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the-hermit-at-midnight · 2 months

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The Mystical Significance of the Crow in Witchcraft and Magick

In the vast tapestry of symbols and beings that populate the world of witchcraft and magick, few hold as much intrigue and mystique as the crow. Revered by many cultures throughout history, the crow has come to symbolize wisdom, magic, and transformation in the realm of the occult. Let's explore the significance of this enigmatic bird and its role in witchcraft and magick.

1. **Messenger of the Otherworld:**

In various mythologies and belief systems, crows are often seen as messengers between the earthly realm and the realm of spirits. Their black plumage and keen intelligence evoke an air of mystery, making them natural conduits for communication with the unseen realms. In witchcraft and magick, practitioners may invoke the presence of crows to seek guidance, protection, or insight from the spirit world.

2. **Bearer of Wisdom:**

Crows are highly intelligent birds known for their problem-solving abilities and complex social behaviors. In many cultures, they are revered as symbols of wisdom and knowledge. In witchcraft, the crow is often associated with the archetype of the wise old crone, a figure steeped in ancient wisdom and magickal prowess. Through their association with crows, witches seek to tap into the deep well of knowledge that these birds are said to possess.

3. **Guardian of the Sacred:**

In some traditions, crows are believed to be guardians of sacred spaces and magickal practitioners. They are said to watch over witches and protect them from harm, serving as loyal allies and guides on their spiritual journey. In rituals and spells, practitioners may call upon the energy of the crow to provide a shield of protection or to keep unwanted influences at bay.

4. **Agent of Transformation:**

Crows are creatures of the liminal spaces – the thresholds between light and darkness, life and death, the mundane and the magickal. As scavengers, they feed on the remains of the old, transforming death into new life. In witchcraft, crows are often associated with the process of transformation and renewal. They remind practitioners that change is a natural and necessary part of life, and that through death and decay comes the opportunity for rebirth and growth.

5. **Symbol of Magickal Power:**

Throughout history, crows have been associated with magickal power and the ability to shape-shift or transform. In folklore and mythology, witches are often depicted as being able to take on the form of crows or to summon them to do their bidding. In modern witchcraft, crows are revered as symbols of personal empowerment and mastery over one's own destiny.

The crow holds a special place in the pantheon of symbols used in witchcraft and magick. As a messenger, guardian, and symbol of wisdom and transformation, it serves as a powerful ally for practitioners seeking to deepen their connection to the mysteries of the universe. Whether invoked in rituals, spells, or meditation, the crow embodies the essence of magickal power and spiritual insight, guiding witches on their path to enlightenment and empowerment.

#witchcraft #witchblr #witch #magick #witchythings #witchy shit #spells #crows #crow magick #murder of crows

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venusiancharisma · 1 month

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Traditional Orphic Hymns: Mythology

Have you ever heard of an Orphic Hymn? If you haven't, here is a little background...

An Orphic Hymn is a type of devotional poetry that was used in the religious practices of ancient Greece, particularly in the mystery cults associated with the mythical poet and prophet Orpheus. These hymns were believed to have been composed by Orpheus himself, although the actual authorship is unknown and they were likely written by various poets over time.

Orphic Hymns are characterized by their invocations to specific deities, as well as their use of mystical language and symbolism. Each hymn is dedicated to a particular god, goddess, or abstract concept, and they often include epithets, attributes, and mythological references associated with the subject of the hymn.

In ancient Greek religion, Orphic Hymns were used as part of ritual practices, such as:

Invocation: The hymns were recited or sung to call upon the presence of a deity and to request their blessings, guidance, or protection.

Worship: They were used as a means of honoring and praising the gods, expressing devotion, and strengthening the connection between the worshippers and the divine.

Initiation: In mystery cults, such as the Orphic or Eleusinian Mysteries, the hymns may have been used as part of the initiation process, helping to guide initiates through the symbolic journey and impart sacred knowledge.

Contemplation: The rich symbolism and enigmatic language of the hymns could serve as a tool for spiritual contemplation, allowing practitioners to delve deeper into the mysteries of the divine and the nature of the universe.

In modern times, Orphic Hymns continue to be studied by scholars of ancient religion and literature. They are also used by some contemporary spiritual practitioners, particularly those involved in Hellenic polytheism or other forms of paganism, as a means of connecting with the Greek gods and goddesses and as a tool for personal spiritual growth and ritual practice.

How is it used?...

Here is a traditional Orphic Hymn to Hecate, translated from the ancient Greek text:

"Hecate, bearer of light, who holds the keys, Goddess of the crossroads, revered and mighty, In the sky, on earth, and in the sea, You dwell in the souls of the dead. Chthonic and Celestial, you are the beginning and the end, Alone you wield the scepter of command. You favor the brave in battle, And in the contests, you grant the prize. You nurture the young, you give abundance in good measure, And when life ends, to you we go. Hail, Goddess, and attend your supplicants with favor, With joyful heart and gracious to our prayers."

This hymn is used to invoke and honor Hecate, the Greek goddess of magic, witchcraft, ghosts, and crossroads. The hymn highlights her various roles and attributes:

It addresses Hecate as a "bearer of light," referring to her association with torches and illumination, both literal and metaphorical.

The hymn emphasizes Hecate's liminality, as she presides over crossroads and thresholds, and is connected to the realms of the living and the dead.

It acknowledges her power and influence in all spheres - the sky, earth, and sea - and her role as a psychopomp, guiding souls in the afterlife.

The hymn also recognizes Hecate as a goddess of abundance, bravery, and nurturing, reflecting her complex and multifaceted nature.

In ritual practice, this hymn would be recited as a means of calling upon Hecate's presence, seeking her blessings, and honoring her power. It might be used in magical workings, especially those related to transition, transformation, or communication with the dead. The hymn could also be recited as part of a devotional practice, as a way of expressing reverence for Hecate and strengthening the practitioner's connection to her energy and mysteries.

Other Orphic Hymn God's & Goddesses you can invoke:

Here are 38 traditional Orphic Hymns, each dedicated to a different Greek deity or concept:

To Hecate

To Prothyraia

To Night

To Heaven

To Aether

To Protogonos

To the Stars

To the Sun

To the Moon

To Nature

To Pan

To Hercules

To Dionysus

To the Curetes

To Athena

To Victory

To Asclepius

To Health

To the Seasons

To the Fates

To the Graces

To Themis

To Nemesis

To Justice

To Equity

To Law

To Mars

To Vulcan

To Esculapius

To Hygeia

To the Furies

To the Fates

To the Graces

To Prosperine

To Bacchus

To Mercury

To the Muses

To Memory

Please note that these are the titles of the Orphic Hymns, and each hymn has its own unique text in ancient Greek. The exact content and length of each hymn vary, with some being more extensive than others. These hymns were used in ancient Greek ritual worship and are attributed to the legendary poet Orpheus, though their actual authorship is unknown.

#mythology #greek mythology #greek gods #greek goddesses #hecate #deities #deity work

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mahayanapilgrim · 7 months

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Exploring Ösel: Clarity, Luminosity, and Reflexive Apperception in Vajrayana and Bon

In the Shangpa tradition’s collections of the early masters’ life stories, Kunga Ö’s Biography of the Wisdom Dakini Niguma covers a mere six pages, most of which amount to verses of praise. Only the following words are pertinent to her life:

This wisdom dakini was born the daughter of the great Brahmin Shantivarma [Zhiwé Gocha] and the Brahmini Shrimati [Palgyi Lodrö]. Her name was Shrijnana [Palgyi Yéshé]. She was pandit Naropa’s sister and a member of the Brahmin caste. During three previous incalculable eons of time, she actualized her training on the spiritual path.

In the continuity of that path, during this lifetime she received a little instruction from a few accomplished spiritual masters and, based on their teaching, directly saw the truth of the nature of reality. Her illusory body of obscuring emotions appeared as a pure body of enlightenment. Having reached awakening’s three pure stages, she actually met the great Buddha Vajra Bearer [Dorje Chang, Tib, Vajradhara. Sanskrit] and received from him the full four empowerments of Great Way tantra within an emanated sacred circle of deities.

The wisdom of her understanding of every sacred teaching, such as Buddha’s discourses and tantras, profound instructions, and treatises, flowered to include direct [knowledge and sight] of the nature and multiplicity of all phenomena. She reached awakening’s tenth stage, Cloud of the Doctrine.

Her obscurations of knowledge became finer and finer until no veils remained; she became one with enlightenment, an epitome of the three bodies of enlightenment. She reached perfection in renunciation and realization, the achievement of her own goal. Her enlightenment’s two form bodies appear for the benefit of others until the end of existence and bring benefit to beings in ways that can purposefully guide them. In åparticular, she watches over those who preserve her lineage with a compassion that knows no distance; she blesses them and ensures the success of their enlightened activity.

The Collection of Shangpa Masters’ Biographies, pp. 40-42

Ösel, often translated as "Radiant Light" or "Inner Radiance," is a profound concept and practice deeply rooted in Vajrayana and Bon traditions. This essay aims to delve into the intricacies of Ösel, its significance, and its various aspects. We will explore its meaning, the practices associated with it, its place in the Six Yogas of Naropa and the Six Yogas of Niguma, as well as its connection to rang rigpa or "reflexive apperception." Additionally, we will discuss the nomenclature, orthography, and etymology of this term.

1. Ösel: Meaning and Significance

- Ösel, derived from Sanskrit prabhasvara, refers to "Clarity" or "Luminosity." It symbolizes the intrinsic purity of the mindstream.

- It represents a state of luminous clarity that practitioners aspire to attain, highlighting the radiant nature of the mind.

2. Ösel as a Sādhanā

- Ösel is a fundamental practice in Vajrayana and Bon traditions. It serves as a sādhanā, a spiritual path or method.

- The sādhanā of Ösel focuses on realizing and experiencing the innate luminosity and clarity of the mind.

3. Variations and Derivatives

- Ösel has evolved over time, resulting in numerous versions, derivatives, and accretions of the sādhanā.

- Different lineages and schools may have their own interpretations and practices related to Ösel.

4. Ösel in the Six Yogas

- Ösel is typically included among the Six Yogas of Naropa, a set of advanced tantric practices.

- It is also part of the Six Yogas of Niguma, a sister tradition, emphasizing its significance in Tibetan Buddhism.

5. Ösel and Rang Rigpa

- Ösel is not merely a practice but an experience of rang rigpa or "reflexive apperception."

- Rang rigpa involves the direct recognition of the nature of mind, which is often described as pristine awareness.

6. Nomenclature, Orthography, and Etymology

- The translation of Ösel into English as "Inner Radiance" reflects an attempt to capture its essence.

- Understanding the technical terms and their origins is crucial for a comprehensive grasp of Ösel.

Ösel, with its deep-rooted significance in Vajrayana and Bon traditions, represents the pursuit of clarity and luminosity within the mindstream. As a sādhanā, it guides practitioners towards experiencing the radiant nature of their own consciousness. Its inclusion in the Six Yogas of Naropa and the Six Yogas of Niguma underscores its importance in Tibetan Buddhism. Moreover, Ösel's connection to rang rigpa emphasizes the direct recognition of the mind's pristine awareness. While its nomenclature and orthography may vary, the essence of Ösel remains a beacon of inner radiance for spiritual seekers in these traditions. Exploring Ösel offers a profound journey into the depths of consciousness and self-realization.

#buddha #buddhism #buddhist #dharma #sangha #mahayana #zen #milarepa #tibetan buddhism #thich nhat hanh

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knuckleduster · 9 months

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Seán Hannan, Luck (details), 2022

LUCK (2022) is a film and installation about a cursed egg, revolving around piseógs, an ancient form of Irish folk magick (spelled here with ck to refer distinctly to spiritual magic). Nowadays, piseógs are mostly associated with harmless superstitions such as turning your socks inside out when you are lost to find your way back home, or opening the back door if you hear a knock on the front door, to let the fairies through. Piseógs have a far darker history, however, involving specific types of curses or spells that can cause harm to another person, or steal their luck. This powerful magick was generally cast by breathing intentions into an object that once lived or might have brought forth life. Often, this object would be an egg. Hannan travelled to Ireland to work on LUCK with Tara Tine, a songstress, storyteller and practitioner of Irish folklore and magick with old knowledge on how to cast piseógs. Together, they designed a piseóg especially for the Stedelijk Museum Amsterdam. The curse is now housed in an egg and displayed in the exhibition space. Having carefully transported it from Ireland to the Netherlands in a special flight case, the artist placed the egg in the museum. The details of the piseóg it contains remain ambiguous. It is vital to this work that the curse is positioned as a poetic intervention rather than purely a bearer of bad intentions. The Irish tradition of piseógs presupposes that incorporating one’s intent into a curse makes it possible to steal luck and prosperity from some other person or place. The piseóg for the Stedelijk Museum was designed to take effect only if the egg containing the curse should break, and concerns the restoration of a kind of natural balance: should the egg break, the Stedelijk’s luck and prosperity will be transferred to those in greater need of it. Although the installation is accompanied by a film documenting Hannan’s journey for this project, it is the egg itself that forms the center of gravity of this piece. This ethereal object transcends its mundane nature through its transformation into the bearer of an ancient and disappearing Irish tradition. In the video component of the work, Hannan documents the process of creating the piseóg and expands on Irish oral history and other forms of knowledge exchange that do not involve written sources.

artist website

#there's a video on the website too but i can't embed it for some reason #contemporary art #seán hannan

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japamala0 · 1 year

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Website : https://www.japamala.biz/

Address : Prague, Czech Republic

Japa Mala necklaces were born out of a passion for creating handmade jewelry that is original and meaningful. They are designed with love and according to the client's wishes. My goal is to provide beautiful jewelry that not only looks good, but in which you will feel good. My necklaces are designed to increase vibrations through the healing properties of gemstones, which are not only nice to look at, but also have the power to heal. I create my jewelry to inspire and support your connection to yourself, and to support your mindfulness journey. Slow down, breathe and come back to yourself. Use Japa Mala necklaces or ""Buddhist rosary"" (as they are often called) to focus your energy and attention.

What Are Mala Beads?

A mala is simply a string of beads that are used in meditation practice. Sacred Buddhist mala beads have been used for centuries by many spiritual traditions as a tool to help to calm the mind, center oneself, and connect the best that is within us.

""Mala"" means ""meditation garland"" in Sanskrit, ""Japa"" means to repeat a mantra or prayer. Malas are typically made with 18, 27, 54, 81, 99, or 108 beads. But mostly they are a strand of 108 beads, which are traditionally used in Buddhist and Hindu practices of meditation and prayer.

These necklaces, sometimes called “Buddhist rosary”, are traditional tools used to count the number of times a mantra is recited or breaths we've done, it is a tool that acts as a tactile guide as you sit in silence…

Benefits Of Mala Beads

Mala beads have been used in so many different spiritual traditions for so long because these beads have many powerful benefits for the body, mind, and spirit. Some of the below eight benefits are universal for all types of prayer or counting beads but several of these benefits are specific to mala beads.

Increases focus during mantra meditation.

An efficient and practical tool to count mantras.

An easy way to keep track of the number of mantras recited.

Physical contact with prayer beads transmits their inherent healing powers.

Once mala is empowered it can be used for even more powerful healing of yourself and others.

Choosing a mala to purchase can help in the process of determining goals and intentions and spiritual pursuits.

Seeing or wearing a mala can serve as a reminder of one’s intention and goals. It can also be used as a reward or symbol for accomplishing a difficult task.

Mala Beads In Modern Yoogi Time

Malas are growing in popularity and can be used not only for your meditation practice but also as decorations or jewelry. You may see malas adorning the wrists, necks, and altars of meditation devotees and at the top of mats of yoga practitioners. These beautiful necklaces often hold special significance for the bearer based on where they got it, why they chose the stones, and the energy resonance they feel with the beads.

People more and more love malas because they can combine fashion and function. Malas can be made out of any number of materials including rudraksha tree, the wood of the tulsi plant, lotus seeds, sandalwood, or precious gemstones.

These days people choose to wear Mala Beads for a number of reasons: as part of meditation practice; to benefit from the energy of the crystals and gemstones; as a reminder of intentions they've set; because of a meaning they've associated with them; or simply because they're beautiful…

The History Of Mala Beads

Mala beads are used in other cultures and religions but are known by different names, such as prayer beads, rosary beads, and worry beads. Over two-thirds of the world’s population employ some type of counting beads as part of their spiritual practice. The use of beads in prayer appears to have originated around the 8th century B.C.E. in India.

Beads by themselves have had a powerful influence and importance in human history. The oldest beads found to date are approximately 42,0000 years old. Beads have been used throughout our history as talismans for protection, amulets for luck, status symbols for wealth and authority, spiritual and religious tools, and as a form of barter. The meanings and use of beads have changed significantly over time—they have been used to symbolize personal and cultural relationships, physical, magical and supernatural power, and common cultural world-views.

Facebook : https://www.facebook.com/japamalawithlove

Instagram : https://www.instagram.com/japamalawithlove/

Twitter : https://twitter.com/MalaWith

Youtube : https://www.youtube.com/channel/UCFpm96loOe8D5RbUSLK9NEw

Pinterest : https://cz.pinterest.com/japamalawithlove/_saved/

Keywords : mala bead necklace mala beads bracelet mala beads necklace mala bead bracelet where to buy beads for bracelets male beaded bracelets 27 bead mala bracelet mala bead bracelets mala bracelet beads where to buy beaded bracelets where to buy bead necklaces 108 bead mala necklace 108 mala bead necklace authentic mala bead necklace black mala bead necklace buddhist mala beads necklace

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konmarkimageswords · 2 years

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Jesus and Lucifer Are the Same: Controversy or Real?

Although it is controversial to compare Jesus to Lucifer, there are a number of mythological and linguistic consistencies that deserve our attention.

As such, Christians and practitioners of other Judeo-Christian faiths should be warned that this article may not make for comfortable reading.

The Origin of the Lucifer Myth

Lucifer is typically described as a fallen angel and a "morning star." The Judeo-Christian narrative of an angel falling from heaven probably has its origins in the Babylonian myth of Etana. This ancient king strove to be higher than the supreme god, Anu, by riding on the wings of an eagle. However, he was filled with fear and was forced to return to Earth.

Alternatively, it may refer to Innana’s descent into the underworld. Like Lucifer, Inanna is associated with Venus in Babylonian mythology. Indeed, many Old Testament myths originated in the Babylonian (Sumerian) religion, including Noah’s ark.

The Morning Star: Lucifer or Jesus?

In the original Hebrew Old Testament, Lucifer is called Helel, meaning "shining one." Similarly, a direct translation of Lucifer from Latin into English gives us the phrase "light-bearer" or "light-bringer." This notion of light-bringing is a reference to Lucifer's depiction as the planet Venus (the second brightest object in the night sky, after the Moon).

As Venus is often visible shortly before dawn, Lucifer is given the epithet "morning star" to describe how he "brings the light" of a new day.

So, rather than being a prince of darkness, Lucifer appears to have reputable origins. Indeed, popular myths about Lucifer describe him as an angel who was cast out of heaven:

"How you have fallen from heaven, morning star, son of the dawn! You have been cast down to the earth, you who once laid low the nations!"

—Isaiah 14:12

It should be noted that the King James Bible replaces "morning star, son of the dawn" with "O Lucifer, son of the morning." Despite the protests of some Biblical scholars, earlier translations show the two descriptions to be interchangeable. Taken in context, the quoted passage appears to compare the fall of Lucifer with the fate of a Babylonian king. Much despised, King Etana tried to ascend to heaven but was cast back down to Earth.

Lucifer's celestial status as a morning star that brings the dawn is clear. Confusion arises when Jesus is described in the same way:

"I, Jesus, have sent my angel to give you this testimony for the churches. I am the Root and the Offspring of David, and the bright Morning Star."

—Revelation 22:16

"May this flame be found still burning by the Morning Star: the one Morning Star who never sets, Christ your Son, who, coming back from death's domain, has shed his peaceful light on humanity."

—Easter Proclamation (Roman Missal)

The Two Figures’ Comparative Mythology

Using the above quotes, one could suggest that Lucifer and Jesus are the same entity. A further connection can be made if we consider their comparative mythologies. As described earlier, Lucifer was thrown out of heaven:

"And the great dragon was thrown down, that ancient serpent, who is called the devil and Satan, the deceiver of the whole world—he was thrown down to the earth, and his angels were thrown down with him."

—Revelation 12:7

"I saw Satan fall like lightning from heaven."

—Luke 10:18

Christian tradition tells us that Lucifer became Satan after his fall, although that connection is also rather shaky. Nevertheless, Jesus also descended from heaven to walk the Earth and be a god among men:

"But when the time had fully come, God sent his Son, born of a woman, born under law, to redeem those under law, that we might receive the full rights of sons."

—Galatians 4:4

"I have come [as] Light into the world, so that everyone who believes in me will not remain in darkness."

—John 12:46

When Satan is also called "the God of this world" in 2 Corinthians 4:4, the line between these two beings is blurred even more. Jesus and Lucifer are both light-centric gods called "the morning star" that descended to the human plane of existence.

However, if Jesus and Lucifer are the same entity, then all that followed in the New Testament would be the work of a deceiver. Were Jesus' beneficent, miraculous deeds designed to coax the masses into following him? At the very least, one could question whether a true god would flaunt his powers in such a manner.

It would follow that Christianity could be a Luciferian cult. When considering the fall of Rome, the Dark Ages, the Crusades, the Inquisition, and the countless other evils that can be attributed to its inception, the idea may actually appear less far-fetched than the traditional Christian interpretation.

Interpreting the Morning Star References

Christian scholars have interpreted the Lucifer-Jesus connection in various ways. A common rebuttal to their conflation invokes the following passage to claim that there is more than one morning star:

"Whereupon are the foundations thereof fastened? Who laid the cornerstone thereof; when the morning stars sang together, and all the sons of God shouted for joy?"

—Job 38:6

However, this contradicts the quotations given earlier. "[T]he one" morning star is described as if there are no others. Furthermore, there is only one Venus, although when the planet overtakes Earth's orbit, it does begin to appear at a different time in the night. The Bible is no stranger to contradiction, so we may never know which interpretation is true.

Other scholars claim the Bible verse in which the morning star is cast from heaven (Isaiah 14, see above) is not allegorical but is actually referring to the king of Babylon. This introduces the question of why Hebrew authors would want to describe this king as a divine (celestial) being. Morning star is more precisely attributed to an angel—not a king they despised.

Finally, there is the parable in which Jesus spent 40 days fasting alone in the desert. He is tempted three times by Satan, suggesting that they are two separate beings. However, wise men often wandered into the wilderness to find their true selves by overcoming inner demons. Indeed, no one is recorded as having witnessed the meeting, so it's quite possible that Satan symbolized a side of Jesus that had to be overcome or challenged in some way.

Lucifer as Jesus Christ

Perhaps the greatest trick the Devil ever pulled was convincing the world he was God. Indeed, what better way to get revenge on a benevolent god than to found a religion that does great evil in his name? This shouldn't be a surprise to anyone:

"And when the thousand years are ended, Satan will be released from his prison and will come out to deceive the nations that are at the four corners of the earth."

—Revelation 20:7

"And no wonder, for even Satan disguises himself as an angel of light."

—Corinthians 11:14

Even the Bible foretold that Satan would deceive the world by masquerading as an angel of light. We are also told that Satan is a tempter, a trickster, and a dealer in chicanery and illusion. Would he appear as the beast or as the answer to our prayers?

Jesus found a poor and squalid land and used miracles and charitable acts to become the people's messiah. He profited from the misery of the masses but did nothing to end their suffering on a permanent basis. Instead, he claimed that our sins would be forgiven if we pledge our souls to him. Even murderers and rapists can ascend to paradise by selling their souls to Christianity. Has the devil-worshiper metaphor gone far enough yet?

For those without a predilection for Christian dogma, this interpretation may be just as plausible (or implausible) as the Christian version. Indeed, many believe the religion spawned by this mythical figure is the source of numerous evils. Those who deny these evils use deception to prevent their discovery, while heaven and hell are wielded to tempt or threaten those who are too vulnerable or desperate to care. But then, that's just what Lucifer would have wanted . . . isn't it?

(Dr. Thomas Swan, 2013)

Dr. Thomas Swan has a PhD in psychology from the University of Otago. He specializes in the cognitive and evolutionary study of religion.

https://www.thomasswan.net/

https://owlcation.com/humanities/Are-Jesus-and-Lucifer-the-same

https://www.tate.org.uk/art/artworks/blake-satan-in-his-original-glory-thou-wast-perfect-till-iniquity-was-found-in-thee-n05892

https://www.tate.org.uk/art/artworks/blake-the-crucifixion-behold-thy-mother-n05895

https://www.ngv.vic.gov.au/explore/collection/work/4343/

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currenthunt · 2 months

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Mera Gaon, Meri Dharohar (MGMD) Programme

Government of India has decided to map and document all villages under the Mera Gaon, Meri Dharohar (MGMD) Programme.The program seeks to compile comprehensive information detailing the life, history, and ethos of Indian villages and make it available to virtual and real-time visitors. The Ministry of Culture is preparing mapping and documentation of all the villages under the 'Mera Gaon, Meri Dharohar' (MGMD) programme. The National Mission on Cultural Mapping is being run in coordination with Indira Gandhi National Center for the Arts (IGNCA) under the Ministry of Culture. A web portal on MGMD was also launched on July 27, 2023.A web portal on MGMD has also been launched. MGMD aims to compile comprehensive information about Indian villages, covering aspects of life, history, and ethos, accessible to both virtual and real-time visitors. Under the MGMD, information is collected under seven broad categories - Arts and Crafts Village - Ecologically Oriented Village - Scholastic Village linked with Textual and Scriptural Traditions of India - Epic Village linked with Ramayana, Mahabharata and/or Puranic legends and oral epics - Historical Village linked with Local and National History - Architectural Heritage Village - Any other characteristic that may need highlighting such as fishing village, horticulture village, shepherding village etc. MGMD is a component of National Mission on Cultural Mapping (NMCM), undertaken as a part of Azadi Ka Amrit Mahotsav (AKAM).Under the MGMD cultural mapping of 6.5 lakh villages is being carried out and more than 2 Lakh villages have already been mapped and uploaded on the Mission portal that serves as the National Cultural Work Place. National Mission on Cultural Mapping - NMCM has been set up by the Ministry of Culture, to identify and document India’s cultural heritage and its creative potential to regenerate and revitalise rural economies, thereby making Village India self-reliant. The Cultural Mapping will function at three levels - National Directories of artists and living human treasures of cultural industries. - Creation of National Digital Inventories/Registers of art expression and artist communities/bearers of tradition. - Evolve policies toward the preservation of art practices and develop welfare schemes for their practitioners. Mission Mandate - To create a national database through Cultural Mapping with the aid of extensive ground surveys and documentation. - To Preserve, safeguard, revitalise and disseminate the rich cultural heritage of this country for future generations. - To create a strong “Cultural Vibrancy” throughout the nation with the help of digital platforms and outreach activities. Scheme of Financial Assistance for the Promotion of Art and Culture - It is a central sector scheme, that aims to support various cultural activities and organizations in the country. The scheme has 8 components, each with a different objective and funding amount. - The scheme for Financial Assistance for the Promotion of Art and Culture consists of 8 Components, they are: - Financial Assistance to Cultural organizations with National Presence: - Provide financial support to reputed cultural organizations with a national presence to disseminate and propagate art & culture. - This grant is given to such organizations that are properly constituted managing bodies registered in India with an All India Character and have adequate working strength and a track record of spending Rs. 1 crore or more during any 3 of the last 5 years on cultural activities. - Maximum Grant: Up to Rs. 1 crore. Read the full article

#Bank_PO #BPSC #Current_Affairs #DSSSB #Railway #SSC #UPSC

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dayshoroscope · 7 months

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Exploring the symbolism of the 12 zodiac signs in astrology

Exploring the symbolism of the 12 zodiac signs in astrology is a belief system that suggests a connection between celestial phenomena and human experiences and personality traits. The 12 zodiac signs are a fundamental part of astrology, and each sign is associated with specific symbolism and characteristics. Here's an exploration of the symbolism of the 12 zodiac signs in astrology:

Aries (March 21 - April 19):

Symbol: The Ram

Element: Fire

Key Traits: Aries is known for its boldness, leadership, and initiative. It represents the start of the astrological year and is associated with energy, enthusiasm, and courage.

Taurus (April 20 - May 20):

Symbol: The Bull

Element: Earth

Key Traits: Taurus is associated with stability, determination, and sensuality. It symbolizes the earthy and material aspects of life, as well as a strong sense of determination.

Gemini (May 21 - June 20):

Symbol: The Twins

Element: Air

Key Traits: Gemini is characterized by adaptability, curiosity, and communication. It represents duality and often reflects a dual nature in individuals.

Cancer (June 21 - July 22):

Symbol: The Crab

Element: Water

Key Traits: Cancer is associated with emotions, nurturing, and intuition. It symbolizes the protective and maternal instincts, as well as sensitivity.

Leo (July 23 - August 22):

Symbol: The Lion

Element: Fire

Key Traits: Leo is known for its creativity, leadership, and charisma. It symbolizes self-expression, confidence, and a desire for recognition.

Virgo (August 23 - September 22):

Symbol: The Virgin

Element: Earth

Key Traits: Virgo represents practicality, attention to detail, and a desire for perfection. It symbolizes service, organization, and analytical thinking.

Libra (September 23 - October 22):

Symbol: The Scales

Element: Air

Key Traits: Libra is associated with balance, harmony, and diplomacy. It symbolizes a strong sense of justice, fairness, and a love for beauty.

Scorpio (October 23 - November 21):

Symbol: The Scorpion

Element: Water

Key Traits: Scorpio represents transformation, intensity, and depth. It symbolizes power, passion, and the ability to navigate the depths of emotions.

Sagittarius (November 22 - December 21):

Symbol: The Archer

Element: Fire

Key Traits: Sagittarius is known for its adventurous spirit, optimism, and love for exploration. It symbolizes a quest for knowledge and personal growth.

Capricorn (December 22 - January 19):

Symbol: The Goat

Element: Earth

Key Traits: Capricorn represents ambition, discipline, and responsibility. It symbolizes a strong work ethic, goal-setting, and achievement.

Aquarius (January 20 - February 18):

Symbol: The Water Bearer

Element: Air

Key Traits: Aquarius is associated with innovation, independence, and humanitarianism. It symbolizes unconventional thinking and a desire for social change.

Pisces (February 19 - March 20):

Symbol: The Fishes

Element: Water

Key Traits: Pisces represents compassion, intuition, and artistic creativity. It symbolizes a connection to the mystical and the fluidity of emotions.

It's important to note that astrology is not a science, and its interpretations and beliefs vary among practitioners. Many people find personal meaning in their zodiac sign and use it as a tool for self-reflection and guidance, while others view it as a form of entertainment or a cultural tradition.

#Exploring the symbolism of the 12 zodiac signs in astrology

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culturaldiversityday · 1 year

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Inclusion : paving the way for plural, equitable and resilient societies.

Promoting the respect and appreciation for cultural diversity is a growing imperative for many countries in today’s multicultural societies and expanded mobility, which was underlined as a main cross-cutting priority of culture and arts education by respondents to the 2022 global survey. How can countries better equip learners with the knowledge and skills for social cohesion and conflict prevention through culture and creative expressions, and cater to learners from different backgrounds and with varied needs, ensuring that all learners have a fair and equal chance of succeeding in life?

#Multistakholder Dialogue #plenary session #UNESCO #culturaldiversity #culture and arts #culture education #art education #cultural and educational institutions #tradition bearers and practitioners #multicultural societies #creative expression #cultural expressions #skills #competencies

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ouroboros8ontology · 2 years

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The Ba’alei Shem

So far we’ve only spoken about healers in general, but a variety of Jewish and non-Jewish folk medicine practitioners and healers flourished in the Pale for centuries: alchemists, pharmacists, shamans, and physicians all prescribed variations of local folk medicine. Foremost among the healers of many Eastern European Jewish communities were itinerant Kabbalists, or ba’alei shem, men who traveled widely, dispensing charms or incantations, amulets, and herbal remedies to combat the evil eye and other diseases for anyone in need of their expertise.

The ba’alei shem, “masters of the name (of God),” were a prominent feature of the Pale as both religious leaders and healers. The singular title ba’al shem signifies its bearer’s ability to manipulate holy names, including those of God and angels, along with the names of Satan and malevolent spirits, in order to conjure desired results. The ba’al shem, as a cultural universal, served largely the same role or function as the shaman or “medicine man“ in traditional societies the world over, mediating between the profane and the sacred, as an intercedar between the living and the dead. Ba’alei shem were syncretic healers: relying upon the Kabbalah (writing of the Jewish mystical traditions) for guidance, and dispensing remedies both magico-religious and herbal, including amulets, traditional plant knowledge, and pharmacopeia of the era to heal the individual and honor the Jewish mandate of tikkun olam, “repair of the world.“

Deatra Cohen and Adam Siegel, Ashkenazi Herbalism; Rediscovering the Herbal Traditions of Eastern European Jews

#ashkenazi herbalism; rediscovering the herbal traditions of eastern european jews #deatra cohen #adam siegel #deatra cohen and adam siegel #ba’alei shem #ashkenazim #herbalism #vegetal judaism

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lailoken · 3 years

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'The Witch's Nowl'

Hallowing of the Working Ground’

“Whether it is for use by a solitary practitioner, or by an assembly of the Craft, a special place will be sought for the working of magic and rites of the Arte. It is essential that such a place is as secluded and as private as is possible, and far from the world of men', so as to be a place of wild nature and spirit forces; a place of potency. It is for these reasons that such a place might referred to as 'the lonely place', 'the secret place', 'the hidden place' or the 'haunted place'.

Where the chosen location possesses also the blessing of remoteness, journeys to visit the working ground will embody an act of magical and sacred pilgrimage. Journeying and wandering in this manner is, for the witch, a meditative and power gathering act so useful to the rites and workings of the Arte. The chosen place will also be perceived to be possessed of some special or uncanny virtue, spirit presences, and natural potency, and thus described by some as ‘pulse spots'. Such virtues are of course highly useful to the work of the witch, and places with a proximity to water are highly regarded for their liminal quality, whereby the Otherworldly may be all the more accessible.

The Wise will visit the potential working ground upon numerous occasions, there entering into exploration via contemplation and meditation, to imbibe of and engage with the spirit and essence of the place through all of the senses. Signs that a suitable place has indeed been found may take the form of the location arising in one's dreams, indicating perhaps that a deeper, working interaction is being invited.

The working ground having been positively identified, a rite may be performed in order to set the ground 'apart' and dedicate and empower the place unto its new purpose. Such a rite may also serve to forge and seal the working relationship between the Wise and the spirit of place.

Central to the rite here given for this purpose is the witch's nowl; a large nail of iron employed by some practitioners and lineages of the Craft. The witch's nowl is associated primarily with power and potency; such associations arising quite naturally from its form and the substance from which it is created. The form of the nowl is of obvious phallic nature with its attendant virtues of fertility and life giving force. Akin to the knife, the pin and the thorn, its use in magic often employs the nowl's ability to penetrate and to fix in order to convey and impart the intent and of the spell or rite, and give life and fertility to the working. Its substance, being of iron, has its old associations with power, blood and with fire; telluric and heavenly. The Nowl within witch rites, along with other items forged of iron, is regarded also as deeply emblematic of Old Tubal Cain; the ‘Hairy One', born of the ‘Serpent Blood', the first smith and bearer of Craft, skill and power.

It is a tradition found within some lineages of the Craft that a potent fire, power often depicted as a serpent, dwells within the earth, animating and empowering the land with life. This fire flows also within the body of the witch as the ‘Serpent Blooď and is itself of the Divine Fire which fell to earth from the heavens. Witch-blood, the bloodline of the Serpent, is said to have been initiated by primordial union between man and the Old Ones, the bearers of light, thus is the mystic fire often depicted betwixt the horns of the Horned One; the awakener, illuminator and forefather of the witch.

It is this Serpent Fire which shall be employed within the rite here given via the use of the witch's nowl. Within acts of operative witchcraft and cunning, the nail is often pushed or struck into the ground for various purposes. As Steve Patterson, a witch and traditional magician in Cornwall explains, the iron nail may be used to ʻpin down’ your magic onto the land, and Cecil Williamson spoke of witches putting a nail to the ground in graveyards in order to listen to the spirits of the departed.

Another item employed within the rite here given is the 'Devil's Scourge'. Within some traditions and lineages, this scourge has horse hair in place of the leather or silken thongs more often encountered in some expressions of the Craft. To many Crafters, the horse represents not only witch-divinity in both its male and female aspects, but a symbolic vehicle for magical power and force itself. It is for these associations that items relating to horses are to be found employed as magical and ritual tools within some Craft circles. Such items of course often relate to the tame or harnessed horse, and so symbolise the harnessing of power unto the will of the witch, and its conjuring into, or sending forth from the witch's circle.

The nail of course is also part of the magical symbolism of the horse, harnessed and shod. This symbolism is exemplified in the practice, found in some Craft traditions, of 'shodding the stang' whereby a nail may be ritually struck into the base end of the stang; the forked staff, sometimes called 'the Horse', representing the presence of the divine and Otherworldly power within the circle. Thrust into the earth, the nail within the stang's base represents the fallen telluric fire below to be drawn upon to empower the magical rites and workings of witchcraft.

Reified within the form of the 'Devil's Scourge' is the Serpent, thus it is a tool emblematic of telluric potency, as well as witch-power and divine force. Snake and scourge alike being also phallic in form, it too is emblematic of fertility and enlivenment. Like the iron of the nail, the fiery scourge is also exorcising and punishing in nature and so has its place within rites of banishing and blasting.

Within the empowering of the working ground however, the 'Devil's Scourge' may be employed to ritually and symbolically 'strike’ the ground in order to stir and raise the Serpent Fire of the land, to conjure forth the 'steed of power' into the circle, and to impart fertility and potency to all magical and ritual acts performed therein. Within a rite of assembled Crafters, the scourge would be employed by the presiding witch in the role of the Old One, yet is of use also to the solitary practitioner. Again, the rite here given should easily be adaptable for both circumstances.”

—

The Devils Dozen:

Thirteen Craft Rites of the Old One

‘The Witch’s Nowl’

by Gemma Gary

#the devil’s dozen #gemma gary #devil #horned master #old one #horned one #witchcraft #traditional withcraft #nowl

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oextasedeafrodite · 2 years

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Myrrhophores (myrha priestess)

A long, long time ago, there was an ancient tradition of women who worked with sacred oils for the highest good of All. These women were called Myrrhophores, also known as myrrh-bearers or mistresses of the oils. They were priestesses of an even older order whose time has returned and is with us once again. The work of these women was to anoint those approaching death and to prepare the way for the soul to soar. The sacred oil would realign people with their true soul essence, and carry them to 'other side'. The Myrrhophore would hold a vigil (usually three days) whilst praying and uttering the intonation of the oil. The combination of softly spoken voice and perfume healed the wounds in the soul caused by events not only in this life but also in the past.

This myrrh-bearing tradition has its earthly roots in the ancient temples of Egypt and is still kept alive by a few practitioners today. However, the oil itself is the High Priestess and gateway to the inner temple. Mary Magdalene was a Myrrhophore. Isis was a Myrrhophore. Cleopatra, Hatshepsut..., the names are many, and the tradition is one. The myrrhophore not only works with dis “ease” in the spirit and soul but also the disharmony within the environment. She tunes in to the subtle discordance and acknowledges its unrest. Turning to the oils, and its pure expression of the Divine, she offers herself as a bridge bringing the gift of wholeness and healing.

In the Eastern Orthodox and Greek Catholic churches, the Third Sunday of Pascha (i.e. the second Sunday after Easter) is called the 'Sunday of the Myrrhbearers'. It is clear that during the time of Christ being a Myrrhophore was a very esteemed and honourable position to hold. So much so, that it was the most famous Myrrhophore, Mary Magdalene that got to see and speak with the resurrected Christ. We also understand that Mary Magdalene held a vigil outside the tomb for 3 days and 2 nights. Was she just sat there making sure no one entered the tomb? Or was she sat there uttering the voice of the oil, speaking the words that bridge the worlds, weaving a realm for Yeshua to travel? I have been writing about Myrrhophores for a while and have been noticing the overnight longing that arises in women when they read these words. There seems to be a quickening, a remembering and an intense desire to acknowledge that this is what we are! This is heart medicine, streaming through the soul from the Temple of the Oil.

TRADUÇÃO

Portadoras da myrra

Há muito, muito tempo, havia uma tradição antiga de mulheres que trabalhavam com óleos sagrados para o bem maior de todos. Essas mulheres eram chamadas de miróforos, também conhecidas como portadoras de mirra ou amantes dos óleos. Eram sacerdotisas de uma ordem ainda mais antiga, cujo tempo voltou e está conosco novamente. A obra dessas mulheres era ungir os que se aproximavam da morte e preparar o caminho para que a alma voasse. O óleo sagrado realinhava as pessoas com sua verdadeira essência de alma e as carregava para o 'outro lado'. O Myrrhophore realizava uma vigília (geralmente três dias) enquanto orava e pronunciava a entonação do óleo. A combinação de voz suave e perfume curou as feridas na alma causadas por eventos não apenas nesta vida, mas também no passado.

Essa tradição carregadora de mirra tem suas raízes terrenas nos antigos templos do Egito e ainda é mantida viva por alguns praticantes hoje. No entanto, o próprio óleo é a Alta Sacerdotisa e a porta de entrada para o templo interno. Maria Madalena era uma mirfóforo. Ísis era um mirróforo. Cleopatra, Hatshepsut ..., os nomes são muitos e a tradição é uma só. O mirróforo não atua apenas com doenças no espírito e na alma, mas também com desarmonia no meio ambiente. Ela sintoniza a discordância sutil e reconhece sua inquietação. Voltando-se para os óleos e sua pura expressão do Divino, ela se oferece como uma ponte trazendo o presente da totalidade e da cura.

Nas igrejas ortodoxas orientais e católicas gregas, o terceiro domingo da Páscoa (ou seja, o segundo domingo após a Páscoa) é chamado de 'Domingo dos Portadores do Mirra'. É claro que, durante a época em que Cristo era um mirróforo, era uma posição muito estimada e honrosa de se ocupar. Tanto que foi o mais famoso Mirrhóforo, Maria Madalena, que viu e falou com o Cristo ressuscitado. Também entendemos que Maria Madalena manteve uma vigília fora do túmulo por 3 dias e 2 noites. Ela estava apenas sentada lá, certificando-se de que ninguém entrasse na tumba? Ou ela estava sentada lá proferindo a voz do óleo, falando as palavras que unem os mundos, tecendo um reino para Yeshua viajar? Eu tenho escrito sobre Myrrhophores por um tempo e tenho notado o desejo noturno que surge nas mulheres quando lêem essas palavras. Parece haver uma aceleração, uma lembrança e um desejo intenso de reconhecer que isso é o que somos! Este é o remédio para o coração, fluindo através da alma do Templo do Óleo.

Fonte: anaiya sophia

Jeshua ressucita junto a natureza na primavera (páscoa).

O título do famoso hino catolico abaixo:O título pode ter sido tirado da Segunda Epístola de São Paulo aos Coríntios, 6:18 "Vós sereis meus filhos e filhas", diz o Senhor Todo-Poderoso. " O início do hino se refere às "mulheres mirofóricas" (em grego: carregando mirra) que vieram ungir o corpo de Jesus.

O fílii et fíliae

Rex caeléstis, rex glóriae

Morte surréxit hódie, alleluia

Et mane prima sábbati

Ad óstium monuménti

Accessérunt discípuli, allelúia

Et María magdaléne

Et jacóbi, et salóme

Venérunt córpus úngere, allelúia

In álbis sédens ángelus

Praedíxit muliéribus

In galilaéa est dóminus, allelúia

Et joánnes apóstolus

Cucúrrit petro cítius

Monuménto vénit príus, allelúia

Discípulis adstántibus

In médio stétit chrístus

Dícens: Pax vóbis ómnibus, allelúia

Ut intelléxit dídymus

Quía surréxerat jésus

Remánsit fére dúbius, alleluia

Víde, thóma, víde látus

Víde pédes, víde mánus

Nóli ésse incrédulus, alleluia

Quando thómas chrísti látus

Pédes vídit átque mánus

Díxit: Tu es déus méus, allelúia

Beáti qui non vidérunt

Et fírmiter credidérunt

Vítam aetérnam habébunt, alleluia

In hoc fésto sanctíssimo

Sit laus et jubilátio

Benedicámus dómino, alleluia

De quíbus nos humíllimas

Devótas átque débitas

Déo dicamus grátias, alleluia

Filhos e Filhas

Ó filhos, ó filhas

O Rei celeste, Rei da Glória

Da morte hoje ressuscitou! Aleluia!

E na manhã depois do sábado

Para a entrada do túmulo

Foram os discípulos, Aleluia!

E Maria Madalena

E Tiago e Salomé

Vieram o corpo ungir. Aleluia!

Em vestes brancas o anjo

Disse às mulheres

"O Senhor está na Galileia!" Aleluia!

E João apostolo

Correndo ao lugar mais que Pedro

Chegou ao túmulo primeiro. Aleluia!

Aos discípulos reunidos

Entre eles estando Cristo

Disse: Paz a vós todos! Aleluia!

E a compreensão de Dídimo

Que Jesus ressuscitara

Permaneceu em dúvida. Aleuia!

Vê, Tomé, Vê o lado

Vê os pés, vê a mão

Não seja incrédulo. Aleluia!

Quando Tomés de Cristo o lado

E os pés viu e a mão

Disse: Tu és o meu Deus! Aleluia!

Felizes os que não viram

E firmemente acreditaram

Vida eterna terão. Aleluia!

Nesta festa santíssima

Seja o louvor e o júbilo

Bendigamos o Senhor. Aleluia!

Que nós humildes

Devotas e devidas

Graças demos a Deus! Aleluia!

Composição: Preacher Jean Tisserand

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adapembroke · 3 years

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Icelandic Sagas and Norse Culture: A Conversation with Jared Juckiewicz

There are some people who are so interesting and knowledgeable about a fascinating subject that I wish it was culturally acceptable to hand them a lectern and microphone in social settings and ask them to give an impromptu lecture. My friend Jared Juckiewicz is one of those people.

Jared’s knowledge of Norse history and culture is legendary in our circle, and it was a privilege to have the opportunity to chat with him about the Icelandic Sagas, Jared's class on the Sagas for Nameless Academy, and why you shouldn't carry a magical banner with a raven on it into battle if you value your life.

Ada: For those who are new to the subject, what are the Sagas?

Jared: So Merriam-Webster defines a saga as “a prose narrative recorded in Iceland in the 12th and 13th centuries of historic or legendary figures and events of the heroic age of Norway and Iceland” which is actually bang on for my definition of the historical Icelandic sagas. (I’d class things like Beowulf and the Nibelungenlied as sagas as well, but epic sagas rather than historical ones.) Most of them are attributed to one writer, an Icelandic gentleman by the name of Snorri Sturlisson, who took advantage of his position in the Icelandic Diocese to record as much of Iceland’s Oral History as he could. Each one is basically the history of one of the important families in Iceland at the time, typically going back a generation or two or three before the settlement of Iceland.

Ada: I’m surprised that the dictionary defines “saga” as Icelandic specifically. I always thought “saga” was a synonym for “very long poem.” I’m learning something already!

Was there something about the settlement of Iceland that inspired the Icelanders to write down all of these stories, or is it more that more of the oral tradition survived than it otherwise would have because of Snorri?

Jared: I mean, I would definitely quibble with the definition being specific to Iceland myself. But then again, I don’t work for Merriam-Webster, so you know. Not my say.

So, it’s definitely a case that more of the oral tradition survived thanks to Snorri than it otherwise would have. Admittedly, he did impart a lot of his biases to them, given that he was Christian, in fact being heavily involved in Iceland’s organised Church, and a lot of his subject matter predates the Christianisation of Iceland. But it’s less of an issue in the historical sagas than in things like the Eddas. I suspect a part of his motivation is that the 13th Century was around the time we start to see the emergence of true national identities in northern europe, and a recorded history tends to be a large part of those.

Ada: What sorts of challenges do readers have to be aware of accounting for Snorri’s biases, and why are those biases less of an issue with the sagas?

Jared: So the sagas are more of a historical account than the Eddas, which are a record of the icelandic forms of Norse myth. Being a historical account, there’s less room for interpretation, whereas most scholars agree that Snorris Eddas were revised, by him, to make them more palatable to the Church. So when reading the Eddas, it helps to be aware that the person recording them was a Christian, had been raised Christian, and so had certain views regarding morality and cosmology that may have (Read almost certainly did) differ significantly from how the Norse viewed things. Less of an issue with the historical sagas because history is less open to interpretation. His biases may have coloured his description of people’s motivations, but the events are likely accurate, as are the depictions of things like cultural mores and the like.

Ada: What is your story with the sagas? How did you get interested, and what fascinates you about them?

Jared: So, I’ve always had a bit of a fascination with history. When I was at University, a friend dragged me along to a meeting of what became our local Historical Reenactment Society by dint of showing up to class with a wooden shield on his arm and a wooden sword in his belt.

Ada: Best. Marketing. Ever.

Jared: I was hooked. Still am. Anyway, I’m like, 5’7” and am lucky if I weigh more than 120lbs. To be effective on the field of battle, I have to go for a mix of speed, savagery and complete disregard for my own personal safety. Four years of getting referred to as ‘The littlest Berserker that could’ lead to finding out everything I could about said Berserkers, which lead to the Icelandic sagas. They’re great stories. Dry reads, cause, you know, the 13th Century wasn’t known for popular fiction. But they’re very… human. Stories. Like you read them and it’s like “I can understand why that person would respond that way.” The culture is at enough of a remove that it feels fantastical, but because we’re talking about real people, and their emotions and their triumphs and their failings, it’s easy to emphasize with them, I find.

Ada: How did you get from berserkers to the sagas?

Jared: There are a number of sagas where major characters are berserkers, or berserkers are mentioned. Viga-Glums Saga mentions a Berserker who made a living challenging farmers to Holmgangr (a sort of duel where the victor took the losers property. Given they were generally to the death, the loser didn’t tend to object). The eponymous Egil Skallagrimsson is also described as being a Berserker in some translations. As well as a Skald (poet), Sorceror, and what passed for Nobility in his period of Iceland. Part of it is also a dearth of other sources. You have some mention in the Anglo-Saxon chronicle and in similar Scots and Irish records from the time, but they mostly complain about the Norse being evil pagans come to destroy the Christians (When they aren’t complaining that the Vikings only bathe so they can get laid). There’s Adam of Bremen, but he didn’t talk much about the military side of things, which is where berserkers come in, and there’s Ibn Fadhlan, but until recently translations of his manuscripts were a bugger to get a hold of.

Ada: What is it about the sagas that feels fantastical to you?

Jared: Everything is so much… MORE. If that makes sense? Like, there’s an account of a trial in Njall’s Saga where the defense witness perjures himself by libeling one of the victims, and the prosecuting attorney (Who happened to be related to said victim. No conflict of interest, it’s how things were done at the time) responded by impaling the witness, fatally, with a spear throw. And got away with it. They solve their disputes, when talk fails, with broadswords and battle axes.

Ada: It’s like they actually do the things we’re all imagining doing when someone does something that’s completely out of line.

Jared: Certainly the things I imagine doing. Although, I now realise I could explain it easier. Tolkien was a scholar of the Norse Sagas, and drew heavily on some of Snorri’s other works (particularly the Eddas) for the Hobbit and Lord of the Rings. So part of why they feel fantastical is that the definitive work for High Fantasy is based on them.

Ada: Other than weapons, what Tolkienesque things can readers find in the sagas?

Jared: So the sagas are maybe less of an influence on his works than the Eddas, but he drew heavily on the mythology, and there are bits where that crops up in the sagas. There are also references to things like rune-carving as a means of casting spells, and at least one instance of a magic banner. Bear in mind that this was back when magic was an accepted fact of life (in fact at the time, the Catholic Church was heavily involved in magical research. There are guides on things like alchemy and necromancy and rune magic that were written in monasteries at the time). Poetry, I suppose. The Norse were big on poetry.

Ada: I would love to dive into the intersection between history and mythology with you, but I’ll restrain myself. What’s an example of the intersection of history and myth in the sagas?

Jared: The above mentioned magic banner, actually. It crops up in Njall’s Saga and the Orkneyinga Saga, and belonged to the Jarl of Orkney. Jarl Sigurd of Orkney, to be precise. It was a Raven Banner, sewn by his mother, who was reputed to be a Volva, which was a Norse term for a female magic practitioner, particularly one who practiced fibre magics. It was, reputedly, enchanted to draw the attention of Odin and his aid, and whatever army carried it into battle would have victory, but the bearer of the banner would be slain. Well, the Battle of Clontarf in 1014 was particularly hard fought, and after he’d gone through several standard-bearers, none of Sigurd’s companions was willing to pick it up. He informed them that by spurning Odin’s gift, the battle was lost, tied it round his waist like a belt, and led his final charge. Sigurd’s side lost the battle, and the few of his immediate companions were hunted down shortly thereafter by Kari Solmundsson (admittedly for unrelated reasons).

Ada: One of the reasons I wanted to have this conversation with you is because you are going to be teaching a class on the sagas at the Nameless Academy in February.

I’m really excited to have the chance to sit in on your class because you are a person who I regularly want to hand a lectern and microphone because you have so much knowledge and so many stories.

What is this class, and what will you be teaching?

Jared: So the class is called Íslendingasögur 101: Norse Polytheism and Medieval Culture in Icelandic Sagas.It’s a mouthful I know. Really, it’s just an introduction to pre-Christian Iceland. There’s a lot of misinformation floating about regarding the Norse. I’m not going to name any names. *Cough* Wagner *Cough* Victorian England *Cough*

Ahem. Don’t worry, it’s not Covid, I promise.

But no, there’s a lot of misinformation about the Norse out there, and it’s only in the past five or six decades that we’ve started to undo that. The thing is, the corrections started in Academia, and it took three or four decades before accurate information began to be easily available to the general public. So while we’re doing away with the popular image in peoples heads of the ravening barbarian with the horned helmet, it’s slow going.

I’m hoping in future semesters to do guided self-study of some of the Icelandic studies, but because I do not want to spend all my time correcting common misconceptions, I decided to teach this first, so that anyone looking into the sagas themselves, either under the aegis of the Nameless Academy, or by themselves, is doing so with at least a basic understanding of the culture those sagas concern.

Ada: Other than the horned helmet ridiculousness, what is a common misconception that tends to trip up newbies to the sagas?

Law. The Norse had the greatest respect for their Laws, even if they didn’t always follow them. Because of how sparsely settled Iceland was, and given the lack of urbanisation, they didn’t have permanent courthouses like you find nowadays. Instead they all met up at regular intervals at what was known as a ‘Thing’. No that is not a typo, it was actually called a Thing. The big one in Iceland was held at Thingvellir or “Place of the Thing”. “Field of the Thing”? I do not (yet) speak Old Norse and I’ve seen multiple translations. It was sort of a combination of court and county fair, that was opened by a member of the community, the Lawspeaker, reciting a portion of the legal code to all assembled. It was a great honour to be chosen as the Lawspeaker, even if it also meant moderating all the suits.

One of the most famous Sagas (and my personal favourite) actually focuses heavily on the Laws and Legal matters. In fact, more attention is paid in most sagas to legal nitty-gritty than to pitched battles.

Ada: Other than an interest in history, why might people want to take your class?

Jared: Perspective. People don’t change, even if the places and laws and the cultures do. It’s also a conversation piece. I mean, you can back me up on this. I can relate almost anything to the Sagas.

Ada: That is absolutely true. I feel sometimes when you're talking like they're stories that are happening now.

If people wanted to read the Sagas, where do you suggest they start?

Jared: So, if you prefer Dead Tree Editions, most of my hardcopies were released by either Penguin Classics or Oxford University Press. They tend to be older translations, but still very good, and I’ve never had a problem finding them at good second-hand bookstores or my local library. Well. Never had a major problem. And in this time of Covid, if you don’t want to go out or have someone bring a copy to your door. 13th Century is pretty much Public Domain now, so there are a few of the sagas available as ebooks through Project Gutenberg. Alternately, there’s an Icelandic Non-Profit that hosts a website, sagadb.org which hosts all the extant Icelandic sagas in a variety of languages and formats (although not all of them are available in English). If I do manage to lead some guided self-study it’s likely to be the SagaDB translations I use. Amongst other things, they’re free.

Ada: Thank you so much for talking with me, Jared.

How can people who are interested in learning more about you and your class find you?

Jared: So I’m on Tumblr. At present I’m A-Krogan-Skald-And-Bearsark, and if that changes, only the article and the first identifier will change. Admittedly, I don’t curate my Tumblr AT ALL. So there’s a bit of everything on it.

I’m also on Discord, and you can reach me there on the Nameless Academy server as Jared, or on Polytheists or Diviners Anonymous as JehanCriec. Mind you, my internet access can be sporadic, so if you don’t hear back from me right away, don’t take it as a slight, I’m just on a boat and will respond as soon as I get a chance.

#norse #norse pagan #witchblr

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gvldntrbl · 3 years

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Iris + Jakovan @theartofruling

Location: Westland, Night at Autumnal Equinox Bonfire Feast (LM Moon 3)

- 🦈-

"On behalf of Westland,” Jakovan started, his voice as if amplified, was heard by all. It was mere moments before he was to light the grand pyre to culminate the night’s traditions before their feast. “Thank you. Truly. Centuries ago, the ancestors of this realm spoke to our fore-bearers. It was the first time we learned of their wishes of an united realm. Practitioners of light and dark magic are supposed to be one. Two sides of the same heart. Tonight, we celebrate what’s important to us, share our appreciation. We’re also to hold in remembrance those who’re no longer with us.” He paused, a serious expression on his face as if the High Priest bore the weight of recalling the deceased. However many there were.

“What is important to me as Westland’s High Priest is the safety of my coven. Of all within our realm. Always.” Jakovan grabbed his glass, filled with a drink from the Biergarten, and raised it in silent thanks. He took a sip. “It’s with that in mind that I do this.” His head turned and warm blue eyes landed on a familiar Goddess. “Iris Hale,” Jakovan sent her a genuine smile. Normally, he’d have preferred to do this privately but the usually security of conference rooms and political advisors at their sides. But that was not the air nymph’s way. Jakovan Petrov knew that, in order to secure this for his realm, he would need to meet Iris where she was.

“Goddess of the Divine, I am publicly offering an official alliance between our realms. Westland and the Divine Forest. Do you accept?” There was a chance, however slight, for Iris to decline. It was also something that Jakovan doubted quite highly. He wouldn’t have given Iris the pleasure of public theatrics without firmly believing that she would accept.

#thread: iris + jakovan #t: jakovan petrov #lmmoon3

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mythsought · 3 years

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So now Hradi is moving back in here, it’s best I compile some of his pre-existing headcanons here as well to describe his duties, rituals and abilities as a practioner of Seidr and as his original role as a seidmenn/volva which he practices still to this day despite the transition to modernity that the temple he lives in has experienced (it still functions quite like a place of worship and ‘witchcraft’ despite its modernised facilities and appearance, and Hradi selling himself as a ‘homeopathic’ healer.)

So let’s just rattle a few facts off for the sake of my pea-brain level memory and for anyone else who is interested:

Healing; this is a pretty obvious trend with Hradi’s charater and has been since his inception, albeit the roots run a lot deeper than the magic he inherited from his parentage and can be traced back to the magic and rituals his mother taught him as a volva; he has a vast knowledge of practical magic and the making of various natural remedies and cures as well as using ritualistic magic and treatments for various ailments of the body and mind. It is a field of study Hradi is exceptionally passionate and knowledgable about. Conversely, albeit, he knows how to set curses and cause plagues both through his innate magical ability and through the power of ritual. He dislikes these contrary practices, but thinks it invaluable to know both sides of the coin as in harmony, the knowledge of one can bolster the knowledge of the other.

Prophecy and communing with other planes; volva were regarded mostly as seers and shamans that were able to commune with spirits, Gods and other planes of existence as well as physically traverse to them in order to find the answers they seek, and Hradi is no exception. He has learned the means of ascending to other planes of consciousness and existence from the teachings of his mothers, and something he also often practices even in his verses set in the modern age. While it is rare nowadays that he speaks with Old Gods that time has forgotten or written off as fantasy, there are some from his homeland he still seeks (most prominently the father of his Fylgja, Dainn and his 3 brothers.) There is much Hradi is able to gain from this ability, be it godly advice, portents for the future, spiritual and supernatural assistance or anything in between.

Bending of fate and will; the magical practice of Seidr literally translates to “to bind”, which relates to a volva’s ability to bind things and forces to their will, such as raising and bringing storms, bringing about kveldridurs (the Norse variety of nightmares or incubi, demons that “rode” the chest of sleepers and sometimes killed them) to target others, or even interfering with the will and consciousness of living people. Hradi likewise is in possession of these powers and attributes, though they lay among his most unused powers due to his emphasis on healing and aid.

Transformation; while Hradi is capable of shapeshifting as a cambion anyway, he is likewise able to project himself into of other creatures in order to see through their eyes and travel long distances without actually leaving his physical location (though he can physically change his appearance into that of an animal if he so desires as well.) This allows him to have eyes everywhere in a sense when necessary, something that was once a very priceless skill to possess when traversing the wilderness of the old world.

Rituals; typically a volva would have a court of other women with her that would assist in her duties as essentially a shamanic healer or prophet, and the same is true for male volva/seidmenn. A prophetic ritual would require the volva to be sat in a high chair (thought to elevate them to other realms) while a drum was beaten and a song was sung to call forth spirits and the like as well as aiding the volva in reaching a trance-like state to be able to commune with them. Hradi practices this in the temple and actually takes on numerous apprentices to aid and attend him in the doing of which, all of them usually hand-picked by Hradi himself. Each of them are usually inclined towards magic and have fine singing voices, as the songs that are sung at seidr rituals are required to be as hypnotic and entrancing as possible.

Staff; Volva literally translates to “staff-bearer” or “wand-wed”, and staffs were the most iconic piece of accoutrement that practitioners of seidr were outfitted with. Hradi is no exception in this regard either, though naturally his staff is kept at the temple rather than being wielded in public in the modern era. His was carved from silver birch and entwined with gold thread hanging with various charms crafted from baltic amber. The head of his staff is crafted to resemble the antlers of a red stag or elk and said antlers also encase a large inlaid piece of polished amber. He also still has his traditional seidmenn clothes.

#⟨ ✖ ; OOC ; Casual Sinning ⟩#⟨ ✖ ; Headcanons ; A Method To Our Joyful Madness ⟩#⟨ ✖ ; Hradi ; God Knows I Am Dissonance ⟩#{i rly dig norse mythology and magic yall hradi is my magnum opus in regards of lore AJSFKFKDK}#{AND HES MY FAVOURITE OC ALONGSIDE OPHIR SOOOOO the other ocs all frown at these two as they get all the drip ASDJK}#{speaking of hradi is undergoing a very big design overhaul rn bc he deserves it}#{technically male volva would be referred to as seidmenn but male volva d i d exist so thats what we're goin with champ}

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