A loud humming sound, grinding like the din of a steroid ridden hummingbird amplified on a loudspeaker by my window, roused me from REM's quixotic narrative. My fingers fondled the windowsill above, a daily blind search for glasses. Comprehension grew as I peered out onto the parking lot below. I was surprised to find the source of noise in a big, black, cherry-picker machine, stretching its neck to the billboard adjacent the window. A red-faced sweaty man strained to pull the advertisement tight around it's corners, though the wind whipped the plastic, slapping the mans arms. Neck veins bulging, he quickly stabs the advert into place, and retracts to admire his work. I look down to the supporting vehicle reading "Skin Tight Signs".
In this post-industrial age, Every job to be performed, each duty begging completion, is the purpose of an entire company. A corporate effort complete with logos on trucks and cold calls and sales pitches. Until now I might have surmised a tiny fairy changed the billboards. I further see, though, that there is a business for everything, and a man for every job (though no job for every man).
The expired advertisment lay on the asphault, tired and wrinkled. The grueling task of securing a large new sign skin tight on a windy morning proceeded corner by corner. There was an efficiency in the man's work showing his movements were directed by memory, engrained in his joints and muscles. I heard the cherry picker grinding again, this time for the last time, with a new billboard complete. Next a delicate folding process began. The worker attempted to tame the limp ad on the pavement, subject to wind's whim, into a neat, thick square. A few piles of these sat on the truck. For what painfully felt like an hour this man negotiated with the old rectangular sheet, folded, then undone, by the wind. Now his cursing pierced the constant hum of the truck. I was impressed with his perfectionism and dedication to the job. His tenacity showed that on some level, beyond bubbling frustration, he cared-- a pride in his work. The billboard man... here to tell us which phone company has a new plan, and which movie will premier next (FYI, it's "Valentines Day", Feb. 11th). Once the old plastic sheet was folded away, the laborer took a moment to inspect the job, and photographed his work.
Unemployed in New Zealand, in search for professional purpose and meaning, awaiting the voice of a vocation, I take notice in what actions, events, and duties fill the days of everyone else. What tasks need to be completed that are worth a buck? I re-realize the intuitive; behind each man-made object and system is at least one man (or woman), most likely a group, orchestrating and connecting their efforts to the surrounding economy, involving themselves, as a group, in the webbed social constructions of society. A society where a machine with film, invented, built, and sold by a group, records movement. Producers pay advertisers to create public knowledge of said film, and advertisers pay Skin Tight Signs to post an ad so we, with money from our own jobs, will pay to go see it projected. Experiences like movie-going are essentially treated as goods, commodities, attached with financial value. The worker is a laboring cog in the machine of the Skin Tight Sign business, which is itself a cog in social machinery.
Saturday, January 30, 2010
Monday, January 25, 2010
Material Eternities: Plums
By eating one fruit, one finds the path to another.
In each fruit comes the seed to a new one.
In the consumption and, therefore, destruction of each fruit, one finds, encapsulated, regeneration.
A next life formed a life before it.
Rising and falling in rooting, reaching, rounding, rotting,
Rooting. Cyclical Eternities.
In each fruit comes the seed to a new one.
In the consumption and, therefore, destruction of each fruit, one finds, encapsulated, regeneration.
A next life formed a life before it.
Rising and falling in rooting, reaching, rounding, rotting,
Rooting. Cyclical Eternities.
Material Limitations: Flesh
Destroyed in rain,
I swear at the sight
of suede shoes.
Frustrated and helpless at the ruins
of what covered my feet, contorted,
by the unbiased fury of an element.
In my soul my own
mortality of the flesh
manifesting in the grief.
This world is
all that I know, but not
all that is.
To what form human skin reincarnates?
To what places my being
divides and goes?
I swear at the sight
of suede shoes.
Frustrated and helpless at the ruins
of what covered my feet, contorted,
by the unbiased fury of an element.
In my soul my own
mortality of the flesh
manifesting in the grief.
This world is
all that I know, but not
all that is.
To what form human skin reincarnates?
To what places my being
divides and goes?
Sunday, January 17, 2010
Last Day of the Year
I spent the last hours of 2009 traveling from the green bushy mounds of the Coromandel (beach and back country)to the sulpherous expulsions of earth's hot, wet, gassy geothermal belly in Rotorua. Here I saw a slice of what remains of the Maori culture... The geothermal village these people live in (Whakerewarewa) is now a tourist tramping ground for those seeking one of the worlds natural wonders... hot geyesers, hot springs, and boiling mud. The smell was enough to make me nauseous at its memory for the next 24 hours, despite the healing qualities of the steam. The tribe living there put on a performance of one of the Maori's famous expression of identity: the Haka, an ancient war dance involving an intense bugging of the eyes and flicking of the tongue. Incredible. Unsettling, though, was the array of village children, swimming in the lake near village exit screaming for Paheka (white man) to throw down change as they dive for it. It resembled the koi fish and ducks at the Missouri Botanical Gardens, conditioned to gather below the bridge for food pellets during the summer season... Pocket change is fun for a kid, but it seemed a sad existence to make a living by begging. Back in the 12 passenger "Van of Serenity", we pass open fields that dry into a somber dessert frontier, guarded by a giant volcanoe mountain crater. We stop in the valley lake to gather pummus stones for a future foot massage, as the lava nature of our earth's core intended! Stacks of cooled lava line the road... cliffs on which life has struck again! These are the NZ army training areas... with a lone one lane road flowing down the middle. As we drive, so quickly the scenes change. A brilliant lush greenery, evocative of what I've seen as "prehistoric", is soon to appear again. We master windy roads atop brooks and creeks, to the liking of a romantic's poem or Anne of Green Gables. The din of a bickering, tired car load phases away on the peaks of mountain pastures. Looming on our horizon I see growth of windmills arming a wall of great hills. We wind around the cliffside of a great gorge, waterfalls exploding from holes in the rock, feeding the river that carves it. Out of the gorge-eous depths we emerge staring at the back of the tall, white, wind farm circling its face to the plains. This is the landscape of the North Island's main highway heading south... highway one, and its off shoots. We take it to Wellington. A multitude of sheep and cows dot the view in place of billboards. The small town-strips paint a memory of what the 1950's seems like in my mind in America. Baches (a popular ram-shackle interpretation of housing) line neighborhoods and ice cream trucks keep to thier routes through them. Despite it's major growing cities, there are many more barefoot kiwis jumping out of old VW vans fashioned into psycadelic mobile homes than shoe-shined feet clicking alongside matching briefcases. I eat a meat pie and sip and L&P along the way.
Tuesday, December 22, 2009
Goddess of the Month Club
Each month, it is my intention to feature a goddess from various religious traditions. Many religions have a patriarchal past, and often, the rich mythologies of sacred females are lost in gender-specific choosiness. Girl Power started way before the Spice Girls!
This week, I am using a paper I found from my undergraduate studies to introduce Sarasvati, a goddess within the Hindu tradition. Some would consider Hinduism to be polytheistic (worshiping more than one deity), as there are 330 million deities accounted for within Hindu mythology. Of these vast sacred personalities, though, a few gods and goddesses seem to "rank" higher in importance. Many Hindu's identify themselves by the name of the personal god or goddess they worship. I am reading a great book right now, "Essential Hinduism" by Steven Rosen, that explains about 80% of all "Hindus" are actually "Vaishnavas", meaning they primarily worship the god Vishnu. Vishnu remains the most popular god for a slew of possible reasons, such as: his image is shown centered between that of the god Brahma (who represents creation) and the goddess Shiva (who represents destruction, and nescience). Vishnu is a conceivable balance between the two. Vishnu is also a central character to many important sacred texts, such as the "Mahabarata", a sacred epic in which Krishna, a manifestation of Vishnu, successfully intervenes between a warring family). Though Vishnu may be a most popular god for devotion all around, Hindus may also choose to worship a specific and "lesser" deity for particular purposes. Ganesha, represented as an elephant's head, is appealed to by many as the patron of arts, sciences, intellect, wisdom, and the remover of obstacles. It is no surprise Ganesha is popular among students. To summarize, certain gods and goddess have a larger scope of influence, while others retain a specific identity and purpose in devotion. Though the pantheon of deities may seem overwhelming, a deeper philosophical truth pervades Hindu theology. These sacred figures are a means to focus on the Ultimate, the One, that transcends all else. Some Hindus and scholars alike may argue that this is a monotheistic religion at its core. Complexity and paradox are certainly essential to this mystifying tradition. The goddess studied below, one could imagine, fits somewhere into a "less influential" tier of deities, perhaps similar to Ganesha, as opposed to that of Vishnu or Shiva. I touch on some of these points in the paper, but wanted to provide some preliminary context to the goddess, and her assumed position within the Hindu consciousness. As you will read, gods and goddess are venerated through much visual imagery in appeal to their specific characteristics, and also as a vehicle to transcend the illusion of identity and comprehend the interconnectedness between all things, the Oneness of all things. Sarasvati could be one of the earliest documented goddesses within this religious tradition, which is just one reason why this representation of the sacred in feminine form is this months goddess! Without further adieu...
The religious tradition of Hinduism—the form, focus, and myriad of practices it is known for—has transformed for over 4,000 years. An essential concept within this religion remains that of dharma, translated in short as right way of living, or service (Rosen 35). In the Hindu tradition, individuals and groups of people, often based upon caste, live according to a particular dharma. One particularly popular way of life for Hindus is that of bhakti, or devotion to a particular god or goddess. Hindus often refer to themselves by the god or goddess worshipped by their family; if a group worships the major god Vishnu, they are beheld as Vaishnavites. Three deities most fervently revered remain the gods Brahma, Vishnu, and the goddess Shakti. Sarasvati, though not a major goddess as one of 330 million in the complete pantheon of Hindu deities, possesses highly specific gifts and identity. As the religious tradition evolves in practice, so do the functions of the gods and goddesses (Ludwig 38). The identity of Sarasvati slowly developed through time in association with the geographical and cultural surroundings of religious adherents. Many religions emerging from the Indus valley region share similar vernacular and worldviews. Due to this geographical proximity, Jainism, a tradition formed out of Hinduism, shares the goddess character of Sarasvati with Hindus. A distinct difference in theology between the two traditions, however, modifies the role of Sarasvati within the Jain worldview. Within this paper, I will explore the origins and characteristics of the goddess Sarasvati, as well as how those are expressed in devotion through visual imagery, and the differences between the Hindu and Jain interpretation of this captivating goddess.
The notion of the goddess first took shape in association with fertility. This information is primarily based upon terra cotta figures, “of what were almost certainly mother goddesses… found in Indus valley sites that are probably as early as 2500-2000 BCE.” (Mitchell 4). Throughout the ages, reproduction remains a woman’s demonstration of fertility. The emphasis on a goddess with a fertile, child-bearing presence is suggested by the humanly form within the terra cotta artifacts:
“…Those from Harappa… were well made with emphasis on feminine characteristics having wide hips, narrow waist, and sometimes large breasts. Despite the difficulty of ascertaining their function, it is probable that they had some connection with fertility and that they symbolized for their worshippers the creative principle which governed their agricultural economy.” (Mitchell 4).
Associating the female gift of reproduction with the notion of creation and agriculture implies a reverence of fecundities power. These figures suggest that instilled within the goddess archetype is the essential hope for bounty and life. “All goddesses… of whatever mien, possess a common thread which can usually be traced back to concepts of fertility” (Blurton 156). The necessity of fecundity, expressed through the creation and worship female figures, ignited what grew into an assortment of goddesses, the venerable in female form.
Among the cult of the goddess in the Indus valley during the Vedic Age (Mitchell 4), we can find early roots of the goddess today referred to as Sarasvati. “Her origins are obscure, but it is possible that she once had something to do with the river Sarasvati in Rajasthan or with water in some other way” (Mitchell 4). The river Sarasvati is fixed within the Punjab region, and acts as a powerful factor in the mortality of the community. Correlation with a body of water links Sarasvati to the livelihood of the agricultural community, a force beyond the strength of human capacity. As a source of survival, the river becomes an active site for the sacred rituals of the surrounding people. “The banks of the Sarasvati were considered ideal locations for Vedic sacrifices to be performed” (Blurton 174). Given the importance of sacrifices within the Vedas, performed by the rishis, or priestly class, a sacred location staging these rituals would be of great importance to the spiritual life of the community. These connections to water remain part of Sarasvati’s identity today, but the association is modified.
Those within the Vedic age were most concerned with the performance of sacrifices and agricultural prosperity, and therefore, the spirit of Sarasvati pertained to such issues. In a later age, conversely, followers place emphasis on qualities of the divine that seem to appeal to the contemporary life experience. Sarasvati displays gifts that echo a cultural experience within the physical world, but also point toward the Ultimate. Her identity becomes individualized, separating her from other goddesses. This emphasis on the humanities and individualization illuminates the profound connection between the human experience and the concept of the divine.
“Since the end of the Vedic period she has become increasingly associated with the spoken word, and as such is known also by the epithet Vagdevi, ‘goddess of speech’. Given the central relevance of the spoken word in Hindu ritual in the form of reading aloud from texts, and the recitation of mantras, the importance of Sarasvati as Vagdevi becomes apparent” (Blurton 174-175).
The goddess’ association with speech evolved to encompass all intellectual pursuits, including music and poetry (Blurton 175). Sarasvati’s image often contains four arms, holding a lotus bud, rosary, a book, and the vina, a stringed instrument. (Mitchell 5). The book and vina symbolize her identity with the creative arts. Considering the growing connection between individual worshipers and their chosen gods, Sarasvati intrigues many invested in creative or intellectual pursuits. Sarasvati is thought to have eventually invented the written word, symbolized by her holding a manuscript. In relation to her Pre-Vedic and Vedic origins as a river goddess, Sarasvati’s identity transforms to “the goddess of eloquence, mastering the rivers of speech…” (Vitsaxis 80). This revolution of identity demonstrates the flexibility of her role in the individual conscious of worshipers. Sarasvati’s lotus bud and rosary denote “the symbol of piety” (Vitsaxis 80). While the goddess invented writing, and symbolizes the intellectual and creative arts, Sarasvati is also thought to “preside over and protect wisdom” (Vitsaxis 80). Associations with wisdom, speech, and music—the intellect and the arts—are cultivated through the consistent imagery of the goddess.
Along with the visual arts, the identity of Sarasvati is explored through a rich mythological tradition. Sarasvati’s protection over wisdom comes into conflict with other divine pursuits in Hindu mythology: “In mythology we first find Sarasvati as Vishnu’s consort. However, her relations with the goddess of wealth, Lakshmi, were not harmonious. They were jealous of each other and could never be reconciled. ‘Wherever there are riches, wisdom goes away, and wherever wisdom prevails, riches get no respect” (Vitsaxis 80). This conflict lead to Sarasvati later being shown as consort to the great god Brahma, part of the male trimurti. Hindu gods are often paired with a female divinity, or shakti. This pairing of the two sexes relates to conceptual theories of the Ultimate within Hindu thought: “…one should start from its fundamental idea of universal unity, which involves both a continuous division into pairs of opposites in conflict with each other and a continuous merger of them into a harmonious synthesis. The Absolute splits itself into pairs of opposites in conflict as well as co-operation with each other” (Vitsaxis 75). As Brahma’s shakti, Sarasvati is seen riding on a goose or peacock, the same vehicles of the male god.
Sarasvati is not revered as just the consort or wife of Brahma, though. In Shaktism, the practice of devotion to the goddess Shakti, “the worship of the feminine form of the divine has taken on a particular ‘exclusivity’; there the worship focuses especially on the goddess, so much so that the male aspect of the Divine becomes secondary” (Vitsaxis 93). This practice is also referred to as Tantrism. In this spiritual framework, “the popular pictures intended for Tantrics naturally project a feminine divinity. There is to be found a feminine Supreme Trinity… parallel to that of the great male gods.” (Vitsaxis 93). As one can deduce from the female-centered practice of Tantrism, Hindu mythology is varied. The personalities of various gods and goddess ranges slightly based on the followers own brand of bhakti.
The distinctive identities of the divine, as well as the surrounding myths, are portrayed primarily through visual imagery. Visual images serve an exceptionally predominant role in Hindu culture and practice. Paintings and sculpture vividly express many forms of individual gods and goddesses, as well as depict myths appropriate to the tradition. Particularly throughout Hinduism, visual images are created expressing the identities and capabilities of the gods. These images serve as explanation to worshipers and viewers, as the figures often contain symbolic elements to demonstrate their identity. They also become devices on which to fixate the eye in practice of directing worship or meditation towards the god or goddess, in the act of gazing: “A gaze is a projection of conventions that enables certain possibilities of meaning, certain forms of experience, and certain relations among participants” (Morgan 4). Viewing these images can depict or recount the story of a deity or respective myth for worshipers, but a spiritual experience can be instigated upon the act of gazing (Morgan 8). Creating and meditating on visual imagery constitutes a large part of devotional activity for many worshipers. The art, however, does not maintain relevance with practitioners and worshippers alone: “Visual culture can be a powerful part of the shared apparatus of memory, national citizenship, and the socialization of the young and converts” (Morgan 9). In this respect, visual images depicting gods and goddesses are just as much informative as they are experiential. The experiential quality of an image opens up a possibility for engaging or informing those previously outside of the practicing community or culture. Beyond the religion of Hinduism, Hindu imagery and mythology actively influences much of Indian culture, and has for centuries.
Hinduism’s cultural influence seeps into many surrounding groups of people. Often gods and goddesses stretch beyond specific traditions or practices of Indian religions “It is also customary for the laypeople to worship gods and goddesses who control and protect various aspects of human existence” (Ludwig 149). Jainism, a religious group characterized by their dedication to ahisma, or non-violence, worship Sarasvati as the goddess of learning. Jains regard the goddess not as an ultimate source of wisdom, but as a guiding light or example on which to regard one’s thoughts. Her figure can often be seen within art of Jain constructed libraries (Ludwig 149). Just as Sarasvati represents the powerful creative force in feminine form, the goddess remains only part of what is considered the One That Is: “This kind of worship can be distracting, of course, since these gods are not ultimate. Yet many Jains do find it helpful to worship, for example, the guardian gods of the regions” (Ludwig 149). Such gods and goddesses hold power within an understanding of their separation as an illusion from the Ultimate—a paradoxical mentality similar between the Hindus and Jains.
The versatility of Sarasvati’s identity throughout history and surrounding cultures demonstrates the adaptable nature of the gods and goddess. The functions of the divine, and therefore the respective images of gods and goddesses, change with the evolving needs of devotees. The visual manifestations of the divine serve to inform, express vivacity, and create an experience, mustering awe within the viewer. This practice coexists to display the Ultimate Reality, which pierces through the illusions and mirage of images. Initiated as a bearer of fertility in association with the river Sarasvati, the goddess has been reinterpreted throughout history. These adaptations exist across cultures, observable through varying mythologies and visual imagery. As part of an intricate hierarchy, Sarasvati remains just one deity in the Hindu tradition’s overwhelming network of the divine
Bibliography
Blurton, T. Richard. Hindu Art. Cambridge, Massachusetts: Harvard University Press, 1993.
Ludwig, Theodore M. The Sacred Paths of the East: Third Edition. Upper Saddle River, New Jersey: Pearson Education, Inc., 2006.
Mitchell, A. G. Hindu Gods and Godesses. England: Crown, 1982.
Morgan, David. The Sacred Gaze: Religious Visual Culture in Theory and Practice. London, England: University of California Press, 2005.
Rosen, Steven H. Essential Hinduism. Westport, Connecticut: Praeger Publishers, 2006.
Vitsaxis, Vassilis G. Hindu Epics, Myths, and Legends in Popular Illustrations. New Dehli, India: Oxford University Press, 1977
This week, I am using a paper I found from my undergraduate studies to introduce Sarasvati, a goddess within the Hindu tradition. Some would consider Hinduism to be polytheistic (worshiping more than one deity), as there are 330 million deities accounted for within Hindu mythology. Of these vast sacred personalities, though, a few gods and goddesses seem to "rank" higher in importance. Many Hindu's identify themselves by the name of the personal god or goddess they worship. I am reading a great book right now, "Essential Hinduism" by Steven Rosen, that explains about 80% of all "Hindus" are actually "Vaishnavas", meaning they primarily worship the god Vishnu. Vishnu remains the most popular god for a slew of possible reasons, such as: his image is shown centered between that of the god Brahma (who represents creation) and the goddess Shiva (who represents destruction, and nescience). Vishnu is a conceivable balance between the two. Vishnu is also a central character to many important sacred texts, such as the "Mahabarata", a sacred epic in which Krishna, a manifestation of Vishnu, successfully intervenes between a warring family). Though Vishnu may be a most popular god for devotion all around, Hindus may also choose to worship a specific and "lesser" deity for particular purposes. Ganesha, represented as an elephant's head, is appealed to by many as the patron of arts, sciences, intellect, wisdom, and the remover of obstacles. It is no surprise Ganesha is popular among students. To summarize, certain gods and goddess have a larger scope of influence, while others retain a specific identity and purpose in devotion. Though the pantheon of deities may seem overwhelming, a deeper philosophical truth pervades Hindu theology. These sacred figures are a means to focus on the Ultimate, the One, that transcends all else. Some Hindus and scholars alike may argue that this is a monotheistic religion at its core. Complexity and paradox are certainly essential to this mystifying tradition. The goddess studied below, one could imagine, fits somewhere into a "less influential" tier of deities, perhaps similar to Ganesha, as opposed to that of Vishnu or Shiva. I touch on some of these points in the paper, but wanted to provide some preliminary context to the goddess, and her assumed position within the Hindu consciousness. As you will read, gods and goddess are venerated through much visual imagery in appeal to their specific characteristics, and also as a vehicle to transcend the illusion of identity and comprehend the interconnectedness between all things, the Oneness of all things. Sarasvati could be one of the earliest documented goddesses within this religious tradition, which is just one reason why this representation of the sacred in feminine form is this months goddess! Without further adieu...
The religious tradition of Hinduism—the form, focus, and myriad of practices it is known for—has transformed for over 4,000 years. An essential concept within this religion remains that of dharma, translated in short as right way of living, or service (Rosen 35). In the Hindu tradition, individuals and groups of people, often based upon caste, live according to a particular dharma. One particularly popular way of life for Hindus is that of bhakti, or devotion to a particular god or goddess. Hindus often refer to themselves by the god or goddess worshipped by their family; if a group worships the major god Vishnu, they are beheld as Vaishnavites. Three deities most fervently revered remain the gods Brahma, Vishnu, and the goddess Shakti. Sarasvati, though not a major goddess as one of 330 million in the complete pantheon of Hindu deities, possesses highly specific gifts and identity. As the religious tradition evolves in practice, so do the functions of the gods and goddesses (Ludwig 38). The identity of Sarasvati slowly developed through time in association with the geographical and cultural surroundings of religious adherents. Many religions emerging from the Indus valley region share similar vernacular and worldviews. Due to this geographical proximity, Jainism, a tradition formed out of Hinduism, shares the goddess character of Sarasvati with Hindus. A distinct difference in theology between the two traditions, however, modifies the role of Sarasvati within the Jain worldview. Within this paper, I will explore the origins and characteristics of the goddess Sarasvati, as well as how those are expressed in devotion through visual imagery, and the differences between the Hindu and Jain interpretation of this captivating goddess.
The notion of the goddess first took shape in association with fertility. This information is primarily based upon terra cotta figures, “of what were almost certainly mother goddesses… found in Indus valley sites that are probably as early as 2500-2000 BCE.” (Mitchell 4). Throughout the ages, reproduction remains a woman’s demonstration of fertility. The emphasis on a goddess with a fertile, child-bearing presence is suggested by the humanly form within the terra cotta artifacts:
“…Those from Harappa… were well made with emphasis on feminine characteristics having wide hips, narrow waist, and sometimes large breasts. Despite the difficulty of ascertaining their function, it is probable that they had some connection with fertility and that they symbolized for their worshippers the creative principle which governed their agricultural economy.” (Mitchell 4).
Associating the female gift of reproduction with the notion of creation and agriculture implies a reverence of fecundities power. These figures suggest that instilled within the goddess archetype is the essential hope for bounty and life. “All goddesses… of whatever mien, possess a common thread which can usually be traced back to concepts of fertility” (Blurton 156). The necessity of fecundity, expressed through the creation and worship female figures, ignited what grew into an assortment of goddesses, the venerable in female form.
Among the cult of the goddess in the Indus valley during the Vedic Age (Mitchell 4), we can find early roots of the goddess today referred to as Sarasvati. “Her origins are obscure, but it is possible that she once had something to do with the river Sarasvati in Rajasthan or with water in some other way” (Mitchell 4). The river Sarasvati is fixed within the Punjab region, and acts as a powerful factor in the mortality of the community. Correlation with a body of water links Sarasvati to the livelihood of the agricultural community, a force beyond the strength of human capacity. As a source of survival, the river becomes an active site for the sacred rituals of the surrounding people. “The banks of the Sarasvati were considered ideal locations for Vedic sacrifices to be performed” (Blurton 174). Given the importance of sacrifices within the Vedas, performed by the rishis, or priestly class, a sacred location staging these rituals would be of great importance to the spiritual life of the community. These connections to water remain part of Sarasvati’s identity today, but the association is modified.
Those within the Vedic age were most concerned with the performance of sacrifices and agricultural prosperity, and therefore, the spirit of Sarasvati pertained to such issues. In a later age, conversely, followers place emphasis on qualities of the divine that seem to appeal to the contemporary life experience. Sarasvati displays gifts that echo a cultural experience within the physical world, but also point toward the Ultimate. Her identity becomes individualized, separating her from other goddesses. This emphasis on the humanities and individualization illuminates the profound connection between the human experience and the concept of the divine.
“Since the end of the Vedic period she has become increasingly associated with the spoken word, and as such is known also by the epithet Vagdevi, ‘goddess of speech’. Given the central relevance of the spoken word in Hindu ritual in the form of reading aloud from texts, and the recitation of mantras, the importance of Sarasvati as Vagdevi becomes apparent” (Blurton 174-175).
The goddess’ association with speech evolved to encompass all intellectual pursuits, including music and poetry (Blurton 175). Sarasvati’s image often contains four arms, holding a lotus bud, rosary, a book, and the vina, a stringed instrument. (Mitchell 5). The book and vina symbolize her identity with the creative arts. Considering the growing connection between individual worshipers and their chosen gods, Sarasvati intrigues many invested in creative or intellectual pursuits. Sarasvati is thought to have eventually invented the written word, symbolized by her holding a manuscript. In relation to her Pre-Vedic and Vedic origins as a river goddess, Sarasvati’s identity transforms to “the goddess of eloquence, mastering the rivers of speech…” (Vitsaxis 80). This revolution of identity demonstrates the flexibility of her role in the individual conscious of worshipers. Sarasvati’s lotus bud and rosary denote “the symbol of piety” (Vitsaxis 80). While the goddess invented writing, and symbolizes the intellectual and creative arts, Sarasvati is also thought to “preside over and protect wisdom” (Vitsaxis 80). Associations with wisdom, speech, and music—the intellect and the arts—are cultivated through the consistent imagery of the goddess.
Along with the visual arts, the identity of Sarasvati is explored through a rich mythological tradition. Sarasvati’s protection over wisdom comes into conflict with other divine pursuits in Hindu mythology: “In mythology we first find Sarasvati as Vishnu’s consort. However, her relations with the goddess of wealth, Lakshmi, were not harmonious. They were jealous of each other and could never be reconciled. ‘Wherever there are riches, wisdom goes away, and wherever wisdom prevails, riches get no respect” (Vitsaxis 80). This conflict lead to Sarasvati later being shown as consort to the great god Brahma, part of the male trimurti. Hindu gods are often paired with a female divinity, or shakti. This pairing of the two sexes relates to conceptual theories of the Ultimate within Hindu thought: “…one should start from its fundamental idea of universal unity, which involves both a continuous division into pairs of opposites in conflict with each other and a continuous merger of them into a harmonious synthesis. The Absolute splits itself into pairs of opposites in conflict as well as co-operation with each other” (Vitsaxis 75). As Brahma’s shakti, Sarasvati is seen riding on a goose or peacock, the same vehicles of the male god.
Sarasvati is not revered as just the consort or wife of Brahma, though. In Shaktism, the practice of devotion to the goddess Shakti, “the worship of the feminine form of the divine has taken on a particular ‘exclusivity’; there the worship focuses especially on the goddess, so much so that the male aspect of the Divine becomes secondary” (Vitsaxis 93). This practice is also referred to as Tantrism. In this spiritual framework, “the popular pictures intended for Tantrics naturally project a feminine divinity. There is to be found a feminine Supreme Trinity… parallel to that of the great male gods.” (Vitsaxis 93). As one can deduce from the female-centered practice of Tantrism, Hindu mythology is varied. The personalities of various gods and goddess ranges slightly based on the followers own brand of bhakti.
The distinctive identities of the divine, as well as the surrounding myths, are portrayed primarily through visual imagery. Visual images serve an exceptionally predominant role in Hindu culture and practice. Paintings and sculpture vividly express many forms of individual gods and goddesses, as well as depict myths appropriate to the tradition. Particularly throughout Hinduism, visual images are created expressing the identities and capabilities of the gods. These images serve as explanation to worshipers and viewers, as the figures often contain symbolic elements to demonstrate their identity. They also become devices on which to fixate the eye in practice of directing worship or meditation towards the god or goddess, in the act of gazing: “A gaze is a projection of conventions that enables certain possibilities of meaning, certain forms of experience, and certain relations among participants” (Morgan 4). Viewing these images can depict or recount the story of a deity or respective myth for worshipers, but a spiritual experience can be instigated upon the act of gazing (Morgan 8). Creating and meditating on visual imagery constitutes a large part of devotional activity for many worshipers. The art, however, does not maintain relevance with practitioners and worshippers alone: “Visual culture can be a powerful part of the shared apparatus of memory, national citizenship, and the socialization of the young and converts” (Morgan 9). In this respect, visual images depicting gods and goddesses are just as much informative as they are experiential. The experiential quality of an image opens up a possibility for engaging or informing those previously outside of the practicing community or culture. Beyond the religion of Hinduism, Hindu imagery and mythology actively influences much of Indian culture, and has for centuries.
Hinduism’s cultural influence seeps into many surrounding groups of people. Often gods and goddesses stretch beyond specific traditions or practices of Indian religions “It is also customary for the laypeople to worship gods and goddesses who control and protect various aspects of human existence” (Ludwig 149). Jainism, a religious group characterized by their dedication to ahisma, or non-violence, worship Sarasvati as the goddess of learning. Jains regard the goddess not as an ultimate source of wisdom, but as a guiding light or example on which to regard one’s thoughts. Her figure can often be seen within art of Jain constructed libraries (Ludwig 149). Just as Sarasvati represents the powerful creative force in feminine form, the goddess remains only part of what is considered the One That Is: “This kind of worship can be distracting, of course, since these gods are not ultimate. Yet many Jains do find it helpful to worship, for example, the guardian gods of the regions” (Ludwig 149). Such gods and goddesses hold power within an understanding of their separation as an illusion from the Ultimate—a paradoxical mentality similar between the Hindus and Jains.
The versatility of Sarasvati’s identity throughout history and surrounding cultures demonstrates the adaptable nature of the gods and goddess. The functions of the divine, and therefore the respective images of gods and goddesses, change with the evolving needs of devotees. The visual manifestations of the divine serve to inform, express vivacity, and create an experience, mustering awe within the viewer. This practice coexists to display the Ultimate Reality, which pierces through the illusions and mirage of images. Initiated as a bearer of fertility in association with the river Sarasvati, the goddess has been reinterpreted throughout history. These adaptations exist across cultures, observable through varying mythologies and visual imagery. As part of an intricate hierarchy, Sarasvati remains just one deity in the Hindu tradition’s overwhelming network of the divine
Bibliography
Blurton, T. Richard. Hindu Art. Cambridge, Massachusetts: Harvard University Press, 1993.
Ludwig, Theodore M. The Sacred Paths of the East: Third Edition. Upper Saddle River, New Jersey: Pearson Education, Inc., 2006.
Mitchell, A. G. Hindu Gods and Godesses. England: Crown, 1982.
Morgan, David. The Sacred Gaze: Religious Visual Culture in Theory and Practice. London, England: University of California Press, 2005.
Rosen, Steven H. Essential Hinduism. Westport, Connecticut: Praeger Publishers, 2006.
Vitsaxis, Vassilis G. Hindu Epics, Myths, and Legends in Popular Illustrations. New Dehli, India: Oxford University Press, 1977
Sunday, November 8, 2009
grammar!
This story was read on one of my favorite podcasts, "grammar girl quick and dirty tips for better writing". I see it as a sort of ode to my favorite piece of punctuation. Enjoy.
‘Hello … my name is Eileen … and I’m …
an ellipsis abuser …’
By Eileen Burmeister
September 24, 2009
Going cold turkey on National Punctuation Day
I know it’s wrong to use it in such a way, and I know that’s it’s become a crutch, but I must admit that I’ve been having an illegitimate love affair with the ellipsis for years now. Surely, I thought, I could find a support group among the many writers who have been similarly led down this particular primrose path of pauses, but alas … none existed. Not to be dissuaded, I set out and started my own support group called “Ellipsis …Anonymous.” I invited everyone to my house at 2000 W. Maple … a place, I must confess, I bought for the address alone … and I served M&Ms in batches of three. However the people who showed up tended to trail off midway through their stories or stopped abruptly before staring off into space, which seemed appropriate but really stymied the healing process. It was … daunting. I found myself wandering the streets that night, talking to myself, binging on one story after another without end, drinking deep from the nectar of incomplete thoughts until … I hit rock bottom. It had gotten to the point where I couldn’t pause for breath in my prose without automatically hitting dot-dot-dot. I was ravenous … a wild animal on the prowl for a pregnant pause, a thoughtful moment or a half-baked idea so I could swoop in and get my fix. I was putting ellipses where commas would suffice … ellipses when em dashes would do the trick … ellipses when a yada-yada-yada would convey the same idea. It was all too much, and I collapsed under the pressure.
I woke up the next morning in the gutter outside a Barnes & Noble, gripping my beat-up copy of “Love is…” poems and staring in the face of one harsh reality … I needed help. I got up out of the gutter, flipped open my laptop and started writing … hair of the dog and all that jazz. What I was after was a mantra to get me through the tough spots, those times where it’s just so … tempting to use that one, single punctuation, albeit incorrectly. I needed a higher power to see me through, and … amazingly … this little beauty fell out of the sky like a penny … or coin … from Heaven:
“God grant me the serenity To accept the proper uses for the ellipsis;
Courage to use it when I should and deny myself when I shouldn’t;
And the wisdom to know the difference.”
Doesn’t it seem appropriate, then, that today, National Punctuation Day, would be my quit day? I have decided to go cold turkey. No more ellipses for me. I’m clean and sober starting now of course that means I can’t use any punctuation for fear that the pause in and of itself would throw me headlong into a full blown relapse from which I might never recover until I could once again use my beloved and reliable ellipsis just saying the word makes this all the more harder until I simply … break … down. They say that admitting the problem is half the battle, and I’m counting on that to be true. But right now, I have an inexplicable desire to learn Morse code and eat M&Ms. And besides, as my friend Scarlett once said … “Tomorrow is another day.”
Eileen Burmeister is a corporate communicator in the Pacific Northwest.
‘Hello … my name is Eileen … and I’m …
an ellipsis abuser …’
By Eileen Burmeister
September 24, 2009
Going cold turkey on National Punctuation Day
I know it’s wrong to use it in such a way, and I know that’s it’s become a crutch, but I must admit that I’ve been having an illegitimate love affair with the ellipsis for years now. Surely, I thought, I could find a support group among the many writers who have been similarly led down this particular primrose path of pauses, but alas … none existed. Not to be dissuaded, I set out and started my own support group called “Ellipsis …Anonymous.” I invited everyone to my house at 2000 W. Maple … a place, I must confess, I bought for the address alone … and I served M&Ms in batches of three. However the people who showed up tended to trail off midway through their stories or stopped abruptly before staring off into space, which seemed appropriate but really stymied the healing process. It was … daunting. I found myself wandering the streets that night, talking to myself, binging on one story after another without end, drinking deep from the nectar of incomplete thoughts until … I hit rock bottom. It had gotten to the point where I couldn’t pause for breath in my prose without automatically hitting dot-dot-dot. I was ravenous … a wild animal on the prowl for a pregnant pause, a thoughtful moment or a half-baked idea so I could swoop in and get my fix. I was putting ellipses where commas would suffice … ellipses when em dashes would do the trick … ellipses when a yada-yada-yada would convey the same idea. It was all too much, and I collapsed under the pressure.
I woke up the next morning in the gutter outside a Barnes & Noble, gripping my beat-up copy of “Love is…” poems and staring in the face of one harsh reality … I needed help. I got up out of the gutter, flipped open my laptop and started writing … hair of the dog and all that jazz. What I was after was a mantra to get me through the tough spots, those times where it’s just so … tempting to use that one, single punctuation, albeit incorrectly. I needed a higher power to see me through, and … amazingly … this little beauty fell out of the sky like a penny … or coin … from Heaven:
“God grant me the serenity To accept the proper uses for the ellipsis;
Courage to use it when I should and deny myself when I shouldn’t;
And the wisdom to know the difference.”
Doesn’t it seem appropriate, then, that today, National Punctuation Day, would be my quit day? I have decided to go cold turkey. No more ellipses for me. I’m clean and sober starting now of course that means I can’t use any punctuation for fear that the pause in and of itself would throw me headlong into a full blown relapse from which I might never recover until I could once again use my beloved and reliable ellipsis just saying the word makes this all the more harder until I simply … break … down. They say that admitting the problem is half the battle, and I’m counting on that to be true. But right now, I have an inexplicable desire to learn Morse code and eat M&Ms. And besides, as my friend Scarlett once said … “Tomorrow is another day.”
Eileen Burmeister is a corporate communicator in the Pacific Northwest.
Wednesday, November 4, 2009
The Survival of the Jains
*Jainism: This religious tradition springs out of India, and, I find, shares much common language with Hinduism, Islam, and Buddhism, probably due to a "marketplace effect"-- people of different traditions mixing in the same geographical area. Hinduism in particular shares many commonalities with Jainism, as it seems Jainism formed out of "hinduism" (probably not the same hinduism we know today because this all took place BCE...) so you see some shared characters in the mythology of both traditions. Some archeological evidence (statues of tirthankaras) traces back to the Indus valley region-- a hotbed of eastern religious activity-- around 2700-1700 BCE. This suggests that the basic tenants of Jainism may posses origins that are quite ancient. Mythologically speaking, its founding fathers are a long line of tirthankaras (literally "ford-crossers", in that they have crossed the "stream of existence" and are completed souls). This mythology of leading, liberated Guru's ends with the 24th tirthankara, born Vardhamana and renamed Mahavir (Great Man). While the sect existed before him, Mahavir's real-time existence was probably sometime in 500 BCE, marking a more tangible beginning for Jainism. From Mahavir's death, jinas (self-conquerors) or Jains look up to ganadharas ("supporters of the community") as spiritual guides-- guru's with a lowercase g. This following has been meager at times and then at times powerful and plentiful in India, and has endured some major splits over differences of opinion regarding issues like the authority of certain scriptures, gender rights, artistic images, and dress... (it was the stark naked guys, the "sky clad" Digambaras versus the white-clothed Svetambaras in 80 CE). For our more general purposes, whether Digambara or Svetambara, the basic teachings remain the same.
Basically, the substance of Karma must be burned off. In Jainism, Karma refers to a metaphysical substance that adhere's to holes in the soul, hindering one's ability to become a completed soul. To burn off this karma, self-discipline and austerity must be vigorously employed. No karma is "good" karma, and no karma means escaping the cycle of birth and rebirth. "All creation groans together in torment"-- a quote from an ancient text-- may exemplify a general worldview of the reality of existence. All creation refers to all souls. All souls includes everything-- all animate and inanimate matter. Souls, taking the shape of the bodies they inhabit, are characterized by consciousness. Many souls may seem unconscious but this is only what meets the eye. The soul-goal is "akasa"-- pure consciousness seperate from a form of embodiment. There is a vast tradition of listing or catagorizing in Jainism... you have the 24 tirthankaras, a numerical list of ganadharas, a catagorization of the "levels" of consciousness into which one can be born (think rocks, flames, wind, and mud on the lowest level, and human beings on the highest level) and many other well-labeled groupings. There are five vratas, or vows that shape the life and times of Jains.
Ahisma-- do not kill. anything. do not destroy life (even through carelessness). non-violence.
Satya-- speak only of goodness, pleasantries, truth.
Asteya-- take nothing that is not freely given
Brahmacrya-- celibacy
Aparigraha-- own no worldly possessions.
These vows manifest themselves literally in the lives of Jains, particularly the monks (sadhus). Monks don't eat after dark to avoid accidentally munching on a bug. This is why they don't farm (tilling fields could harm insects or innocent grasses, among other things). There is a belief that to put out a fire is a "sin" itself, as it kills the soul of the flame. All lives (and therefore souls) are in a stage of transmigration towards liberation. Collecting Karma slows this cycle with debt. This concentration and regulation is to avoid collecting Karma, which would need to then be burned off.
All of this study/talk about Jainism has lead to a question... or maybe it's just a point, observation, or guess.
I wonder if Jainism will soon become extinct. Is Jainism unfit? Some researchers believe religion is "selected for" by a cultural evolution whereby the values of a culture promote sustainable life and reproduction. The selfish gene theory suggest that humans, on an unconscious level, make decisions to influence the perpetuation of their own DNA. Could this also be applied to culture? That to pass on the "DNA" of our beliefs to our offspring is an intrinsic motive? There are about 6 million Jains today around the world. It is a rather pessimistic worldview to hold... that you are joined with all of creation in torment. Jainism's most important tenant remains "Ahisma" or non-violence, (whereby the greatest sin is to take a life, of a flame or of a fellow human). Perhaps this may promote a healthy environment that ensures survival, but it seems it can be extremely self depricating as well. Detachment is the ideal state of man. Therefore, to experience neither positive nor negative emotions is the goal. Attachments (even relationships) are left behind and therefore become futile in the face of reaching enlightenment. Passions are to be avoided. How then, may I frankly ask, do Jains have enough sex to reproduce and rear families? Celibacy, one could argue, is evolutionary suicide. This theology suggests stagnation. Without offspring to carry on the genes (or culturally speaking, the tradition) of the group, it's vitality rests on conversion. Conversion seems unlikely due to what I might call the "circumcision effect"... taking on the scrupulous rules and regulations to avoid the drowning weight of karmic debt in a cyclical life of torment isn't exactly going to appeal to just anyone. The fervent ritual aspect involved in ahisma, paired with the highly complex metaphysical philosophy (barely discussed here) lacks accessibility. Is this why Jainism has so few followers? Will they become fewer?
*note: much of this entry I used as a way to practice reading comprehension (Ten Religions of the East: The Jains by Edward Rice) through writing. However, I would enjoy delving further into the subject of Jainism to gain understanding of its teachings and people, as well as to investigate its evolutionary "fitness" (from a more socially scientific and detached viewpoint). Discussion, anyone?
Basically, the substance of Karma must be burned off. In Jainism, Karma refers to a metaphysical substance that adhere's to holes in the soul, hindering one's ability to become a completed soul. To burn off this karma, self-discipline and austerity must be vigorously employed. No karma is "good" karma, and no karma means escaping the cycle of birth and rebirth. "All creation groans together in torment"-- a quote from an ancient text-- may exemplify a general worldview of the reality of existence. All creation refers to all souls. All souls includes everything-- all animate and inanimate matter. Souls, taking the shape of the bodies they inhabit, are characterized by consciousness. Many souls may seem unconscious but this is only what meets the eye. The soul-goal is "akasa"-- pure consciousness seperate from a form of embodiment. There is a vast tradition of listing or catagorizing in Jainism... you have the 24 tirthankaras, a numerical list of ganadharas, a catagorization of the "levels" of consciousness into which one can be born (think rocks, flames, wind, and mud on the lowest level, and human beings on the highest level) and many other well-labeled groupings. There are five vratas, or vows that shape the life and times of Jains.
Ahisma-- do not kill. anything. do not destroy life (even through carelessness). non-violence.
Satya-- speak only of goodness, pleasantries, truth.
Asteya-- take nothing that is not freely given
Brahmacrya-- celibacy
Aparigraha-- own no worldly possessions.
These vows manifest themselves literally in the lives of Jains, particularly the monks (sadhus). Monks don't eat after dark to avoid accidentally munching on a bug. This is why they don't farm (tilling fields could harm insects or innocent grasses, among other things). There is a belief that to put out a fire is a "sin" itself, as it kills the soul of the flame. All lives (and therefore souls) are in a stage of transmigration towards liberation. Collecting Karma slows this cycle with debt. This concentration and regulation is to avoid collecting Karma, which would need to then be burned off.
All of this study/talk about Jainism has lead to a question... or maybe it's just a point, observation, or guess.
I wonder if Jainism will soon become extinct. Is Jainism unfit? Some researchers believe religion is "selected for" by a cultural evolution whereby the values of a culture promote sustainable life and reproduction. The selfish gene theory suggest that humans, on an unconscious level, make decisions to influence the perpetuation of their own DNA. Could this also be applied to culture? That to pass on the "DNA" of our beliefs to our offspring is an intrinsic motive? There are about 6 million Jains today around the world. It is a rather pessimistic worldview to hold... that you are joined with all of creation in torment. Jainism's most important tenant remains "Ahisma" or non-violence, (whereby the greatest sin is to take a life, of a flame or of a fellow human). Perhaps this may promote a healthy environment that ensures survival, but it seems it can be extremely self depricating as well. Detachment is the ideal state of man. Therefore, to experience neither positive nor negative emotions is the goal. Attachments (even relationships) are left behind and therefore become futile in the face of reaching enlightenment. Passions are to be avoided. How then, may I frankly ask, do Jains have enough sex to reproduce and rear families? Celibacy, one could argue, is evolutionary suicide. This theology suggests stagnation. Without offspring to carry on the genes (or culturally speaking, the tradition) of the group, it's vitality rests on conversion. Conversion seems unlikely due to what I might call the "circumcision effect"... taking on the scrupulous rules and regulations to avoid the drowning weight of karmic debt in a cyclical life of torment isn't exactly going to appeal to just anyone. The fervent ritual aspect involved in ahisma, paired with the highly complex metaphysical philosophy (barely discussed here) lacks accessibility. Is this why Jainism has so few followers? Will they become fewer?
*note: much of this entry I used as a way to practice reading comprehension (Ten Religions of the East: The Jains by Edward Rice) through writing. However, I would enjoy delving further into the subject of Jainism to gain understanding of its teachings and people, as well as to investigate its evolutionary "fitness" (from a more socially scientific and detached viewpoint). Discussion, anyone?
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