over 200 feet (61 m) high,[1][5] much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains. The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Architecture or Kalinga Architecture .[1][6]
The cause of the destruction of the Konark temple is unclear and remains a source of controversy.[7] Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.[1][7] This temple was called the "Black Pagoda" in European sailor accounts as early as 1676 because its great tower appeared black. [6][8] Similarly, the Jagannath Temple in Puri was called the "White Pagoda". Both temples served as important landmarks for sailors in the Bay of Bengal.[9][10] The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams. Declared a UNESCO world heritage site in 1984,[1][2] it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February.[6]
Etymology
The name Konark derives from the combination of the Sanskrit/Odia language words Kona (corner or angle) and Arka (the sun).[9] The context of the term Kona is unclear, but probably refers to the southeast location of this temple either within a larger temple complex or in relation to other sun temples on the subcontinent.[11] The Arka refers to the Hindu sun god Surya.[9]
Location
The Konark Sun Temple is located in an eponymous village about 35 kilometres (22 mi) northeast of Puri and 60 kilometres (37 mi) southeast of Bhubaneswar on the Bay of Bengal coastline in the Indian state of Odisha. The nearest airport is Bhubaneswar airport (IATA: BBI). Both Puri and Bhubaneswar are major railway hubs connected by Indian Railways' Southeastern services.[12]
Description
Original temple and the surviving structure (yellow), left; the temple plan, right
The Konark Sun Temple was built from stone in the form of a giant ornamented chariot dedicated to the Sun god, Surya. In Hindu Vedic iconography Surya is represented as rising in the east and traveling rapidly across the sky in a chariot drawn by seven horses. He is described typically as a resplendent standing person holding a lotus flower in both his hands, riding the chariot marshaled by the charioteer Aruna.[13][14] The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha, and Pankti.[14] Typically seen flanking Surya are two females who represent the dawn goddesses, Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbol of their initiative in challenging darkness.[15] The architecture is also symbolic, with the chariot's twelve pairs of wheels corresponding to the 12 months of the Hindu calendar, each month paired into two cycles (Shukla and Krishna).[16]
The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.[5][2][17] When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to emerge from the depths of the blue sea carrying the sun.[18]
1822 drawing of the mandapa's east door and terrace musicians
1815 sketch of stone horses and wheels of the mandapa
The temple plan includes all the traditional elements of a Hindu temple set on a square plan. According to Kapila Vatsyayan, the ground plan, as well the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.[19] This mandala structure informs the plans of other Hindu temples in Odisha and elsewhere.[19]
The main temple at Konark, locally called the deul, no longer exists. It was surrounded by subsidiary shrines containing niches depicting Hindu deities, particularly Surya in many of his aspects. The deul was built on a high terrace.[5] The temple was originally a complex consisting of the main sanctuary, called the rekha deul, or bada deul (lit. big sanctum).[18] In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly hall of the people) (called a mandapa in other parts of India.[20]). The attached platform was called the pida deul, which consisted of a square mandapa with a pyramidal roof.[18] All of these structures were square at their core, and each was overlain with the pancharatha plan containing a variegated exterior.[18] The central projection, called the raha, is more pronounced than the side projections, called kanika-paga, a style that aims for an interplay of sunlight and shade and adds to the visual appeal of the structure throughout the day. The design manual for this style is found in the Silpa Sastra of ancient Odisha.[18][21]
A stone wheel engraved in the walls of the temple. The temple is designed as a chariot consisting of 24 such wheels. Each wheel has a diameter of 9 feet, 9 inches, with 8 spokes.
Twice as wide as they were high, the walls of the jagamohana are 100 feet (30 m) tall. The surviving structure has three tiers of six pidas each. These diminish incrementally and repeat the lower patterns. The pidas are divided into terraces. On each of these terraces stand statues of musician figures.[5] The main temple and the jagamohana porch consist of four main zones: the platform, the wall, the trunk, and the crowning head called a mastaka.[22] The first three are square while the mastaka is circular. The main temple and the jagamohana differed in size, decorative themes, and design. It was the main temple's trunk, called the gandhi in medieval Hindu architecture texts, that was ruined long ago. The sanctum of the main temple is now without a roof and most of the original parts.[22]
On the east side of the main temple is the Nata mandira (lit. dance temple). It stands on a high, intricately carved platform. The relief on the platform is similar in style to that found on the surviving walls of the temple.[5] According to historical texts, there was an Aruna stambha (lit. Aruna's pillar) between the main temple and the Nata mandira, but it is no longer there because it was moved to the Jagannatha at Puri sometime during the troubled history of this temple.[5] According to Harle, the texts suggest that originally the complex was enclosed within a wall 865 feet (264 m) by 540 feet (160 m), with gateways on three sides.[5]
The stone temple was made from three types of stone.[23] Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the foundation. Khondalite was used for other parts of the temple. According to Mitra, the Khondalite stone weathers faster over time, and this may have contributed to erosion and accelerated the damage when parts of the temples were destroyed.[23] None of these stones occur naturally nearby, and the architects and artisans must have procured and moved the stones from distant sources, probably using the rivers and water channels near the site.[23] The masons then created ashlar, wherein the stones were polished and finished so as to make joints hardly visible.[23]
The original temple had a main sanctum sanctorum (vimana), which is estimated to have been 229 feet (70 m)[17] tall. The main vimana fell in 1837. The main mandapa audience hall (jagamohana), which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the dance hall (Nata mandira) and the dining hall (Bhoga mandapa).[2][17]
Reliefs and sculpture
The walls of the temple from the temple's base through the crowing elements are ornamented with reliefs, many finished to jewelry-quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments.[24] Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, mythological creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs.[24] Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.[25]
The upana (moulding) layer at the bottom of the platform contains friezes of elephants, marching soldiers, musicians, and images depicting the secular life of the people, including hunting scenes, a caravan of domesticated animals, people carrying supplies on their head or with the help of a bullock cart, travelers preparing a meal along the roadside, and festive processions.[26] On other walls are found images depicting the daily life of the elite as well as the common people. For example, girls are shown wringing their wet hair, standing by a tree, looking from a window, playing with pets, putting on makeup while looking into a mirror, playing musical instruments such as the vina, chasing away a monkey who is trying to snatch items, a family taking leave of their elderly grandmother who seems dressed for a pilgrimage, a mother blessing her son, a teacher with students, a yogi during a standing asana, a warrior being greeted with a namaste, a mother with her child, an old woman with a walking stick and a bowl in her hands, comical characters, among others.[27]
The Konark temple is also known for its erotic sculptures of maithunas.[28] These show couples in various stages of courtship and intimacy, and in some cases coital themes. Notorious in the colonial era for their uninhibited celebration of sexuality, these images are included with other aspects of human life as well as deities that are typically associated with tantra. This led some to propose that the erotic sculptures are linked to the vama marga (left hand tantra) tradition.[5] However, this is not supported by local literary sources, and these images may be the same kama and mithuna scenes found integrated into the art of many Hindu temples.[5] The erotic sculptures are found on the temple's Shikhara, and these illustrate all the bandhas (mudra forms) described in the Kamasutra.[20]
Other large sculptures were a part of the gateways of the temple complex. These include life-size lions subduing elephants, elephants subduing demons, and horses. A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.[29]
Hindu deities
The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940.[30]
The Hindu deities are also depicted in other parts of the temple. For example, the medallions of the chariot wheels of the Surya temple, as well as the anuratha artwork of the jagamohana, show Vishnu, Shiva, Gajalakshmi, Parvati, Krishna, Narasimha, and other gods and goddesses.[31] Also found on the jagamohana are sculptures of Vedic deities such as Indra, Agni, Kubera, Varuna, and Âdityas.[32]
Style
The temple follows the traditional style of Kalinga architecture. It is oriented towards the east so that the first rays of the sunrise strike the main entrance.[2] The temple, built from Khondalite rocks,[33][34] was originally constructed at the mouth of the river Chandrabhaga, but the waterline has receded since then.[citation needed] The wheels of the temple are sundials, which can be used to calculate time accurately to a minute.[35]
Other temples and monuments
The Konark Sun Temple complex has ruins of many subsidiary shrines and monuments around the main temple. Some of these include:
Mayadevi Temple – Located west-southwest from the entrance of the main temple,[36] it has been dated to the late 11th century, earlier than the main temple.[37] It consists of a sanctuary, a mandapa and, before it, an open platform. It was discovered during excavations carried out between 1900 and 1910. Early theories assumed that it was dedicated to Surya's wife and thus named the Mayadevi Temple. However, later studies suggested that it was also a Surya temple, albeit an older one that was fused into the complex when the monumental temple was built.[36] This temple also has numerous carvings and a square mandapa is overlain by a sapta-ratha. The sanctum of this Surya temple features a Nataraja. Other deities in the interior include a damaged Surya holding a lotus, along with Agni, Varuna, Vishnu, and Vayu.[38]
Vaishnava Temple – Located southwest of the so-called Mayadevi Temple, it was discovered during excavations in 1956. This discovery was significant because it confirmed that the Konark Sun Temple complex revered all the major Hindu traditions, and was not an exclusive worship place for the saura cult as previously believed. This is a small temple with sculptures of Balarama, Varaha, and Vamana–Trivikrama in its sanctum, marking it as a Vaishnavite temple. These images are shown as wearing dhoti and a lot of jewelry. The sanctum's primary idol is missing, as are images from some niches in the temple.[39] The site's significance as a place of Vaishnavism pilgrimage is attested to in Vaishnava texts. For example, Krishna Chaitanya, the early 16th-century scholar and founder of Gaudiya Vaishnavism, visited the Konark temple and prayed on its premises.[40]
Kitchen – This monument is found south of the bhoga mandapa (feeding hall). It, too, was discovered in excavations in the 1950s. It includes means to bring water, cisterns to store water, drains, a cooking floor, depressions in the floor probably for pounding spices or grains, as well several triple ovens (chulahs) for cooking. This structure may have been for festive occasions or a part of a community feeding hall.[41] According to Thomas Donaldson, the kitchen complex may have been added a little later than the original temple.[42]
Well 1 – This monument is located north of the kitchen, towards its eastern flank, was probably built to supply water to the community kitchen and bhoga mandapa. Near the well are a pillared mandapa and five structures, some with semi-circular steps whose role is unclear.[43]
Well 2 – This monument and associated structures are in the front of the northern staircase of the main temple, with foot rests, a washing platform, and a wash water drain system. It was probably designed for the use of pilgrims arriving at the temple.[44]
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum, which is maintained by the Archaeological Survey of India.[45] The fallen upper portion of the temple is believed to have been studded with many inscriptions.[46]
History
Ancient Texts
The oldest surviving Vedic hymns, such as hymn 1.115 of the Rigveda, mention Surya with particular reverence for the "rising sun" and its symbolism as dispeller of darkness, one who empowers knowledge, the good, and all life.[14] However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone, or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63) while in others it refers to a personified deity.[14][47][48] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.[49]
In the Brahmanas layer of Vedic literature, Surya appears with Agni (fire god) in the same hymns.[50] Surya is revered for the day, and Agni for its role during the night.[50] According to Kapila Vatsyayan, the concept of a Surya–Agni relationship evolves, and in later literature Surya is described as Agni representing the first principle and the seed of the universe.[51] It is in the Brahmanas layer of the Vedas,[52][53] and the Upanishads that Surya is explicitly linked to the power of sight, and to visual perception and knowledge. He is then internalized and said to be the eye, as ancient Hindu sages suggested abandonment of external rituals to gods in favor of internal reflection and meditation of the gods within, in one's journey to realize the Atman (soul, self) within, in texts such as the Brihadaranyaka Upanishad, Chandogya Upanishad, Kaushitaki Upanishad, and others.[54][55][56]
The Mahabharata epic opens its chapter on Surya by reverentially calling him the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation".[14] In the Mahabharata, Karna is the son of Surya and an unmarried princess named Kunti.[14] The epic describes Kunti's difficult life as an unmarried mother, then her abandonment of Karna, followed by her lifelong grief. Baby Karna is found and then adopted, and grows up to become one of the central characters in the great battle of Kurukshetra where he fights his half-brothers.[57]
Konark in texts
Konark, also referred to in Indian texts by the name Kainapara, was a significant trading port by the early centuries of the common era.[58] The current Konark temple dates to the 13th century, though evidence suggests that a sun temple was built in the Konark area by at least the 9th century.[59] Several Puranas mention Surya worship centers in Mundira, which may have been the earlier name for Konark, Kalapriya (Mathura), and Multan (now in Pakistan).[60] The Chinese Buddhist pilgrim and traveler Hiuen-tsang (also referred to as Xuanzang) mentions a port city in Odisha named Charitra. He describes the city as prosperous, with five convents and "storeyed towers that are very high and carved with saintly figures exquisitely done". Since he visited India in the 7th century, he could not have been referring to the 13th-century temple, but his description suggests either Konark or another Odisha port city already featuring towering structures with sculptures.[40]
According to the Madala Panji, there was at one time another temple in the region built by Pundara Kesari. He may have been Puranjaya, the 7th-century ruler of the Somavasmi Dynasty.[61]
Construction
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty, r. 1238–1264 CE– . It is one of the few Hindu temples whose planning and construction records written in Sanskrit in the Odiya script have been preserved in the form of palm leaf manuscripts that were discovered in a village in the 1960s and subsequently translated.[62] The temple was sponsored by the king, and its construction was overseen by Siva Samantaraya Mahapatra. It was built near an old Surya temple. The sculpture in the older temple's sanctum was re-consecrated and incorporated into the newer larger temple. This chronology of temple site's evolution is supported by many copper plate inscriptions of the era in which the Konark temple is referred to as the "great cottage".[40]
According to James Harle, the temple as built in the 13th century consisted of two main structures, the dance mandapa and the great temple (deul). The smaller mandapa is the structure that survives; the great deul collapsed sometime in the late 16th century or after. According to Harle, the original temple "must originally have stood to a height of some 225 feet (69 m)", but only parts of its walls and decorative mouldings remain.[5]
Damage and ruins
The temple was in ruins before its restoration. Speculation continues as to the cause of the destruction of the temple. Early theories stated that the temple was never completed and collapsed during construction. This is contradicted by textual evidence and evidence from inscriptions. The Kenduli copper plate inscription of 1384 CE from the reign of Narasimha IV seems to indicate that the temple was not only completed but an active site of worship. Another inscription states that various deities in the temple were consecrated, also suggesting that construction of the temple had been completed.[63] A non-Hindu textual source, the Akbar-era text Ain-i-Akbari by Abul Fazl dated to the 16th century, mentions the Konark temple,[40] describing it as a prosperous site with a temple that made visitors "astonished at its sight", with no mention of ruins.[63][64][65]
Texts from the 19th century do mention ruins, which means the temple was damaged either intentionally or through natural causes sometime between 1556 and 1800 CE. The intentional-damage theory is supported by Mughal era records that mention the Muslim invader Kalapahar attacking and destroying Jagannath Puri and the Konark temple.[63][66][67] Other texts state that the temple was sacked several times by Muslim armies between the 15th and 17th centuries.[1][40] Islamic texts describing the raids of Kalapahar mention his army's first attempt to destroy the temple in 1565, but they failed. They inflicted only minor damage and carried away the copper kalasa.[40]
A medieval era description of Konark
When nine flights of steps are passed, a spacious court appears with a large arch of stone upon which are carved the sun and other planets. Around them are a variety of worshippers of every class, each after its manner with bowed heads, standing, sitting, prostrate, laughing, weeping, lost in amaze or in rapt attention, and following these are divers musicians and strange animals which never existed but in imagination.
The controversial Hindu text Madala Panji and regional tradition state that Kalapahad attacked again and damaged the temple in 1568.[68] The natural-damage theory is supported by the nearness of the temple to the shore and the monsoons in the region that would tend to cause damage. However, the existence of nearby stone temples in the Odisha region that were built earlier and have stood without damage casts doubt to this theory. According to P. Parya, the number of rings of moss and lichen growth found on the stone ruins suggests the damage occurred sometime around the 1570s, but this approach does not indicate why or by whom.[63]
According to Thomas Donaldson, evidence suggests that the damage and the temple's ruined condition can be dated to between the late 16th century and the early 17th century from the records of various surveys and repairs found in early 17th-century texts. These also record that the temple remained a site of worship in the early 17th century. These records do not state whether the ruins were being used by devotees to gather and worship, or part of the damaged temple was still in use for some other purpose. This evidence of the use of the temple, however, contradicts any theories that the late 16th-century Muslim invasion had completely destroyed the site.[69]
Aruna Stambha
In the last quarter of the 18th century, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari named Goswain (or Goswami).[70][71] The pillar, made of monolithic chlorite, is 33 feet 8 inches (10.26 m) tall and is dedicated to Aruna, the charioteer of the Sun god.[71]
Preservation Efforts
In 1803 the East India Marine Board requested the Governor General of Bengal that conservation efforts be undertaken. However, the only conservation measure put in place at the time was to prohibit further removal of stones from the site. Lacking structural support, the last part of the main tower still standing, a small broken curved section, collapsed in 1848.[72]
The then-Raja of Khurda, who had jurisdiction over this region in the early 19th century, removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process.[73] In 1838 the Asiatic Society of Bengal requested that conservation efforts be undertaken, but the requests were denied, and only measures to prevent vandalism were put in place.[72]
In 1859 the Asiatic Society of Bengal proposed, and in 1867 attempted to relocate an architrave of the Konark temple depicting the navagraha to the Indian Museum in Calcutta. This attempt was abandoned as funds had run out.[72] In 1894 thirteen sculptures were moved to the Indian Museum. Local Hindu population objected to further damage and removal of temple ruins. The government issued orders to respect the local sentiments.[72] In 1903, when a major excavation was attempted nearby, the then-Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana. The Mukhasala and Nata Mandir were repaired by 1905.[63][74]
In 1906 casuarina and punnang trees were planted facing the sea to provide a buffer against sand-laden winds.[72] In 1909 the Mayadevi temple was discovered while removing sand and debris.[72] The temple was granted World Heritage Site status by the UNESCO in 1984.[2]
Reception
The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture.[75]
The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".[76] The Victorian mindset saw pornography in the artwork of Konark and wondered why there was no "shame and guilt in this pleasure in filth", while Alan Watts stated that there was no comprehensible reason to separate spirituality from love, sex, and religious arts.[77] According to Ernest Binfield Havell, the Konark temple is "one of the grandest examples of Indian sculpture extant", adding that they express "as much fire and passion as the greatest European art" such as that found in Venice.[78]
Indian writers, too, have expressed a spectrum of opinions. For example, the leftist author Bhattacharya criticized the "brahmanical temple erotica", offering it as evidence of "female exploitation by the dominant classes of Hindu male society", and a "reflection of abnormal sex desires".[79] In contrast, the Nobel Laureate Tagore wrote,
Here the language of stone surpasses the language of human.
— Rabindranath Tagore[80][81]
According to Freud's psychoanalytic theory of personality, the Super-ego is the component of personality composed of our internalized ideals. The Superego is the part of a person's mind that acts as a self-critical conscience, and works to suppress the urges of the Id.
Life is so much better when you can leave your critical thinking to someone wiser than you.
Strobist:
One AB800 almost directly above the subject firing at 1/16 power through a white umbrella. One Vivitar 285 HV on subject's right, bounced from a nearby wall at 1/2 power. Both strobes triggered by a Phottix Ares RF trigger.
++++++ FROM WIKIPEDIA ++++++
Konark Sun Temple is a 13th-century CE sun temple at Konark about 35 kilometres (22 mi) northeast from Puri on the coastline of Odisha, India.[1][2] The temple is attributed to king Narasingha deva I of the Eastern Ganga Dynasty about 1250 CE.[3][4]
Dedicated to the Hindu 'god Surya, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once over 200 feet (61 m) high,[1][5] much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains. The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Architecture or Kalinga Architecture .[1][6]
The cause of the destruction of the Konark temple is unclear and remains a source of controversy.[7] Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.[1][7] This temple was called the "Black Pagoda" in European sailor accounts as early as 1676 because its great tower appeared black. [6][8] Similarly, the Jagannath Temple in Puri was called the "White Pagoda". Both temples served as important landmarks for sailors in the Bay of Bengal.[9][10] The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams. Declared a UNESCO world heritage site in 1984,[1][2] it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February.[6]
Contents
1 Etymology
2 Location
3 Description
3.1 Reliefs and sculpture
3.2 Hindu deities
3.3 Style
3.4 Other temples and monuments
4 History
4.1 Ancient Texts
4.2 Konark in texts
4.3 Construction
4.4 Damage and ruins
4.5 Aruna Stambha
4.6 Preservation Efforts
5 Reception
6 See also
7 Gallery
7.1 Antique paintings and photographs
7.2 Current day photographs
8 See also
9 References
9.1 Bibliography
10 External links
Etymology
The name Konark derives from the combination of the Sanskrit/Odia language words Kona (corner or angle) and Arka (the sun).[9] The context of the term Kona is unclear, but probably refers to the southeast location of this temple either within a larger temple complex or in relation to other sun temples on the subcontinent.[11] The Arka refers to the Hindu sun god Surya.[9]
Location
The Konark Sun Temple is located in an eponymous village about 35 kilometres (22 mi) northeast of Puri and 60 kilometres (37 mi) southeast of Bhubaneswar on the Bay of Bengal coastline in the Indian state of Odisha. The nearest airport is Bhubaneswar airport (IATA: BBI). Both Puri and Bhubaneswar are major railway hubs connected by Indian Railways' Southeastern services.[12]
Description
Original temple and the surviving structure (yellow), left; the temple plan, right
The Konark Sun Temple was built from stone in the form of a giant ornamented chariot dedicated to the Sun god, Surya. In Hindu Vedic iconography Surya is represented as rising in the east and traveling rapidly across the sky in a chariot drawn by seven horses. He is described typically as a resplendent standing person holding a lotus flower in both his hands, riding the chariot marshaled by the charioteer Aruna.[13][14] The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha, and Pankti.[14] Typically seen flanking Surya are two females who represent the dawn goddesses, Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbol of their initiative in challenging darkness.[15] The architecture is also symbolic, with the chariot's twelve pairs of wheels corresponding to the 12 months of the Hindu calendar, each month paired into two cycles (Shukla and Krishna).[16]
The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.[5][2][17] When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to emerge from the depths of the blue sea carrying the sun.[18]
1822 drawing of the mandapa's east door and terrace musicians
1815 sketch of stone horses and wheels of the mandapa
The temple plan includes all the traditional elements of a Hindu temple set on a square plan. According to Kapila Vatsyayan, the ground plan, as well the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.[19] This mandala structure informs the plans of other Hindu temples in Odisha and elsewhere.[19]
The main temple at Konark, locally called the deul, no longer exists. It was surrounded by subsidiary shrines containing niches depicting Hindu deities, particularly Surya in many of his aspects. The deul was built on a high terrace.[5] The temple was originally a complex consisting of the main sanctuary, called the rekha deul, or bada deul (lit. big sanctum).[18] In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly hall of the people) (called a mandapa in other parts of India.[20]). The attached platform was called the pida deul, which consisted of a square mandapa with a pyramidal roof.[18] All of these structures were square at their core, and each was overlain with the pancharatha plan containing a variegated exterior.[18] The central projection, called the raha, is more pronounced than the side projections, called kanika-paga, a style that aims for an interplay of sunlight and shade and adds to the visual appeal of the structure throughout the day. The design manual for this style is found in the Silpa Sastra of ancient Odisha.[18][21]
A stone wheel engraved in the walls of the temple. The temple is designed as a chariot consisting of 24 such wheels. Each wheel has a diameter of 9 feet, 9 inches, with 8 spokes.
Twice as wide as they were high, the walls of the jagamohana are 100 feet (30 m) tall. The surviving structure has three tiers of six pidas each. These diminish incrementally and repeat the lower patterns. The pidas are divided into terraces. On each of these terraces stand statues of musician figures.[5] The main temple and the jagamohana porch consist of four main zones: the platform, the wall, the trunk, and the crowning head called a mastaka.[22] The first three are square while the mastaka is circular. The main temple and the jagamohana differed in size, decorative themes, and design. It was the main temple's trunk, called the gandhi in medieval Hindu architecture texts, that was ruined long ago. The sanctum of the main temple is now without a roof and most of the original parts.[22]
On the east side of the main temple is the Nata mandira (lit. dance temple). It stands on a high, intricately carved platform. The relief on the platform is similar in style to that found on the surviving walls of the temple.[5] According to historical texts, there was an Aruna stambha (lit. Aruna's pillar) between the main temple and the Nata mandira, but it is no longer there because it was moved to the Jagannatha at Puri sometime during the troubled history of this temple.[5] According to Harle, the texts suggest that originally the complex was enclosed within a wall 865 feet (264 m) by 540 feet (160 m), with gateways on three sides.[5]
The stone temple was made from three types of stone.[23] Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the foundation. Khondalite was used for other parts of the temple. According to Mitra, the Khondalite stone weathers faster over time, and this may have contributed to erosion and accelerated the damage when parts of the temples were destroyed.[23] None of these stones occur naturally nearby, and the architects and artisans must have procured and moved the stones from distant sources, probably using the rivers and water channels near the site.[23] The masons then created ashlar, wherein the stones were polished and finished so as to make joints hardly visible.[23]
The original temple had a main sanctum sanctorum (vimana), which is estimated to have been 229 feet (70 m)[17] tall. The main vimana fell in 1837. The main mandapa audience hall (jagamohana), which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the dance hall (Nata mandira) and the dining hall (Bhoga mandapa).[2][17]
Reliefs and sculpture
The walls of the temple from the temple's base through the crowing elements are ornamented with reliefs, many finished to jewelry-quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments.[24] Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, mythological creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs.[24] Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.[25]
The upana (moulding) layer at the bottom of the platform contains friezes of elephants, marching soldiers, musicians, and images depicting the secular life of the people, including hunting scenes, a caravan of domesticated animals, people carrying supplies on their head or with the help of a bullock cart, travelers preparing a meal along the roadside, and festive processions.[26] On other walls are found images depicting the daily life of the elite as well as the common people. For example, girls are shown wringing their wet hair, standing by a tree, looking from a window, playing with pets, putting on makeup while looking into a mirror, playing musical instruments such as the vina, chasing away a monkey who is trying to snatch items, a family taking leave of their elderly grandmother who seems dressed for a pilgrimage, a mother blessing her son, a teacher with students, a yogi during a standing asana, a warrior being greeted with a namaste, a mother with her child, an old woman with a walking stick and a bowl in her hands, comical characters, among others.[27]
The Konark temple is also known for its erotic sculptures of maithunas.[28] These show couples in various stages of courtship and intimacy, and in some cases coital themes. Notorious in the colonial era for their uninhibited celebration of sexuality, these images are included with other aspects of human life as well as deities that are typically associated with tantra. This led some to propose that the erotic sculptures are linked to the vama marga (left hand tantra) tradition.[5] However, this is not supported by local literary sources, and these images may be the same kama and mithuna scenes found integrated into the art of many Hindu temples.[5] The erotic sculptures are found on the temple's Shikhara, and these illustrate all the bandhas (mudra forms) described in the Kamasutra.[20]
Other large sculptures were a part of the gateways of the temple complex. These include life-size lions subduing elephants, elephants subduing demons, and horses. A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.[29]
Hindu deities
The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940.[30]
The Hindu deities are also depicted in other parts of the temple. For example, the medallions of the chariot wheels of the Surya temple, as well as the anuratha artwork of the jagamohana, show Vishnu, Shiva, Gajalakshmi, Parvati, Krishna, Narasimha, and other gods and goddesses.[31] Also found on the jagamohana are sculptures of Vedic deities such as Indra, Agni, Kubera, Varuna, and Âdityas.[32]
Style
The temple follows the traditional style of Kalinga architecture. It is oriented towards the east so that the first rays of the sunrise strike the main entrance.[2] The temple, built from Khondalite rocks,[33][34] was originally constructed at the mouth of the river Chandrabhaga, but the waterline has receded since then.[citation needed] The wheels of the temple are sundials, which can be used to calculate time accurately to a minute.[35]
Other temples and monuments
The Konark Sun Temple complex has ruins of many subsidiary shrines and monuments around the main temple. Some of these include:
Mayadevi Temple – Located west-southwest from the entrance of the main temple,[36] it has been dated to the late 11th century, earlier than the main temple.[37] It consists of a sanctuary, a mandapa and, before it, an open platform. It was discovered during excavations carried out between 1900 and 1910. Early theories assumed that it was dedicated to Surya's wife and thus named the Mayadevi Temple. However, later studies suggested that it was also a Surya temple, albeit an older one that was fused into the complex when the monumental temple was built.[36] This temple also has numerous carvings and a square mandapa is overlain by a sapta-ratha. The sanctum of this Surya temple features a Nataraja. Other deities in the interior include a damaged Surya holding a lotus, along with Agni, Varuna, Vishnu, and Vayu.[38]
Vaishnava Temple – Located southwest of the so-called Mayadevi Temple, it was discovered during excavations in 1956. This discovery was significant because it confirmed that the Konark Sun Temple complex revered all the major Hindu traditions, and was not an exclusive worship place for the saura cult as previously believed. This is a small temple with sculptures of Balarama, Varaha, and Vamana–Trivikrama in its sanctum, marking it as a Vaishnavite temple. These images are shown as wearing dhoti and a lot of jewelry. The sanctum's primary idol is missing, as are images from some niches in the temple.[39] The site's significance as a place of Vaishnavism pilgrimage is attested to in Vaishnava texts. For example, Krishna Chaitanya, the early 16th-century scholar and founder of Gaudiya Vaishnavism, visited the Konark temple and prayed on its premises.[40]
Kitchen – This monument is found south of the bhoga mandapa (feeding hall). It, too, was discovered in excavations in the 1950s. It includes means to bring water, cisterns to store water, drains, a cooking floor, depressions in the floor probably for pounding spices or grains, as well several triple ovens (chulahs) for cooking. This structure may have been for festive occasions or a part of a community feeding hall.[41] According to Thomas Donaldson, the kitchen complex may have been added a little later than the original temple.[42]
Well 1 – This monument is located north of the kitchen, towards its eastern flank, was probably built to supply water to the community kitchen and bhoga mandapa. Near the well are a pillared mandapa and five structures, some with semi-circular steps whose role is unclear.[43]
Well 2 – This monument and associated structures are in the front of the northern staircase of the main temple, with foot rests, a washing platform, and a wash water drain system. It was probably designed for the use of pilgrims arriving at the temple.[44]
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum, which is maintained by the Archaeological Survey of India.[45] The fallen upper portion of the temple is believed to have been studded with many inscriptions.[46]
History
Ancient Texts
The oldest surviving Vedic hymns, such as hymn 1.115 of the Rigveda, mention Surya with particular reverence for the "rising sun" and its symbolism as dispeller of darkness, one who empowers knowledge, the good, and all life.[14] However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone, or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63) while in others it refers to a personified deity.[14][47][48] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.[49]
In the Brahmanas layer of Vedic literature, Surya appears with Agni (fire god) in the same hymns.[50] Surya is revered for the day, and Agni for its role during the night.[50] According to Kapila Vatsyayan, the concept of a Surya–Agni relationship evolves, and in later literature Surya is described as Agni representing the first principle and the seed of the universe.[51] It is in the Brahmanas layer of the Vedas,[52][53] and the Upanishads that Surya is explicitly linked to the power of sight, and to visual perception and knowledge. He is then internalized and said to be the eye, as ancient Hindu sages suggested abandonment of external rituals to gods in favor of internal reflection and meditation of the gods within, in one's journey to realize the Atman (soul, self) within, in texts such as the Brihadaranyaka Upanishad, Chandogya Upanishad, Kaushitaki Upanishad, and others.[54][55][56]
The Mahabharata epic opens its chapter on Surya by reverentially calling him the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation".[14] In the Mahabharata, Karna is the son of Surya and an unmarried princess named Kunti.[14] The epic describes Kunti's difficult life as an unmarried mother, then her abandonment of Karna, followed by her lifelong grief. Baby Karna is found and then adopted, and grows up to become one of the central characters in the great battle of Kurukshetra where he fights his half-brothers.[57]
Konark in texts
Konark, also referred to in Indian texts by the name Kainapara, was a significant trading port by the early centuries of the common era.[58] The current Konark temple dates to the 13th century, though evidence suggests that a sun temple was built in the Konark area by at least the 9th century.[59] Several Puranas mention Surya worship centers in Mundira, which may have been the earlier name for Konark, Kalapriya (Mathura), and Multan (now in Pakistan).[60] The Chinese Buddhist pilgrim and traveler Hiuen-tsang (also referred to as Xuanzang) mentions a port city in Odisha named Charitra. He describes the city as prosperous, with five convents and "storeyed towers that are very high and carved with saintly figures exquisitely done". Since he visited India in the 7th century, he could not have been referring to the 13th-century temple, but his description suggests either Konark or another Odisha port city already featuring towering structures with sculptures.[40]
According to the Madala Panji, there was at one time another temple in the region built by Pundara Kesari. He may have been Puranjaya, the 7th-century ruler of the Somavasmi Dynasty.[61]
Construction
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty, r. 1238–1264 CE– . It is one of the few Hindu temples whose planning and construction records written in Sanskrit in the Odiya script have been preserved in the form of palm leaf manuscripts that were discovered in a village in the 1960s and subsequently translated.[62] The temple was sponsored by the king, and its construction was overseen by Siva Samantaraya Mahapatra. It was built near an old Surya temple. The sculpture in the older temple's sanctum was re-consecrated and incorporated into the newer larger temple. This chronology of temple site's evolution is supported by many copper plate inscriptions of the era in which the Konark temple is referred to as the "great cottage".[40]
According to James Harle, the temple as built in the 13th century consisted of two main structures, the dance mandapa and the great temple (deul). The smaller mandapa is the structure that survives; the great deul collapsed sometime in the late 16th century or after. According to Harle, the original temple "must originally have stood to a height of some 225 feet (69 m)", but only parts of its walls and decorative mouldings remain.[5]
Damage and ruins
The temple was in ruins before its restoration. Speculation continues as to the cause of the destruction of the temple. Early theories stated that the temple was never completed and collapsed during construction. This is contradicted by textual evidence and evidence from inscriptions. The Kenduli copper plate inscription of 1384 CE from the reign of Narasimha IV seems to indicate that the temple was not only completed but an active site of worship. Another inscription states that various deities in the temple were consecrated, also suggesting that construction of the temple had been completed.[63] A non-Hindu textual source, the Akbar-era text Ain-i-Akbari by Abul Fazl dated to the 16th century, mentions the Konark temple,[40] describing it as a prosperous site with a temple that made visitors "astonished at its sight", with no mention of ruins.[63][64][65]
Texts from the 19th century do mention ruins, which means the temple was damaged either intentionally or through natural causes sometime between 1556 and 1800 CE. The intentional-damage theory is supported by Mughal era records that mention the Muslim invader Kalapahar attacking and destroying Jagannath Puri and the Konark temple.[63][66][67] Other texts state that the temple was sacked several times by Muslim armies between the 15th and 17th centuries.[1][40] Islamic texts describing the raids of Kalapahar mention his army's first attempt to destroy the temple in 1565, but they failed. They inflicted only minor damage and carried away the copper kalasa.[40]
A medieval era description of Konark
When nine flights of steps are passed, a spacious court appears with a large arch of stone upon which are carved the sun and other planets. Around them are a variety of worshippers of every class, each after its manner with bowed heads, standing, sitting, prostrate, laughing, weeping, lost in amaze or in rapt attention, and following these are divers musicians and strange animals which never existed but in imagination.
The controversial Hindu text Madala Panji and regional tradition state that Kalapahad attacked again and damaged the temple in 1568.[68] The natural-damage theory is supported by the nearness of the temple to the shore and the monsoons in the region that would tend to cause damage. However, the existence of nearby stone temples in the Odisha region that were built earlier and have stood without damage casts doubt to this theory. According to P. Parya, the number of rings of moss and lichen growth found on the stone ruins suggests the damage occurred sometime around the 1570s, but this approach does not indicate why or by whom.[63]
According to Thomas Donaldson, evidence suggests that the damage and the temple's ruined condition can be dated to between the late 16th century and the early 17th century from the records of various surveys and repairs found in early 17th-century texts. These also record that the temple remained a site of worship in the early 17th century. These records do not state whether the ruins were being used by devotees to gather and worship, or part of the damaged temple was still in use for some other purpose. This evidence of the use of the temple, however, contradicts any theories that the late 16th-century Muslim invasion had completely destroyed the site.[69]
Aruna Stambha
In the last quarter of the 18th century, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari named Goswain (or Goswami).[70][71] The pillar, made of monolithic chlorite, is 33 feet 8 inches (10.26 m) tall and is dedicated to Aruna, the charioteer of the Sun god.[71]
Preservation Efforts
In 1803 the East India Marine Board requested the Governor General of Bengal that conservation efforts be undertaken. However, the only conservation measure put in place at the time was to prohibit further removal of stones from the site. Lacking structural support, the last part of the main tower still standing, a small broken curved section, collapsed in 1848.[72]
The then-Raja of Khurda, who had jurisdiction over this region in the early 19th century, removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process.[73] In 1838 the Asiatic Society of Bengal requested that conservation efforts be undertaken, but the requests were denied, and only measures to prevent vandalism were put in place.[72]
In 1859 the Asiatic Society of Bengal proposed, and in 1867 attempted to relocate an architrave of the Konark temple depicting the navagraha to the Indian Museum in Calcutta. This attempt was abandoned as funds had run out.[72] In 1894 thirteen sculptures were moved to the Indian Museum. Local Hindu population objected to further damage and removal of temple ruins. The government issued orders to respect the local sentiments.[72] In 1903, when a major excavation was attempted nearby, the then-Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana. The Mukhasala and Nata Mandir were repaired by 1905.[63][74]
In 1906 casuarina and punnang trees were planted facing the sea to provide a buffer against sand-laden winds.[72] In 1909 the Mayadevi temple was discovered while removing sand and debris.[72] The temple was granted World Heritage Site status by the UNESCO in 1984.[2]
Reception
The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture.[75]
The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".[76] The Victorian mindset saw pornography in the artwork of Konark and wondered why there was no "shame and guilt in this pleasure in filth", while Alan Watts stated that there was no comprehensible reason to separate spirituality from love, sex, and religious arts.[77] According to Ernest Binfield Havell, the Konark temple is "one of the grandest examples of Indian sculpture extant", adding that they express "as much fire and passion as the greatest European art" such as that found in Venice.[78]
Indian writers, too, have expressed a spectrum of opinions. For example, the leftist author Bhattacharya criticized the "brahmanical temple erotica", offering it as evidence of "female exploitation by the dominant classes of Hindu male society", and a "reflection of abnormal sex desires".[79] In contrast, the Nobel Laureate Tagore wrote,
Here the language of stone surpasses the language of human.
— Rabindranath Tagore[80][81]
} These are events set shortly after my previous issue “Atychiphobia”, wherein Clayface’s personalities are put in flux. {
*Overview of the slums bordering Midway City, Michigan, on an unusually humid night. A perfect blend of place, time and atmosphere that would discourage most from partaking in a recreational stroll. Additionally, as a landmark notable for housing not one but two guilds dedicated to super-heroics, crimes here are exclusive committed by the ignorant, or the heedless.
*Cut to a dolly zoom of an unimpressive three-story apartment building. We see a woman, clad in red and white athletic wear, scaling the forest of brick and metal with swift, elastic maneuvers. A final sling of her arm, and she stretches up to a fire escape. A noise complaint from the neighboring structure was placed not ten minutes before, and this heroine, known as Elasti-Girl, arrived at the scene alongside Midway police officers. Taking into account the warnings made by concerned residents that the prior commotion had sounded excessively violent, Elasti-Girl insists upon entering the premises first, and the officers, in turn, have not forgotten her past reliability, as well as stubbornness in matters of crisis. They accommodate her selflessness, and form a perimeter around the building in preparation.
*This is not to be a routine arrest. What will occur in a few short moments is, in every sense of the word, a coincidence. Stars have seemingly aligned in order for the forthcoming events to take place; two vessels that crossed on a treacherous sea, in years past, are to be reacquainted on this unanticipated evening.
*Low-angle shot as Elasti-Girl vaults through the window in question, compressing herself on the landing in order to remain inaudible. The living room which she finds herself in is no more homely than the sticky air and concrete to be found outside. No lights are switched on, though she can distinguish cheap furniture, chipped wallpaper, and a worn rug. Rounding the divide to the kitchen, the odor belonging to scorched, spoiled meat reaches our heroine. Nearly stumbling over a sizable lump on the tile, she retreats a step, then kneels to make out its condition.
*A stray gust of wind upsets the blinds leading to the street-side balcony, and the minuscule glow of the lampposts lining the sidewalk below identify Elasti-Girl’s find: A man in a tattered bathrobe, unscathed on his limbs and body, but the face… The face is more scab than skin. The nose, lips, hair, earlobes and eyelids are seared off. Miraculously, patches of the marred, red flesh pulsate with blood flow, and shallow breath expels from between the protruding teeth. Elasti-Girl swivels to check the oven, and sure enough, it is still warm from its now-apparent deleterious usage.
*In the corner of her eye, she sees, from the same aperture in the blinds which revealed the victim, an object of human height. She reaches a hand across the room and pulls back the obstruction, to be met with what could be mistaken for a large melted candle. A few cautious steps towards the thing causes Elasti-Girl to recoil, in spite of herself, as she now perceives a face side-eyeing her within the heap of grunge. Twin yellow orbs sit deep inside their sockets, and the dribbling mouth beneath them calls the unsettled heroine by name.
Myself: Rita…
} MANY YEARS EARLIER {
Rita Farr made note of the sound stage’s patent aroma of cedar and hand sanitizer, as she lugged a suitcase containing one-third of her worldly possessions the last few steps of her journey to a movie studio in Atlanta, Georgia. Boom mics, ladders and lunches were being whisked about on all sides of her, not in a manner of tumult, but rather like schools of fish with a daily routine. Ms. Farr expected as much, and during her flight, began enforcing a mental note not to be swept up by the current, as she had been with previous bit parts handed to her.
Rita (to self): Seventh time’s a charm…
Finding a calmer spot, Rita unceremoniously drops her baggage, and peers upward at the reconstructed Spanish galleon positioned triumphantly as a centerpiece to the hangar. Cast and crew mill about the deck as they do on the ground level, tying ropes and checking props. Just as a sense of tranquility begins to seep into her consciousness, Rita detects movement in her direction in the corner of her vision. She faces the approaching man, rigid like a soldier in line-up, awaiting the inevitable tirade on the subject her five-minute tardiness, or how a fellow actor has had a breakdown. Instead, she is greeted by a small bow, that which may have seemed curt or sarcastic, if not for the candid grin on the dark-haired stranger’s face. He straightens, first his back, then his Georgian-era apparel, and speaks.
Stranger: I gather from your less than period-accurate garb, as well as that holdall, that you are a new arrival? One with a face like yours would not be working behind the camera.. Ms. Rita Farr, I should think? Marvelous! There’s no cause for alarm; you are presently quite ahead of our schedule.
Rita (still processing the first half of his chatter): Um, yes, I’m Rita. My agent was told one of the lead actresses was indisposed, though it wasn’t really made clear over the phone.. This isn’t an audition? I’m the only one they contacted? The thing is, I’ve never been given a part that was billed before the end crawl of the credits…
Stranger (beaming): It all sounds akin to what we call a “big break”, Ms. Farr!
Rita (to self): Not a first-name-basis type of place. I guess that’s alright.
Stranger: .. And, you would be correct on the subject of your predecessor. As cruel as it may come across, none of us were surprised to see Ms. Mona Taylor’s drinking habits get the better of her. I don’t like to speak ill of those unable to defend themselves; however, most denizens of this little production will tell you it is well rid of her presence.
Rita: Well, that… sort of puts a damper on my thankfulness for the opportunity…
The stranger ignores this, instead turning to welcome another actor passing by.
Stranger: Ms. Farr, this is Takeo Sato, a performer all the way from Tokyo, playing the part of one of our film’s roguish corsairs. Sato, Ms. Farr is Ms. Taylor’s stand-in.
Takeo (equally pleasant): A delight to make your acquaintance.
Rita nods politely, almost missing a second man, dressed just like Takeo, take an indirect route around their group, halting behind the yet-to-be-introduced stranger. He seemed the same age as Rita (years younger than the other actors), but a permanently sour expression and hunched frame made him appear infirm, unwell. Takeo and the stranger took no notice of him.
Stranger (to Takeo): Has “he” yet to master his choreography?
Takeo: Mr. Lord is working fervently, for one his age.
The two direct their attention to the ship’s deck, Rita following suit.
Stranger (waving a hand to an older gentleman in green and yellow, fencing with a stuntman near the rigging): Our fearless leader, Jonathan Lord.
Rita (agog): I had no idea he was attached to this! Or that he was still in the business.
Stranger: He is quite adamant to not wash up like many a typecast action star has. His friend Simon Trent, for example, has gone that way I’m afraid. Thus, a twelfth “Silverblade” motion picture was thrust into production, at his request.
Takeo: It saddens me to see a legend such as him work not out of passion, rather out of necessity.
Rita watches Lord trip the stuntman with a swipe of his rapier. She hated to see a ghost of an actor too, but there was still plenty of fight left in Lord.
The stranger once again takes control of the conversation, steering the ensemble towards two other actors chatting by the vessel’s bow. One, a man in deep blue carrying a haughty look about him; and a woman in red, with jet-black locks and a dour mien. Rita saw that the sour-faced man was still tailing the group from behind the talkative stranger, yet remained even further away from these two.
Stranger (nodding at each respectfully): Ms. Farr, meet Farley Fairfax, and Madame Laura De Mille. Th-
Laura (speaking over his exposition, in a French accent): Rita? Oh yes, Mona’s replacement. We’re finally rid of “ehr majesty”.
Rita: It’s nice to meet you; what is your roll in-
Laura: You ahre not going to be anothair detriment to zis picture, like she was, no? Your face, it is too sweet and unspoiled to be full of hot air yet.
Rita: That’s… relieving.
Farley: We hope you take a liking to our little company here. Always a pleasure, ushering in bright young people to the world of stage and screen. Farley Fairfax; more than happy to show you the ropes.
Rita: Oh I’m, eh, not exactly new to all this, but that’s generous of-
Stranger (once again intercepting the conversation, with a somewhat hurried and ruffled tone): There will be no showing of the ropes from you, Fairfax. Really, you seem to be swayed by the delusion that your smirk will every time win you an immediate “fidus Achates”.
Farley: My VERY old friend, I wouldn’t presume to hold the monopoly on using a few flashy words and shiny teeth to make a good impression.
Stranger: It’s a wonder to myself and the world of science that you attract anything, Fairfax.
Rita (over her shoulder and under her breath): You’re the one that introduced me to the two of them…
She is surprised to hear Takeo smother a laugh upon catching her comment, unbeknownst to the rest of their gathering.
As the situation seemed to be headed towards a scuffle between the stranger, Farley, and a simultaneously disinterested and aggravated Laura De Mille, the most colorful character yet to appear totters up to the impending drama; A bucktoothed fellow wearing green and lavender, and a battered brown hat atop his head. Farley and the others seem to drop their quarrel punctually upon his arrival, and Rita, at this point, is on the verge of booking a flight straight back to Michigan.
Laura: Not ‘im again! I cannot listen to zat imbecile one more MINUTE.
Rita: Who-?
Stranger (upon the bucktoothed man’s obtrusion): Mr. Spelvin, you’ve… found a way into the lot. Once again. Much to the dissension of the studio, as you may recall.
Mr. Spelvin: Hey, it’s “George” to my friends, remember? How’s it hangin’ kids? Boy, this is a real get-together, isn’t it?
Laura: You ahre like a goat, Monsieur Spelvin. A black ‘ole for wit and the relevance of whatevair space you occupy.
Mr. Spelvin: Always good for a yuck, Laura! Ha!
Farley: Spelvin, really, you can’t carry on like this. How many times now have you disrupted a take? Which line do you plan to botch this time?
Mr. Spelvin (finger guns): I read you, Farls, and I gotcha covered!
He moves to put a hand on the dark-haired stranger’s shoulder.
Mr. Spelvin: I asked a pal of ours to put in a good word for me with Mr. Lord.. for all those little unforeseen mix ups I’ve been affiliated with in the past, y’know how it is.. So, Lord gave me a bit, right, chum?
Stranger: I did not speak with Mr. Lord, Spelvin.
Mr. Spelvin: You eh… didn’t…
Stranger: I will not prevaricate. You are unwelcome to this location and its occupants, for the duration of our filming. It is expected of you to cease these infringements that only further solidify a poor image of your person. They have all, and will all, be in vain.
Mr. Spelvin (his bubbly facade now crumbling away): Now… look, I know you’re only teasing to toughen me up, but see this? The costume people don’t even need to make me a getup; I put this together at home! I-I thought the purple would be a nice contrast to the Silverblade costume, and well, the hat is iffy, I’ll grant you, but if we got like some safety pins we could bend it into a tricorne…
Stranger: Spelvin, Mr. Lord does not wish you to be here! You are a frustrated man incapable of bearing success.
Farley and Laura look crossly between the verbal duelists. The sour-faced man still lingers behind the stranger, hardly looking troubled in the slightest. Rita, by comparison, senses the imminent eruption. Takeo’s brow furrows.
Mr. Spelvin: Well… in all fairness, I was prepared for you saying something like that. Heheh, you… you might say I’m PACKING accordingly, heheheh…
His hands shift to their coat pockets. Rita feels opposing forces within her wanting to run, and to make a grab for whatever Spelvin is about to reveal. The sensation is like a frigid, iron grip on her very essence.
Mr. Spelvin (unadulterated bitterness clouding his words): Dismissal. That’s all life’s dealt me. A little thing I’ve picked up over the years, though… all that pain, that feeling of ostracism… nothing a little accelerant and igniter can’t wash away. Leastways, that’s how it works for me.
He cocks his head to the stranger, who still stands firmly in opposition of the madman. A scream within Rita, desperate to warn everyone, never makes it out.
Mr. Spelvin: Nighty-night, Sloane.
His hands whip out a can of hairspray and a lighter, aimed straight for the stranger, “Sloane”. As Spelvin flicks the mechanism, and a burst of flame reaches out to mar Sloane, Takeo leaps between them, palms out as though he is catching a softball. The fire sputters mid-flight and bends into tendrils, wrapping around Takeo’s fingertips. They absorb into his skin, leaving a faint orange glow. All but Takeo himself stand with mouths agape.
Mr. Spelvin: You’ve gotta be SHI-
With the debate having transitioned into an uproar, two stunt performers drop from the deck above and pin Spelvin to the floor before he can recuperate. His arms and legs flail, with the expected result of more pressure being applied to detain him.
Stuntwoman: Give it up; my friend here survived a POW camp breakout in Vietnam before he was doing fake falls, and I chewed up pipsqueaks like you when I was still in middle school. It’s pointless, mister. Futile.
Mr. Spelvin: NRAAAAGHH-
“Sloane”: My… undying gratitude… Ms. Sutton, Mr. Savage.
The stuntman gives a taciturn nod back, while wrestling Spelvin away.
Sloane: And… Takeo…
Rita looks about with Sloane for the superhuman within their midst, to see that Takeo Sato has been swamped with onlookers expressing their shock, and agents already trying to nab him for their next picture. Takeo seems overwhelmed, not wishing to drag out his moment of glory. Laura and Farley have gone off skulking away from the hubbub, obviously envious of Takeo’s attention.
Rita: So… “Sloane”.
Sloane (no longer his composed self): … You must forgive me, how silly; yes, that is my name. Paul Sloane, at your service…
Rita: NO one knew Takeo had… those powers?? It looks like this is his first time exposing them..
Sloane (trying to make merry): No people like show people, Ms. Farr, as they say, eh?..
Jonathan Lord calls down to Sloane from the mast.
Lord: Everything in order, Mr. Sloane?
Sloane: Eh, yes Mr. Lord..
Lord: No injuries? Good; let’s round up our people. We have a film to shoot.
Rita (to Sloane): Do you need to sit down? You’re pale.
Sloane: That would be an immense aid to my wits, thank you. Mr. Lord expects order, however, and-
Rita: … and I can chip in. I may be new around here, but I can carry my share of responsibilities. I also didn’t just have my life threatened. Come on, it’s the least a regular, un-powered human like me can do.
Sloane, wordless and debilitated, gives a look of appreciation, and moves away to a more restful area.
Rita spies the sour-faced man. He seems to notice her watching, and begins to move after Sloane.
Rita: Hey, he never introduced you.
The man stops. He offers only a glimpse of his eyes, still standing in profile to her.
Rita: You’re a friend of Paul? Sloane?
Man: .. Yeah. He’s… the best man I know. I wouldn’t be in show business, without him.
Rita: Why didn’t you announce yourself?
Man (shrug): I just follow along. That’s what I’m good at. Sloane knows how to best handle… stuff.
Rita (big sigh): Are we talking about the same gentleman who nearly got himself charbroiled a minute ago? To tell the truth, I can do without all the fancy talk and putting-on-airs. You got a name?
Myself (many years ago): … Basil.. Bas is fine.
} PRESENT DAY {
Rita stands stunned, nay, horrified, by the sight of me.
Myself: Oh, there’s no need for those dramatics. You would have, by now, heard tell of my “condition”; the exploits of Gotham’s Batman and his nemeses are national news after all. Thought our paths would never converge again, did you? That I would remain in Gotham to the last? How you must have prayed for that. No, that place, inciting mayhem, challenging The Bat… this offers me no solace any longer. Most of us CAN’T leave, you know. Riddler stays out of internalized necessity; Black Mask, for fear of losing his empire. Catwoman for “this” reason, Freeze for another… But I am privileged to come and to go as I please. It’s something I’m quite good at.
Rita: You’ve just assaulted someone, Basil. He’s nearly dead.
Myself: I’m… sorry, I don’t remember how to respond… to some things… The other ones are talking, and it’s hard to concentrate on… just one…
I trail off. Still wary of me, Rita’s eyes drift to the chair-side table beside her. On it, an unlit lamp, and a framed photo. The one I subconsciously began staring at.
Rita (trembling): Basil… Oh my god, Basil, do you know who’s house this is? That’s Paul Sloane you've done this to. Basil, why?
What are the words I had planned for this? They were just there…
Rita: Basil, you’re not well. I need to take you away from here. Paul needs medical attention.
Myself (unable to hold the tide of voices in my head at bay): Oh, she’s trying to mask her abhorrence for us with stoicism, bless her. How very genuine, personal. This moves us greatly.
Rita: WHY, Basil?
Myself (I’m… sad now?): … I thought… if I got rid of him, maybe I… wouldn’t be a lie. I can’t be whole. Not while HE’s here.
Rita (pleading): Even before you had this gift, you felt you had to be someone else to be worthwhile. You DON’T. You can leave all of this behind. Find the real you again and hold onto it.
Myself: YOU THINK I’VE NEVER TRIED? Tried to find normalcy in this maelstrom of raving madness that persists both within me and in the outside world? Let me spell something out for you, “Ms. Farr”; There is to be no normalcy in the lives of people like us. Do you recollect Farley Fairfax? Takeo? In years gone by, both have since died in unrelated attacks by DEMONS. Mona Taylor is imprisoned for crimes committed on behalf of a costumed gang in Gotham. You yourself were blessed with abilities from exposure to volcanic vapors, and you STILL battle your old rival Laura De Mille on occasion, assisted by your very own band of incorrigibly heroic freaks. Really, Rita, your taste in companionship…
Rita: Don’t do this to yourself.
Myself (droning): Mr. King Savage, our stuntman friend, was inducted into a covert special forces unit later on, and was never heard from again. Oh, have you ever heard of the actor Steven "Champ" Hazard? He vanished into thin air one day, quite literally. Delores Winters. It was hearsay for a while that her mind was stolen by a telepath…
Rita: I can’t help you anymore, Basil. The police will be taking over in a minute, and I can’t stop them. I wouldn’t want to.
She sounds hurt, though I can’t seem to distinguish why anymore.
Myself (wetly laughing): You need not feel guilt, this form is merely residue, only a spent shard of Basil, and it will die hastily. This one couldn’t kill Sloane, and we banish any part of us that harbors those pointless sentiments for the old days, you see… The rest of us is already down there. An officer, a citizen, it makes no difference…
Rita watches as I relax into a puddle, drizzling through the balcony slats down to the pavement.
Myself (faintly): You won’t find me. You won’t see me, ever again.
Pounding footsteps come from beyond the front door Rita has failed to unlock. Police shout for Elasti-Girl to dictate the situation.
Rita (without so much as a slight crack in her voice): I haven’t seen Basil in years.
Somehow I internalized this Caturday as being about "photograph cat with clock." I don't have a clock anywhere near where the cats are, except for my bedside clock, which doesn't interest them. Agate, however, is fascinated by the phone charging cable that I power through the clock - any time the cable is not actually attached to the phone, and when I am paying attention. I finally decided the only way to get cat and clock pix was to put the clock on the bed and wave that charge cable so she could finally play with it.
Then I noticed that the theme was "Waiting", not "photo with clock." Well, Agate has been waiting her whole time living in my house, to be be encouraged to play with the cable. Happy Caturday 1 November 2025, "Waiting."
After British demand: Nukhba terrorists to receive humanitarian visits, hostages won't
Israeli government accedes to British demand to be allowed to visit terrorists who committed October 7 massacre without the hostages receiving any humanitarian visits in return.
Israel National News
Israel National News
1 minutes
Apr 25, 2024 at 7:27 PM (GMT+3)
HamasBritainUKterrorists in prisonHostages in Gaza
Cabinet meeting
Cabinet meeting
Haim Zach (GPO)
The Security Cabinet today (Thursday) approved the decision that the imprisoned Nukhba Force terrorists who carried out the massacre in southern Israel on October 7 will receive humanitarian visits.
The decision was made despite the fact that none of the Israeli hostages who were kidnapped on October 7 have ever received a single humanitarian visit in the more than 200 days since the massacre.
The terrorists will be visited by two foreign observers and an Israeli judge, and they will pass on information about the terrorists' condition.
The decision was made at the behest of the British government, which demanded the right have its representatives visit the terrorists to ensure their humanitarian situation is maintained.
National Security Minister Itamar Ben-Gvir opposed the move. Ben-Gvir presented to Netanyahu a series of arguments for his opposition. He stated, "It is a demand designed to weaken us in negotiations. The prisoners' condition only pressures Hamas'. He also noted that 'Israeli abductees did not receive any similar visit by an international body in Hamas captivity."
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Reduce the size of terrorists' prison cells
Ben-Gvir said, "The British apparently did not internalize that the mandate has ended and the White Paper is not in force. The Prison Service has a professional and independent inspection system, and their demand for an inspection visit is an infringement on sovereignty. No self-respecting country would agree to this."
He added that Israel should demand reciprocity - if an international representative will visit the abducted in Gaza, Israel should agree to an identical visit to the terrorists imprisoned in Israel due to their involvement in the massacre.
Liber Primus
The first part of the Red Book, Liber Primus, has a prologue, "The Way of the Future. See note 16, which begins with biblical quotations emphasizing the incarnation and the terrible trial it constitutes (Isaiah 53:1-4; John 1:14). The last part of the Red Book, Tests. See note 16, ends with "The Seven Sermons to the Dead", and its main object, once again, is the embodiment in space-time life of a broader spiritual reality, now called "the pleroma". Thus, the theme of incarnation as reported in The Red Book was clearly Jung's alpha and omega. The intermediate journey was sometimes ecstatic, but it was also extremely painful. The beginning of the text contrasts the "spirit of this time", the rational-scientific attitude of the collective consciousness, with the "spirit of the depths", the mysterious wisdom in its mythopoietic form long lost to consciousness. Jung begins with these words: "If I speak in the spirit of this time, I must say: nothing and no one can justify what I must proclaim to you. Any justification is superfluous for me, because I have no choice, but I need it. The Red Book (later: RB), p. 229[In this article,..... "These are the words of someone who mobilizes, and who is mobilized by, a numinous power. Jung's freedom, and that would be the freedom of anyone in this situation, was to know not what he wanted to do, but what he had to do, in this case: follow the spirit of the deep. The "spirit of this time" maintains that what is said by the other spirit, that of the depths, is madness. Jung answers: "It's true, it's true, what I'm saying is the greatness, the drunkenness and the ugliness of madness[. RB, p. 230... "Within this danger, he needs a "visible sign" RB, p. 231. "that would show him that the spirit of the depths is at the same time the one who governs the depths of the world's affairs. His need for a visible sign is important to understand the depth and nature of his experience. This need could demonstrate that his visions were of a different type than those described by mystics as unio mystica. When a person reaches this transcendent level, that is, when his soul leaves him to join the "Infinite Light" or whatever metaphor is chosen for this ineffable experience, there is no need for an external sign. The person simply knows. Jung's visions were different. They were founded in the psyche and the world of archetypes.Terribly disturbing visions set the process in motion, like the lightning bolt that marked the beginning of the alchemical opus. In October 1913, Jung had a vision that lasted two hours and came back, even more violently, two weeks later: "During the day, I was suddenly attacked by a vision in broad daylight: I saw a terrifying tide that covered all the northern and lowland countries between the North Sea and the Alps. It extended from England to Russia, and from the North Sea coast to the Alps. I saw yellow waves, floating rubble, and the death of countless thousands of human beings. RB, p. 231... "An inner voice says, "Look carefully, it's very real and it will happen that way. You can't doubt that... [The vision] left me exhausted and confused. And I thought that madness had seized my mind. RB, p. 231... » Finally, Jung obtained his "sign" linking the source of his vision and world affairs - the First World War broke out (officially, on January 8, 1914). Jung then sought what in his latest works would be called an experience of synchronicity, a meaningful relationship between inner and outer events. He seeks an archetypal, impersonal understanding of the chaos that engulfed him. It may well be that his visions were prophetic. But his answer shows him identified with the archetypal source, the condition of narcissism: "I encountered the colossal cold that froze everything; I encountered the tide, the sea of blood, and found my barren tree whose leaves had been transformed into a remedy by freezing. And I picked the ripe fruit and gave it to you, and I do not know what I offered you, what an intoxicating bitter-sweet drink, which left on your tongue an aftertaste of blood.
Liber Secundus
In this second part of the Red Book, Jung meets a figure he calls Izdubar, which is an older name of the Sumerian hero Gilgamesh. It seems to me that this meeting plays a crucial role in Jung's experience. For reasons of space, I did not refer in this article to Jung's drawings. But the one accompanying this passage must be mentioned. On the drawing - a character praying and a huge jet of fire in full propulsion - Jung noted a passage of the Upanishads where the god Prajapati makes tapas, and in doing so creates Agni, the Devourer, who attacks him. To avoid being killed by his own creation, Prajapati creates the world from his own members, that is, he enters space-time. This link between the creation of a new order and the simultaneous creation of chaos or disorder is the main dynamic of the transformation in The Red Book. In The Red Book, the giant Izdubar "was gigantic, like a hero of colossal power RB, p. 280... "He comes from the Light; and yet, this creature so superior to Jung by size is completely defeated by Jung's scientific explanations, which Izdubar feels as a powerful and victorious poison. This is the power of reason, which suppresses and reduces numinosum. Jung talks about his love for Izdubar, and says he doesn't want to see him die, but he's too old to be transported. He acknowledges that he can use his thinking to solve his dilemma: "I am fundamentally convinced that Izdubar is not real in the ordinary sense of the word, but that it is an RB fantasy, p. 280. "Izdubar is in agony but cannot help but accept. Izdubar becomes light, like a fantasy, and can be easily transported; Jung eventually reduces it to the size of an egg and puts it in his pocket[RB, p. 283... He needs to reduce it to keep some control.He realizes that he must let Izdubar out of the egg, because he realizes that "I still haven't accepted what embraces my heart. This frightening thing is the confinement of God in the bud... I defeated the Great One, I mourned him, I did not want to abandon him because I loved him, because no mortal could compete with him RB, p. 286-287... "But Izdubar's liberation has an unexpected result: "But when he gets up, I go down... All light abandons me.... Woe to the mother who gives birth to a God! A birth is difficult, but a thousand times more difficult is the infernal great-peace. All the dragons and monstrous snakes of eternal emptiness succeed the divine son. RB, p. 287 Order and disorder begin to be linked as integral parts of a process. "If God approaches, your being begins to bubble and the black mud from the depths rises swirling. "A thousand times more difficult is the great peace. RB, p. 287... "He reflects on the power of the created disorder that he also identifies with evil or chaos: forms (such as) "an oppressive association with the object. RB, p. 287, "can only be dissolved by evil. So, despite the wisdom he has acquired, he returns to realization: "I still don't know what it means to give birth to a God. RB, p. 290," that is, to the self within. In a later passage, probably because he was seeking refuge from chaos, he imagined entering a library, relying on his thoughts. But thought can no longer be his refuge. He was soon confused and heard "a strange rustle and purr - and suddenly, a roaring sound filled the room like a horde of huge birds - with a frenetic flapping of wings.... RB, p. 294: "Jung's flight to spirit and order has created a powerful form of disorder, and he finds himself in a madhouse. He reflects on his old "protective and repeatedly polished crust, covering the mystery of chaos. If you break through this wall, it could not be more ordinary, the flow overflowing with chaos will penetrate it. Chaos is not simple, it is an infinite multiplicity..... It is full of figures which, because of their fullness, have the effect of disturbing us and submerging us.... These figures are the dead, not just your dead, that is, all the images of the forms you have taken in the past and that the course of your life has left behind, but also the swarming crowd of the dead of human history, the ghostly procession of the past, which is an ocean compared to the drops that constitute the whole extent of your own life.... (The dead) have lived on the heights and accomplished the lowest things. They forgot one thing: they did not experience their animal.... And that too is the failure of Christ. RB, pp. 295-296... If we are in our bodies, close to the energies of the animal in us, we are not crazy. And that is why Jung realizes that Christianity - with its rejection of the flesh - cannot save him from his fall into madness. For Jung, the dead are those aspects of his soul that represent his escape from the body, and aspects of this same escape in the (Christian) generations preceding him, in his parents, grandparents etc.
The Red Book is a red leather‐bound folio manuscript crafted by the Swiss psychiatrist Carl Gustav Jung between 1915 and about 1930. It recounts and comments upon the author's imaginative experiences between 1913 and 1916, and is based on manuscripts first drafted by Jung in 1914–15 and 1917. Despite being nominated as the central work in Jung’s oeuvre, it was not published or made otherwise accessible for study until 2009.
In October 2009, with the cooperation of Jung's estate, The Red Book: Liber Novus was published by W. W. Norton in a facsimile edition, complete with an English translation, three appendices, and over 1500 editorial notes. Editions and translations in several other languages soon followed. In December 2012, Norton additionally released a "Reader's Edition" of the work; this smaller format edition includes the complete translated text of The Red Book: Liber Novus along with the introduction and notes prepared by Shamdasani, but it omits the facsimile reproduction of Jung's original calligraphic manuscript.
While the work has in past years been descriptively called simply "The Red Book", Jung did emboss a formal title on the spine of his leather-bound folio: he titled the work Liber Novus (in Latin, the "New Book"). His manuscript is now increasingly cited as Liber Novus, and under this title implicitly includes draft material intended for but never finally transcribed into the red leather folio proper.The existence of C.G. Jung's Red Book was revealed by the publication of his autobiography My Life - Memories, Dreams and Thoughts. C.G. Jung, Memories, Dreams, Reflections, A. Jaffe (Ed.), R..... The autobiography contained in the appendix a treatise of Gnostic appearance, "The Seven Sermons to the Dead", the last part of the Red Book as we now possess it.However, the "Sermons" alone tell us little about the Red Book, and the latter has remained surrounded by an aura of secrecy, as it was for me when I studied in Zurich from 1966 to 1970.2 Secrets create a void that attracts projections, and the Red Book certainly had that effect.Why had it not been published?In Zurich, fantasies were swirling: it was said that the Jung family kept him because Jung said he was the Messiah, or because Jung appeared as a psychotic, etc.We are finally in a position to evaluate these fantasies.But the publication, in a magnificent facsimile edition - a work in which the love and devotion of its publisher, Sonu Shamdasani, transpired and which has spanned a decade - also opens up a completely new field of research.For if, as Jung says in his autobiography, the Red Book was his prima materia for the rest of his life[3][3]Ibid. at 199 (translation fr. cit. at 231-232), it can be assumed that there is a strong link between these experiences and the Collected Works.3 This is only partially the case.Although the sources of the main themes of the Collected Works can certainly be found in The Red Book, there are also significant differences.In particular, chaos or disorder plays a much greater and more important role in The Red Book than in Collected Works where order plays the main role, through the order-producing function of archetypes, for example.This has far-reaching implications for Jungian psychology as a form of psychotherapy, more than as a doctrine of wisdom or as a modern form of sustainable philosophy[4].[4]M.-L. von Franz, among others, made the suggestion, during a..., but also for our evaluation of C.G. Jung's work.4C.G. Jung's Red Book is a series of dialogues, caused by striking and confusing dreams he had in 1912, with various figures of his imagination, then with repetitive fantasies that he could not understand, such as: "there was something dead, but that was still alive[5][5]C.G. Jung, 1973, Memories, Dreams, Reflections, op. cit.,..."; then, in the fall of 1913, with an outbreak of global catastrophe hallucinations. Its immersion in the unconscious then began and continued in the spring of 1914, maintaining all its intensity for about five months, but it will continue in 1916.There were periods of disorientation for several more years, but they eventually decreased with the understanding of his mandala drawings (which are contained in The Red Book) as an expression of the self: these drawings as well as his rational and scientific mind allowed him to contain his chaos. "I (first) tried an aesthetic elaboration of my.....5 Jung tells us that he had to control his fantasies in one way or another, but also that an intense fear and "violent resistance" kept him from "letting himself fall into them. Ibid, p. 178 (translated from english, p. 207). ». He recorded the fantasies he experienced in a series of "Black Papers" that covered most of the most intense period and ended in 1916 with the "Seven Sermons to the Dead. "Later, and over a period of several years, he transcribed in The Red Book his imaginative encounters into a process that he would later call "active imagination". The dialogues are interspersed with passages in the form of wisdom teachings enunciated by an amalgam (which eventually transforms) of Jung and his inner images. Later, he realized that many of these images had been precursors of the central figure of the Red Book, Philemon.
But unlike a schizophrenic, Jung was able to consider his fantasies and relate to them consciously. He was able to bring them back into space and time, so to speak, and what completely distinguishes him from a madman is that he made the choice to connect his inner world to the common reality. In addition, Jung has never decompensated during these years, as is usually the case during a psychotic episode. On the contrary, he continued his psychotherapy practice full-time and did not lose contact with his family life. It is surely wrong to think that Jung was crazy, or that he was a schizophrenic who would have treated himself creatively. But to recognize that Jung, like everyone else, to one degree or another, had crazy parts within an otherwise healthy personality. N. Schwartz-Salant, The Mystery of Human Relationship, New..., and that he suffered the horrors of this madness which was ultimately a source of both limitation and transformation, this is a very reasonable assumption. The Red Book expresses a narcissistic feature of Jung's personality before his "descent" into the unconscious, namely the amalgamation of his self with more unconscious, non-moic or archetypal energies, and his transformation. But before following the trace of this process in The Red Book, a quick reflection on the terms numinosum, narcissism, and self will be useful to understand Jung's journey. When Rudolph Otto wrote The Sacred and made the numinosum the nucleus of the religious experience, he said: "We invite the reader to focus his attention on a moment when he felt a deep and, as far as possible, exclusively religious emotion. If he is unable to do so or if he does not even know of such moments, we ask him to stop reading here. R. Otto, The Idea of the Holy, London: Oxford University...... » If one does not know the numinosum as a religious consciousness of the totally "Other", attested by emotions such as fear, terror, fascination, fright and beauty, one can use concepts such as narcissism to illuminate certain aspects of Jung's personality and system, but in so doing, one may also misunderstand and pathologize others[. An example is given by Jeffrey Satinover's analysis,...... In this spirit, I use the term "narcissism" with caution. This conceptual tool helps us to understand the experiences that Jung reported in The Red Book and how they affected the Collected Works. But Jung's narcissism does not define the nature of what happened to him, and it should not be used to foolishly criticize. NB: Although the Red Book shows various narcissistic features of Jung's personality, it is another matter to talk about a narcissistic personality. This diagnosis can only be confirmed by the nature of the transfers involved. Heinz Kohut, The Analysis of the Self, NY: International..., and we have only anecdotal evidence in this regard. In this study, I will therefore deal with those of Jung's narcissistic traits that appear clearly in The Red Book, in particular his fusion myself, and his remarkable struggle to dissolve this state of fusion, which leads to an authentic relationship me-self. The Jungian notion of self used in this article differs in its orientation from other psychoanalytical visions of self . N. Schwartz-Salant, Narcissism and Character Transformation,...... The key difference is that the self, which is a source of identity and our most intimate compass for living in a way that is felt to be authentic and true, is not the consequence of the internalization of object relationships, as with most psychoanalytical approaches. The self is an archetype. Metaphorically speaking, it's our psychic DNA. We were born with him. It is a complex energy system, which includes processes of order and disorder. Consciously realizing the existence of the self is often a long and arduous path, the path, in fact, that Jung called individuation. On the one hand, the self must be "seen" or "mirrored" by others in order to be gradually realized, which makes it possible to obtain a self-self relationship instead of a fusion. The state of fusion is a normal step, but if it stabilizes, what we call a grandiose exhibitionist self occurs. In this fusion, the self does not know that the self exists; it believes it is the self. On the other hand, inner experiences of the numinousness of the self can also lead to its actualisation. All his life, Jung doubted the need for external "mirror reflection" and the internalization of the object relationships that go hand in hand, because he saw in it a risk of altering the essential nature of the self. That's why he focused on internal objects. In general, The Red Book is Jung's encounter with the transformative power of numinosum, and it shows how Jung brought the fruits of this encounter back into spatial and temporal reality. In particular, The Red Book is a remarkable testimony to a fusion of myself and self transformed by the fire of chaos or madness, terms that Jung uses interchangeably. His effort to embody the wisdom he has acquired, both personally and in his Collected Works, is a remarkable journey. I am not aware of anything comparable in all the mystical or, more broadly, visionary literature. The Red Book is divided into three parts, Liber Primus, Liber Secundus and Events. The thread that connects these parts is analogous to a dream that begins with the initial position of the problem - the embodiment of a new spiritual attitude - and leads, through various episodes, to a lysis - the emergence of a relationship between myself and self. Jung's experience of such a profound psychological process was clearly a precursor to his notion of psychological reality and individuation, just as Philemon was the precursor to his idea of the self.
Context and composition
Jung was associated with Sigmund Freud for a period of approximately six years, beginning in 1907. Over those years, their relationship became increasingly acrimonious. When the final break of the relationship came in 1913, Jung retreated from many of his professional activities to intensely reconsider his personal and professional path. The creative activity that produced Liber Novus came in this period, from 1913 to about 1917.Biographers and critics have disagreed whether these years in Jung's life should be seen as "a creative illness", a period of introspection, a psychotic break, or simply madness." Anthony Storr, reflecting on Jung's own judgment that he was "menaced by a psychosis" during this time, concluded that the period represented a psychotic episode.[8] According to Sonu Shamdasani, Storr's opinion is untenable in light of currently available documentation. During the years Jung engaged with his "nocturnal work" on Liber Novus, he continued to function in his daytime activities without any evident impairment. He maintained a busy professional practice, seeing on average five patients a day. He lectured, wrote, and remained active in professional associations. Throughout this period he also served as an officer in the Swiss army and was on active duty over several extended periods between 1914 and 1918, the years of World War I in which Jung was composing Liber Novus. Jung was not "psychotic" by any accepted clinical criteria during the period he created Liber Novus. Nonetheless, what he was doing during these years defies facile categorization. Jung referred to his imaginative or visionary venture during these years as "my most difficult experiment."This experiment involved a voluntary confrontation with the unconscious through willful engagement of what Jung later termed "mythopoetic imagination". In his introduction to Liber Novus, Shamdasani explains: "From December 1913 onward, he carried on in the same procedure: deliberately evoking a fantasy in a waking state, and then entering into it as into a drama. These fantasies may be understood as a type of dramatized thinking in pictorial form.... In retrospect, he recalled that his scientific question was to see what took place when he switched off consciousness. The example of dreams indicated the existence of background activity, and he wanted to give this a possibility of emerging, just as one does when taking mescaline." Jung initially recorded his "visions", or "fantasies, or "imaginations" — all terms used by Jung to describe his activity — in a series of six journals now known collectively as the "Black Books". This journal record begins on 12 November 1913, and continues with intensity through the summer of 1914; subsequent entries were added up through at least the 1930s. Biographer Barbara Hannah, who was close to Jung throughout the last three decades of his life, compared Jung's imaginative experiences recounted in his journals to the encounter of Menelaus with Proteus in the Odyssey. Jung, she said, "made it a rule never to let a figure or figures that he encountered leave until they had told him why they had appeared to him." After the outbreak of World War I in August 1914, Jung perceived that his visionary experience was not only of personal relevance, but entwined with a crucial cultural moment. In late-1914 and 1915 he compiled the visions from the journals, along with his additional commentary on each imaginative episode, into an initial manuscript. This manuscript was the beginning of Liber Novus. In 1915 Jung began artfully transcribing this draft text into the illuminated calligraphic volume that would subsequently become known as the Red Book. In 1917 he compiled a further supplementary manuscript of visionary material and commentary, which he titled "Scrutinies"; this also was apparently intended for transcription into his red folio volume, the "Red Book". Although Jung labored on the artful transcription of this corpus of manuscript material into the calligraphic folio of the Red Book for sixteen years, he never completed the task. Only approximately two-thirds of Jung's manuscript text was transcribed into the Red Book by 1930, when he abandoned further work on the calligraphic transcription of his draft material into the Red Book. The published edition of The Red Book: Liber Novus includes all of Jung's manuscript material prepared for Liber Novus, and not just the portion of the text transcribed by Jung into the calligraphic red book volume.In 1957, near the end of his life, Jung spoke to Aniela Jaffé about the Red Book and the process which yielded it; in that interview he stated: "The years… when I pursued the inner images, were the most important time of my life. Everything else is to be derived from this. It began at that time, and the later details hardly matter anymore. My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life. Everything later was merely the outer classification, scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then." He wrote a short epilog in 1959 after leaving the book more or less untouched for about 30 years: “To the superficial observer, it will appear like madness.”
Creation and physical description
The Red Book resting on Jung's desk
Jung worked his text and images in the Red Book using calligraphic pen, multicolored ink, and gouache paint. The text is written in German but includes quotations from the Vulgate in Latin, a few inscriptions and names written in Latin and Greek, and a brief marginal quotation from the Bhagavad Gita given in English. The initial seven folios (or leaves) of the book — which contain what is now entitled Liber Primus (the "First Book") of Liber Novus — were composed on sheets of parchment in a highly illuminated medieval style. However, as Jung proceeded working with the parchment sheets, it became apparent that their surface was not holding his paint properly and that his ink was bleeding through. These first seven leaves (fourteen pages, recto and verso) now show heavy chipping of paint, as will be noted on close examination of the facsimile edition reproductions.
In 1915, Jung commissioned the folio-sized and red leatherbound volume now known as the Red Book. The bound volume contained approximately 600 blank pages of paper of a quality suitable for Jung's ink and paint. The folio-sized volume, 11.57 inches (29.4 cm) by 15.35 inches (39.0 cm), is bound in fine red leather with gilt accents. Though Jung and others usually referred to the book simply as the "Red Book", he had the top of the spine of the book stamped in gilt with the book's formal title, Liber Novus ("The New Book"). Jung subsequently interleaved the seven original parchment sheets at the beginning of the bound volume. After receiving the bound volume in 1915, he began transcribing his text and illustrations directly onto the bound pages. Over the next many years, Jung ultimately filled only 191 of the approximately 600 pages bound in the Red Book folio.[28] About a third of the manuscript material he had written was never entered into the illuminated Red Book. Inside the book now are 205 completed pages of text and illustrations (including the loose parchment sheets), all from Jung's hand: 53 full-page images, 71 pages with both text and artwork, and 81 pages entirely of calligraphic text. The Red Book is currently held, along with other valuable and private items from Jung's archive, in a bank vault in Zurich.
“It’s easy to feel uncared for when people aren’t able to communicate and connect with you in the way you need. And it’s so hard not to internalize that silence as a reflection on your worth. But the truth is that the way other people operate is not about you. Most people are so caught up in their own responsibilities, struggles, and anxiety that the thought of asking someone else how they’re doing doesn’t even cross their mind. They aren’t inherently bad or uncaring — they’re just busy and self-focused. And that’s okay. It’s not evidence of some fundamental failing on your part. It doesn’t make you unloveable or invisible. It just means that those people aren’t very good at looking beyond their own world. But the fact that you are — that despite the darkness you feel, you have the ability to share your love and light with others — is a strength. Your work isn’t to change who you are; it’s to find people who are able to give you the connection you need. Because despite what you feel, you are not too much. You are not too sensitive or too needy. You are thoughtful and empathetic. You are compassionate and kind. And with or without anyone’s acknowledgment or affection, you are enough.”
― Daniell Koepke
i would attempt to add to that but Daniell has said it all and i nearly burst into tears because of how unimaginably true it is to how i've been feeling for the longest time.
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++++++ FROM WIKIPEDIA ++++++
Konark Sun Temple is a 13th-century CE sun temple at Konark about 35 kilometres (22 mi) northeast from Puri on the coastline of Odisha, India.[1][2] The temple is attributed to king Narasingha deva I of the Eastern Ganga Dynasty about 1250 CE.[3][4]
Dedicated to the Hindu 'god Surya, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once over 200 feet (61 m) high,[1][5] much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains. The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Architecture or Kalinga Architecture .[1][6]
The cause of the destruction of the Konark temple is unclear and remains a source of controversy.[7] Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.[1][7] This temple was called the "Black Pagoda" in European sailor accounts as early as 1676 because its great tower appeared black. [6][8] Similarly, the Jagannath Temple in Puri was called the "White Pagoda". Both temples served as important landmarks for sailors in the Bay of Bengal.[9][10] The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams. Declared a UNESCO world heritage site in 1984,[1][2] it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February.[6]
Contents
1 Etymology
2 Location
3 Description
3.1 Reliefs and sculpture
3.2 Hindu deities
3.3 Style
3.4 Other temples and monuments
4 History
4.1 Ancient Texts
4.2 Konark in texts
4.3 Construction
4.4 Damage and ruins
4.5 Aruna Stambha
4.6 Preservation Efforts
5 Reception
6 See also
7 Gallery
7.1 Antique paintings and photographs
7.2 Current day photographs
8 See also
9 References
9.1 Bibliography
10 External links
Etymology
The name Konark derives from the combination of the Sanskrit/Odia language words Kona (corner or angle) and Arka (the sun).[9] The context of the term Kona is unclear, but probably refers to the southeast location of this temple either within a larger temple complex or in relation to other sun temples on the subcontinent.[11] The Arka refers to the Hindu sun god Surya.[9]
Location
The Konark Sun Temple is located in an eponymous village about 35 kilometres (22 mi) northeast of Puri and 60 kilometres (37 mi) southeast of Bhubaneswar on the Bay of Bengal coastline in the Indian state of Odisha. The nearest airport is Bhubaneswar airport (IATA: BBI). Both Puri and Bhubaneswar are major railway hubs connected by Indian Railways' Southeastern services.[12]
Description
Original temple and the surviving structure (yellow), left; the temple plan, right
The Konark Sun Temple was built from stone in the form of a giant ornamented chariot dedicated to the Sun god, Surya. In Hindu Vedic iconography Surya is represented as rising in the east and traveling rapidly across the sky in a chariot drawn by seven horses. He is described typically as a resplendent standing person holding a lotus flower in both his hands, riding the chariot marshaled by the charioteer Aruna.[13][14] The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha, and Pankti.[14] Typically seen flanking Surya are two females who represent the dawn goddesses, Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbol of their initiative in challenging darkness.[15] The architecture is also symbolic, with the chariot's twelve pairs of wheels corresponding to the 12 months of the Hindu calendar, each month paired into two cycles (Shukla and Krishna).[16]
The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.[5][2][17] When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to emerge from the depths of the blue sea carrying the sun.[18]
1822 drawing of the mandapa's east door and terrace musicians
1815 sketch of stone horses and wheels of the mandapa
The temple plan includes all the traditional elements of a Hindu temple set on a square plan. According to Kapila Vatsyayan, the ground plan, as well the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.[19] This mandala structure informs the plans of other Hindu temples in Odisha and elsewhere.[19]
The main temple at Konark, locally called the deul, no longer exists. It was surrounded by subsidiary shrines containing niches depicting Hindu deities, particularly Surya in many of his aspects. The deul was built on a high terrace.[5] The temple was originally a complex consisting of the main sanctuary, called the rekha deul, or bada deul (lit. big sanctum).[18] In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly hall of the people) (called a mandapa in other parts of India.[20]). The attached platform was called the pida deul, which consisted of a square mandapa with a pyramidal roof.[18] All of these structures were square at their core, and each was overlain with the pancharatha plan containing a variegated exterior.[18] The central projection, called the raha, is more pronounced than the side projections, called kanika-paga, a style that aims for an interplay of sunlight and shade and adds to the visual appeal of the structure throughout the day. The design manual for this style is found in the Silpa Sastra of ancient Odisha.[18][21]
A stone wheel engraved in the walls of the temple. The temple is designed as a chariot consisting of 24 such wheels. Each wheel has a diameter of 9 feet, 9 inches, with 8 spokes.
Twice as wide as they were high, the walls of the jagamohana are 100 feet (30 m) tall. The surviving structure has three tiers of six pidas each. These diminish incrementally and repeat the lower patterns. The pidas are divided into terraces. On each of these terraces stand statues of musician figures.[5] The main temple and the jagamohana porch consist of four main zones: the platform, the wall, the trunk, and the crowning head called a mastaka.[22] The first three are square while the mastaka is circular. The main temple and the jagamohana differed in size, decorative themes, and design. It was the main temple's trunk, called the gandhi in medieval Hindu architecture texts, that was ruined long ago. The sanctum of the main temple is now without a roof and most of the original parts.[22]
On the east side of the main temple is the Nata mandira (lit. dance temple). It stands on a high, intricately carved platform. The relief on the platform is similar in style to that found on the surviving walls of the temple.[5] According to historical texts, there was an Aruna stambha (lit. Aruna's pillar) between the main temple and the Nata mandira, but it is no longer there because it was moved to the Jagannatha at Puri sometime during the troubled history of this temple.[5] According to Harle, the texts suggest that originally the complex was enclosed within a wall 865 feet (264 m) by 540 feet (160 m), with gateways on three sides.[5]
The stone temple was made from three types of stone.[23] Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the foundation. Khondalite was used for other parts of the temple. According to Mitra, the Khondalite stone weathers faster over time, and this may have contributed to erosion and accelerated the damage when parts of the temples were destroyed.[23] None of these stones occur naturally nearby, and the architects and artisans must have procured and moved the stones from distant sources, probably using the rivers and water channels near the site.[23] The masons then created ashlar, wherein the stones were polished and finished so as to make joints hardly visible.[23]
The original temple had a main sanctum sanctorum (vimana), which is estimated to have been 229 feet (70 m)[17] tall. The main vimana fell in 1837. The main mandapa audience hall (jagamohana), which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the dance hall (Nata mandira) and the dining hall (Bhoga mandapa).[2][17]
Reliefs and sculpture
The walls of the temple from the temple's base through the crowing elements are ornamented with reliefs, many finished to jewelry-quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments.[24] Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, mythological creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs.[24] Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.[25]
The upana (moulding) layer at the bottom of the platform contains friezes of elephants, marching soldiers, musicians, and images depicting the secular life of the people, including hunting scenes, a caravan of domesticated animals, people carrying supplies on their head or with the help of a bullock cart, travelers preparing a meal along the roadside, and festive processions.[26] On other walls are found images depicting the daily life of the elite as well as the common people. For example, girls are shown wringing their wet hair, standing by a tree, looking from a window, playing with pets, putting on makeup while looking into a mirror, playing musical instruments such as the vina, chasing away a monkey who is trying to snatch items, a family taking leave of their elderly grandmother who seems dressed for a pilgrimage, a mother blessing her son, a teacher with students, a yogi during a standing asana, a warrior being greeted with a namaste, a mother with her child, an old woman with a walking stick and a bowl in her hands, comical characters, among others.[27]
The Konark temple is also known for its erotic sculptures of maithunas.[28] These show couples in various stages of courtship and intimacy, and in some cases coital themes. Notorious in the colonial era for their uninhibited celebration of sexuality, these images are included with other aspects of human life as well as deities that are typically associated with tantra. This led some to propose that the erotic sculptures are linked to the vama marga (left hand tantra) tradition.[5] However, this is not supported by local literary sources, and these images may be the same kama and mithuna scenes found integrated into the art of many Hindu temples.[5] The erotic sculptures are found on the temple's Shikhara, and these illustrate all the bandhas (mudra forms) described in the Kamasutra.[20]
Other large sculptures were a part of the gateways of the temple complex. These include life-size lions subduing elephants, elephants subduing demons, and horses. A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.[29]
Hindu deities
The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940.[30]
The Hindu deities are also depicted in other parts of the temple. For example, the medallions of the chariot wheels of the Surya temple, as well as the anuratha artwork of the jagamohana, show Vishnu, Shiva, Gajalakshmi, Parvati, Krishna, Narasimha, and other gods and goddesses.[31] Also found on the jagamohana are sculptures of Vedic deities such as Indra, Agni, Kubera, Varuna, and Âdityas.[32]
Style
The temple follows the traditional style of Kalinga architecture. It is oriented towards the east so that the first rays of the sunrise strike the main entrance.[2] The temple, built from Khondalite rocks,[33][34] was originally constructed at the mouth of the river Chandrabhaga, but the waterline has receded since then.[citation needed] The wheels of the temple are sundials, which can be used to calculate time accurately to a minute.[35]
Other temples and monuments
The Konark Sun Temple complex has ruins of many subsidiary shrines and monuments around the main temple. Some of these include:
Mayadevi Temple – Located west-southwest from the entrance of the main temple,[36] it has been dated to the late 11th century, earlier than the main temple.[37] It consists of a sanctuary, a mandapa and, before it, an open platform. It was discovered during excavations carried out between 1900 and 1910. Early theories assumed that it was dedicated to Surya's wife and thus named the Mayadevi Temple. However, later studies suggested that it was also a Surya temple, albeit an older one that was fused into the complex when the monumental temple was built.[36] This temple also has numerous carvings and a square mandapa is overlain by a sapta-ratha. The sanctum of this Surya temple features a Nataraja. Other deities in the interior include a damaged Surya holding a lotus, along with Agni, Varuna, Vishnu, and Vayu.[38]
Vaishnava Temple – Located southwest of the so-called Mayadevi Temple, it was discovered during excavations in 1956. This discovery was significant because it confirmed that the Konark Sun Temple complex revered all the major Hindu traditions, and was not an exclusive worship place for the saura cult as previously believed. This is a small temple with sculptures of Balarama, Varaha, and Vamana–Trivikrama in its sanctum, marking it as a Vaishnavite temple. These images are shown as wearing dhoti and a lot of jewelry. The sanctum's primary idol is missing, as are images from some niches in the temple.[39] The site's significance as a place of Vaishnavism pilgrimage is attested to in Vaishnava texts. For example, Krishna Chaitanya, the early 16th-century scholar and founder of Gaudiya Vaishnavism, visited the Konark temple and prayed on its premises.[40]
Kitchen – This monument is found south of the bhoga mandapa (feeding hall). It, too, was discovered in excavations in the 1950s. It includes means to bring water, cisterns to store water, drains, a cooking floor, depressions in the floor probably for pounding spices or grains, as well several triple ovens (chulahs) for cooking. This structure may have been for festive occasions or a part of a community feeding hall.[41] According to Thomas Donaldson, the kitchen complex may have been added a little later than the original temple.[42]
Well 1 – This monument is located north of the kitchen, towards its eastern flank, was probably built to supply water to the community kitchen and bhoga mandapa. Near the well are a pillared mandapa and five structures, some with semi-circular steps whose role is unclear.[43]
Well 2 – This monument and associated structures are in the front of the northern staircase of the main temple, with foot rests, a washing platform, and a wash water drain system. It was probably designed for the use of pilgrims arriving at the temple.[44]
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum, which is maintained by the Archaeological Survey of India.[45] The fallen upper portion of the temple is believed to have been studded with many inscriptions.[46]
History
Ancient Texts
The oldest surviving Vedic hymns, such as hymn 1.115 of the Rigveda, mention Surya with particular reverence for the "rising sun" and its symbolism as dispeller of darkness, one who empowers knowledge, the good, and all life.[14] However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone, or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63) while in others it refers to a personified deity.[14][47][48] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.[49]
In the Brahmanas layer of Vedic literature, Surya appears with Agni (fire god) in the same hymns.[50] Surya is revered for the day, and Agni for its role during the night.[50] According to Kapila Vatsyayan, the concept of a Surya–Agni relationship evolves, and in later literature Surya is described as Agni representing the first principle and the seed of the universe.[51] It is in the Brahmanas layer of the Vedas,[52][53] and the Upanishads that Surya is explicitly linked to the power of sight, and to visual perception and knowledge. He is then internalized and said to be the eye, as ancient Hindu sages suggested abandonment of external rituals to gods in favor of internal reflection and meditation of the gods within, in one's journey to realize the Atman (soul, self) within, in texts such as the Brihadaranyaka Upanishad, Chandogya Upanishad, Kaushitaki Upanishad, and others.[54][55][56]
The Mahabharata epic opens its chapter on Surya by reverentially calling him the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation".[14] In the Mahabharata, Karna is the son of Surya and an unmarried princess named Kunti.[14] The epic describes Kunti's difficult life as an unmarried mother, then her abandonment of Karna, followed by her lifelong grief. Baby Karna is found and then adopted, and grows up to become one of the central characters in the great battle of Kurukshetra where he fights his half-brothers.[57]
Konark in texts
Konark, also referred to in Indian texts by the name Kainapara, was a significant trading port by the early centuries of the common era.[58] The current Konark temple dates to the 13th century, though evidence suggests that a sun temple was built in the Konark area by at least the 9th century.[59] Several Puranas mention Surya worship centers in Mundira, which may have been the earlier name for Konark, Kalapriya (Mathura), and Multan (now in Pakistan).[60] The Chinese Buddhist pilgrim and traveler Hiuen-tsang (also referred to as Xuanzang) mentions a port city in Odisha named Charitra. He describes the city as prosperous, with five convents and "storeyed towers that are very high and carved with saintly figures exquisitely done". Since he visited India in the 7th century, he could not have been referring to the 13th-century temple, but his description suggests either Konark or another Odisha port city already featuring towering structures with sculptures.[40]
According to the Madala Panji, there was at one time another temple in the region built by Pundara Kesari. He may have been Puranjaya, the 7th-century ruler of the Somavasmi Dynasty.[61]
Construction
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty, r. 1238–1264 CE– . It is one of the few Hindu temples whose planning and construction records written in Sanskrit in the Odiya script have been preserved in the form of palm leaf manuscripts that were discovered in a village in the 1960s and subsequently translated.[62] The temple was sponsored by the king, and its construction was overseen by Siva Samantaraya Mahapatra. It was built near an old Surya temple. The sculpture in the older temple's sanctum was re-consecrated and incorporated into the newer larger temple. This chronology of temple site's evolution is supported by many copper plate inscriptions of the era in which the Konark temple is referred to as the "great cottage".[40]
According to James Harle, the temple as built in the 13th century consisted of two main structures, the dance mandapa and the great temple (deul). The smaller mandapa is the structure that survives; the great deul collapsed sometime in the late 16th century or after. According to Harle, the original temple "must originally have stood to a height of some 225 feet (69 m)", but only parts of its walls and decorative mouldings remain.[5]
Damage and ruins
The temple was in ruins before its restoration. Speculation continues as to the cause of the destruction of the temple. Early theories stated that the temple was never completed and collapsed during construction. This is contradicted by textual evidence and evidence from inscriptions. The Kenduli copper plate inscription of 1384 CE from the reign of Narasimha IV seems to indicate that the temple was not only completed but an active site of worship. Another inscription states that various deities in the temple were consecrated, also suggesting that construction of the temple had been completed.[63] A non-Hindu textual source, the Akbar-era text Ain-i-Akbari by Abul Fazl dated to the 16th century, mentions the Konark temple,[40] describing it as a prosperous site with a temple that made visitors "astonished at its sight", with no mention of ruins.[63][64][65]
Texts from the 19th century do mention ruins, which means the temple was damaged either intentionally or through natural causes sometime between 1556 and 1800 CE. The intentional-damage theory is supported by Mughal era records that mention the Muslim invader Kalapahar attacking and destroying Jagannath Puri and the Konark temple.[63][66][67] Other texts state that the temple was sacked several times by Muslim armies between the 15th and 17th centuries.[1][40] Islamic texts describing the raids of Kalapahar mention his army's first attempt to destroy the temple in 1565, but they failed. They inflicted only minor damage and carried away the copper kalasa.[40]
A medieval era description of Konark
When nine flights of steps are passed, a spacious court appears with a large arch of stone upon which are carved the sun and other planets. Around them are a variety of worshippers of every class, each after its manner with bowed heads, standing, sitting, prostrate, laughing, weeping, lost in amaze or in rapt attention, and following these are divers musicians and strange animals which never existed but in imagination.
The controversial Hindu text Madala Panji and regional tradition state that Kalapahad attacked again and damaged the temple in 1568.[68] The natural-damage theory is supported by the nearness of the temple to the shore and the monsoons in the region that would tend to cause damage. However, the existence of nearby stone temples in the Odisha region that were built earlier and have stood without damage casts doubt to this theory. According to P. Parya, the number of rings of moss and lichen growth found on the stone ruins suggests the damage occurred sometime around the 1570s, but this approach does not indicate why or by whom.[63]
According to Thomas Donaldson, evidence suggests that the damage and the temple's ruined condition can be dated to between the late 16th century and the early 17th century from the records of various surveys and repairs found in early 17th-century texts. These also record that the temple remained a site of worship in the early 17th century. These records do not state whether the ruins were being used by devotees to gather and worship, or part of the damaged temple was still in use for some other purpose. This evidence of the use of the temple, however, contradicts any theories that the late 16th-century Muslim invasion had completely destroyed the site.[69]
Aruna Stambha
In the last quarter of the 18th century, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari named Goswain (or Goswami).[70][71] The pillar, made of monolithic chlorite, is 33 feet 8 inches (10.26 m) tall and is dedicated to Aruna, the charioteer of the Sun god.[71]
Preservation Efforts
In 1803 the East India Marine Board requested the Governor General of Bengal that conservation efforts be undertaken. However, the only conservation measure put in place at the time was to prohibit further removal of stones from the site. Lacking structural support, the last part of the main tower still standing, a small broken curved section, collapsed in 1848.[72]
The then-Raja of Khurda, who had jurisdiction over this region in the early 19th century, removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process.[73] In 1838 the Asiatic Society of Bengal requested that conservation efforts be undertaken, but the requests were denied, and only measures to prevent vandalism were put in place.[72]
In 1859 the Asiatic Society of Bengal proposed, and in 1867 attempted to relocate an architrave of the Konark temple depicting the navagraha to the Indian Museum in Calcutta. This attempt was abandoned as funds had run out.[72] In 1894 thirteen sculptures were moved to the Indian Museum. Local Hindu population objected to further damage and removal of temple ruins. The government issued orders to respect the local sentiments.[72] In 1903, when a major excavation was attempted nearby, the then-Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana. The Mukhasala and Nata Mandir were repaired by 1905.[63][74]
In 1906 casuarina and punnang trees were planted facing the sea to provide a buffer against sand-laden winds.[72] In 1909 the Mayadevi temple was discovered while removing sand and debris.[72] The temple was granted World Heritage Site status by the UNESCO in 1984.[2]
Reception
The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture.[75]
The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".[76] The Victorian mindset saw pornography in the artwork of Konark and wondered why there was no "shame and guilt in this pleasure in filth", while Alan Watts stated that there was no comprehensible reason to separate spirituality from love, sex, and religious arts.[77] According to Ernest Binfield Havell, the Konark temple is "one of the grandest examples of Indian sculpture extant", adding that they express "as much fire and passion as the greatest European art" such as that found in Venice.[78]
Indian writers, too, have expressed a spectrum of opinions. For example, the leftist author Bhattacharya criticized the "brahmanical temple erotica", offering it as evidence of "female exploitation by the dominant classes of Hindu male society", and a "reflection of abnormal sex desires".[79] In contrast, the Nobel Laureate Tagore wrote,
Here the language of stone surpasses the language of human.
— Rabindranath Tagore[80][81]
In alchemy, earth was believed to be primarily cold, and secondarily dry, (as per ... is Ghob, and the earth elementals (following Paracelsus) are called gnomes. ... left point of the pentagram in the Supreme Invoking Ritual of the Pentagram.Modernist Alchemy: Poetry and the Occult
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Timothy Materer - 1995 - Literary Criticism
In his description of the magical powers of the pentagram, he cites the most famous of the medieval alchemists, Paracelsus (63). In a passage particularly ...
Paracelsus | The Tree of Life
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The key to Alchemy – The Trinities ... The trinity in Alchemy, based on Jacop Boehme and Paracelsus, are Sulphur, ..... The Pentagram and the Ether Streams.
Although the origin of this symbol is lost in time, some occult authorities try to trace the source of its esoteric significance back to an astronomical phenomena, the so called “Pentagram of Venus" . The synodic period of Venus is approximately 584 days. Plotting the greatest elongation west or east of this movement five successive times over a period of approximately 8 years and 5 days traces the figure of a Pentagram on the Zodiacal belt. Incidentally, the numbers 5 and 8 continue to play a role in the Rosicrucian symbolism of the pentagram, as will be seen further on.
The pentagram has been found on potsherds from the pre-cuneiform Uruk period of ancient Babylon (3500BCE). In later periods of Mesopotamian civilization it appears in cuneiform writing to represent the four cardinal directions with the fifth point representing “above;” as such, it represented the dominion of royal authority extending to “the four corners of the world and the heavens above.”
The symbol also appears in Egyptian hieroglyphics, associated with the Goddess Sopdet, who was represented in the night sky by the brightest star, Sirius, the so called Dog Star in the constellation of Canis Major[ii]. Interestingly, the name Sirius is from the Greek word seirios, which means “burning,” and brings to mind the Blazing Star of Alchemy.
The Pythagoreans called the Pentagram Hugieia, with the combined meanings of “health,” “wholeness” and “blessings.” The letters of this word were placed around the points of the pentagram. According to Iamblichus, the five-pointed star was the Pythagorean sign of recognition and held sacred as a symbol of divine perfection. The Greek Goddess of Health was Hygeia, or the Roman Salus. Both of these names appear on talismans from Greek and Roman periods, with the image of the pentagram central.
Pythagoras was a known traveler, and the fact that he appears in Indian tantrik texts by name as Yavanacharya (“the Greek teacher”) may explain why the Pentagram also appears in early Hindu tantrik writings and art.
To the ancient Hebrews, the Pentagram was the symbol of Truth and the five books of the Pentateuch. Ameth, the Hebrew word for Truth, is associated with humanity by the kabbalistic technique of temurah using the Aiq Beqr system, which utilizes letter substitution according to specific rules[iii]. Later it will be seen that the very geometry of the Pentagram also encodes the idea of mankind and Truth.
The Pentagram found its way onto many Gnostic amulets. According to Budge. Gnostic amulets contained the pentacle which contained the ineffable name YHWH within it. More often the names Moses or Solomon were represented, Moses because he was connected with the setting up of the brazen serpent, and Solomon because his seal worked miracles.”[iv]. The early Christians associated the Pentagram with the five wounds of Christ. Later kabalistic Christians would associate the name of Christ in Hebrew characters, IHShVH or Yeheshua, to the five points of the pentagram. This method also shows the divine Tetragrammaton associated to the four points of the star, with the fifth top point being ascribed to the Hebrew letter shin, which symbolized spirit and fire, or the Holy Ghost. Thus the pentagram represented the descent of the divine fire into the world.,The Pentagram has been associated with the Star of Bethlehem or Three Kings’ Star, which led the Magi to the newborn Christ. Of these ideas Pike writes: The Star which guided [the Magi] is that same Blazing Star, the image whereof we find in all initiations. To the Alchemists it is the sign of the Quintessence; to the Magists, the Grand Arcanum; to the Kabalists, the Sacred Pentagram. The study of this Pentagram could not but lead the Magi to the knowledge of the New Name which was about to raise itself above all names, and cause all creatures capable of adoration to bend the knee.[v] In the Arthurian legend of Sir Gawain and the Green Knight, the Pentagram was emblazoned in gold on Gawain’s shield, representing the five virtues of generosity, courtesy, chastity, chivalry and piety. The symbol of the pentagram appears on many Knights Templar graves in France, as well as being intrinsic to the architecture and positioning of many chapels. One dramatic example is the mysterious shrine of Rennes du Chartres, said to be a center of Templar activity, which is situated in the center of a ring of mountains that form a nearly perfect pentagram. The symbolism of the Western Mystery tradition has assigned the four elements of earth, air, water and fire to the four points of the pentagram, with the top point being attributed to the quintessence, or spirit. From this pattern is then attributed Kabalistic hierarchies of Archangles (Auriel for Earth, Raphael to Air, Gabriel for Water, and Michael with Fire), the Four Worlds (Assiah, Yetzirah, Briah and Atziluth), parts of the soul, and many more correspondences which are too lengthy to address in this paper.
Central on our Rosicrucian Altars in the S.R.I.C.F. is the figure of the Pentagram (also called the pentacle, pentalpha, pentangle, pentancle), a five pointed star, formed by 5 straight lines between the vertices of a pentagon and enclosing another pentagon. The name pentagram is Greek, from penta (“five”) and gramma (“letter”). One of the most intriguing symbols of esotericism, it is has been held to have magical properties since time immemorial, and is a symbol that has been both revered by initiates as a talisman of power, and shunned by the masses in abject fear for hundreds of years.
Today the image of the five pointed star has become almost obsequious to the media, and the symbol has been used to promote Rock music and movies, feed Satanic furor with tales of “ritual slayings,” and other hype. Additionally, the many neo-pagan movements have adopted the pentagram as their ensign of “natural religion.” More recently, novels such as The Davinci Code have weaved a colorful blend of fact and fiction, and once again brought the image of the Pentagram into popular view. At the same time, there is a long, somewhat quiet esoteric history of usage associated with this symbol which initiates in all times have utilized.
Despite the seeming commonplace appearance of this symbol, it is little understood. This paper will endeavor to highlight some of the symbolic meanings of the pentagram, looking at historical usage across cultures and languages; Masonic usage in both the Craft and Higher Degrees, with emphasis on our Rosicrucian usage; the geometric properties inherent in the symbol, and western occult traditions of initiation and ceremonial magick. It is hoped that this paper will help to cut through the popular misinformation about this symbol, and shed some Light on the real properties and use of this powerful, sacred figure.
HISTORICAL USAGE
Although the origin of this symbol is lost in time, some occult authorities try to trace the source of its esoteric significance back to an astronomical phenomena, the so called “Pentagram of Venus” shown in the figure below[i]:
pentagram_venus
The synodic period of Venus is approximately 584 days. Plotting the greatest elongation west or east of this movement five successive times over a period of approximately 8 years and 5 days traces the figure of a Pentagram on the Zodiacal belt. Incidentally, the numbers 5 and 8 continue to play a role in the Rosicrucian symbolism of the pentagram, as will be seen further on.
The pentagram has been found on potsherds from the pre-cuneiform Uruk period of ancient Babylon (3500BCE). In later periods of Mesopotamian civilization it appears in cuneiform writing to represent the four cardinal directions with the fifth point representing “above;” as such, it represented the dominion of royal authority extending to “the four corners of the world and the heavens above.”
The symbol also appears in Egyptian hieroglyphics, associated with the Goddess Sopdet, who was represented in the night sky by the brightest star, Sirius, the so called Dog Star in the constellation of Canis Major[ii]. Interestingly, the name Sirius is from the Greek word seirios, which means “burning,” and brings to mind the Blazing Star of Masonry.
The Pythagoreans called the Pentagram Hugieia, with the combined meanings of “health,” “wholeness” and “blessings.” The letters of this word were placed around the points of the pentagram. According to Iamblichus, the five-pointed star was the Pythagorean sign of recognition and held sacred as a symbol of divine perfection. The Greek Goddess of Health was Hygeia, or the Roman Salus. Both of these names appear on talismans from Greek and Roman periods, with the image of the pentagram central.
Pythagoras was a known traveler, and the fact that he appears in Indian tantrik texts by name as Yavanacharya (“the Greek teacher”) may explain why the Pentagram also appears in early Hindu tantrik writings and art.
To the ancient Hebrews, the Pentagram was the symbol of Truth and the five books of the Pentateuch. Ameth, the Hebrew word for Truth, is associated with humanity by the kabbalistic technique of temurah using the Aiq Beqr system, which utilizes letter substitution according to specific rules[iii]. Later it will be seen that the very geometry of the Pentagram also encodes the idea of mankind and Truth.
The Pentagram found its way onto many Gnostic amulets. According to Budge
Gnostic amulets contained the pentacle which contained the ineffable name YHWH within it. More often the names Moses or Solomon were represented, Moses because he was connected with the setting up of the brazen serpent, and Solomon because his seal worked miracles.”[iv]
The early Christians associated the Pentagram with the five wounds of Christ. Later kabalistic Christians would associate the name of Christ in Hebrew characters, IHShVH or Yeheshua, to the five points of the pentagram. This method also shows the divine Tetragrammaton associated to the four points of the star, with the fifth top point being ascribed to the Hebrew letter shin, which symbolized spirit and fire, or the Holy Ghost. Thus the pentagram represented the descent of the divine fire into the world.
The Pentagram has been associated with the Star of Bethlehem or Three Kings’ Star, which led the Magi to the newborn Christ. Of these ideas Pike writes:
The Star which guided [the Magi] is that same Blazing Star, the image whereof we find in all initiations. To the Alchemists it is the sign of the Quintessence; to the Magists, the Grand Arcanum; to the Kabalists, the Sacred Pentagram. The study of this Pentagram could not but lead the Magi to the knowledge of the New Name which was about to raise itself above all names, and cause all creatures capable of adoration to bend the knee.[v]
In the Arthurian legend of Sir Gawain and the Green Knight, the Pentagram was emblazoned in gold on Gawain’s shield, representing the five virtues of generosity, courtesy, chastity, chivalry and piety.
The symbol of the pentagram appears on many Knights Templar graves in France, as well as being intrinsic to the architecture and positioning of many chapels. One dramatic example is the mysterious shrine of Rennes du Chartres, said to be a center of Templar activity, which is situated in the center of a ring of mountains that form a nearly perfect pentagram.
The symbolism of the Western Mystery tradition has assigned the four elements of earth, air, water and fire to the four points of the pentagram, with the top point being attributed to the quintessence, or spirit. From this pattern is then attributed Kabalistic hierarchies of Archangles (Auriel for Earth, Raphael to Air, Gabriel for Water, and Michael with Fire), the Four Worlds (Assiah, Yetzirah, Briah and Atziluth), parts of the soul, and many more correspondences which are too lengthy to address in this paper.
MASONIC USAGE
The Zelator ritual of S.R.I.C.F. briefly introduces the symbolism of the Pentagram on the Altar to the new postulant:
The Five-pointed Star reminds us of the five points of felicity, which are to walk with, to intercede for, to love, to assist, and to pray for our Brethren, so as to be united with them in heart and mind.
As an emblem of the five points of felicity, the Pentagram reminds us of our duties towards our brethren of the Rose and Cross throughout the world.
Further in the ritual the subject of number symbolism is addressed, and the number five is explained as
the emblem of Health and Safety; it is also denominated the Occult number; the Pentagram was a famous talisman; it represents Spirit and the four elements.
The reference to health and safety is interesting as it is reminiscent of the Greek hygeia discussed earlier.
The Pentagram may be seen as symbolic of the entire course of initiation in the S.R.I.C.F. First Order, as the elemental degrees are easily associated with the elemental points of the Pentagram; while initiation into the Second Order represents the quintessence or fifth, top-most point of the Star. In this way, the candidate of the S.R.I.C.F. symbolically builds up the power of the pentagram internally as they progress through and assimilate the lessons of the degrees. Entrance to the Second Order would then represent Adepthood, as the initiate has established the flaming star within their very heart of hearts and embodies the very essence of the Pentagram, and is a living embodiment of the Stone of the Philosophers.
Within the Craft degrees, the figure of the Pentagram may also be seen in the image of the 5 rayed Blazing Star. According to Albert Pike, the pentagram is synonymous with the Blazing Star of Masonic Lodges:
The Blazing Star in our Lodges, we have already said, represents Sirius, Anubis, or Mercury, Guardian and Guide of Souls. Our Ancient English brethren also considered it an emblem of the Sun. In the old Lectures they said: ‘The Blazing Star or Glory in the centre refers us to that Grand Luminary the Sun, which enlightens the Earth, and by its genial influence dispenses blessings to mankind. It is also said in those lectures to be an emblem of Prudence. The word Prudentia means, in its original and fullest signification, Foresight: and accordingly the Blazing Star has been regarded as an emblem of Omniscience, or the All-
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THE SACRED PENTAGRAM
by Bro.Gregory H. Peters
Burlingame Lodge No. 400 F&AM
Grand Lodge of California
32° Ancient & Accepted Scottish Rite in the Valley of Burlingame
Companion of King Solomon Chapter No. 95
Frater of the Golden State College of Societas Rosicruciana in Civitatibus Foederatis.
Note: paper presented first at the November 2004 Convocation of Golden State College Societas Rosicruciana in Civitatibus Foederatis.
Editor's Note: the paper has been edited for publication on this website
The Sacred Pentagram
INTRODUCTION
Central on our Rosicrucian Altars in the S.R.I.C.F. is the figure of the Pentagram (also called the pentacle, pentalpha, pentangle, pentancle), a five pointed star, formed by 5 straight lines between the vertices of a pentagon and enclosing another pentagon. The name pentagram is Greek, from penta (“five”) and gramma (“letter”). One of the most intriguing symbols of esotericism, it is has been held to have magical properties since time immemorial, and is a symbol that has been both revered by initiates as a talisman of power, and shunned by the masses in abject fear for hundreds of years.
Today the image of the five pointed star has become almost obsequious to the media, and the symbol has been used to promote Rock music and movies, feed Satanic furor with tales of “ritual slayings,” and other hype. Additionally, the many neo-pagan movements have adopted the pentagram as their ensign of “natural religion.” More recently, novels such as The Davinci Code have weaved a colorful blend of fact and fiction, and once again brought the image of the Pentagram into popular view. At the same time, there is a long, somewhat quiet esoteric history of usage associated with this symbol which initiates in all times have utilized.
Despite the seeming commonplace appearance of this symbol, it is little understood. This paper will endeavor to highlight some of the symbolic meanings of the pentagram, looking at historical usage across cultures and languages; Masonic usage in both the Craft and Higher Degrees, with emphasis on our Rosicrucian usage; the geometric properties inherent in the symbol, and western occult traditions of initiation and ceremonial magick. It is hoped that this paper will help to cut through the popular misinformation about this symbol, and shed some Light on the real properties and use of this powerful, sacred figure.
HISTORICAL USAGE
Although the origin of this symbol is lost in time, some occult authorities try to trace the source of its esoteric significance back to an astronomical phenomena, the so called “Pentagram of Venus” shown in the figure below[i]:
pentagram_venus
The synodic period of Venus is approximately 584 days. Plotting the greatest elongation west or east of this movement five successive times over a period of approximately 8 years and 5 days traces the figure of a Pentagram on the Zodiacal belt. Incidentally, the numbers 5 and 8 continue to play a role in the Rosicrucian symbolism of the pentagram, as will be seen further on.
The pentagram has been found on potsherds from the pre-cuneiform Uruk period of ancient Babylon (3500BCE). In later periods of Mesopotamian civilization it appears in cuneiform writing to represent the four cardinal directions with the fifth point representing “above;” as such, it represented the dominion of royal authority extending to “the four corners of the world and the heavens above.”
The symbol also appears in Egyptian hieroglyphics, associated with the Goddess Sopdet, who was represented in the night sky by the brightest star, Sirius, the so called Dog Star in the constellation of Canis Major[ii]. Interestingly, the name Sirius is from the Greek word seirios, which means “burning,” and brings to mind the Blazing Star of Masonry.
The Pythagoreans called the Pentagram Hugieia, with the combined meanings of “health,” “wholeness” and “blessings.” The letters of this word were placed around the points of the pentagram. According to Iamblichus, the five-pointed star was the Pythagorean sign of recognition and held sacred as a symbol of divine perfection. The Greek Goddess of Health was Hygeia, or the Roman Salus. Both of these names appear on talismans from Greek and Roman periods, with the image of the pentagram central.
Pythagoras was a known traveler, and the fact that he appears in Indian tantrik texts by name as Yavanacharya (“the Greek teacher”) may explain why the Pentagram also appears in early Hindu tantrik writings and art.
To the ancient Hebrews, the Pentagram was the symbol of Truth and the five books of the Pentateuch. Ameth, the Hebrew word for Truth, is associated with humanity by the kabbalistic technique of temurah using the Aiq Beqr system, which utilizes letter substitution according to specific rules[iii]. Later it will be seen that the very geometry of the Pentagram also encodes the idea of mankind and Truth.
The Pentagram found its way onto many Gnostic amulets. According to Budge
Gnostic amulets contained the pentacle which contained the ineffable name YHWH within it. More often the names Moses or Solomon were represented, Moses because he was connected with the setting up of the brazen serpent, and Solomon because his seal worked miracles.”[iv]
The early Christians associated the Pentagram with the five wounds of Christ. Later kabalistic Christians would associate the name of Christ in Hebrew characters, IHShVH or Yeheshua, to the five points of the pentagram. This method also shows the divine Tetragrammaton associated to the four points of the star, with the fifth top point being ascribed to the Hebrew letter shin, which symbolized spirit and fire, or the Holy Ghost. Thus the pentagram represented the descent of the divine fire into the world.
The Pentagram has been associated with the Star of Bethlehem or Three Kings’ Star, which led the Magi to the newborn Christ. Of these ideas Pike writes:
The Star which guided [the Magi] is that same Blazing Star, the image whereof we find in all initiations. To the Alchemists it is the sign of the Quintessence; to the Magists, the Grand Arcanum; to the Kabalists, the Sacred Pentagram. The study of this Pentagram could not but lead the Magi to the knowledge of the New Name which was about to raise itself above all names, and cause all creatures capable of adoration to bend the knee.[v]
In the Arthurian legend of Sir Gawain and the Green Knight, the Pentagram was emblazoned in gold on Gawain’s shield, representing the five virtues of generosity, courtesy, chastity, chivalry and piety.
The symbol of the pentagram appears on many Knights Templar graves in France, as well as being intrinsic to the architecture and positioning of many chapels. One dramatic example is the mysterious shrine of Rennes du Chartres, said to be a center of Templar activity, which is situated in the center of a ring of mountains that form a nearly perfect pentagram.
The symbolism of the Western Mystery tradition has assigned the four elements of earth, air, water and fire to the four points of the pentagram, with the top point being attributed to the quintessence, or spirit. From this pattern is then attributed Kabalistic hierarchies of Archangles (Auriel for Earth, Raphael to Air, Gabriel for Water, and Michael with Fire), the Four Worlds (Assiah, Yetzirah, Briah and Atziluth), parts of the soul, and many more correspondences which are too lengthy to address in this paper.
ALCHEMIC USAGE: The Zelator ritual of S.R.I.C.F. briefly introduces the symbolism of the Pentagram on the Altar to the new postulant: The Five-pointed Star reminds us of the five points of felicity, which are to walk with, to intercede for, to love, to assist, and to pray for our Brethren, so as to be united with them in heart and mind. As an emblem of the five points of felicity, the Pentagram reminds us of our duties towards our brethren of the Rose and Cross throughout the world. Further in the ritual the subject of number symbolism is addressed, and the number five is explained as the emblem of Health and Safety; it is also denominated the Occult number; the Pentagram was a famous talisman; it represents Spirit and the four elements.
The reference to health and safety is interesting as it is reminiscent of the Greek hygeia discussed earlier.
The Pentagram may be seen as symbolic of the entire course of initiation in the S.R.I.C.F. First Order, as the elemental degrees are easily associated with the elemental points of the Pentagram; while initiation into the Second Order represents the quintessence or fifth, top-most point of the Star. In this way, the candidate of the S.R.I.C.F. symbolically builds up the power of the pentagram internally as they progress through and assimilate the lessons of the degrees. Entrance to the Second Order would then represent Adepthood, as the initiate has established the flaming star within their very heart of hearts and embodies the very essence of the Pentagram, and is a living embodiment of the Stone of the Philosophers.
Within the Craft degrees, the figure of the Pentagram may also be seen in the image of the 5 rayed Blazing Star. According to Albert Pike, the pentagram is synonymous with the Blazing Star of Masonic Lodges:
The Blazing Star in our Lodges, we have already said, represents Sirius, Anubis, or Mercury, Guardian and Guide of Souls. Our Ancient English brethren also considered it an emblem of the Sun. In the old Lectures they said: ‘The Blazing Star or Glory in the centre refers us to that Grand Luminary the Sun, which enlightens the Earth, and by its genial influence dispenses blessings to mankind. It is also said in those lectures to be an emblem of Prudence. The word Prudentia means, in its original and fullest signification, Foresight: and accordingly the Blazing Star has been regarded as an emblem of Omniscience, or the All-Seeing Eye, which to the Ancients was the Sun.[vi]
He further associates this star with the “Divine Energy, manifested as Light, creating the Universe.”[vii]
The Alchemic scholar Rex Hutchins asserts that the Pentagram is the symbol of the Divine in man… The five-pointed star with a single point upward represents the Divine. It also symbolizes man for its five points allude to the five senses, the five members (head, arms and legs) and his five fingers on each hand, which signify the tokens that distinguish alchemists. Furthermore he writes that this figure is the symbol of the Microcosm, the universe where humans dwell. Since the pentagon which encloses the pentagram may be formed by connecting the five points of the human body, for many centuries the symbol was also used to represent humanity in general. Within this symbol then is a representation of humanity, and our Divine role in the Universe as co-creators of eternity. In addition to being a central altar piece in our Rosicrucian Temples, and the Blazing Star of the Craft Lodges, the Pentagram appears as an ensign in some of the High Degrees and rites. For example, it is central on the apron of the 28th Degree of the Ancient & Accepted Scottish Rite, Knight of the Sun or Prince Adept. In discussing the symbol of the pentagram in the lecture of this degree, Pike writes in Morals & Dogma that in certain undertakings [the Pentagram] cannot be dispensed with. It is what is termed the Kabalistic pentacle… This carries with it the power of commanding the spirits of the elements. A central lesson of this highly Kabalistic and Alchemical degree is that there is no death, only change. The Pentagram, symbol of humanity as the microcosm is an apt representation of this wisdom which, to one who has internalized it, may have that contempt for death which is expressed in the line from 1 Corinthians – “Where, O death, is your victory? Where, O death, is your sting?”
In the same lecture, Pike alludes to the true meaning of this radiant symbol: When the masters in Alchemy say that it needs but little time and expense to accomplish the works of Science. When they affirm, above all, that but a single vessel is necessary, when they speak of the Great and Single furnace, which all can use, which is within the reach of all the world, and which men possess without knowing it, they allude to the philosophical and moral Alchemy. In fact, a strong and determined will can, in a little while, attain complete independence; and we all possess that chemical instrument, the great and single athanor or furnace, which serves to separate the subtle from the gross, and the fixed from the volatile. This instrument, complete as the world, and accurate as the mathematics themselves, is designated by the Sages under the emblem of the Pentagram or Star with five points, the absolute sign of human intelligence. It may be said that the Pentagram represents the power of the Divine Will, as manifested in Humanity, to effect conscious change. As conscious participants with the Divine Will, humanity is in the unique position of being able to be co-creators with the Divine. Our sisters of the Eastern Star utilize a Pentagram as their primary symbol. Interestingly, their usage places the pentagram “upside down,” with two points on top and a single point facing down. According to esoteric tradition, this usage indicates the “evil” forces of darkness. The occult authority Eliphas Levi writes in Transcendental Magic: The Pentagram with two horns in the ascendant represents Satan, or the goat of the Sabbath, and with the single horn in the ascendant is the sign of the Savior. It is the figure of the human body with the four members and a point representing the head; a human figure head downward naturally represents the demon, that is, intellectual subversion, disorder and folly. As to whether the author of the Easter Star rituals was aware of these qualities when designing the emblem of the rite is most likely unknown. A contemporary member of the Eastern Star has informed us that the explanation of the symbol she received attributes the two points as facing towards the east, providing an unobstructed channel from the altar to the Eastern dais, as well as creating a confined center or “chamber” in the east that is formed between the two extended points and the dais. All Alchemists would be familiar with the idea of having the path from the Altar to the East clear at all times, and this may in fact be the most probable reason for the design., manifested as Light, creating the Universe.”[vii]
The alchemists asserts that the Pentagram is the symbol of the Divine in man… The five-pointed star with a single point upward represents the Divine. It also symbolizes man for its five points allude to the five senses, the five members (head, arms and legs) and his five fingers on each hand, which signify the tokens that distinguish alchemits.Furthermore he writes that this figure is the symbol of the Microcosm, the universe where humans dwell. Since the pentagon which encloses the pentagram may be formed by connecting the five points of the human body, for many centuries the symbol was also used to represent humanity in general. Within this symbol then is a representation of humanity, and our Divine role in the Universe as co-creators of eternity.
In addition to being a central altar piece in our Rosicrucian Temples, and the Blazing Star of the Craft Lodges, the Pentagram appears as an ensign in some of the High Degrees and rites. For example, it is central on the apron of the 28th Degree of the Ancient & Accepted Scottish Rite, Knight of the Sun or Prince Adept. In discussing the symbol of the pentagram in the lecture of this degree, Pike writes in Morals & Dogma that in certain undertakings [the Pentagram] cannot be dispensed with. It is what is termed the Kabalistic pentacle… This carries with it the power of commanding the spirits of the elements.
A central lesson of this highly Kabalistic and Alchemical degree is that there is no death, only change. The Pentagram, symbol of humanity as the microcosm is an apt representation of this wisdom which, to one who has internalized it, may have that contempt for death which is expressed in the line from 1 Corinthians – “Where, O death, is your victory? Where, O death, is your sting?”
In the same lecture, Pike alludes to the true meaning of this radiant symbol:
When the masters in Alchemy say that it needs but little time and expense to accomplish the works of Science. When they affirm, above all, that but a single vessel is necessary, when they speak of the Great and Single furnace, which all can use, which is within the reach of all the world, and which men possess without knowing it, they allude to the philosophical and moral Alchemy. In fact, a strong and determined will can, in a little while, attain complete independence; and we all possess that chemical instrument, the great and single athanor or furnace, which serves to separate the subtle from the gross, and the fixed from the volatile. This instrument, complete as the world, and accurate as the mathematics themselves, is designated by the Sages under the emblem of the Pentagram or Star with five points, the absolute sign of human intelligence. It may be said that the Pentagram represents the power of the Divine Will, as manifested in Humanity, to effect conscious change. As conscious participants with the Divine Will, humanity is in the unique position of being able to be co-creators with the Divine. Our sisters of the Eastern Star utilize a Pentagram as their primary symbol. Interestingly, their usage places the pentagram “upside down,” with two points on top and a single point facing down. According to esoteric tradition, this usage indicates the “evil” forces of darkness. The occult authority Eliphas Levi writes in Transcendental Magic:
The Pentagram with two horns in the ascendant represents Satan, or the goat of the Sabbath, and with the single horn in the ascendant is the sign of the Savior. It is the figure of the human body with the four members and a point representing the head; a human figure head downward naturally represents the demon, that is, intellectual subversion, disorder and folly. As to whether the author of the Easter Star rituals was aware of these qualities when designing the emblem of the rite is most likely unknown. A contemporary member of the Eastern Star has informed us that the explanation of the symbol she received attributes the two points as facing towards the east, providing an unobstructed channel from the altar to the Eastern dais, as well as creating a confined center or “chamber” in the east that is formed between the two extended points and the dais. All alchemists would be familiar with the idea of having the path from the Altar to the East clear at all times, and this may in fact be the most probable reason for the design. The Pentagram has a long history of occult use. It was by use of a poorly constructed Pentagram that Mephistopheles was able to manifest in the circle of Faust! Magical grimoires of the western esoteric tradition are replete with examples of pentagrams being used as protective and evocatory talismans, or as the seals of circles of the Art which were traced on the floor of the ritual chamber. Literally thousands of examples are extant from the works of Trithemius, Dr. John Dee, Heinrich Agrippa, Kircher, Bruno, and many others, which show the hermetic and kabalistic applications of the Pentagram in ceremonial ritual use.Perhaps one of the most evocative descriptions of the occult powers of this symbol comes from the magician Eliphas Levi (Alphonse Louis Constant), who writes of the Pentagram in his book Transcendental Magic:
The Pentagram expresses the mind's domination over the elements and it is by this sign that we bind the demons of the air, the spirits of fire, the spectres of water, and the ghosts of earth. It is the Star of the Magi, the burning star of the Gnostic schools, the sign of intellectual omnipotence and autocracy. Its complete comprehension is the key of two worlds‑‑it is absolute natural philosophy and natural science. Its use, how-ever, is most dangerous to operators who do not completely and perfectly understand it. All mysteries of magic, all symbols of the gnosis, all figures of occultism, all Qabalis-tic keys of prophecy, are resumed in the sign of the Pentagram, which Paracelsus pro-claims to be the greatest and most potent of all. [...] this absolute sign, this sign as old or as older than history, should and must actually exercise an incalculable influence on souls disengaged from their material envelope. Armed therewith and suitably disposed, we can behold infinity through the medium of that faculty which is as the Soul’s Eye, and can cause ourselves to be served by legions of angels and demon hordes. The empire of the Will over the Astral Light which is the physical soul of the four elements, is represented in magic by the Pentagram.,If it be asked how a sign can exercise that immense power over spirits which is claimed for the Pentagram, we inquire in turn why the Christian world bows before the sign of the cross. The sign by itself is nothing, it derives strength from the doctrine which is resumes, and of which it is the Logos. Now, a sign which epitomizes by expression all the occult forces of Nature, which has always manifested to the elementary and other spirits a power superior to their own, naturally strikes them with fear and respect, and enforces their obedience by the empire of knowledge and will over ignorance and weakness. The points of the pentagram are often associated with the five-fold name of the Christ, IHShVH or Yeheshua. Paul Foster Case describes this: The letters at the five points of the pentagram are the Roman characters corresponding to Yod, Heh, Shin, Vau and Heh. They are the letters which spell the divine name IHVH, Jehovah, with the ‘holy letter,’ Shin, symbol of the Holy Spirit, placed between the first two and last two letters, thus: I H Sh V H. This is the occult and Rosicrucian spelling of the name Yeheshua, or Jesus…’It is the symbol of the Word made flesh.’ […] every pentagram … symbolizes the mystical name IHShVH…[viii]
“Evolution built minds twice over. The octopus is probably the closest we will come to meeting an intelligent alien.” — Peter Godfrey-Smith, philosopher
These two octopus books came out some months apart from each other, and I have been meaning to read them back-to-back. They cover similar material — even their subtitles highlight the lessons learned about consciousness. I wonder if the publishers knew of the coincidence.
Some fascinating book details about the octopus:
• Three hearts, pumping blue-green blood because their oxygen carrying metal is copper (versus iron in the heme of our blood). They can spend 30 minutes out of the water, to scoot between tidepools.
• Alien intelligence: from a distant branch in the tree of life, the octopus/cuttlefish are the only invertebrates to have developed a complex, clever brain:
-Our common evolutionary ancestor is a tubule so ancient, neither brains nor eyes yet existed. They evolved independently, on land and by sea.
-From the Cambrian explosion of sensing, body plans, and predation, minds evolved in response to other minds. It was an information revolution. It’s where experience begins.
-The octopus brain rings around its throat. 500M neurons, similar to dog (vs.human: 86B, fly: 100K).
-The octopus has over 50 different functional brain lobes (versus 4 in human)
-And furthermore, 60% of its neurons are out in the arms, with a high degree of autonomy. A severed arm can carry on as if nothing has changed for several hours.
-It is a distributed mesh of ganglia (knots of nerves) in a ladder-like nervous system. Recurrent neural loops serve as a local short-term memory latch.
-“The octopus is suffused with nervousness; the body is not a separate thing that is controlled by the brain or nervous system.” Unconstrained by bone or shell, “the body itself is protean, all possibility. The octopus lives outside the usual body/brain divide.” (PGS)
-Structurally, our eyes ended up strikingly similar to the octopus (camera-like with a focusing lens, through a transparent cornea and iris aperture to a retina backing the optic nerves). But octopus eyes have a wide-angle panoramic view, and they move independently like a chameleon.
-Their horizontal slit pupil stays horizontal as the body moves, like a steady cam. This is made possible by special balance receptors called statocysts (a sac with internal sensory hairs and loose mineralized balls that roll around with movement and gravity).
-They can see polarized light, but not color (making their color-matching camouflage skills all the more intriguing; they also see with their skin).
-Their playful interactions with humans exhibit mischief and craft, a sign of mental surplus
-Humans internalized language as a tool for complex thought (we can hear what we say and use language to arrange and manipulate ideas). Octopuses are on a different path.
• Their entire skin is a layered screen, with about a megapixel directly controlled by the brain.
-Skin color, pattern and fleshy texture can change in 0.7 seconds.
-Three layers of skin cells control elastic sacks of pigments, internal iridescent reflections, even polarization (which the octopus can see), over a white underbody. They are regulated by acetylcholine, one of the earliest neurotransmitters in evolution.
-The octopus can create a voluntary light show on its skin, e.g., a dark cloud passing over the local landscape, or a dramatic display to confuse a predator while fleeing.
-Over thirty ritualized displays for mating and other signaling.
-Some octopuses have regions of constant kaleidoscopic restlessness, like animated eye shadow.
• 1,600 suckers. 35 lbs. of lift capacity per 2.5” sucker. 10,000 tasting chemoreceptors per sucker. Each is controlled individually.
• Octopus muscles have radial + longitudinal fibers (agile like our tongues, not our biceps).
-Opposing waves of activation can create temporary elbows at the region of constructive overlap, or pass food sucker-to-sucker like a conveyor belt.
-The octopus’ arm muscles can pull 100x its own weight.
• It can squeeze through a hole about the size of its eyeball.
• Their ink squirts contain oxytocin (perhaps to soothe prey) and dopamine, the “reward hormone” (perhaps to trick predators that they had caught the octopus in the billowy cloud).
I found the philosophical approach of Other MInds more interesting than the "naturalist in an aquarium" approach of Soul of an Octopus. Perhaps it's the geek in me, but I wanted a good summary of the new research and new details about these crazy nervous systems. I find that fascinating and relevant to the future incorporeal AI's that we will build.
120/365
Sometimes I think I feel too intensely about everything, and that is the reason I internalize, because anything else would spell insanity. Between creative impulses and intense emotions that cannot be expressed - first because I don't know how, and second because I don't know that it is possible to express emotions - I end up feeling reckless and restless, and I introvert more and more. But the world only sees detachment and coldness, lack of feeling and overall apathy.
++++++ FROM WIKIPEDIA ++++++
Konark Sun Temple is a 13th-century CE sun temple at Konark about 35 kilometres (22 mi) northeast from Puri on the coastline of Odisha, India.[1][2] The temple is attributed to king Narasingha deva I of the Eastern Ganga Dynasty about 1250 CE.[3][4]
Dedicated to the Hindu 'god Surya, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once over 200 feet (61 m) high,[1][5] much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains. The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Architecture or Kalinga Architecture .[1][6]
The cause of the destruction of the Konark temple is unclear and remains a source of controversy.[7] Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.[1][7] This temple was called the "Black Pagoda" in European sailor accounts as early as 1676 because its great tower appeared black. [6][8] Similarly, the Jagannath Temple in Puri was called the "White Pagoda". Both temples served as important landmarks for sailors in the Bay of Bengal.[9][10] The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams. Declared a UNESCO world heritage site in 1984,[1][2] it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February.[6]
Contents
1 Etymology
2 Location
3 Description
3.1 Reliefs and sculpture
3.2 Hindu deities
3.3 Style
3.4 Other temples and monuments
4 History
4.1 Ancient Texts
4.2 Konark in texts
4.3 Construction
4.4 Damage and ruins
4.5 Aruna Stambha
4.6 Preservation Efforts
5 Reception
6 See also
7 Gallery
7.1 Antique paintings and photographs
7.2 Current day photographs
8 See also
9 References
9.1 Bibliography
10 External links
Etymology
The name Konark derives from the combination of the Sanskrit/Odia language words Kona (corner or angle) and Arka (the sun).[9] The context of the term Kona is unclear, but probably refers to the southeast location of this temple either within a larger temple complex or in relation to other sun temples on the subcontinent.[11] The Arka refers to the Hindu sun god Surya.[9]
Location
The Konark Sun Temple is located in an eponymous village about 35 kilometres (22 mi) northeast of Puri and 60 kilometres (37 mi) southeast of Bhubaneswar on the Bay of Bengal coastline in the Indian state of Odisha. The nearest airport is Bhubaneswar airport (IATA: BBI). Both Puri and Bhubaneswar are major railway hubs connected by Indian Railways' Southeastern services.[12]
Description
Original temple and the surviving structure (yellow), left; the temple plan, right
The Konark Sun Temple was built from stone in the form of a giant ornamented chariot dedicated to the Sun god, Surya. In Hindu Vedic iconography Surya is represented as rising in the east and traveling rapidly across the sky in a chariot drawn by seven horses. He is described typically as a resplendent standing person holding a lotus flower in both his hands, riding the chariot marshaled by the charioteer Aruna.[13][14] The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha, and Pankti.[14] Typically seen flanking Surya are two females who represent the dawn goddesses, Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbol of their initiative in challenging darkness.[15] The architecture is also symbolic, with the chariot's twelve pairs of wheels corresponding to the 12 months of the Hindu calendar, each month paired into two cycles (Shukla and Krishna).[16]
The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.[5][2][17] When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to emerge from the depths of the blue sea carrying the sun.[18]
1822 drawing of the mandapa's east door and terrace musicians
1815 sketch of stone horses and wheels of the mandapa
The temple plan includes all the traditional elements of a Hindu temple set on a square plan. According to Kapila Vatsyayan, the ground plan, as well the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.[19] This mandala structure informs the plans of other Hindu temples in Odisha and elsewhere.[19]
The main temple at Konark, locally called the deul, no longer exists. It was surrounded by subsidiary shrines containing niches depicting Hindu deities, particularly Surya in many of his aspects. The deul was built on a high terrace.[5] The temple was originally a complex consisting of the main sanctuary, called the rekha deul, or bada deul (lit. big sanctum).[18] In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly hall of the people) (called a mandapa in other parts of India.[20]). The attached platform was called the pida deul, which consisted of a square mandapa with a pyramidal roof.[18] All of these structures were square at their core, and each was overlain with the pancharatha plan containing a variegated exterior.[18] The central projection, called the raha, is more pronounced than the side projections, called kanika-paga, a style that aims for an interplay of sunlight and shade and adds to the visual appeal of the structure throughout the day. The design manual for this style is found in the Silpa Sastra of ancient Odisha.[18][21]
A stone wheel engraved in the walls of the temple. The temple is designed as a chariot consisting of 24 such wheels. Each wheel has a diameter of 9 feet, 9 inches, with 8 spokes.
Twice as wide as they were high, the walls of the jagamohana are 100 feet (30 m) tall. The surviving structure has three tiers of six pidas each. These diminish incrementally and repeat the lower patterns. The pidas are divided into terraces. On each of these terraces stand statues of musician figures.[5] The main temple and the jagamohana porch consist of four main zones: the platform, the wall, the trunk, and the crowning head called a mastaka.[22] The first three are square while the mastaka is circular. The main temple and the jagamohana differed in size, decorative themes, and design. It was the main temple's trunk, called the gandhi in medieval Hindu architecture texts, that was ruined long ago. The sanctum of the main temple is now without a roof and most of the original parts.[22]
On the east side of the main temple is the Nata mandira (lit. dance temple). It stands on a high, intricately carved platform. The relief on the platform is similar in style to that found on the surviving walls of the temple.[5] According to historical texts, there was an Aruna stambha (lit. Aruna's pillar) between the main temple and the Nata mandira, but it is no longer there because it was moved to the Jagannatha at Puri sometime during the troubled history of this temple.[5] According to Harle, the texts suggest that originally the complex was enclosed within a wall 865 feet (264 m) by 540 feet (160 m), with gateways on three sides.[5]
The stone temple was made from three types of stone.[23] Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the foundation. Khondalite was used for other parts of the temple. According to Mitra, the Khondalite stone weathers faster over time, and this may have contributed to erosion and accelerated the damage when parts of the temples were destroyed.[23] None of these stones occur naturally nearby, and the architects and artisans must have procured and moved the stones from distant sources, probably using the rivers and water channels near the site.[23] The masons then created ashlar, wherein the stones were polished and finished so as to make joints hardly visible.[23]
The original temple had a main sanctum sanctorum (vimana), which is estimated to have been 229 feet (70 m)[17] tall. The main vimana fell in 1837. The main mandapa audience hall (jagamohana), which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the dance hall (Nata mandira) and the dining hall (Bhoga mandapa).[2][17]
Reliefs and sculpture
The walls of the temple from the temple's base through the crowing elements are ornamented with reliefs, many finished to jewelry-quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments.[24] Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, mythological creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs.[24] Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.[25]
The upana (moulding) layer at the bottom of the platform contains friezes of elephants, marching soldiers, musicians, and images depicting the secular life of the people, including hunting scenes, a caravan of domesticated animals, people carrying supplies on their head or with the help of a bullock cart, travelers preparing a meal along the roadside, and festive processions.[26] On other walls are found images depicting the daily life of the elite as well as the common people. For example, girls are shown wringing their wet hair, standing by a tree, looking from a window, playing with pets, putting on makeup while looking into a mirror, playing musical instruments such as the vina, chasing away a monkey who is trying to snatch items, a family taking leave of their elderly grandmother who seems dressed for a pilgrimage, a mother blessing her son, a teacher with students, a yogi during a standing asana, a warrior being greeted with a namaste, a mother with her child, an old woman with a walking stick and a bowl in her hands, comical characters, among others.[27]
The Konark temple is also known for its erotic sculptures of maithunas.[28] These show couples in various stages of courtship and intimacy, and in some cases coital themes. Notorious in the colonial era for their uninhibited celebration of sexuality, these images are included with other aspects of human life as well as deities that are typically associated with tantra. This led some to propose that the erotic sculptures are linked to the vama marga (left hand tantra) tradition.[5] However, this is not supported by local literary sources, and these images may be the same kama and mithuna scenes found integrated into the art of many Hindu temples.[5] The erotic sculptures are found on the temple's Shikhara, and these illustrate all the bandhas (mudra forms) described in the Kamasutra.[20]
Other large sculptures were a part of the gateways of the temple complex. These include life-size lions subduing elephants, elephants subduing demons, and horses. A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.[29]
Hindu deities
The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940.[30]
The Hindu deities are also depicted in other parts of the temple. For example, the medallions of the chariot wheels of the Surya temple, as well as the anuratha artwork of the jagamohana, show Vishnu, Shiva, Gajalakshmi, Parvati, Krishna, Narasimha, and other gods and goddesses.[31] Also found on the jagamohana are sculptures of Vedic deities such as Indra, Agni, Kubera, Varuna, and Âdityas.[32]
Style
The temple follows the traditional style of Kalinga architecture. It is oriented towards the east so that the first rays of the sunrise strike the main entrance.[2] The temple, built from Khondalite rocks,[33][34] was originally constructed at the mouth of the river Chandrabhaga, but the waterline has receded since then.[citation needed] The wheels of the temple are sundials, which can be used to calculate time accurately to a minute.[35]
Other temples and monuments
The Konark Sun Temple complex has ruins of many subsidiary shrines and monuments around the main temple. Some of these include:
Mayadevi Temple – Located west-southwest from the entrance of the main temple,[36] it has been dated to the late 11th century, earlier than the main temple.[37] It consists of a sanctuary, a mandapa and, before it, an open platform. It was discovered during excavations carried out between 1900 and 1910. Early theories assumed that it was dedicated to Surya's wife and thus named the Mayadevi Temple. However, later studies suggested that it was also a Surya temple, albeit an older one that was fused into the complex when the monumental temple was built.[36] This temple also has numerous carvings and a square mandapa is overlain by a sapta-ratha. The sanctum of this Surya temple features a Nataraja. Other deities in the interior include a damaged Surya holding a lotus, along with Agni, Varuna, Vishnu, and Vayu.[38]
Vaishnava Temple – Located southwest of the so-called Mayadevi Temple, it was discovered during excavations in 1956. This discovery was significant because it confirmed that the Konark Sun Temple complex revered all the major Hindu traditions, and was not an exclusive worship place for the saura cult as previously believed. This is a small temple with sculptures of Balarama, Varaha, and Vamana–Trivikrama in its sanctum, marking it as a Vaishnavite temple. These images are shown as wearing dhoti and a lot of jewelry. The sanctum's primary idol is missing, as are images from some niches in the temple.[39] The site's significance as a place of Vaishnavism pilgrimage is attested to in Vaishnava texts. For example, Krishna Chaitanya, the early 16th-century scholar and founder of Gaudiya Vaishnavism, visited the Konark temple and prayed on its premises.[40]
Kitchen – This monument is found south of the bhoga mandapa (feeding hall). It, too, was discovered in excavations in the 1950s. It includes means to bring water, cisterns to store water, drains, a cooking floor, depressions in the floor probably for pounding spices or grains, as well several triple ovens (chulahs) for cooking. This structure may have been for festive occasions or a part of a community feeding hall.[41] According to Thomas Donaldson, the kitchen complex may have been added a little later than the original temple.[42]
Well 1 – This monument is located north of the kitchen, towards its eastern flank, was probably built to supply water to the community kitchen and bhoga mandapa. Near the well are a pillared mandapa and five structures, some with semi-circular steps whose role is unclear.[43]
Well 2 – This monument and associated structures are in the front of the northern staircase of the main temple, with foot rests, a washing platform, and a wash water drain system. It was probably designed for the use of pilgrims arriving at the temple.[44]
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum, which is maintained by the Archaeological Survey of India.[45] The fallen upper portion of the temple is believed to have been studded with many inscriptions.[46]
History
Ancient Texts
The oldest surviving Vedic hymns, such as hymn 1.115 of the Rigveda, mention Surya with particular reverence for the "rising sun" and its symbolism as dispeller of darkness, one who empowers knowledge, the good, and all life.[14] However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone, or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63) while in others it refers to a personified deity.[14][47][48] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.[49]
In the Brahmanas layer of Vedic literature, Surya appears with Agni (fire god) in the same hymns.[50] Surya is revered for the day, and Agni for its role during the night.[50] According to Kapila Vatsyayan, the concept of a Surya–Agni relationship evolves, and in later literature Surya is described as Agni representing the first principle and the seed of the universe.[51] It is in the Brahmanas layer of the Vedas,[52][53] and the Upanishads that Surya is explicitly linked to the power of sight, and to visual perception and knowledge. He is then internalized and said to be the eye, as ancient Hindu sages suggested abandonment of external rituals to gods in favor of internal reflection and meditation of the gods within, in one's journey to realize the Atman (soul, self) within, in texts such as the Brihadaranyaka Upanishad, Chandogya Upanishad, Kaushitaki Upanishad, and others.[54][55][56]
The Mahabharata epic opens its chapter on Surya by reverentially calling him the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation".[14] In the Mahabharata, Karna is the son of Surya and an unmarried princess named Kunti.[14] The epic describes Kunti's difficult life as an unmarried mother, then her abandonment of Karna, followed by her lifelong grief. Baby Karna is found and then adopted, and grows up to become one of the central characters in the great battle of Kurukshetra where he fights his half-brothers.[57]
Konark in texts
Konark, also referred to in Indian texts by the name Kainapara, was a significant trading port by the early centuries of the common era.[58] The current Konark temple dates to the 13th century, though evidence suggests that a sun temple was built in the Konark area by at least the 9th century.[59] Several Puranas mention Surya worship centers in Mundira, which may have been the earlier name for Konark, Kalapriya (Mathura), and Multan (now in Pakistan).[60] The Chinese Buddhist pilgrim and traveler Hiuen-tsang (also referred to as Xuanzang) mentions a port city in Odisha named Charitra. He describes the city as prosperous, with five convents and "storeyed towers that are very high and carved with saintly figures exquisitely done". Since he visited India in the 7th century, he could not have been referring to the 13th-century temple, but his description suggests either Konark or another Odisha port city already featuring towering structures with sculptures.[40]
According to the Madala Panji, there was at one time another temple in the region built by Pundara Kesari. He may have been Puranjaya, the 7th-century ruler of the Somavasmi Dynasty.[61]
Construction
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty, r. 1238–1264 CE– . It is one of the few Hindu temples whose planning and construction records written in Sanskrit in the Odiya script have been preserved in the form of palm leaf manuscripts that were discovered in a village in the 1960s and subsequently translated.[62] The temple was sponsored by the king, and its construction was overseen by Siva Samantaraya Mahapatra. It was built near an old Surya temple. The sculpture in the older temple's sanctum was re-consecrated and incorporated into the newer larger temple. This chronology of temple site's evolution is supported by many copper plate inscriptions of the era in which the Konark temple is referred to as the "great cottage".[40]
According to James Harle, the temple as built in the 13th century consisted of two main structures, the dance mandapa and the great temple (deul). The smaller mandapa is the structure that survives; the great deul collapsed sometime in the late 16th century or after. According to Harle, the original temple "must originally have stood to a height of some 225 feet (69 m)", but only parts of its walls and decorative mouldings remain.[5]
Damage and ruins
The temple was in ruins before its restoration. Speculation continues as to the cause of the destruction of the temple. Early theories stated that the temple was never completed and collapsed during construction. This is contradicted by textual evidence and evidence from inscriptions. The Kenduli copper plate inscription of 1384 CE from the reign of Narasimha IV seems to indicate that the temple was not only completed but an active site of worship. Another inscription states that various deities in the temple were consecrated, also suggesting that construction of the temple had been completed.[63] A non-Hindu textual source, the Akbar-era text Ain-i-Akbari by Abul Fazl dated to the 16th century, mentions the Konark temple,[40] describing it as a prosperous site with a temple that made visitors "astonished at its sight", with no mention of ruins.[63][64][65]
Texts from the 19th century do mention ruins, which means the temple was damaged either intentionally or through natural causes sometime between 1556 and 1800 CE. The intentional-damage theory is supported by Mughal era records that mention the Muslim invader Kalapahar attacking and destroying Jagannath Puri and the Konark temple.[63][66][67] Other texts state that the temple was sacked several times by Muslim armies between the 15th and 17th centuries.[1][40] Islamic texts describing the raids of Kalapahar mention his army's first attempt to destroy the temple in 1565, but they failed. They inflicted only minor damage and carried away the copper kalasa.[40]
A medieval era description of Konark
When nine flights of steps are passed, a spacious court appears with a large arch of stone upon which are carved the sun and other planets. Around them are a variety of worshippers of every class, each after its manner with bowed heads, standing, sitting, prostrate, laughing, weeping, lost in amaze or in rapt attention, and following these are divers musicians and strange animals which never existed but in imagination.
The controversial Hindu text Madala Panji and regional tradition state that Kalapahad attacked again and damaged the temple in 1568.[68] The natural-damage theory is supported by the nearness of the temple to the shore and the monsoons in the region that would tend to cause damage. However, the existence of nearby stone temples in the Odisha region that were built earlier and have stood without damage casts doubt to this theory. According to P. Parya, the number of rings of moss and lichen growth found on the stone ruins suggests the damage occurred sometime around the 1570s, but this approach does not indicate why or by whom.[63]
According to Thomas Donaldson, evidence suggests that the damage and the temple's ruined condition can be dated to between the late 16th century and the early 17th century from the records of various surveys and repairs found in early 17th-century texts. These also record that the temple remained a site of worship in the early 17th century. These records do not state whether the ruins were being used by devotees to gather and worship, or part of the damaged temple was still in use for some other purpose. This evidence of the use of the temple, however, contradicts any theories that the late 16th-century Muslim invasion had completely destroyed the site.[69]
Aruna Stambha
In the last quarter of the 18th century, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari named Goswain (or Goswami).[70][71] The pillar, made of monolithic chlorite, is 33 feet 8 inches (10.26 m) tall and is dedicated to Aruna, the charioteer of the Sun god.[71]
Preservation Efforts
In 1803 the East India Marine Board requested the Governor General of Bengal that conservation efforts be undertaken. However, the only conservation measure put in place at the time was to prohibit further removal of stones from the site. Lacking structural support, the last part of the main tower still standing, a small broken curved section, collapsed in 1848.[72]
The then-Raja of Khurda, who had jurisdiction over this region in the early 19th century, removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process.[73] In 1838 the Asiatic Society of Bengal requested that conservation efforts be undertaken, but the requests were denied, and only measures to prevent vandalism were put in place.[72]
In 1859 the Asiatic Society of Bengal proposed, and in 1867 attempted to relocate an architrave of the Konark temple depicting the navagraha to the Indian Museum in Calcutta. This attempt was abandoned as funds had run out.[72] In 1894 thirteen sculptures were moved to the Indian Museum. Local Hindu population objected to further damage and removal of temple ruins. The government issued orders to respect the local sentiments.[72] In 1903, when a major excavation was attempted nearby, the then-Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana. The Mukhasala and Nata Mandir were repaired by 1905.[63][74]
In 1906 casuarina and punnang trees were planted facing the sea to provide a buffer against sand-laden winds.[72] In 1909 the Mayadevi temple was discovered while removing sand and debris.[72] The temple was granted World Heritage Site status by the UNESCO in 1984.[2]
Reception
The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture.[75]
The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".[76] The Victorian mindset saw pornography in the artwork of Konark and wondered why there was no "shame and guilt in this pleasure in filth", while Alan Watts stated that there was no comprehensible reason to separate spirituality from love, sex, and religious arts.[77] According to Ernest Binfield Havell, the Konark temple is "one of the grandest examples of Indian sculpture extant", adding that they express "as much fire and passion as the greatest European art" such as that found in Venice.[78]
Indian writers, too, have expressed a spectrum of opinions. For example, the leftist author Bhattacharya criticized the "brahmanical temple erotica", offering it as evidence of "female exploitation by the dominant classes of Hindu male society", and a "reflection of abnormal sex desires".[79] In contrast, the Nobel Laureate Tagore wrote,
Here the language of stone surpasses the language of human.
— Rabindranath Tagore[80][81]
Shui gui (Chinese: 水鬼; pinyin: shuǐ guǐ; literally: "water ghost") are the spirits of people who drowned. They lurk in the place where they died, and drag unsuspecting victims underwater and drown them in order to take possession of their bodies. This process is known as ti shen (Chinese: 替身; pinyin: tì shēn; literally: "replace the body"), as the spirit will return to the world of the living in the victim's body while the victim's soul will take the former shui gui's place and constantly seek to seize possession of another living person's body. Ghosts that died of watery causes, they will haunt the pong, pool, lake, river or sea that they died or drown in. These ghosts are said to be waiting for their victims, and they can only be reincarnated if they can claim a victim, so, the victim would in turn claim the next and so on. These ghosts are said to be very afraid of Rain and Snow as it would come down on them like millions of needles poking and piercing through them. Unlike other ghosts, they are most active during Noon time, when the sun is directly above the sky.THE ANCIENT TAOIST PRINCIPLE OF RECIPROCITY ; IF YOU DO ME A FAVOR, I WILL RETURN A GREATER FAVOR TO YOU BUT IF YOU HURT ME, I WILL NOT OFFER THE OTHER CHEEK. IF YOU INSULT ME, I WILL PUNCH YOU; IF YOU PUNCH ME, I WILL BREAK YOUR ARM; IF YOU BREAK MY ARM, I WILL BREAK YOUR LEG; AND IF YOU BREAK MY LEG, I WILL PUT YOU IN A COFFIN Five Ghosts in Taoist Sorcery
Many Western Folks who studied Feng Shui or read up Feng Shui Materials would have come across "Five Ghosts". Many Chinese Folks may have heard about Five Ghosts but don't know who they are and what they are used for. The "Five Ghosts" found in Feng Shui Studies are totally different from the "Five Ghosts" used in Taoist Sorcery. Let's get started to go into details of Five Ghosts in Taoist Magic / Sorcery ...Mao Shan sect's Five Ghosts (茅山五鬼术): In the old records, Mao Shan Five Ghosts (also known as Five Spirits or Five Ghostly Generals) is known to have 2 groups of 五鬼. The 1st group of 五鬼 (primordial group) is recorded to consist of these 5 spirits:
Dou Ren (窦仁) Li Kai (李凯) Zhang Wu (张五) Shi Tai (十泰) Chu Mian (褚免)
Under the 茅山鳳陽派 (Feng Yang Sect), the concept of the Five Spirits are that they are spirit guardians governing the 5 cardinal directions and as named as:Central: Yao Bi Song (中央姚碧松) North: Lin Jing Zhong (北方林敬忠) West: Cai Zi Liang (西方蔡子良)
South: Zhang Zi Gui (南方张子贵) East: Chen Gui Xian (東方陈贵先) Many of the Taoist Black Magic to hex/ disturb/destroy the enemies will summon these 5 ghosts [Yao Bi Song (中央姚碧松),Lin Jing Zhong (北方林敬忠), Cai Zi Liang (西方蔡子良), Zhang Zi Gui (南方张子贵), Chen Gui Xian(東方陈贵先)]. Very often these names will be found written on Black Magic Talismans. In the folklore (民俗学)， the Five Spirits are another group consisting of the 5 colors corresponding to the Five Colors Charm (五色符): Black Ghost Xiao Zan (黑面獠牙鬼萧贊) White Ghost Guan Qian (玉/花面獠牙鬼管钱) Yellow Ghost Chang Yong (黄面獠牙鬼常拥) Red Ghost Jin Cai (紅面獠牙鬼晋財) Green Ghost Wei De (青面獠牙鬼魏得)
Although termed similarly as the Five Spirits, these 2 groups are essentially different in purpose. The 1st group mentioned (primordial group/five cardinal directions) is summoned to perform information seeking/checking and doing tasks without seeking "official permission" from the deities of the 3 realms and the Mao Shan practitioner's 祖师爷。 This is one of the Closed Door Magic Skills (内门术) that is closely guarded and strongly advised not to practise/use. As it is a Closed Door Secret Art (内门术), only disciples who has been inducted into the lineage officially (公入法门) can chant the incantations and invoke the Five Spirits. For the second group of Five Ghosts, they are summoned most frequently by spiritual mediums to assist devotees (民间通灵术) to gain wealth and fulfill requests. As these group of Five Ghosts are not enlightened beings, once a request is being fulfilled, the person who made the request will need to repay back at a certain "price" that usually he/she won't know till "the day is due". Till today, a lot of the unorthodox sects (even those who claimed that they are orthodox) still summon the 2 groups of Five Spirits to assist the devotees in their requests and to make things work in order to gain the trust of the devotees or followers. In Mao Shan Magic Skills (茅山术), there are a few sets of Secret Rituals(法门) to send off or disperse these 2 groups of Five Ghosts away. But once these Secret Rituals(法门) are invoked, the owner of the Five Spirits will receive repercussions in a way that he/she cannot withstand. MORE GROUPS OF FIVE GHOSTS IN TAOISM: Five Ghosts used in "FIVE GHOSTS TRANSFER WEALTH" MAGIC(五鬼运财法): They are wondering ghosts summoned from 5 directions. They are called:
Wealth Bringing Ghost Of East Direction (东方生财鬼 Wealth Bringing Ghost Of West Direction (西方生财鬼) Wealth Bringing Ghost of South Direction (南方生财鬼) Wealth Bringing Ghost of North Direction (北方生财鬼) Wealth Bringing Ghost of the Middle (中央生财鬼) More Information on "FIVE GHOSTS TRANSFER WEALTH" MAGIC(五鬼运财法):FIVE GHOSTS TRANSFER WEALTH Five Ghosts used in "FIVE GHOSTS CONFUSE THE HEAVEN" MAGIC(五鬼混天法): They are Ghost Officials of the Five Directional Spiritual Camps (五营官将）.Their names are Cao Shi(曹十) Zhang Si(张四) Li Jiu (李九)
Wang Ren (汪仁) Zhu Guang (朱光) Note: There are specific steps and proper procedures in drawing Taoist Talismans and also individual secret spells to chant while drawing them. Merely copying or photocopy the Talisman will not produce any Magical Power from it. Important: Do not seek help to cast Black Magic Spells onto anyone just for fun. Do not harm the innocent people. Make sure You can provide good enough valid reasons, even if You can afford to pay the high fee. Email/Enquiry/Fee/Pricing: super.kumantong@gmail.com The "Five Ghosts" found in Feng Shui Studies are totally different from the "Five Ghosts" used in Taoist Sorcery. Let's get started to go into details of Five Ghosts in Taoist Magic / Sorcery ... Mao Shan sect's Five Ghosts (茅山五鬼术):
In the old records, Mao Shan Five Ghosts (also known as Five Spirits or Five Ghostly Generals) is known to have 2 groups of 五鬼. The 1st group of 五鬼 (primordial group) is recorded to consist of these 5 spirits Dou Ren (窦仁) Li Kai (李凯) Zhang Wu (张五)
Shi Tai (十泰) Chu Mian (褚免) Under the 茅山鳳陽派 (Feng Yang Sect), the concept of the Five Spirits are that they are spirit guardians governing the 5 cardinal directions and as named as: Central: Yao Bi Song (中央姚碧松) North: Lin Jing Zhong (北方林敬忠)
West: Cai Zi Liang (西方蔡子良) South: Zhang Zi Gui (南方张子贵) East: Chen Gui Xian (東方陈贵先) Many of the Taoist Black Magic to hex/ disturb/destroy the enemies will summon these 5 ghosts [Yao Bi Song (中央姚碧松),Lin Jing Zhong (北方林敬忠), Cai Zi Liang (西方蔡子良), Zhang Zi Gui (南方张子贵), Chen Gui Xian(東方陈贵先)]. Very often these names will be found written on Black Magic Talismans. In the folklore (民俗学)， the Five Spirits are another group consisting of the 5 colors corresponding to the Five Colors Charm (五色符): Black Ghost Xiao Zan (黑面獠牙鬼萧贊) White Ghost Guan Qian (玉/花面獠牙鬼管钱) Yellow Ghost Chang Yong (黄面獠牙鬼常拥) Red Ghost Jin Cai (紅面獠牙鬼晋財) Green Ghost Wei De (青面獠牙鬼魏得) Although termed similarly as the Five Spirits, these 2 groups are essentially different in purpose. The 1st group mentioned (primordial group/five cardinal directions) is summoned to perform information seeking/checking and doing tasks without seeking "official permission" from the deities of the 3 realms and the Mao Shan practitioner's 祖师爷。 This is one of the Closed Door Magic Skills (内门术) that is closely guarded and strongly advised not to practise/use. As it is a Closed Door Secret Art (内门术), only disciples who has been inducted into the lineage officially (公入法门) can chant the incantations and invoke the Five Spirits. For the second group of Five Ghosts, they are summoned most frequently by spiritual mediums to assist devotees (民间通灵术) to gain wealth and fulfill requests As these group of Five Ghosts are not enlightened beings, once a request is being fulfilled, the person who made the request will need to repay back at a certain "price" that usually he/she won't know till "the day is due".
Till today, a lot of the unorthodox sects (even those who claimed that they are orthodox) still summon the 2 groups of Five Spirits to assist the devotees in their requests and to make things work in order to gain the trust of the devotees or followers. In Mao Shan Magic Skills (茅山术), there are a few sets of Secret Rituals(法门) to send off or disperse these 2 groups of Five Ghosts away. But once these Secret Rituals(法门) are invoked, the owner of the Five Spirits will receive repercussions in a way that he/she cannot withstand.
MORE GROUPS OF FIVE GHOSTS IN TAOISM: Five Ghosts used in "FIVE GHOSTS TRANSFER WEALTH" MAGIC(五鬼运财法): They are wondering ghosts summoned from 5 directions. They are called: Wealth Bringing Ghost Of East Direction (东方生财鬼) Wealth Bringing Ghost Of West Direction (西方生财鬼) Wealth Bringing Ghost of South Direction (南方生财鬼) Wealth Bringing Ghost of North Direction (北方生财鬼)
Wealth Bringing Ghost of the Middle (中央生财鬼) More Information on "FIVE GHOSTS TRANSFER WEALTH" MAGIC(五鬼运财法):FIVE GHOSTS TRANSFER WEALTH
Five Ghosts used in "FIVE GHOSTS CONFUSE THE HEAVEN" MAGIC(五鬼混天法):
They are Ghost Officials of the Five Directional Spiritual Camps (五营官将）.Their names are: Cao Shi(曹十) Zhang Si(张四) Li Jiu (李九) Wang Ren (汪仁) Zhu Guang (朱光) Note: There are specific steps and proper procedures in drawing Taoist Talismans and also individual secret spells to chant while drawing them. Merely copying or photocopy the Talisman will not produce any Magical Power from it. Important: Do not seek help to cast Black Magic Spells onto anyone just for fun. Do not harm the innocent people. Make sure You can provide good enough valid reasons, even if You can afford to pay the high fee.
Email/Enquiry/Fee/Pricing: super.kumantong@gmail.com Qixi Festival (七夕节) - The Chinese Valentine's Day YIN SHAN SECT FAST & FURIOUS (7 In 1) WEALTH BRINGING TALISMAN BEWARE: GONG TAU (降头) Is Real & Deadly
Duanwu Festival (端午节) - Best Day Of The Year To Create Super Powerful Taoist Talismans Chinese Feng Shui Compass - The Luo Pan (罗盘)
The Origin, History & Different Schools Of Feng Shui (风水),Supreme Oneness Divination - Tai Yi Shen Shu (太乙神数) Six Yang Waters Technique - Da Liu Ren (大六壬)The Ancient Chinese Art of Six Yang Waters Technique The literal English translation of the above term written in Chinese Da Liu Ren 大六壬, has no coherent insights to it, let alone does it convey its full meaning to the readers at large except to a few good men from the ancient past imperial astronomical bureau in traditional China. In some colloquial Chinese dialects, such as Cantonese, it renders a cursory view of a particular scheme of things to happen in some future scenarios or provides some perspectives of some kind of clandestine plots being work in progress and is not fathomable to the audience at large except by the “chosen few” who have deeply studied and internalize its cryptic coding technique or in the words of the digital alphabets era, loosely translated as the “programming language standards” use to make “forecasting scenarios” in ancient China. If any serious attempt of expressing its full sense and contextual meaning here would probably take up more descriptive content to qualify it as an all-inclusive title which would go against the intended norm, as a matter of brevity and succinctness. Da Liu Ren 大六壬, in Short, Liu Ren as an arcane art, only a selected few could have the privilege to acquire it. Amongst those well-versed with its deep and penetrating knowledge & insights of Liu Ren ( translated in vernacular English language as Six Yang Waters Technique ) were typically members of the ancient China Astronomical Bureau. Most ancient scholars/literati in traditional China found it extremely difficult in comprehending the passages in question, the associated cryptic comments and its technical explanations are rarely helpful to the uninitiated general readers. According to ancient Chinese records as extracted from Mengxi bitan 夢溪筆談 ( Dream Brook Essays ) in about year 1086, one of its sections on symbolic numerology ( xiang shu 象数 ) contains some of the knowledge developed by staff member of the Astronomical Bureau includes three passages concerning the Liu Ren 六壬 celestial chart system/technique that comes immediately after the first passage on the Dayan 大衍 calendar method of the Kaiyuan 開元reign-period in Tang dynasty China. The first of these three passages reads :The Ancient Chinese Art of Six Yang Waters Technique The literal English translation of the above term written in Chinese Da Liu Ren 大六壬, has no coherent insights to it, let alone does it convey its full meaning to the readers at large except to a few good men from the ancient past imperial astronomical bureau in traditional China. In some colloquial Chinese dialects, such as Cantonese, it renders a cursory view of a particular scheme of things to happen in some future scenarios or provides some perspectives of some kind of clandestine plots being work in progress and is not fathomable to the audience at large except by the “chosen few” who have deeply studied and internalize its cryptic coding technique or in the words of the digital alphabets era, loosely translated as the “programming language standards” use to make “forecasting scenarios” in ancient China. If any serious attempt of expressing its full sense and contextual meaning here would probably take up more descriptive content to qualify it as an all-inclusive title which would go against the intended norm, as a matter of brevity and succinctness. Da Liu Ren 大六壬, in Short, Liu Ren as an arcane art, only a selected few could have the privilege to acquire it. Amongst those well-versed with its deep and penetrating knowledge & insights of Liu Ren ( translated in vernacular English language as Six Yang Waters Technique ) were typically members of the ancient China Astronomical Bureau. Most ancient scholars/literati in traditional China found it extremely difficult in comprehending the passages in question, the associated cryptic comments and its technical explanations are rarely helpful to the uninitiated general readers. According to ancient Chinese records as extracted from Mengxi bitan 夢溪筆談 ( Dream Brook Essays ) in about year 1086, one of its sections on symbolic numerology ( xiang shu 象数 ) contains some of the knowledge developed by staff member of the Astronomical Bureau includes three passages concerning the Liu Ren 六壬 celestial chart system/technique that comes immediately after the first passage on the Dayan 大衍 calendar method of the Kaiyuan 開元reign-period in Tang dynasty China.
The Aghori (Sanskrit aghora)[2] are ascetic Shaiva sadhus. The Aghori are known to engage in post-mortem rituals. They often dwell in charnel grounds, have been witnessed smearing cremation ashes on their bodies, and have been known to use bones from human corpses for crafting kapalas (skullcups which Shiva and other Hindu deities are often iconically depicted holding or using) and jewelry. Because of their practices that are contradictory to orthodox Hinduism, they are generally opposed by other Hindus.[3][4]
Many Aghori gurus command great reverence from rural populations as they are supposed to possess healing powers gained through their intensely eremitic rites and practices of renunciation and tápasya.
Contents [hide]
1Beliefs and doctrines
2History
3Adherents
4Spiritual headquarters
5Medicine
6In popular culture
7References
8Further reading
Beliefs and doctrines[edit]
Aghoris are devotees of Shiva manifested as Bhairava,[5] are monists who seek moksha from the cycle of reincarnation or saṃsāra. This freedom is a realization of the self's identity with the absolute. Because of this monistic doctrine, the Aghoris maintain that all opposites are ultimately illusory. The purpose of embracing pollution and degradation through various customs is the realization of non-duality (advaita) through transcending social taboos, attaining what is essentially an altered state of consciousness and perceiving the illusory nature of all conventional categories.
Aghoris are not to be confused with Shivnetras, who are also ardent devotees of Shiva but do not indulge in extreme, tamasic ritual practices. Although the Aghoris enjoy close ties with the Shivnetras, the two groups are quite distinct, Shivnetras engaging in sattvic worship.
Aghoris base their beliefs on two principles common to broader Shaiva beliefs: that Shiva is perfect (having omniscience, omnipresence and omnipotence) and that Shiva is responsible for everything that occurs – all conditions, causes and effects. Consequently, everything that exists must be perfect and to deny the perfection of anything would be to deny the sacredness of all life in its full manifestation, as well as to deny the Supreme Being.
Aghoris believe that every person's soul is Shiva but is covered by aṣṭamahāpāśa "eight great nooses or bonds" - sensual pleasure, anger, greed, obsession, fear and hatred. The practices of the Aghoris are centered around the removal of these bonds. Sādhanā in cremation grounds destroys fear; sexual practices with certain riders and controls help release one from sexual desire; being naked destroys shame. On release from all the eight bonds the soul becomes sadāśiva and obtains moksha.[citation needed]
History[edit]
Aghori in Satopant.
An Aghori man in Badrinath smoking hashish or Cannabis from a chillum in 2011.
Although akin to the Kapalika ascetics of medieval Kashmir, as well as the Kalamukhas, with whom there may be a historical connection, the Aghoris trace their origin to Baba Keenaram, an ascetic who is said to have lived 150 years, dying during the second half of the 18th century.[6] Dattatreya the avadhuta, to whom has been attributed the esteemed nondual medieval song, the Avadhuta Gita, was a founding adi guru of the Aghor tradition according to Barrett (2008: p. 33):
Lord Dattatreya, an antinomian form of Shiva closely associated with the cremation ground, who appeared to Baba Keenaram atop Girnar Mountain in Gujarat. Considered to be the adi guru (ancient spiritual teacher) and founding deity of Aghor, Lord Dattatreya offered his own flesh to the young ascetic as prasād (a kind of blessing), conferring upon him the power of clairvoyance and establishing a guru-disciple relationship between them.[7]
Aghoris also hold sacred the Hindu deity Dattatreya as a predecessor to the Aghori Tantric tradition. Dattatreya was believed to be an incarnation of Brahma, Vishnu, and Shiva united in the same singular physical body. Dattatreya is revered in all schools of Tantra, which is the philosophy followed by the Aghora tradition, and he is often depicted in Hindu artwork and its holy scriptures of folk narratives, the Puranas, indulging in Aghori "left-hand" Tantric worship as his prime practice.
An aghori believes in getting into total darkness by all means, and then getting into light or self realizing. Though this is a different approach from other Hindu sects, they believe it to be effective. They are infamously known for their rituals that include such as shava samskara or shava sadhana (ritual worship incorporating the use of a corpse as the altar) to invoke the mother goddess in her form as Smashan Tara (Tara of the Cremation Grounds).
In Hindu iconography, Tara, like Kali, is one of the ten Mahavidyas (wisdom goddesses) and once invoked can bless the Aghori with supernatural powers. The most popular of the ten Mahavidyas who are worshiped by Aghoris are Dhumavati, Bagalamukhi, and Bhairavi. The male Hindu deities primarily worshiped by Aghoris for supernatural powers are manifestations of Shiva, including Mahākāla, Bhairava, Virabhadra, Avadhuti, and others.
Barrett (2008: p. 161) discusses the "charnel ground sādhanā" of the Aghora in both its left and right-handed proclivities and identifies it as principally cutting through attachments and aversion and foregrounding primordiality; a view uncultured, undomesticated:
The gurus and disciples of Aghor believe their state to be primordial and universal. They believe that all human beings are natural-born Aghori. Hari Baba has said on several occasions that human babies of all societies are without discrimination, that they will play as much in their own filth as with the toys around them. Children become progressively discriminating as they grow older and learn the culturally specific attachments and aversions of their parents. Children become increasingly aware of their mortality as they bump their heads and fall to the ground. They come to fear their mortality and then palliate this fear by finding ways to deny it altogether.[8]
In this sense, the Aghora sādhanā is a process of unlearning deeply internalized cultural models. When this sādhanā takes the form of charnel ground sādhanā, the Aghori faces death as a very young child, simultaneously meditating on the totality of life at its two extremes. This ideal example serves as a prototype for other Aghor practices, both left and right, in ritual and in daily life."[9]
Adherents[edit]
Though Aghoris are prevalent in cremation grounds across India, Nepal, and even sparsely across cremation grounds in South East Asia, the secrecy of this religious sect leaves no desire for practitioners to aspire for social recognition and notoriety. [1]
Spiritual headquarters[edit]
Hinglaj Mata is the Kuladevata (patron goddess) of the Aghori. The main Aghori pilgrimage centre is Kina Ram's hermitage or ashram in Ravindrapuri, Varanasi.[10] The full name of this place is Baba Keenaram Sthal, Krim-Kund. Here, Kina Ram is buried in a tomb or samadhi which is a centre of pilgrimage for Aghoris and Aghori devotees. Present head (Abbot), since 1978, of Baba Keenaram Sthal is Baba Siddharth Gautam Ram.
According to Devotees, Baba Siddharth Gautam Ram is reincarnation of Baba Keenaram himself. Apart from this, any cremation ground would be a holy place for an Aghori ascetic. The cremation grounds near the yoni pithas, 51 holy centers for worship of the Hindu Mother Goddess scattered across South Asia and the Himalayan terrain, are key locations preferred for performing sadhana by the Aghoris. They are also known to meditate and perform sadhana in haunted houses.
Medicine[edit]
Aghori practice healing through purification as a pillar of their ritual. Their patients believe the Aghoris are able to transfer pollution and health to and from patients as a form of "transformative healing", due to the believed superior state of body and mind of the Aghori.[11][verification needed]
In popular culture[edit]
This is an incomplete list of prominent Aghori recognition.
The Aghoris and their spiritual home Varanasi heavily influenced the 2016 British suspense thriller film Feast of Varanasi (2016 film) where a reclusive priest called NANA, who lives on the outskirts of Varanasi plays a significant role in film. The character was played by Indian Actor Ashwath Bhatt.
The Aghoris were referred to in the 2016 horror film The Other Side of the Door and were portrayed as a creepy tribe that seem to pop up multiple times to foreshadow otherwordly incidents.
The Aghoris were featured on the first episode of the new Ripley's Believe It Or Not television series, hosted by Dean Cain. The program highlighted the Aghori's rituals.
In Tad Williams' Otherland series, the main member of the resistance group the Circle, Nandi Paradivash, spent several years as an Aghori ascetic while preparing for the final confrontation with the Brotherhood.
In 2006 a Greek documentary by the name of "Shiva's Flesh" shows a Varanasi Aghori by name Black Boom Boom Baba and the existing faith around Aghoris in Varanasi.
The television program Wildboyz starring Steve-O and Chris Pontius featured a segment in which the duo learned about the Aghori culture firsthand. Chris and Steve-O were given the ritualistic alcohol from a skull and were covered in remains of a corpse in the form of ashes. One Aghori also demonstrated the drinking of urine. They hinted that more was filmed but censored when Steve-O remarked "Now imagine what we weren't allowed to show you."
Director Jeff Tremaine, responsible for the Wildboyz, Jackass, etc. felt the bit on the Wildboyz was so successful he wanted to re-shoot it for Jackass Number Two. This time they sent in Dave England, Chris Pontius, and Steve-O. When an Aghori started mutilating his own leg, and jumped at Dave England with the blood everyone decided it was far more than they had planned on, and wanted out. This 'bit' ended up in Jackass 2.5, as Johnny Knoxville foreshadows in the taping of the 'bit'.
On the Dirty Sanchez TV show, in a season called "Sanchez Get High", Welshmen Matthew Pritchard and Lee Dainton meet up with an Aghori ascetic, and shows Pritchard drinking alcohol from a skull.
In popular Finnish Television series Madventures protagonists Riku Rantala and Tuomas Milonoff encounter Aghoris at Varanasi and indulge rituals with them. This segment can be seen in Season 3 of the show.
In the Tamil film Naan Kadavul by Bala, Arya essays the role of an Aghori which won him 2 National awards.
In the Hindi film Raaz: The Mystery Continues by Mohit Suri, J. Brandon Hill plays the role of an American executive who becomes an Aghori.
In the block-buster Telugu film Arundhati, Sonu Sood, the antagonist is a converted Aghora.
A popular novel in Kannada Aghorigala naduve (Life with Agoris) was published in 1980. In that novel one of the popular sites for Aghoris in south India is near Chamundi Hills at Mysore, Karnataka state.
British death metal band The Rotted wrote the lyrics to the song Just Add Nauseam about the Aghori, and the cover of the album it features on Ad Nauseam features a six-armed, three-faced demonic figure loosely based on Indian artwork.
An Aghori was the main character in an episode of Adaalat, an Indian courtroom drama television series. The episode was called "Qatil Aghori", meaning "Murderer Aghori".
An Indian psy-trance DJ and Composer known as Aghori Tantric of Sonic Tantra Records plays dark psy tracks usually over 180BPM.
Swedish Black Metal band Dissection has a song "Maha Kali" which is a dark prayer to the Goddess Kali, the final stage of
below is a piece that I wrote accompanying 8 of these images in the March 2005 issue of (the now defunct) Wonkavison Magazine.
This is the text as i wrote it then. un-edited. (as much as I would like to go back and tinker and tighten things up, i haven't) and I'm including it here because it's inextricably linked to the images as I see them. hopefully I will write a little something to post with the last of the series. between looking back and looking forward. till' then.
thanks everyone for your responses, it's been a pleasure sharing these. i am quite thankful, the work shared here on flickr engages me day after day.
-Andrew
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Night falls over Denver as the sun recedes behind the Rocky Mountains slowly bleeding the light from a clear blue afternoon sky and gently suffocating it into black. The period between dusk and darkness has a molten quality to it. The French have a saying for this, “Entre chien et loup” – between the dog and the wolf. This saying does more than simply describe a time of day, it pins down a feeling, the inescapable experience of change; the hinge point between two very distinct worlds. Anyone who has stayed up all night and spent part of it outside knows the way the sky breaks from its black chains as the sunrise slowly comes to sweep away what remains of the night.
I often feel that these two times of day sum up my life completely. The opening and the closing, the coming and the going, all the greetings and goodbyes, the endless process wrapped up and expressed in the daily cycle of our earth’s revolution while orbiting the sun.
Life hinges on a rollercoaster as it does in the cosmos: as the cars ratchet up that first steep hill and come to a crawl oh so slowly before the peak, upon the fluid rails all the weight of potential energy gets transferred into kinetic. The crack of a whip flowing downhill. That surge of life about to bottom out three-quarters of the way into the plunge. All thoughts are removed and in their place is sheer exhilaration. All that energy bleeding in glorious fashion, through turns and loops, re-distributed and conserved, and yet all receding in degrees from that initial dive.
Early evening is when cars begin filing into the right lane of Sheridan Blvd. on their way to Lakeside Park, where two dollars will get you parking and admission. It doesn’t draw the crowds of bigger parks, but it always seems busy. Early evening is also when they switch on all the lights at Lakeside. Coming around the curve of I-70 towards Denver, the whole park burns like a mini-oasis in the night reflecting off the lake that spans the distance between the highway and the park. Above it all stands the park’s entrance tower, dating back to 1918 and modeled after the one at Coney Island’s fabled Luna Park.
These photographs are the testament of a love affair. In the summer of 2002 I took a job working in Denver for the summer and lived just six blocks away from Lakeside. Many days of mine were spent there after work, playing games of skee-ball (and throwing my first 400 game), riding the coaster, or just sitting in the Royal Grove Pavilion with my journal and soaking up the atmosphere of children’s laughter, of shrieks and screams echoing through the air; all that clink-clanking of metal wheels upon metal tracks.
Really, this is a two-part love affair. First, of a place where happiness, pleasure, excitement and laughter are the currency of life. The second is simply a love affair with light. Of neon wrought with an artisan’s hand; reflecting off aluminum, reflecting off the earth, the paved earth. I’ve always entered a trancelike state in the presence of neon. The unnatural brilliance of its color, and yet it’s totally natural, as chemistry taught me; the elemental gas when infused with an electrical current at different frequencies will produce innumerable variations of colored light. Some of these photos were taken in the blue of early night that I described earlier, but most were not. Nonetheless the anchor that blue provides against the falling night can be found in the warm and cool glow of neon. The light illuminates the vacuum. The same can be said for the faces. The trace movements of people caught in these time exposure photographs.
These are the two worlds I live in, one of laughter and the other of light. Call it nature and nurture. Nature in bricks and mortar as much as earth and sky. We complete the whole. Our lives’ work gives sound to trees that fall alone in the forest. All we can hope for is the transference of some portion of that initial energy; some kind of truth, perceived and internalized, which is then expressed and eternalized in the passing of future moments.
Home is a state of mind and as we move through this world we must not forget the people and places which make us feel at home. Lakeside is one of those places to me. It is a sweet and bitter memory, if only because it is two thousand miles away, but I still dream of it as it exists in my memory, as it has existed before I ever came into this world. I was lucky enough to cross paths with it when I did. To take the train ride around the lake on those cars which were once used in St. Louis’s 1904 Worlds Exposition. Sneaking a kiss from the girl by my side, any girl, it wouldn’t have mattered. The place was so inexplicably perfect on a cool summer night that you felt in love just being there alone. A witness to the mystery, half-explained in the moment.
With these pictures, the nights seem alive once again. Frozen in that moment, of a mother holding her child as he reaches towards the pressed quarter machine. Of so many Mexican families from the surrounding neighborhoods, packing up their vans on a Friday night and making Lakeside their destination. All the little kids running around and bumping into you, never breaking stride, taking the tickets you leave behind at the skee-ball machine. The brooding teenage angst traveling in groups of three, eyeing up everyone they pass with a snicker and smirk, but somehow you remember yourself as they are and you keep going. The bored workers at the funnel cake stand on the far end of the park where no one visited. They always shut it down early, especially when you were hungry for one. Of doubling up in the tight car of the wild mouse ride which surely wasn’t made with your six-foot and two-twenty frame in mind. Of that early morning captured on other rolls of film, where you got there at seven a.m. with the groundskeepers coming to clean up from the night before. Shooting the rides in the early morning light; the sun reflecting off of the calm water of the lake into the auto skooter pavilion and cascading across the horses of the carousel. Their wooden faces cracked and weathered, needing paint, needing lacquer. Of peering up at the star ride sitting there abandoned and out of use, after seeing it in a postcard on eBay dated 1922; wondering how this hulking wheel of metal sticking into the sky is still standing here eighty years later. Of sitting at the back of the Eatway Inn with the owner and her daughter (who’s your age) two hours after closing, drinking black coffee, listening to stories, asking questions. The history of the park, of the rides. What remains? What was lost? How the owner’s father who was the Coca-Cola salesman for the entire Denver area before buying Lakeside in the early twenties took the old marble topped bar from Union Station in downtown and had it installed in the back of the cafeteria. The same counter which stands today.
Somehow these memories provide an elixir. They continue to inform and educate me long after their moment has passed. But perhaps the moment hasn’t passed. Perhaps this is the moment, my remembering, these photos, the eye and the mind of the reader picking up this magazine, finding their own meaning where even I can’t see.
Yes, I’d like that.
Also, thinking of giving up on Furfur. I like the idea of her, but I don't LOVE her because let's face it, I just prefer male dolls. And having her around isn't really solving whatever shit I've internalized that makes me dislike girl characters. XD; So I may finally cave and just make a new character for this head. Furfur the character will still exist, just not in Expensive Yet Unenjoyed Form. >____>
olio su masonite trattata 50 x 70.
Da Anna, che ringrazio!
"Con questo quadro, Cici Peis, esprime in pittura le testimonianze della sua terra, la quale conserva tracce di un passato lontano di insediamenti di antiche civiltà rupestri e paesaggi da contemplare.
L'olivastro indigeno della Sardegna e l'ulivo originario del Mediterraneo Orientale.
E' molto longevo ed ha un' eccezionale capacità di riprodursi .
Attraverso un linguaggio pittorico semplice, viene emulato il fascino dei luoghi dove si presuma è cresciuto .
Qui non si fa unicamente interprete del paesaggio, ma percepisce e contempla la bellezza dei luoghi per trasformarla in una personalissima poetica pittorica con la quale traccia il percorso che conduce alla sua anima. Egli in questo modo diviene interprete di una forma figurativa capace di integrare componenti descrittivi ad elementi più ampiamente interpretativi.
Essa si rivela in realtà profonda e romantica come si evince in questo dipinto l’albero di ulivo, simbolo di vita, pace, purezza, dolcezza e semplicità.
Il suo paese viene guardato per interiorizzarlo nel suo mondo che è di volta in volta forte e fragile, terso ed ombroso così come lo è la natura umana."
With this background in painting,Cici Peis, expresses the testimony of his land, which preserves traces of a distant past of settlements of ancient civilizations and rock scenery to behold.
The olive-skinned native of Sardinia and olives originating from the eastern Mediterranean.
It 's very long-lived and has an' exceptional ability to reproduce.
Through a simple pictorial language, is emulated by the charm of the places where it is alleged he grew up.
Here you not only interpreter of the landscape, but perceives and contemplates the beauty of the area to make it a very personal poetic painting with which traces the path that leads to his soul. He thus becomes the interpreter of a figurative form that integrates components of descriptive elements to further interpretation.
It turns out to be really deep and romantic as can be seen in this painting the olive tree, symbol of life, peace, purity, sweetness and simplicity.
His country is looked for in his world that is internalized from time to time fragile and strong, clear and shady as it is human nature.
Con este telón de fondo en la pintura,Cici Peis, expresa el testimonio de su tierra, que conserva las huellas de un pasado lejano de los asentamientos de las civilizaciones antiguas y el paisaje de roca a la vista.
El nativo de oliva de piel de Cerdeña y de las aceitunas procedentes del Mediterráneo oriental.
Es 's muy larga duración y tiene una "capacidad excepcional para reproducirse.
A través de un lenguaje pictórico sencillo, es emulado por el encanto de los lugares donde se alega que creció.
Aquí no sólo intérprete del paisaje, sino que percibe y contempla la belleza de la zona para que sea una pintura poética muy personal con el que traza el camino que conduce a su alma. Él se convierte así en el intérprete de una forma figurativa, que integra componentes de elementos descriptivos de una interpretación posterior.
Resulta ser un proceso más profundo y romántico como puede verse en este cuadro el olivo, símbolo de la vida, la paz, pureza, dulzura y sencillez.
Su país se busca en su mundo que se interioriza de tiempo en tiempo frágil y fuerte, clara y con sombra, ya que es la naturaleza humana.
Desaturation Theory- This photograph, which I took while on a helicopter tour of Seattle on my last day of vacation, serves as an example of the desaturation theory. I reduced some of the color energy in this photograph so the viewer would be able to internalize the photograph more effectively. To me, the desaturation of this photo reflects the sad feelings I had about leaving Seattle.
"Um Obscurus é desenvolvido em condições muito específicas: trauma associado com o uso de magia, ódio internalizado da própria magia e uma tentativa consciente de suprimí-la."
—J.K. Rowling
"An Obscurus is developed under very specific conditions: trauma associated with the use of magic, internalized hatred of one’s own magic and a conscious attempt to suppress it."
—J.K. Rowling
A couple years ago, I became very depressed. I was internalizing my issues and my health began to suffer. Stress is a killer, fact. Fast forward to 2021, I am in a great place emotionally and mentally. Still, I am very mindful of trigger thus, I now fortify myself with the help of herbs. My favourites are mugwort for its calming effect on the brain. I love peppermint as my morning pick me up, JUNIPER and Rosehip tea. This is how I love and maintain self.