View allAll Photos Tagged Scripture
Out of Chaos - further information from the Laing Art Gallery website:-
"Introduction
Out of Chaos showcases outstanding sculpture, paintings and prints by artists such as Frank Auerbach, David Bomberg, Marc Chagall, Edith Kiss, Chaïm Soutine and Alfred Wolmark. Together, they demonstrate the contribution of artists from around the world to Britain’s cultural heritage. The artworks span more than a century, and include examples of important movements and styles ranging from figuration to abstraction.
The exhibition themes encompass issues of identity and belonging connected with migration. Many of the artists or their families had to make forced journeys as the result of upheavals in their homelands.
The artworks have been selected from the collection of the Ben Uri Gallery, London, featuring artists primarily of Jewish descent. They are augmented by works by contemporary artists from migrant communities who have exhibited with Ben Uri. Some paintings from the Laing and Hatton Gallery collections are also included.
Identity and Migration
A wave of emigration to Britain from Eastern Europe took place over several decades from the 1880s, especially following increasing persecution of Jews. The main destination was London, and the new arrivals continued their distinct traditions in their new host cities. In contrast, longer established Jewish communities often mirrored the aspirations of mainstream British society. These differences in identity were reflected by artists of the time.
In the early Victorian period, Solomon Hart achieved success with scripture subjects, painted in a style entirely in tune with establishment taste. In contrast, Alfred Wolmark’s pictures focussed on the daily lives of the immigrant Polish-Jewish community in London at the beginning of the 20th century. His pictures differed considerably from Solomon J Solomon’s choice of subjects, which mirrored his family’s integration into Edwardian middle-class society. For Simeon Solomon, however, personal identity led to disaster as he was rejected by society for his homosexual lifestyle, despite considerable earlier success as a Pre-Raphaelite artist.
The Whitechapel Boys
These artists’ innovative approach to colour and form made an important contribution to British modernism in the period just before and after the First World War. All were from migrant Jewish backgrounds, with shared feelings of cultural identity. They were open to influences from Europe as well as new artistic developments in Britain. The group was closely associated with the Whitechapel area of London, and included experimental writers.
The artists’ friendships and interests developed from the overlapping periods they spent at the Slade School of Art, London. They were also encouraged by Alfred Wolmark (pictures also on display). Two of the leading figures in the group of artists were David Bomberg and Jacob Epstein. In 1914, they curated the ‘Jewish section’ of the Whitechapel Art Gallery’s important exhibition ‘Twentieth Century Art: A Review of Modern Movements’, featuring artwork by members of the group.
Modernism and Turmoil
Paris was also a magnet for Jewish artists who left Russia and neighbouring countries in the early twentieth century, escaping oppression and poverty. Many artists, including Marc Chagall and Chaïm Soutine, lived and worked in the collection of studios known as La Ruche (the Beehive), in Montparnasse. These painters had a powerful influence on modernist figurative art.
Other Jewish artists, such as Ludwig Meidner, Martin Bloch and Arthur Segal, contributed to experimental art developments in Germany, including Expressionism and optical-effect painting.
Following the rise of Nazism in the 1930s, modernist art was denounced as degenerate. Jewish artists in Europe were particularly at risk. Soutine lived in hiding in France, while Chagall fled to America. Meidner, Bloch, and Segal escaped to Britain.
Many artists were among the German-speaking émigrés who were interned in Britain in 1940-41, during the Second World War. Making art, sometimes using improvised materials, provided an escape for many from the depressing experience of internment.
Fleeing Destruction
Polish artist Josef Herman’s painting of refugees captures the universal plight of all those who had to flee destruction or persecution in their homeland. A scene with the backdrop of a traditional village represents the settled life that many lost through devastating events.
The artworks in this section are related to the terrible destruction of the Holocaust unleashed in Nazi-controlled Europe during the Second World War. Jews were targeted for annihilation, and millions of other people also lost their lives because of their nationality, ethnic group, skin colour, religion, political beliefs, sexual orientation or disability.
Both Marc Chagall and Emmanuel Levy used traditional Christian imagery of crucifixion as a powerful symbol of the massacre of Jewish people. German-American satirist George Grosz showed the violent persecution of individuals. Art came out of tragic circumstances, and Leo Haas risked his life to make sketches of life in a concentration camp. Edith Kiss’s later sculpture was influenced by her experience of forced labour and imprisonment.
Post-War Britain
Artists who fled Nazism in Germany introduced new styles to Britain. However, some, like Erich Kahn and Else Meidner, suffered considerably from the traumatic disruption to their lives. Clara Klinghoffer fled to London from Amsterdam, having previously established a successful career painting striking portraits. From a younger generation, Eva Frankfurther and Frank Auerbach came to Britain as child refugees in 1939. Despite very different styles, they both identified with individual areas of London in their art.
Pictures by Frank Auerbach, Leon Kossoff and Ronald B Kitaj show how they adopted expressive styles to represent the identity and emotional character of a person, a place, or an experience. Contemporary painter Ansel Krut, from South Africa, also adopted an expressive style for his symbolic scene of impending sacrifice.
Recent Art
In these works, artists explore issues of group and individual identity through film, installation, photography and paintings. The artworks reflect the wide variety of the artists’ backgrounds and experiences. Coming right up to date, a specially commissioned film confronts the issue of migrant workers in London.
The themes include the clashing viewpoints of different communities and the conflict that can arise from passionate beliefs. The disorientation of refugee experience is strikingly illustrated in an image of a robed figure dragging a symbolic house in a Brazilian city. Similarly, massive portraits of asylum seekers in a style mimicking identity cards raise issues of self and individuality.
Aspects of female identity are also explored, while a photographic work celebrates the individual affirmation of a happy gay relationship. The concept of religion as an aspect of personal identity also features.
Ben Uri Gallery
The Ben Uri Art Society was founded in 1915 in London’s East End. Its original aim was to encourage Jewish artists who were struggling to gain acceptance by the art establishment of the time. Today, the Ben Uri Gallery has a wider focus, concentrating on art with the themes of migration and identity. It works with varied immigrant communities and artists of diverse backgrounds.
From its early days, Ben Uri purchased works of art, and held art classes, exhibitions, lectures, and concerts. Even during the Second World War, activities carried on, though the collection was stored in a basement for safety. Since then, Ben Uri has added innovative learning, well-being and outreach programmes, publications and a website to its exhibitions and acquisitions. During its history, Ben Uri Gallery has occupied a variety of tiny premises. In 2015, it began a major project to move to a new home.
In all its activities, Ben Uri Gallery explores the ways in which Britain’s rich cultural life has been enhanced and broadened by outsiders. It promotes the visual arts as a universal language that can encourage understanding in difficult and troubled times.
Watch a series of films with Chairman and Chief Executive David Glasser discussing the history of Ben Uri
Watch video about Ben Uri created for the 2015 Centenary celebrations
Visit the Ben Uri collection website
Blogs for further reading
Read about David Bomberg, Picasso and the Whitechapel boys in this informative blog by curator Sarah Richardson.
Another blog by Sarah tells the story of Chaïm Soutine, misfit artistic genius in 1930s Paris.
Out of Chaos - art that makes you think is Sarah's third blog, revealing background stories to some of the impressive contemporary and historical art in the exhibition.
Read about Marc Chagall’s ‘Apocalypse in Lilac’ with reference to Holocaust Memorial Day."
Durga
Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms,carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.
Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.
History
The word Shakti means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).
As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.
The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.
Worship
Durga Puja
The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.
The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).
The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..
In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.
Worshiping Durga, As I feel :
To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.
Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.
The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.
To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.
Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.
“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.
“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.
“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.
“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.
And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.
Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.
On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.
Varahi (Sanskrit: वाराही, Vārāhī) is one of the Matrikas, a group of seven or eight mother goddesses in the Hindu religion. With the head of a sow, Varahi is the shakti (feminine energy, or sometimes, consort) of Varaha, the boar Avatar of the god Vishnu. In Nepal, she is called Barahi.
Varahi is worshipped by all the three major schools of Hinduism: Shaktism (goddess worship); Shaivism (followers of the god Shiva); and Vaishnavism (devotion to Vishnu). She is usually worshipped at night, and according to secretive Vamamarga Tantric practices. The Buddhist goddesses Vajravarahi and Marichi are believed to have their origins in the Hindu goddess Varahi.
HINDU LEGENDS
According to the Shumbha-Nishumbha myth of the Devi Mahatmya from the Markandeya Purana religious texts, the Matrikas goddesses appear as shaktis (feminine powers) from the bodies of the gods. The scriptures say that Varahi was created from Varaha. She has a boar form, wields a chakra (discus), and fights with a sword. After the battle described in the myth, the Matrikas dance – drunk on their victim's blood.
According to a latter episode of the Devi Mahatmya that deals with the killing of the demon Raktabija, the warrior-goddess Durga creates the Matrikas from herself and with their help slaughters the demon army. When the demon Shumbha challenges Durga to single combat, she absorbs the Matrikas into herself. In the Vamana Purana, the Matrikas arise from different parts of the Divine Mother Chandika; Varahi arises from Chandika's back.
The Markendeya Purana praises Varahi as a granter of boons and the regent of the northern direction, in a hymn where the Matrikas are declared as the protectors of the directions. In another instance in the same Purana, she is described as riding a buffalo. The Devi Bhagavata Purana says Varahi, with the other Matrikas, is created by the Supreme Mother. The Mother promises the gods that the Matrikas will fight demons when needed. In the Raktabija episode, Varahi is described as having a boar form, fighting demons with her tusks while seated on a preta (corpse).
In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika. Varahi appears seated on Shesha-nāga (the serpent on which the god Vishnu sleeps) from the posterior of Vaishnavi, the Shakti of Vishnu. Varahi is said to represent the vice of envy (asuya) in the same Purana.
The Matsya Purana tells a different story of the origin of Varahi. Varahi, with other Matrikas, is created by Shiva to help him kill the demon Andhakasura, who has the ability – like Raktabija – to regenerate from his dripping blood.
ASSOCIATIONS
The Devi Purana paradoxically calls Varahi the mother of Varaha (Varahajanani) as well as Kritantatanusambhava, who emerges from Kritantatanu. Kritantatanu means "death personified" and could be an attribute of Varaha or a direct reference to Yama, the god of death. Elsewhere in the scripture, she is called Vaivasvati and described as engrossed in drinking from a skull-cup. Pal theorizes that the name "Vaivasvati" means that Varahi is clearly identified with Yami, the shakti of Yama, who is also known as Vivasvan. Moreover, Varahi holds a staff and rides a buffalo, both of which are attributes of Yama; all Matrikas are described as assuming the form of their creator-gods.
In the context of the Matrikas' association to the Sanskrit alphabet, Varahi is said to govern the pa varga of consonants, namely pa, pha, ba, bha, ma. The Lalita Sahasranama, a collection of 1,000 names of the Divine Mother, calls Varahi the destroyer of demon Visukaran. In another context, Varahi, as Panchami, is identified with the wife of Sadashiva, the fifth Brahma, responsible for the regeneration of the Universe. The other Panch Brahmas ("five Brahmas") are the gods Brahma, Govinda, Rudra, and Isvara, who are in charge of creation, protection, destruction, and dissolution respectively. In yet another context, Varahi is called Kaivalyarupini, the bestower of Kaivalya ("detachment of the soul from matter or further transmigrations") – the final form of mukti (salvation). The Matrikas are also believed to reside in a person's body. Varahi is described as residing in a person's navel, and governs the manipura, svadhisthana, and muladhara chakras.
Haripriya Rangarajan, in her book Images of Varahi - An Iconographic Study, suggests that Varahi is none other than Vak devi, the goddess of speech.
ICONOGRAPHY
Varahi's iconography is described in the Matsya Purana and agamas like the Purva-karnagama and the Rupamandana. The Tantric text Varahi Tantra mentions that Varahi has five forms of Varahi: Svapna Varahi, Canda Varahi, Mahi Varahi (Bhairavi), Krcca Varahi, and Matsya Varahi. The Matrikas, as shaktis of gods, are described to resemble those gods in form, jewellery, and mount, but Varahi inherits only the boar-face of Varaha.
Varahi is usually depicted with her characteristic sow face on a human body with a black complexion comparable to a storm cloud. The scholar Donaldson informs us that the association of a sow and a woman is seen derogatory for the latter, but the association is also used in curses to protect "land from invaders, new rulers, and trespassers". Rarely, she is described as holding the Earth on her tusks, similar to Varaha. She wears the karaṇḍa mukuṭa, a conical basket-shaped crown. Varahi can be depicted as standing, seated, or dancing. Varahi is often depicted pot-bellied and with full breasts, while most all other Matrikas – except Chamunda – are depicted as slender and beautiful. One belief suggests that since Varahi is identified with the Yoganidra of Vishnu, who holds the universe in her womb (Bhugarbha Paranmesvari Jagaddhatri), that she should be shown as pot-bellied. Another theory suggests that the pot-belly reflects a "maternal aspect", which Donaldson describes as "curious" because Varahi and Chamunda "best exemplify" the terrible aspect of the Divine Mother. A notable exception is the depiction of Varahi as human-faced and slender at the sixth-century Rameshvara cave (Cave 21), the Ellora Caves. She is depicted here as part of the group of seven Matrikas. A third eye and/or a crescent moon is described to be on her forehead.
Varahi may be two, four, or six-armed. The Matsya Purana, the Purva-karnagama, and the Rupamandana mention a four-armed form. The Rupamandana says she carries a ghanta (bell), a chamara (a yak's tail), a chakra (discus), and a gada (mace). The Matsya Purana omits the ghanta and does not mention the fourth weapon. The Purva-Karanagama mentions that she holds the Sharanga (the bow of Vishnu), the hala (plough), and the musula (pestle). The fourth hand is held in the Abhaya ("protection gesture") or the Varada Mudra ("blessing gesture"). The Devi Purana mentions her attributes as being sword, iron club, and noose. Another description says her hair is adorned with a garland with red flowers. She holds a staff and drinking skull-cup (kapala). The Varahini-nigrahastaka-stotra describes her attributes as a plough, a pestle, a skull-cup, and the abhaya mudra. The Vamana Purana describes her seated on Shesha while holding a chakra and a mace. The Agni Purana describes her holding the gada, shankha, sword, and ankusha (goad). The Mantramahodadhi mentions she carries a sword, shield, noose, and goad. In Vaishnava images, since she is associated with Vishnu, Varahi may be depicted holding all four attributes of Vishnu - Shankha (conch), chakra, Gada, and Padma (lotus). The Aparajitapriccha describes her holding a rosary, a khatvanga (a club with a skull), a bell, and a kamandalu (water-pot).
The Vishnudharmottara Purana describes a six-armed Varahi, holding a danda (staff of punishment), khetaka (shield), khadga (sword), and pasha (noose) in four hands and the two remaining hands being held in Abhaya and Varada Mudra ("blessing gesture"). She also holds a shakti and hala (plough). Such a Varahi sculpture is found at Abanesi, depicted with the dancing Shiva. She may also be depicted holding a child sitting on her lap, like Matrikas are often depicted.
Matsya Varahi is depicted as two-armed, with spiral-coiled hair and holding a fish (matsya) and a kapala. The fish and wine-cup kapala are special characteristics of Tantric Shakta images of Varahi, the fish being exclusive to Tantric descriptions.
The vahana (vehicle) of Varahi is usually described as a buffalo (Mahisha). In Vaishnava and Shakta images, she is depicted as either standing or seated on a lotus pitha (pedestral) or on her vahana (a buffalo) or on its head, or on a boar, the serpent Shesha, a lion, or on Garuda (the eagle-man vahana of Vishnu). In Tantric Shakta images, the vahana may be specifically a she-buffalo or a corpse (pretasana). An elephant may be depicted as her vahana. The goddess is also described as riding on her horse, Jambini. Garuda may be depicted as her attendant. She may also be depicted seated under a kalpaka tree.
When depicted as part of the Sapta-Matrika group ("seven mothers"), Varahi is always in the fifth position in the row of Matrikas, and thus is called Panchami ("fifth"). The goddesses are flanked by Virabhadra (Shiva's fierce form) and Ganesha (Shiva's elephant-headed son and wisdom god).
WORSHIP
Varahi is worshipped by Shaivas, Vaishnavas, and Shaktas. Varahi is worshipped in the Sapta-Matrikas group ("seven mothers"), which are venerated in Shaktism, as well as associated with Shiva.
Varahi is a ratri devata (night goddess) and is sometimes called Dhruma Varahi ("dark Varahi") and Dhumavati ("goddess of darkness"). According to Tantra, Varahi should be worshipped after sunset and before sunrise. Parsurama Kalpasutra explicitly states that the time of worship is the middle of the night. Shaktas worship Varahi by secretive Vamamarga Tantric practices, which are particularly associated with worship by panchamakara – wine, fish, grain, meat, and ritual copulation. These practices are observed in the Kalaratri temple on the bank of the Ganges, where worship is offered to Varahi only in the night; the shrine is closed during the day. Shaktas consider Varahi to be a manifestation of the goddess Lalita Tripurasundari or as "Dandanayika" or "Dandanatha" – the commander-general of Lalita's army. The Sri Vidya tradition of Shaktism elevates Varahi to the status of Para Vidya ("transcendental knowledge"). The Devi mahatmya suggests evoking Varahi for longevity. Thirty yantras and thirty mantras are prescribed for the worship of Varahi and to acquire siddhis by her favour. This, according to the scholar Rath, indicates her power. Some texts detailing her iconography compare her to the Supreme Shakti.
Prayers dedicated to Varahi include Varahi Anugrahashtakam, for her blessing, and Varahi Nigrahashtakam, for destruction of enemies; both are composed in Tamil.
TEMPLES
Apart from the temples in which Varahi is worshipped as part of the Sapta-Matrika, there are notable temples where Varahi is worshipped as the chief deity.
INDIA
A 9th-century Varahi temple exists at Chaurasi about 14 km from Konark, Orissa, where Varahi is installed as Matysa Varahi and is worshipped by Tantric rites. The famous Jaganath temple, Puri, is associated with and sends offerings to a Barahi temple, which is a centre of Tantric activities. In Varanasi, Varahi is worshipped as Patala Bhairavi. In Chennai, there is a Varahi temple in Mylapore, while a bigger temple is being built near Vedanthangal. Ashadha Navaratri, in the Hindu month of Ashadha (June/July), is celebrated as a nine-day festival in honour of Varahi at the Varahi shrine at Brihadeeswarar temple (a Shaiva temple), Thanjavur. The goddess is decorated with different types of alankarams (ornaments) every day. Full moon days are considered sacred to Varahi. An ancient Varahi devi temple worshipped as Uttari Bhawani is situated in Gonda District. In Gujarat, there is a Varahi temple in a village named Dadhana where the goddess is venerated as the Gotra-devi of a surname "Dadhaniya" Another temple in Gujarat is located in Talaja town of Bhavnagar district where idol of goddess was brought from hathasani village near palitana The idol of goddess was found by digging in shetrunji river in that area.
Maha Varahi temple is located in peelamedu (118, sowripalayam pirivu), coimbatore, Tamil Nadu. This temple has both Maha varahi and Goddess Dhandanatha(Varthali) - The commander in chief of Goddess Lalitha(Sri Raja rajeshwari's) army. This temple is run by Sri Varahi mantralayam trust. Varahi homam happens here on every panchami. This temple performs Dasamahavidhya homam(the 10 cosmic forms of goddess). Homa for Goddess bagalamukhi and Goddess Dhumavathi(Dhumra Varahi) are done on amavasai(new moon) and pournami(full moon).
NEPAL
A Barahi temple is situated in the middle of Phewa Lake, Nepal. Here, Barahi, as she is known as in Nepal, is worshipped in the Matysa Varahi form as an incarnation of Durga and an Ajima ("grandmother") goddess. Devotees usually sacrifice male animals to the goddess on Saturdays. Jaya Barahi Mandir, Bhaktapur, is also dedicated to Barahi.
OTHER COUNTRIES
Devi Varahi Ambika Homam is done at the Parashakthi temple in Pontiac, Michigan, USA on every Amavaasya(New moon) night. Devi Varahi was installed at the Temple in February 2005 by Yanthra Prana prateeshta. Varahi was installed in Sri Maha Muthu Mariamman temple Lunas, Kedah on 21 February 2014. That is the only Varahi Amman temple in the Malaysia.
IN BUDDHISM
Vajravarahi ("vajra-hog" or Buddhist Varahi), the most common form of the Buddhist goddess Vajrayogini, originated from the Hindu Varahi. Vajravarahi is also known as Varahi in Buddhism. Vajravarahi inherits the fierce character and wrath of Varahi. Both are invoked to destroy enemies. The sow head of Varahi is also seen as the right-side head attached to the main head in one of Vajravarahi's most common forms. The hog head is described in Tibetan scriptures to represent the sublimation of ignorance ("moha"). According to Elizabeth English, Varahi enters the Buddhist pantheon through the yogatantras. In the Sarvatathagatatattvasamgaraha, Varahi is described initially as a Shaiva sarvamatr ("all-mother") located in hell, who is converted to the Buddhist mandala by Vajrapani, assuming the name Vajramukhi ("vajra-face"). Varahi also enters the Heruka-mandala as an attendant goddess. Varahi, along with Varttali (another form of Varahi), appears as the hog-faced attendant of Marichi, who also has a sow face – which may be an effect of the Hindu Varahi.
WIKIPEDIA
A new passage chalked onto our living room wall and a constant reminder to be joyful, prayerful and thankful.
The picture before you is a copy of one of the most significant books in the history of the reformation. It is a copy, a fascimilie, of the Geneva Bible published in 1560 a.d. What makes it unique is it is the first study bible ever made, having notes and references within each page (annotations); it was the known bible brought with the pilgrims (on the Mayflower) when coming to the new world; it preceeded the King James Bible by 51 years; it was the main bible used by the protestants during the reformation; it was the first bible to use verse numbers based on the works of Stephanus. Want to know more? Google it... you will be suprised at how this translation has influenced much of our world's history.
The above passage is from John 3:16-17.
For the LORD is a great God, and a great King above all gods. In his hand are the deep places of the earth: the strength of the hills is his also.
The sea is his, and he made it: and his hands formed the dry land. O come, let us worship and bow down: let us kneel before the LORD our maker.
Psalm 95:3-6 KJV
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.
My holy, precious Father,
Your name is majestic, sacred, wrapped in love. May it always be revered. Bring Your kingdom to this earth, to my life, and let me live according to Your good and perfect will. What You want me to say, let my lips be light and flow forth encouragement. Where You want me to go, let my steps be quick and firm and follow your footsteps fearlessly. Let Your light shine from within me.
You are faithful, providing for my every need. You gather seeds from my barren fields and turn them to lush and filling food for my soul. I turn to You in trust that You will see to me today.
My sins are many. Some I’m too ashamed to share with another living soul. But You know my deepest regrets and each offense I’ve committed against You, and in Your infinite grace, You wipe them from my slate and set me free. I am forever grateful. May I show the same forgiveness to those who wrong me, for those hurting souls who lash out as a desperate cry.
I am weak. My spirit is willing but my flesh consumes me. Temptations surround me, some blatant, some so subtle I do not realize the pool of poison I am wading into until I am neck high with no way out. Hold Your saving hand out to me, that I may grasp it and escape my snares.
To Your power and righteousness I pledge my heart, that I may dwell in Your everlasting kingdom. You, my King, and only You, deserve honor and praise, and to Your great dominion I cry out my allegiance. You are the Alpha and Omega, the First and the Last, the One who rules forever and ever.
Come, Lord, and reign in me. Let Your mercy stretch wide through my heart.
Amen.