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On the Present-Day Veneration of Sacred Trees in the Holy Land
ON THE PRESENT-DAY VENERATION OF SACRED TREES IN THE HOLY LAND Amots Dafni Abstract: This article surveys the current pervasiveness of the phenomenon of sacred trees in the Holy Land, with special reference to the official attitudes of local religious leaders and the attitudes of Muslims in comparison with the Druze as well as in monotheism vs. polytheism. Field data regarding the rea- sons for the sanctification of trees and the common beliefs and rituals related to them are described, comparing the form which the phenomenon takes among different ethnic groups. In addition, I discuss the temporal and spatial changes in the magnitude of tree worship in Northern Israel, its syncretic aspects, and its future. Key words: Holy land, sacred tree, tree veneration INTRODUCTION Trees have always been regarded as the first temples of the gods, and sacred groves as their first place of worship and both were held in utmost reverence in the past (Pliny 1945: 12.2.3; Quantz 1898: 471; Porteous 1928: 190). Thus, it is not surprising that individual as well as groups of sacred trees have been a characteristic of almost every culture and religion that has existed in places where trees can grow (Philpot 1897: 4; Quantz 1898: 467; Chandran & Hughes 1997: 414). It is not uncommon to find traces of tree worship in the Middle East, as well. However, as William Robertson-Smith (1889: 187) noted, “there is no reason to think that any of the great Semitic cults developed out of tree worship”. It has already been recognized that trees are not worshipped for them- selves but for what is revealed through them, for what they imply and signify (Eliade 1958: 268; Zahan 1979: 28), and, especially, for various powers attrib- uted to them (Millar et al. -
The Tree of LIFE
The Tree of LIFE ~ 2 ~ ~ 3 ~ ~ 4 ~ Trees of Life. From the highest antiquity trees were connected with the gods and mystical forces in nature. Every nation had its sacred tree, with its peculiar characteristics and attributes based on natural, and also occasionally on occult properties, as expounded in the esoteric teachings. Thus the peepul or Âshvattha of India, the abode of Pitris (elementals in fact) of a lower order, became the Bo-tree or ficus religiosa of the Buddhists the world over, since Gautama Buddha reached the highest knowledge and Nirvâna under such a tree. The ash tree, Yggdrasil, is the world-tree of the Norsemen or Scandinavians. The banyan tree is the symbol of spirit and matter, descending to the earth, striking root, and then re-ascending heavenward again. The triple- leaved palâsa is a symbol of the triple essence in the Universe - Spirit, Soul, Matter. The dark cypress was the world-tree of Mexico, and is now with the Christians and Mahomedans the emblem of death, of peace and rest. The fir was held sacred in Egypt, and its cone was carried in religious processions, though now it has almost disappeared from the land of the mummies; so also was the sycamore, the tamarisk, the palm and the vine. The sycamore was the Tree of Life in Egypt, and also in Assyria. It was sacred to Hathor at Heliopolis; and is now sacred in the same place to the Virgin Mary. Its juice was precious by virtue of its occult powers, as the Soma is with Brahmans, and Haoma with the Parsis. -
The Problem of Mysteriousness of Baba Yaga Character in Religious Mythology
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Siberian Federal University Digital Repository Journal of Siberian Federal University. Humanities & Social Sciences 12 (2013 6) 1857-1866 ~ ~ ~ УДК 7.046 The Problem of Mysteriousness of Baba Yaga Character in Religious Mythology Evgenia V. Ivanova* Ural Federal University named after B.N. Yeltsin 51 Lenina, Ekaterinburg, 620083 Russia Received 28.07.2013, received in revised form 30.09.2013, accepted 05.11.2013 This article reveals the ambiguity of interpretation of Baba Yaga character by the representatives of different schools of mythology. Each of the researchers has his own version of the semantic peculiarities of this culture hero. Who is she? A pagan goddess, a priestess of pagan goddesses, a witch, a snake or a nature-deity? The aim of this research is to reveal the ambiguity of the archetypical features of this character and prove that the character of Baba Yaga as a culture hero of the archaic religious mythology has an influence on the contemporary religious mythology of mass media. Keywords: religious mythology, myth, culture hero, paganism, symbol, fairytale, religion, ritual, pagan priestess. Introduction. “Religious mythology” is examined by the author of the article (Ivanova, a new term, which is relevant to contemporary 2012, p.56). The subject of the research presented religious and cultural studies, philosophy in this article is topography or conceptual space of religion and other sciences focusing on of notional understanding of the fairytale pagan correlation between myth and religion. This culture hero – the character of Baba Yaga. -
Milwaukee County Historical Society
Title: White Family Collection Manuscript Number: Mss-3325 Inclusive Dates: ca. 1925-2009 Quantity: 14.4 cu. ft. Location: WHW, Sh. B004-B006 (14.0 cu. ft.) RC21A, Sh. 005 (0.4 cu. ft.) Abstract: The White Family consisted of husband and wife Joseph Charles White and Nancy Metz White, and their twin daughters Michele and Jacqueline. Nancy was a local artist who designed and created sculptures constructed out of discarded scrap metal, heating and cooling ventilation pipes, and other recycled items. Originally from Madison, she graduated from UW- Madison with a bachelor’s degree in art education and also did graduate study there. She is primarily noted for creating large-scale outdoor public sculptures, which include Tree of Life in Mitchell Boulevard Park in 2002, Magic Grove in Enderis Park in 2006, Helping Hands at Mead Public Library in Sheboygan, and Fantasy Garden at St. John’s On the Lake. In addition to being a sculptor, Nancy also was an art teacher and the Creative Art Coordinator at Urban Day School Elementary from 1970 to 1978. Joseph C. White was born in 1925 in Michigan. He earned bachelor’s and master’s degrees from Northwestern University and also served in the Navy during World War II and the Korean conflict. In the 1960s, as Vice President of Inland Steel Products Company, he led the company’s involvement in the pioneering School Construction Systems Development (SCSD) project for California schools. He left Inland Steel and formed his own company, Syncon, to focus on modular construction projects. He was also an adjunct architecture professor at UW- Milwaukee. -
The Tree of Life Was Originally Created for Professionals Working with Children Affected by HIV/AIDS in Southern Africa
Tree of Life The Tree of Life was originally created for professionals working with children affected by HIV/AIDS in southern Africa. The process allows children and youth to share their lives through drawing their own tree of life which enables them to speak about their lives in ways that make them stronger without re- traumatizing them. The Tree of Life focuses on strengthening the child and youth’s relationships with their own history, culture, and any significant people and places. The methodology was co-developed through a partnership between Regional Psychosocial Support Initiative (REPSSI) and Dulwich Centre Foundation. To find out more about the Tree of Life and the Dulwich Centre Foundation, visit their website at: hwtt.dup://ww lwichcentre.com.au/tree-of-life.html This activity can be done with children and adults in a short period of time; reserve about an hour to complete the activity. This activity may not be appropriate for small children or those with limited cognition since they are responsible for writing their story on the paper and may not be able to comprehend the purpose of the activity. Once the Tree of Life is complete, give the final copy to the youth. Prior to giving the Tree of Life to the youth make a copy and save it in eWiSACWIS or take a picture and scan the image into eWiSACWIS. Prior to completing the Tree of Life, explain to the child the purpose of the activity: • To share their story from their perspective • To think about where they come from • To think about what they are good at • To think about their -
Simo Parpola's
© Otto Lehto, 2008 Parpola’s ‘Tree of Life’ Revisited: Mysteries and Myths of Assyrian Kabbalah 1. Introduction If we want to understand the concept of a ‘Tree of Life,’ we have to make a distinction between two approaches to the same issue. On the one hand, the Tree is a universal symbol of human cultures everywhere, represented in myths and iconography as well as sagas and fairy tales. On the other hand, there exists the more specifically esoteric meaning behind the obvious and more ‘vulgar’ or commonplace interpretations. It is this view that stands behind the mystical conceptions of the Kabbalistic Tree of Life. In the motifs of Assyrian, Canaanite and, more broadly, Middle Eastern religions the Tree figures as part of early Semitic (as well as non-Semitic) cultures and their symbolism. The common perception has tied this idea of a life-giving Tree with various forms of ‘fertility cults’ and polytheistic agrarian ritual practice. Simo Parpola, in his 1993 article “The Assyrian Tree of Life”,1 strived to question this established viewpoint, by offering a complementary analysis of the Assyrian tree as a symbol of an early form of ‘Kabbalistic’ mystical knowledge which would not only stand as a bridge between the so-called earlier ‘Oriental’ polytheism and later, Abrahamic 2 monotheism, but also offer a novel explanation of the roots of Tree imagery in Medieval Jewish mysticism. My aims here are complex. The precise question of the correctness of Parpola’s genealogical account does not primarily concern me. It seems to rely on a matter of faith until conclusive evidence is found one way or the other. -
Origin and History of Seventh-Day Adventists, Vol. 1
Origin and History of Seventh-day Adventists FRONTISPIECE PAINTING BY HARRY ANDERSON © 1949, BY REVIEW AND HERALD As the disciples watched their Master slowly disappear into heaven, they were solemnly reminded of His promise to come again, and of His commission to herald this good news to all the world. Origin and History of Seventh-day Adventists VOLUME ONE by Arthur Whitefield Spalding REVIEW AND HERALD PUBLISHING ASSOCIATION WASHINGTON, D.C. COPYRIGHT © 1961 BY THE REVIEW AND HERALD PUBLISHING ASSOCIATION WASHINGTON, D.C. OFFSET IN THE U.S.A. AUTHOR'S FOREWORD TO FIRST EDITION THIS history, frankly, is written for "believers." The reader is assumed to have not only an interest but a communion. A writer on the history of any cause or group should have suffi- cient objectivity to relate his subject to its environment with- out distortion; but if he is to give life to it, he must be a con- frere. The general public, standing afar off, may desire more detachment in its author; but if it gets this, it gets it at the expense of vision, warmth, and life. There can be, indeed, no absolute objectivity in an expository historian. The painter and interpreter of any great movement must be in sympathy with the spirit and aim of that movement; it must be his cause. What he loses in equipoise he gains in momentum, and bal- ance is more a matter of drive than of teetering. This history of Seventh-day Adventists is written by one who is an Adventist, who believes in the message and mission of Adventists, and who would have everyone to be an Advent- ist. -
Cosmomorphic Motifs: Symbols Which Depict the Sun, Stars and Milky Way
Cosmomorphic Motifs: Symbols which depict the sun, stars and Milky Way. The most common is the eight-pointed star, a sun motif which symbolizes the ancient god Dazhboh Sun The sun was hugely important to ancient Ukrainians, and representations of it were common in all of the traditional folk arts, including pysanky. Pysanky were written to celebrate the spring holiday, a celebration of the return of the sun after a long, dark winter. A variety of sun symbols can be found on pysanky, including horses and stags (thought to carry the sun across the sky), and birds (in some legends the sun itself was a bird). The most common, though, are the eight-pointed star, circles (with or without rays of light), and variations on the svarha (broken cross), which depicted the movement of the sun across the sky. Phytomorphic Motifs: The most common Ukrainian motifs are those depicting plants and their parts: leaves, flowers and fruit. Among the most ancient is the vazon, a “tree of life” motif, whose outstretched branches mirror the arms of the goddess Berehynia. Flowers Flower symbols are frequently found on pysanky, and fall into three general categories: vazony (flowers in a flowerpot), ruzhi (or rozhi, eight petal flowers), and other. The first are a berehynia symbol; the second, sun symbols; the last are discussed here. Traditional pysanky abound with flowers. These include named flowers, which often bear at least a passing resemblance to their botanical namesakes: carnations, bells, poppies, daisies, violets, and sunflowers. Exceptions are tulips and orchids: these names were assigned to any “exotic” looking flowers. -
The Coconut Odyssey: the Bounteous Possibilities of Th E Tree Life
The coconut odyssey: the bounteous possibilities of th The coconut odyssey the bounteous possibilities of the tree of life e tree of life Mike Foale Mike Foale current spine width is 7mm. If it needs to be adjusted, modify the width of the coconut shells image, which should wrap from the spine to the front cover e coconut odyssey: the bounteous possibilities of the tree of life e coconut odyssey the bounteous possibilities of the tree of life Mike Foale Australian Centre for International Agricultural Research Canberra 2003 e Australian Centre for International Agricultural Research (ACIAR) was established in June 1982 by an Act of the Australian Parliament. Its primary mandate is to help identify agricultural problems in developing countries and to commission collaborative research between Australian and developing country researchers in fields where Australia has special competence. Where trade names are used this constitutes neither endorsement of nor discrimination against any product by the Centre. ACIAR MONOGRAPH SERIES is series contains the results of original research supported by ACIAR, or material deemed relevant to ACIAR’s research and development objectives. e series is distributed internationally, with an emphasis on developing countries. © Australian Centre for International Agricultural Research, GPO Box 1571, Canberra ACT 2601. http://www.aciar.gov.au email: [email protected] Foale, M. 2003. e coconut odyssey: the bounteous possibilities of the tree of life. ACIAR Monograph No. 101, 132p. ISBN 1 86320 369 9 (printed) ISBN 1 86320 370 2 (online) Editing and design by Clarus Design, Canberra Printed by Brown Prior Anderson, Melbourne Foreword Coconut is a tree of great versatility. -
On the Origin and Meaning of the Tree of Life in the Art of Iranian Bronze Age Bahram Ajorloo1, Haniyeh Takavar2
International Research Journal of Applied and Basic Sciences © 2014 Available online at www.irjabs.com ISSN 2251-838X / Vol, 8 (1): 130-134 Science Explorer Publications On the Origin and Meaning of the Tree of Life in the Art of Iranian Bronze Age Bahram Ajorloo1, Haniyeh Takavar2 1. Tabriz Islamic Art University 2. Islamic Azad University, Shabistar branch Corresponding Author email:[email protected] ABSTRACT: The motif known as the tree of life or the sacred tree is associated with mythology and religious beliefs in the art of the Near Eastern Bronze Age in particular Iran.The history of the motif goes as far back as the fourth millennium B.C. and the Uruk period.Its origin, meaning and distribution in the Bronze Age Iran, however, have yet to be studied.From which parts of the Bronze Age Iran is the motif known so far? What is the archaeological origin and mythological meaning of the motif in the region? On which categories of artworks and in which archaeological contexts the motif is attested?On the basis of hypothesis proposed by the authors, in the Bronze Age Iran, the motif comes from the areas related with the Mesopotamian urbanization. The research adopts an art history methodology with an approach to mythological texts of Mesopotamia in accordance with archaeological contexts, which, drawing on the ethnological paradigm of the cultural diffusionism. The motif of tree of life in the Bronze Age Iran has so far been reported only from southeastern region of Halil Rood. Key words: Bronze Age; Iran; Jiroft; Mesopotamia; Sacred tree; Shahr-iSukhteh; Tree of life INTRODUCTION The motif known as the tree of life or the sacred tree is associated with mythology and religious beliefs in the art of the Near Eastern Bronze Age in particular the Iranian Plateau. -
The Tree of Life, a Personification of Christ
Journal of Book of Mormon Studies Volume 2 Number 1 Article 7 1-31-1993 The Tree of Life, a Personification of Christ Jeanette W. Miller Foundation for Ancient Research and Mormon Studies Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Miller, Jeanette W. (1993) "The Tree of Life, a Personification of Christ," Journal of Book of Mormon Studies: Vol. 2 : No. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/jbms/vol2/iss1/7 This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title The Tree of Life, a Personification of Christ Author(s) Jeanette W. Miller Reference Journal of Book of Mormon Studies 2/1 (1993): 93–106. ISSN 1065-9366 (print), 2168-3158 (online) Abstract Throughout history in many cultures, man has looked to the tree of life as a symbol of eternal life. The form of the tree of life varies according to a culture’s percep- tion of the universe. Many early Christians saw the tree of life as a personification of Jesus Christ. It may be that the tree of life vision in the Book of Mormon was presented to introduce the Savior and his minis- try. We may learn much about the Lord’s calling and personality by combining a study of various cultural ideas of the tree of life with the testimonies of the prophets contained in the scriptures. -
The Tree of Life-September 1989
The Tree of Life he Kiwai of New Guinea, like many preliterate groups, have a great respect Tfor trees. In the late nineteenth century, when they were first given iron axes by the British, they were reluctant to use them; there were certain trees in particular that they refused to cut down. They believed, it was learned, that trees were inhabited by etengena, or spirit beings who were somehow connected with the soul of the tree. Before any tree could be felled, the axman would have to request that the etengena move to another tree, and if his arms felt heavy while cutting, or if the work seemed particularly hard, it was a clear sign that the etengena had not yet deserted the tree, and it was perhaps best left standing. The Kiwai were not alone in their reverence for trees. Closer to home, our own European ancestors practiced various forms of tree worship, the best-known example of which is perhaps the religion of the Druids, who so revered the ancient oaks of the British Isles. But there were also sacred groves in what is now Uppsala in Sweden. The Slavs maintained holy forests where no tree could be cut; there were sacred groves throughout pre-Christian Germany, and perhaps most significant of all, according to Norse mythology, the very pivot of the earth was the Yggdrasil, the world ash. Its limbs spread over the world and stood above the heavens, and its roots penetrated into the abyss of hell. Tree worship endured in Europe until the fourteenth century.