Hine-Pukohu-Rangi, this month's highlighted goddess, appears to us in the mythology of the Maori. This story contains themes of lust, love, heartbreak, and redemption-- perfect Valentine's day drama! The term "goddess", in this circumstance, I use loosely. A more accurate word for the "sacred status" of Hine-Pukohu-Rangi would be an "atua",or "mariekura", meaning departmental god, and female spirit respectively. You may observe this distinction within the myth I will soon tell, and I will later discuss how a figure like Hine-Pukohu-Rangi fits into the traditional Maori cosmology. But without further ado, I present to you the legend of "Uenuku and the Mist Girl", summarized from A. W. Reed's anthology of Maori Myths and Legendary Tales, pages 86-90.
Our scene begins where the forest meets the lake. Uenuku, walking between the trees, sees and unusual formation of mist, rising over the lake in a column instead of lying low to the water. Transfixed, his curiosity leads him closer and he sees the cloud of mist is, like a silver veil, wrapping around two beautiful bathing women. Kneeling before them, Uenuku introduces himself, and asks the name of such a vision. Hine-pukohu-Rangi responds, calling herself the Daughter of the Sky, Girl of the Mist. She introduces her sister, Hine-wai, the Misty Rain Girl.
Uenuku, astounded by her beauty, professes his adoration to Hine-Pukohu-Rangi, asking her to "come and live with me in this world of light... I am strong and will take care of you." Hine-Pukohu-Rangi declines, as she cannot leave her home. Uenuku describes her home as cold and empty, and this (earthly) world as warm, with "the summer sun shining through the leaves of the trees and in winter the glowing fire of the hearth. There are birds and their songs, men and women and their laughter."
Tempted at such a poetic plee, Hine-Pukohu-Rangi steps toward Uenuku... but draws back replying that he would not be happy with her. Uenuku, steadfast, professes "but I would always love you". Hine-Pukohu-Rangi, the Girl of the Mist, explains that she comes from "the outer space" and she may spend the night with him, but would have to return to the heavens when the morning sky turns light. Smitten, stubborn, Uenuku still wants her, despite his possible lonliness during the days. "Please come and live with me" he continues...
This time, smiling, the Mist Girl accepts.
Uenuku and his bride slip unnoticed into the night. He takes her to his house, where no one hears their sounds of love. The following morning, before the sunrise, the Girl of the Mist meets her sister, and the two drift into the sky like clouds.
This continued each day into the summer months when the days were long. Women began mocking Uenuku for the bride he claims that they've never seen. They ask him to prove this beautiful woman exists. Uenuku got to thinking about how much he missed his bride during the days-- her laughter, her song. He couldn't take it anymore. He covered the windows with mats, and pushed moss into the crevices of the house. The Mist Girl entered unsuspecting that evening, though the house was as dark as a moonless night.
When the sun rose, Hine-wai (Rain Girl), Mist Girl's sister, called for her to come along into the sky. Hine-pukohu-Rangi began to gather her things. Uenuku stopped her, explaining that it couldn't be morning, as it was completely dark. He told her Hine-wai must be mistaken. Hine-pukohu-Rangi stayed, and Hine-wai's voice became fainter as she eventually left. Upon hearing the forest birds singing, Hine-pukohu-Rangi still felt that something was off. She thing heard voices of the village people, and rushed out of bed. She ran out of the house without her cloak, and the sun filled the house. The village people gasped-- she was more beautiful than anyone they had ever seen-- she did not look like she belonged to the earth. Uenuku was happy that others envied him for his wife. Hine-pukohu-Rangi jumped onto the roof though, and covered her body with her hair. She began to sing a sad song of pain, longing, and love. A cloud descended from the sky and wrapped around her until she could no longer be seen-- only the sound of her song. She ceased singing, and the cloud drifted upwards until dissolving in the sunlight.
Heartbroken, Uenuku waited each night for his love to return. She never did. Finally, he left home in search of Mist girl. Adventuring and traveling brought him to many places, but never to Hine-pukohu-rangi. He died, old, toothless, bend, and lonely, in a distant country. The gods thought Uenuku had paid for his thoughtlessness and pride, and so pitied him. They turned his body into a multi-colored rainbow in the sky for everyone to see. Now, as hine-pukohu-rangi rises from the damp earth in the warm sunlight, Uenuku, the rainbow, encircles his wife with a band of glowing color. (the end)
Hine-pukohu-Rangi is of what james irwin, in his book An introduction to Maori religion refers to as part of the realm of ultamite reality. Within this cosmological framework, you first find Io, considered the supreme being, from which all things have eminated. Io is much more of a force than an anthropomorphic character. (A quick note--Some question whether the entity Io existed in the Maori cosmology before the arrival of the Pakeha. Much of the Maori worldview regarding the sacred and divine, along with subsequent myths and rituals, have changed through time particuarly since the 18th Century. The Pakeha's introduction of Christianity, along with many other new ideas, inevitably shifted the culture. While today Maori spirituality certainly retains it's traditional collection of myths, rituals, and beliefs, these are widely assimilated into Christiantiy... creating a unique hybrid of each culture's traditions. For the purposes of this blog, though, I am mainly discussing the pre-18th Century traditional worldview).
From a mythical standpoint, Rangi (the sky-male) and Papa (the earth-female) created all things in the realm of the human. These two main, or high, gods mated, and produced numerous offspring. The offspring, though, were stuck between Rangi and Papa as they embraced. Working together, the gods seperated their parents, sending Rangi to the sky and Papa to the earth. I have heard it is believed that the rain are Rangi's tears for Papa, and the fog is Papa's tears for Rangi. Anywho. These offspring are considered "departmental gods", presiding over and resembling the elemental aspects of the earth they embody. These gods are morally ambiguous-- sometimes tricksters and manipulative-- and fill the earth with mana, or spiritual power. Less powerful or stable within this heirarchy, there are considered to be spirits, monsters, guardians, and the much revered ancestors. All mana, which makes things tapu, comes from the realm of ultamite reality. These gods, though, do not remain static within this cosmology. As we see in the myth of the Mist Girl, the earth possess beings that are not of the earthly realm, and the gods can make a mortal into something elemental, of the ultamite reality, like Uenuku's transformation to the rainbow. Also interpenetrating with the realm of the human is the realm of the dead. From here the god of evil and disease comes forth, as well as a concept of an 'underworld', or life after death but before joining the ancestors.
As you have surely deduced, the Maori worldview was polytheistic. Many gods and goddesses exist in a richly varied hierarchy. Note here my usage of the word "worldview" instead of "religion". When regarding the traditional cosmology of the Maori, the word religion seems much too modern... it almost assumes a compartmentalization of the aspects of one's life or the life of the community into "religious" and "otherwise" or "secular". For the Maori, the gods and godesses, the myths, the rituals, the concept of what is sacred (tapu) and what is common (noa) is entirely infused in each aspect of the lifestyle and state of being-- from cooking to cleaning to property management methods to hunting to greetings. These "religious" notions inhabit the core of one's innate perspective of the world.
A few words about "myth"...
My stance on and concept of the nature of mythology is still developing. Many post-Englightenment philosophers suggest that Myth existed as a way to explain natural phenomena (so, rainbows form because of the penance paid by Uenuku as the natural gods decided). In this framework, science can how replace myth, as it serves the same purpose more accurately. Despite technology and modern science, though, mythology remains, serving an important purpose for societies. I am still learning about the function of mythology, but I partly see it as a way to bring definition and identity to a group of people... it allows for a needed cohesion in what could be a collective social chaos. I also believe it to convey, or encode important information to the culture generations down the line. in this sense, the emergence of a rainbow is, through myth, illustrated as sacred, related to love, passion, redemption. How one should regard rainbows or mist has been culturally encoded through myth. Mist is understood as an elusive element-- at times unreliable, and not of this earth. Due to its mystery, it is, in effect, dangerous. It has great tapu, as it can wrap one up and cause dissapearance. This emphasis remains regardless of a technical understanding of each element's natural occurance.
And fewer words on this myth...
While I chose to showcase this story for the Goddess of the Month club, it is as much about Hine-pukohu-Rangi as it is about Uenuku. Uenuku is regarded as an important war god in the Maori worldview, and this myth very well explains his emergence as an elemental force.
That's all for now! YOU GO, GIRLS AND GODESSES!!
Friday, February 12, 2010
Sunday, January 31, 2010
Cultural Evolution in New Zealand: Maori vs. Pakeha: An Amateur Ethnography
The Maori people, Maori being a pan-tribal term (as those who are Maori may refer to themselves by their particular tribe), are thought to have established themselves in New Zealand sometime between 1000 and 1500 CE. A steady flow of migration occurred until this time, when the general Pacific region seemed to settle in place. These people originate from a larger Polynesian migration, and are considered Polynesian in origin (as this region stretches from Hawaii in the north to New Zealand in the south, and Easter Islands to the east. The ancestral and genetic origins of these Polynesians at large is considered Indian or Indonesian. This is still studied and disputed. It is also disputed that there may have been a group of native people inhabiting New Zealand before the Maori's arrival... The Moaori (spelling not accurate). These people, to whatever extent they existed, were oppressed and cannibalized by the Maori, who established themselves as the dominant culture. (And hey, if they were cannibalized, it would make sense why evidence is hard to come by... no bodies buried!)
The arrival of the first Maori's to Aotearoa (New Zealand, Land of the Long White Cloud) is an honored event in the culture's rich mythology. This first ancestor is held in deity status, and the method of his arrival, the Waka, or canoe, is an important detail. As an aside, the waka is considered a very sacred object. This is presumably due to its legendary status and pivitol purpose both in the mythology of the Maori and also in their daily life. Making and using the waka is a ritual process because of the spiritual power, or Mana, it possess. Mana is an essential word conveying a sense of great power, force, and transcendent nature. Though Mana is a neutral force, its power can mean great danger for humans who possess or encounter Mana. Therefore, Tapu is established around objects and people with mana as a form of ritualized protection. Tapu is ritual restriction neccessary to ensure the safety- both physical and spiritual- of the individual and community. A helpful way to understand the concept of "tapu" is to think of the common English word "taboo". Our English word taboo has it's origins in the Polynesian word and concept of "tapu", sometimes spelled "tabu".
Now, Back to cultural evolution! The 16th Century marks the commencement of European exploration, which grew through time into colonization, and imperialism. In the 1700 and 1800's, the British stretched their sea-legs quite a bit, extending their limbs across the globe, eventually landing themselves in Aotearoa in the late 18th Century. The first notable contact is attributed to a man with an immortal name, Captain James Cook. The collision of two wholly separate cultures is rarely smooth, particularly given the British track record on exploration... This scenario is a familiar one, in which "white man" finds not only new land, but a new version of the human race. Whether the first to the island or not, in this case, the Maori are considered New Zealand's indigenous people. These others invading were referred to by the Maori as "Pakeha" (or white man, other, basically non-Maori). The Pakeha, the British, brought with them disease and weapons, causing a state of unrest between peoples, and general culture clash, as one could imagine.
I do feel, however, that because this occurred in a relatively later period (the 1800's) in comparison to, say, the British colonization of the US (1600's), time was and is on the Maori's side in terms of preserving culture, as a native peoples. To me, it could have been worse (like the oppression and, what you might cringe calling slow ethnic genocide, of the Native Americans). For example, the 1830's was a time of immense migration of Europeans to New Zealand, and this was perhaps the height of the cultural clash. On February 6th, 1840, the Treaty of Waitangi was signed by both the British government and over 40 Maori chiefs. This treaty, in brief essence, gave the British official sovereinty of the land (allowing them to buy and sell it as they like), and political control, but also provided the Maori with rights as British subjects. It is still considered part of the common law here. The Maori were, in a sense, politically announcing a general assimilation to the Crown, and allowing the English a place of political (and cultural) dominance. This is a very safe and blood-free alternative to what tragedy may have ensued without the treaty.
While the English culture remains dominant (the Maori minority represent 20% of Kiwis, and is generally in the lowest economic class) there has recently been a conscious investment (with government cooperation) in restoring and raising awareness of native traditions, roots, language, and general Maori-ness. For example, there is a public television station, "Maori Television", all in Maori language providing cultural programs, language lessons, and minority-centric entertainment. Museums certainly display treasures, artifacts, and interactive information on Maori culture, but this can also be observed as a living entity. One can visit the villages in which tribes still live. Recently, a new Marae, or meeting house, was built near the Taupo region, as well as a newly built drum of historical design. The fact that new meeting houses are continually being established exemplifies that the Maori practice a living tradition, extending through centuries and generations.
As an aside, the Marae is an important part of the community. It is the meeting house where tribes meet to formally discuss issues, make decisions, and perform rituals. The buildings themselves are considered very sacred places. Each one follows the same architectural format, because the form of the structures is very symbolic, as well as the decor and carvings within. I can discuss this in more detail in a later post.
Language is another important part of the survival and vitality of the Maori culture. Many public signs are written in both English and Maori, children are raised bi-lingual, and many words are assimilated directly into the English dialect here in New Zealand. For example, most place names are of Maori origin, such as "whitianga", "taupo", or "rotorua". Plants and animals possess maori names, like the "pahutakawa" and "punga" trees, or the "pukekoe" bird. There are also a portion of words all Kiwis use and understand in place of English ones, such as "whenau" (family), "Kia Ora" (welcome-- used each night on the evening news), "Pakeha" is a term still used without taboo, and the name "Aotearoa" itself. The survival of native languages is very important to the survival of a culture itself. Because of the assimilatiom of Maori into English, I feel Maori language has a great chance of survival in the upcoming century, when it is predicted that 90% of all native languages will die out! (given the advent of technology and fast, global communication). There is something important and sacred about preserving a language, as it carries so much of the pulse and life-force of a culture itself. Much of the rich symbolism and meaning in a culture is given life through language.
And that, my friends, are my words so far on Cultural Evolution in New Zealand, concerning the Maori and Pakeha!
Join me next time as I explore topics such as cannibalism, death rituals, deity heirarchy, architecture, artifacts, and so much more!
PS: DID YOU KNOW!?!?!?!
Did you know that BATS are the only endemic mammal to New Zealand!?!?! No wonder they practiced cannibalism... probably got tired of all that fish! hehehe. Bats!
The arrival of the first Maori's to Aotearoa (New Zealand, Land of the Long White Cloud) is an honored event in the culture's rich mythology. This first ancestor is held in deity status, and the method of his arrival, the Waka, or canoe, is an important detail. As an aside, the waka is considered a very sacred object. This is presumably due to its legendary status and pivitol purpose both in the mythology of the Maori and also in their daily life. Making and using the waka is a ritual process because of the spiritual power, or Mana, it possess. Mana is an essential word conveying a sense of great power, force, and transcendent nature. Though Mana is a neutral force, its power can mean great danger for humans who possess or encounter Mana. Therefore, Tapu is established around objects and people with mana as a form of ritualized protection. Tapu is ritual restriction neccessary to ensure the safety- both physical and spiritual- of the individual and community. A helpful way to understand the concept of "tapu" is to think of the common English word "taboo". Our English word taboo has it's origins in the Polynesian word and concept of "tapu", sometimes spelled "tabu".
Now, Back to cultural evolution! The 16th Century marks the commencement of European exploration, which grew through time into colonization, and imperialism. In the 1700 and 1800's, the British stretched their sea-legs quite a bit, extending their limbs across the globe, eventually landing themselves in Aotearoa in the late 18th Century. The first notable contact is attributed to a man with an immortal name, Captain James Cook. The collision of two wholly separate cultures is rarely smooth, particularly given the British track record on exploration... This scenario is a familiar one, in which "white man" finds not only new land, but a new version of the human race. Whether the first to the island or not, in this case, the Maori are considered New Zealand's indigenous people. These others invading were referred to by the Maori as "Pakeha" (or white man, other, basically non-Maori). The Pakeha, the British, brought with them disease and weapons, causing a state of unrest between peoples, and general culture clash, as one could imagine.
I do feel, however, that because this occurred in a relatively later period (the 1800's) in comparison to, say, the British colonization of the US (1600's), time was and is on the Maori's side in terms of preserving culture, as a native peoples. To me, it could have been worse (like the oppression and, what you might cringe calling slow ethnic genocide, of the Native Americans). For example, the 1830's was a time of immense migration of Europeans to New Zealand, and this was perhaps the height of the cultural clash. On February 6th, 1840, the Treaty of Waitangi was signed by both the British government and over 40 Maori chiefs. This treaty, in brief essence, gave the British official sovereinty of the land (allowing them to buy and sell it as they like), and political control, but also provided the Maori with rights as British subjects. It is still considered part of the common law here. The Maori were, in a sense, politically announcing a general assimilation to the Crown, and allowing the English a place of political (and cultural) dominance. This is a very safe and blood-free alternative to what tragedy may have ensued without the treaty.
While the English culture remains dominant (the Maori minority represent 20% of Kiwis, and is generally in the lowest economic class) there has recently been a conscious investment (with government cooperation) in restoring and raising awareness of native traditions, roots, language, and general Maori-ness. For example, there is a public television station, "Maori Television", all in Maori language providing cultural programs, language lessons, and minority-centric entertainment. Museums certainly display treasures, artifacts, and interactive information on Maori culture, but this can also be observed as a living entity. One can visit the villages in which tribes still live. Recently, a new Marae, or meeting house, was built near the Taupo region, as well as a newly built drum of historical design. The fact that new meeting houses are continually being established exemplifies that the Maori practice a living tradition, extending through centuries and generations.
As an aside, the Marae is an important part of the community. It is the meeting house where tribes meet to formally discuss issues, make decisions, and perform rituals. The buildings themselves are considered very sacred places. Each one follows the same architectural format, because the form of the structures is very symbolic, as well as the decor and carvings within. I can discuss this in more detail in a later post.
Language is another important part of the survival and vitality of the Maori culture. Many public signs are written in both English and Maori, children are raised bi-lingual, and many words are assimilated directly into the English dialect here in New Zealand. For example, most place names are of Maori origin, such as "whitianga", "taupo", or "rotorua". Plants and animals possess maori names, like the "pahutakawa" and "punga" trees, or the "pukekoe" bird. There are also a portion of words all Kiwis use and understand in place of English ones, such as "whenau" (family), "Kia Ora" (welcome-- used each night on the evening news), "Pakeha" is a term still used without taboo, and the name "Aotearoa" itself. The survival of native languages is very important to the survival of a culture itself. Because of the assimilatiom of Maori into English, I feel Maori language has a great chance of survival in the upcoming century, when it is predicted that 90% of all native languages will die out! (given the advent of technology and fast, global communication). There is something important and sacred about preserving a language, as it carries so much of the pulse and life-force of a culture itself. Much of the rich symbolism and meaning in a culture is given life through language.
And that, my friends, are my words so far on Cultural Evolution in New Zealand, concerning the Maori and Pakeha!
Join me next time as I explore topics such as cannibalism, death rituals, deity heirarchy, architecture, artifacts, and so much more!
PS: DID YOU KNOW!?!?!?!
Did you know that BATS are the only endemic mammal to New Zealand!?!?! No wonder they practiced cannibalism... probably got tired of all that fish! hehehe. Bats!
Saturday, January 30, 2010
Billboard
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.
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.
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
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