myths symbols sandplay

For Inquiring Minds

When researching Jung’s Theory of Personality, questions arose regarding current symbols of archetypes and how the anima or animus might be seen in sandplay work with clients. Along with questions about understanding symbols in limiting terms.

I wondered about the many latency aged boys I used to see in my practice and their choice of both anima and hero miniatures. I understand the concept of a collective unconscious which might be revealed through the use of ancient archetypal figures from my sandplay collection. Yet, I am also curious about the current heroes and anima figures chosen by young boys to express their unconscious relationship to and identification with their anima. What about the action figures from films such as Star Wars and animated Disney heroes and heroines? Are the more independent females represented by Belle in Disney’s Beauty and the Beast and the female warrior Mulan new anima figures for boys? I have seen these figures used in sandplay scenes of school-aged boys, along with male action figures.

Young girls and adolescent female clients have used archetypal male miniatures, along with independent and assertive female figures. I might see Cinderella, Snow White, or Dorothy from The Wizard of Oz, along with a cowgirl, Princess Lea of Star Wars, and other female sci-fi action figures. Do these more action oriented miniatures represent a developing animus in young females?

Another source of pertinent questions comes from an article by Barbara Weller in the Winter 1994 issue of The Journal of Sandplay Therapy. Preparing for a conference “On the Masculine”, Barbara poses additional thought provoking questions. Why is it important to ascribe a gender to elemental symbols such as the earth as feminine and the sun as masculine? Why label and value in terms of hierarchy?

Questions of my own, resulting from seeing several sandplay miniature collections, are based on whether the collection was put together by a female or male therapist. What are the differences in the makeup of the collection based on the gender of the collector/therapist? How can we bring balance to our collections so clients will have a greater variety of choices? Could we discern the gender of the therapist by the items in the miniature collection?

As I ponder these and other related questions, I find comfort in Barbara Weller’s final comment. “I used to think that questions had to have answers. I now find it more interesting to live with the questions.” One fascinating and constantly engaging aspect of sandplay, for me, is the unknown. I do not have definitive answers regarding sandplay scenes and often find myself in an awesome state of quiet respect for the process and all that is revealed…of which I may have little understanding. In viewing trays in my practice, as part of a sandplay consultation group, in presentations, or in articles in The Journal of Sandplay Therapy, I am intrigued by yet more questions.

Nazca Lines, Peru

 

 

 

 

 

 

 

Stretching across nearly 200 square miles, the Nazca lines are legendary. Hundreds of figures include giant spiders, monkeys, humming birds, fish, sharks, llamas, lizards, and more. The glyphs have lasted for over 1,500 years due to the dryness of the region.

 

 

 

 

 

Spider

 

The glyphs were made by the Nazca people between 200 BC and 600 AD by scraping a layer of iron oxide off of the dry desert floor. It is believed that the designs were made by using wooden stakes in the ground and rope to keep the lines in ratio to each other. This theory is supported by the finding of wooden stakes at the end of some of the lines.

 

 

 

 

 

Condor

 

They are a mystery. Why were they created? One theory is that the lines were created to be walked on as possibly a ceremonial procession that led the way to a sacred area used for praying to various water and agricultural gods. Another suggestion is that the figures were to be seen by the gods as an early SETI program (Search for Extraterrestrial Intelligence). Others believe that the lines were a giant astronomical calendar pointing to the locations where celestial bodies would align themselves. However, archaeoastronomists who examined the site in 2000 dismissed this claim as insufficiently supported.

Despite the figures having been examined by numerous anthropologists, ethnologists, and archaeologists, not to mention new-agers, ancient astronaut theorists, and alien enthusiasts, we may never know what the designs were meant for, or how the Nazca people intended them to be seen. What we do know, though, is that they are incredibly fascinating.

 

 

 

 

The Hands

 

The Zodiac: Capricorn

 

 

 

 

 

 

 

Zodiac literally means animal circle and is the symbol of celestial glory, the complete circuit dome of light, firmament, halo, lofty sentiments, pathway of fate, and time. The zodiac is also the field of sun hero epics. The lunar zodiac is a circle of twenty-eight star groups associated with the days of the month. The solar zodiac is the sun path comprised of twelve mansions associated with the months of the year (Jobes).

The zodiac is also a “symbol of relationship in the universe, and of cyclical and seasonal transformation; it is the Wheel of Life; an archetype; the harmony of the Many and the One; the fall into the phenomenal world and the salvation from it” (Cooper, pg 198). The goat that represents Capricorn in the western zodiac symbolizes the gate of the gods, the janua coeli, in the winter solstice. (The two solstices, at the highest and lowest points of the year, are called janua coeli or heaven's gates.)

In the mansion, Capricornus, the sun enters on December 21, which is the Babylonian month of Tebet. The Sun Carrier varies according to cultural beliefs. In Babylonia the sun carrier is the goat-fish, in China it is the rooster, in Egypt it is the baboon, and in Europe the sun carrier is the goat. According to Jobes, the ruling planet is Saturn; the flower is holly; the Druidic tree is the birch, the element is the Earth; the color is blue-violet; and the birthstone is lapis lazuli or turquoise.

Other associations of the mansion Capricornus is the quality of influence, which is feminine, cold, dry, and unfortunate. Capricornus influences the knees; the keyword or nature is I use; and the type is actional. Guardians or rulers and their corresponding symbols are: the Greek Hesta and her lamp; the Norse Svipdag and hand; the Roman Vesta and the hearth; the Occultist Angel Humiel and the talismanic gem known as beryl. Also associated with the mansion Capricornus are the Hebrew Tribe, the Naphtali; the Christian Disciple Matthew and the Angel; the biblical book of the Gospels; and the tarot card The Wheel.

See Bibiography category for reference information.

The Significance of Seeds

 

 

 

 

The seed represents potentiality, latent power, and the male principal. As a feminine symbol, the seed is fertility, life to be, and growth. Symbol of the Center, from which the Cosmic Tree of Life grows.

In Hinduism, the seed is the Divine Spirit, Atman (the Sanskrit spirit of the highest principle of the universe), the center of being, the heart. The seed in the center of the Hindu temple represents Life and consciousness itself. In Buddhism, the seed is called bija and as a Sanskrit letter is often inscribed on a box or plaque, for ritual invocation.

Along with gold, silver, pearls, precious stones, and human blood, seeds were offered to Mexican gods for bountiful harvests and victories. Seeds are closely associated with fruit and share symbolism. Because fruit contains the seeds of growth, fruit represents cosmic origins and immortality.

Beginner's Mind

In learning about the world of sandplay therapy (and many more topics and experiences that make for an interesting life), it is important to cultivate Shoshin - a word from Zen Buddhism meaning "beginner's mind". It refers to having an attitude of openness, eagerness, and lack of preconceptions when studying a subject, even when studying at an advanced level, just as a beginner would.

This approach is well stated in Mythology: An Illustrated Guide edited by Roy Willis. In the introduction, Robert Walter shares his view on this book about myths:

"Read these pages as you would read a dream journal, for the task of the modern human being is to interiorize mythic symbology...approach this book with an open mind, with the innocence of the child for whom the world is inherently    magical...you will explore exotic landscapes and discover untold wonders...you will learn much about your forbears...and more about yourself..."

Psychological Symbolism of Bears

 

 

 

 

 

 

When looking for understanding about bears used in sand tray scenes, it is helpful to understand a bit of the psychological symbolism of bears.

The “destructive side of the mother archetype (the hand that feed can also withhold)“ can also appears in myth “as the she-bear who drives away her young and leaves them to starve in the wilderness” (Fontana, 1993 p. 16).

“In psychology, for example in dream symbolism, the bear is interpreted as an embodiment of the dangerous aspect of the unconscious; Jung, the bear often represents the negative aspect of the superposed persona” (Biedermann, 1993, p. 33).

In Jungian psychology, the bear may represents danger caused by the uncontrollable contents of the unconscious.

Symbolism of Passageways

 

 

 

 

 

 

 

 

 

 

 

 

Doors, gates, and portals can represent both physical and psychological access. In terms of sandplay, when doors and gates are used in a scene they may represent transition, initiation, or the ability to pass through. Psychologically, passageways may represent the possibility of transition from one aspect or issue to the next, the positive aspect of movement, or an opening for growth. Closed doors or gates may be a boundary symbol.

Doors symbolize hope, opening and entrance to new life. Also, doors represent a passage from one world to another, from one level of consciousness to another. Doors are the barriers through which initiates pass and also represent initiation. As a symbol of the sheltering aspect of the Great Mother, in some cultures, all doors and windows are unlocked and opened to facilitate childbirth. The door is the Druidic emblem of the oak-king or thunderer.

Gates represent entry to mystical and profound areas, places of divine power. Gates are the opening between one world and another and are often a protective threshold, usually guarded by symbolic animals. A series of gateways may represent various stages of enlightenment. The gate is a Hebrew symbol of the expulsion of Adam and Eve from the Garden of Eden and the emblem of Ezekiel, whose prophecy spoke of the coming of Jesus through the east gate of the temple.

Passages represent change from one plane to another. Successfully navigating passages may symbolize gaining states of consciousness or transcendence. Passages signify or allow the ability to transcend time and space, day and night.

Portals are usually elaborate and are used for entry. They often symbolize the way through which the dead acquired rebirth into a new form of existence.

Thresholds represent the passage from the profane to the sacred. As a boundary symbol, thresholds symbolize the meeting of the natural and the supernatural. They often represent entering the unknown.

Passageways and Sandplay

The use of gates or portals in sandplay scenes may symbolize the process of preparation and approach, the actual passage or journey, and the experience of successfully navigating the passage. The use of a gate may signal the awareness of or the ability to navigate a psychological passage.

 

 

 

 

 

 

The sacred Japanese torii gate, consisting of two upright posts with a crossbeam, may symbolize themes related to transition and transformation. In sandplay, the torii may represent the readiness prior to a journey, including the preparation one must make. Bradway and McCoard (1997) explain that the torii gate may symbolize "the boundary between the conscious and the unconscious; movement may be in either direction". The use of the torii gate may also be representative of the "release of energy for life which occurs after the experience of passing through the gate" (1997 p. 93).

 

 

 

 

 

 

Gates in sandplay scenes can be closed to prevent passage and to protect or open to allow entry or passage. Bradway and McCoard offer insight into the use of a gate in a sandplay process. In an initial tray, the client placed a fence in front of a house. When asked about the fence the client explained that it was between where one lived and the world outside. A subsequent tray showed a house with a fence, yet this scene had an open gate with a dog coming through. "Now there is a gate in the fence and the dog, his instinctual feeling, can go through the gate and connect the house with the world outside" (Bradway and McCoard, 1997 p. 135).

Apache Creation and Emergence Tale

This story is condensed from five very detailed stories told by the Jicarilla Apaches. The Jicarilla are one of six tribes of the Apaches of the southwestern U.S., and they have a voluminous folkore. These stories were compiled and translated by Morris Opler in the 1930's. In addition to telling the story of the creation and emergence and explaining the world, the stories reflect the Jicarilla disregard for the shamans found in some other Native American religions, and they reflect the sacredness of fours in every thing and every behavior.

In the beginning there was nothing - no earth, no living beings. There were only darkness, water, and Cyclone, the wind. There were no humans, but only the Hactcin, the Jicarilla supernatural beings. The Hactcin made the earth, the underworld beneath it, and the sky above it. The earth they made as a woman who faces upward, and the sky they made as a man who faces downward. The Hactcin lived in the underworld, where there was no light. There were mountains and plants in the underworld, and each had its own Hactcin. There were as yet no animals or humans, and everything in the underworld existed in a dream-like state and was spiritual and holy.

The most powerful of the Hactcin in the underworld was Black Hactcin. One day Black Hactcin made the first animal with four legs and a tail made of clay. At first he thought it looked peculiar, but when he asked it to walk and saw how gracefully it walked, he decided it was good. Knowing this animal would be lonely, he made many other kinds of animals come from the body of the first. He laughed to see the diversity of the animals he had created. All the animals wanted to know what to eat and where to live, so he divided the foods among them, giving grass to the horse, sheep, and cow, and to others he gave brush, leaves, and pine needles. He sent them out to different places, some to the mountains, some to the deserts, and some to the plains, which is why the animals are found in different places today.

Next Black Hactcin held out his hand and caught a drop of rain. He mixed this with some earth to make mud and made a bird from the mud. At first he wasn't sure he would like what he had made. He asked the bird to fly, and when it did he liked it. He decided the bird too would be lonely, so he grabbed it and whirled it rapidly clockwise. As the bird became dizzy, it saw images of other birds, and when Black Hactcin stopped whirling it, there were indeed many new kinds of birds, all of which live in the air because they were made from a drop of water that came from the air. Black Hactcin sent the birds out to find places they liked to live, and when they returned he gave each the place that they liked. To feed them, he threw seeds all over the ground. To tease them, however, he turned the seeds into insects, and he watched as they chased after the insects. At a river nearby, he told the birds to drink. Again, however, he couldn't resist teasing them, so he took some moss and made fish, frogs, and the other things that live in water. This frightened the birds as they came to drink, and it is why birds so often hop back in fright as they come down to drink. As some of the birds took off, their feathers fell in the water, and from them came the ducks and other birds that live in the water.

Black Hactcin continued to make more animals and birds. The animals and birds that already existed all spoke the same language, and they held a council. They came to Black Hactcin and asked for a companion. They were concerned that they would be alone when Black Hactcin left them, and Black Hactcin agreed to make something to keep them company. He stood facing the east, and then the south, and then the west, and then the north. He had the animals bring him all sorts of materials from across the land, and he traced his outline on the ground. He then set the things that they brought him in the outline. The turquoise that they brought became veins, the red ochre became blood, the coral became skin, the white rock became bones, the Mexican opal became fingernails and teeth, the jet became the pupil, the abalone became the white of the eyes, and the white clay became the marrow of the bones. Pollen, iron ore, and water scum were used too, and Black Hactcin used a dark cloud to make the hair.

The man they had made was lying face down, and it began to rise as the birds watched with excitement. The man arose from prone, to kneeling, to sitting up, and to standing. Four times Black Hactcin told him to speak, and he did. Four times Black Hactcin told him to laugh, and he did. It was likewise with shouting. Then Black Hactcin taught him to walk, and had him run four times in a clockwise circle.

The birds and animals were afraid the man would be lonely, and they asked Black Hactcin give him company. Black Hactcin asked them for some lice, which he put on the man's head. The man went to sleep scratching, and he dreamed that there was a woman beside him. When he awoke, she was there. They asked Black Hactcin what they would eat, and he told them that the plants and the cloven-hoofed animals would be their food. They asked where they should live. He told them to stay anywhere they liked, which is why the Jicarilla move from place to place.

These two, Ancestral Man and Ancestral Woman, had children, and the people multiplied. In those days no one died, although they all lived in darkness. This lasted for many years. Holy Boy, another Apache spirit, was unhappy with the darkness, and he tried to make a sun. As he worked at it, Cyclone came by and told him that White Hactcin had a sun. Holy Boy went to White Hactcin, who gave him the sun, and he went to Black Hactcin, who gave him the moon. Black Hactcin told Holy Boy how to make a sacred drawing on a buckskin to hold the sun and moon, and Holy Boy, Red Boy, Black Hactcin, and White Hactcin held a ceremony at which White Hactcin released the sun and Black Hactcin released the moon. The light grew stronger as the sun moved from north to south, and eventually it was like daylight is now.

The people didn't know what this was, and the shamans each began to claim that they had power over the sun. On the fourth day, there was an eclipse. After the sun had disappeared, the Hactcins told the shamans to make the sun reappear. The shamans tried all kinds of tricks, but they couldn't make the sun come back. To solve the problem, White Hactcin turned to the animals and had them bring the foods they ate. With the food and some sand and water, they began to grow a mountain. The mountain grew, but it stopped short of the hole in the sky that led from the underworld to the earth. It turned out that two girls had gone up on the mountain and had trampled the sacred plants and even had defecated there. White Hactcin, Black Hactcin, Holy Boy, and Red Boy had to go up the mountain and clean it. When they came down and the people sang, and the mountain grew again. It stopped, however, just short of the hole, and when the four went up again they could only see to the other earth. They sent up Fly and Spider, who took four rays of the sun and built a rope ladder to the upper world. Spider was the first one to climb to the upper world, where the sun was bright.

White Hactcin, Black Hactcin, Holy Boy, and Red Boy climbed up the ladder, and they found much water on the earth. They sent for the four winds to blow the water away, and Beaver came up to build dams to hold the water in rivers. Spider made threads to catch the sun, and they made the sun go from east to west to light the entire world, not just one side. Hactcin called for the people to climb up, and for four days they climbed the mountain. At the top they found four ladders. Ancestral Man and Ancestral Woman were the first people to climb up, and the people climbed up into the upper world that we know today. Thus the earth is our mother, and the people climbed up as from a womb. Then the animals came up, and before long the ladders were worn out. Behind the animals came an old man and an old woman, and they couldn't climb the ladders. No one could get them up, and finally the two realized they had to stay in the underworld. They agreed to stay but told the others they must come back to the underworld eventually, which is why people go to the underworld after death.

Everything in the upper world is alive - the rocks, the trees, the grass, the plants, the fire, the water. Originally they all spoke the Jicarilla Apache language and spoke to the people. The Hactcin, however, decided that it was boring to have all these things speaking the same, so they gave all these things and all the animals different voices.

 Eventually the people travelled out clockwise across the land. Different groups would break off and stay behind, and their children would begin to play games in which they used odd languages. The people in these groups began to forget their old languages and use these new ones, which is why now there are many languages. Only one group kept on traveling in the clockwise spiral until they reached the center of the world, and these are the Jicarilla Apaches.

From:  http://www.gly.uga.edu/railsback/CS/CSCreation&Emergence.html

Train Symbolism in Dreams

 

 

 

 

 

 

 

 

The following is a brief look at the possible significance of trains in dreams. I believe that the symbolism here may also apply to trains used in sandplay therapy.

To see a train in one's dream represents conformity. One may just be going along with what everyone else is doing. Alternatively, a train means that one may be very methodical. One needs to lay things out specifically and do things in an orderly and sequential manner. In particular, if one dreams about a freight train, then it refers to the burdens and problems that one may be hauling around. It is also symbolic of manual labor.

If one dreams of a passenger train, then it relates to mental work. If one sees or plays with a model train in dreams, then it indicates that one may want more control and power over one's own life and where it is headed. Dreaming of trains may also be a metaphor that one is "in training" for some event, job or goal.

To dream that one is on a train symbolizes one's life's journey. It suggests that one may be on the right track in life and headed in the right direction.  Alternatively, the dream may mean that one may have a tendency to worry needlessly over a situation that will work out in the end.

To dream that one is in a train wreck suggests chaos. The path to one's goals are not going according to the way one planned it out. One may be lacking self-confidence and having doubt in one's ability to reach goals. If one dreams that a train collides with a car, then it indicates that one's life goals are in conflict with one's belief system. Perhaps one is pursuing a goal that one is not passionate about.

To dream that someone is hit by a train implies that they may be on the wrong path in life. Perhaps one needs to seek understanding to guide them in the right direction. Such dreams may also be a projection of one's own Self. In other words, one may be on the wrong life path and may need to alter course.

To dream that one is the train engineer signifies that one may be in complete control of a particular situation in waking life.

Hear Ye Hear Ye

 

 

 

 

 

 

 

 

Upcoming posts will be of the royal kind:

King Symbolism

Queen Symbolism

The King List

The Queen List

The Hero's Journey:  Conquering the Queen

Deities Associated With Goats

Artemis – Greek moon goddess, virgin of the hunt, protectus of maidens; daughter of Zeus; wild goat was sacred to her

Augusta Caesar – had coins stamped with the image of the mountain goat as Capricorn was the sign of his birth

 

 

 

 

 

 

 

 

 

 

 

Agni – Vedic fire god; a goat pulled his chariot; Agni was also depicted riding a he-goat

Baphomet – medieval idol or symbol of the mystic rites of the Knights of Templar; sometimes portrayed as a goat

 

 

 

 

 

 

 

Dionysos – Greek deity; the goat was an attribute or form of Dionysos; sometimes depicted wearing a goat skin

Ea-Oannes – Assyrian fish deity; Lord of the Watery Deep; associated with the goat or goat-fish

Faunus – Roman son of Picus; ancestor of the fauns; god of shepherds; goats for sacrifice to him; identified with the Greek Pan

 

 

 

 

 

 

 

 

 

 

 

Marduk © Juulijs/Fotolia

Marduk – Sumero-Semitic; originally a god of the spring sun who became a supreme god of the Assyrian and Babylonia pantheons; son of Ea (sea god); Marduk created heaven and earth and placed the 12 mansions of the zodiac in heaven; also known as Bel; one of his attributes was the goat.

Ningirsu – Sumerian agricultural deity; son-husband of Bau; depicted as a goat; analogue of Marduk

satyrs – one of the race of woodland spirits; half goats with goat horns and tail; originally represented the wisdom of fertility; later symbolized abandon and folly; also represented unbridled lust

witches – in late Middle Ages, were "portrayed as being transported through the air on goats. In these representations the devil appears usually as a male goat whose rump the witches kiss” (Biedermann, pg 153).

for references see Bibliograpy

 

More Goat Symbolism

 

 

 

 

 

 

 

 Thor's goat drawn chariot.

 

Four horned goat – emblem of the prophet Daniel

Goat blood – in ancient Scotland, a cross is dipped in goat’s blood and set on fire to call the clans to war

Goat disposition – licentiousness, whoremaster

Goat-drawn cart – chariot of Thor or Pan

Goat gallbladder – African symbol of honor, placed in the hair

Goat poetry – ancient Greek poetry about the crimes and mysteries of man

Goat reins – in ancient funeral rites, black goat reins were sacrificed and given to the dead man as a viaticum to assist his resurrection

Goatskin – used to make shields

Goat’s rue – symbol of reason, also called cat gut

Goat with fish tail – ancient Babylonian symbol of the god Ea, supreme sky deity sometimes depicted as a goat-fish or merman; corresponds to Capricornus in western zodiacs

One horned goat – biblical depiction of Alexander the Great representing his swiftness in battle and his great strength

Ride a goat – part of an initiation into a secret society, often done with humor

Scapegoat – to bear blame; among Jews of antiquity a goat was used. “Over its head on the Day of Atonement the high priest confessed the sins of all people, thus placing them on the goat, after which it was driven into the wilderness as propitiation to Azazel" (Jobes, pg 666).

Separate sheep from goats – separate good from evil, from the Last Judgment

Three goats – emblem of the notorious Becchi family of Florence, mentioned in Dante’s Inferno

The Aegis

 

 

 

 

 

 

The female goat and the male goat have opposing symbolism. The female goat is usually viewed as nurturing and protective while the male goat is interpreted negatively. In Greek mythology, the she-goat Almathea nursed the infant Zeus. Her skin became the aegis, the projector and preserver, and her horn became the cornucopia that symbolize abundance and plenty (Cooper).

Jobes describes the aegis as "the skin of the goat which acted as Zeus’s foster mother and, by Hephaestus, made into an invulnerable breastplate or shield for Zeus. Zeus lent it to other deities and finally gave it to Athena" (pg 38). Jobes goes on to describe the aegis as "a goat skin covered with dragon scales, bordered by serpents, and had the head of the Medusa attached to it, all symbols of fertility and growth. 

The origin or use of goat skin as an item of clothing is discussed by Beidermann, "The divine robes of Pallas Athena include the original Greek ‘aegis’, the skin of the female goat, which according to  Herodotus [IV, 189] was a garment worn by Libyan women and (along with the Olive tree, which was sacred to Athena and imported from Libya) suggest the North African origins of the goddess" (pg 152). Cooper states that the aegis represented "protection; preservation; fecundity. The aegis was worn, while the shield was carried" (pg 10). The aegis was worn by Minerva, Italian goddess who is "represented in art as grave and majestic, wearing a long robe, bearing the aegis on her breast, armed with helmet and spear" (Jobes pg 1106).

See Bibliography for resources.

Hidden From View

Hidden From View: Concealing and Revealing In Sandplay Therapy written by Debbi Mego, PHD, LCSW, CST-T is an excellent article in Journal of Sandplay Therapy, Volume 26 Number 2 2017.

In the article the "theme of what is hidden from view in the tray is explored as a transitional space between that which is completely buried or unconscious and that which is visible and conscious."

There is a discussion of "the symbolism of the veil and masked figures, which are inherently hidden."  Through the exploration of the meaning and symbolism of this transitional space, sandplay therapists "can gain awareness of themes that are ready to come to the surface; this in turn helps them trace and guide their clients' progress in healing trauma".

Native American Winter Symbol and Ceremonies

 

"Native American Indians were a deeply spiritual people and they communicated their history, thoughts, ideas and dreams from generation to generation through Symbols and Signs such as the Winter symbol. Native American symbols are geometric portrayals of celestial bodies, natural phenomena and animal designs. The meaning of the Winter symbol was to signify the passing of time. A clever, simple way to symbolize and record the passing of time. The Native Indians had no clocks but used the environment to measure time. Sunset and sunrise organized the parameters of the day. The cycles of nature, the cold and warm seasons, organized task related work especially agricultural life such as the planting seasons. Rituals and special ceremonies were also scheduled by nature. 

Native American Indians have celebrated both Solstices and equinoxes from ancient times as deeply meaningful. Many Native American stone structures are aligned with the position of the Sun. The Hopi tribe mark this time with the Soyal ceremony which lasts for 20 days and includes blessings and purification rituals. The Pueblo tribe celebrate the Winter Solstice with rites focusing on Spring and rebirth. Other Native American tribes celebrate the winter solstice with rituals such as the Bear Dance, the Feather Dance and the Navajo Night Chant."

From: https://www.warpaths2peacepipes.com/native-american-symbols/winter-symbol.htm

Winter

"Activity gives way to dormancy. Life is still, indwelling and silent. This is a time of introversion, contemplation and going within. Symbolic winter invites us to quiet the mind, still the soul, and crystallize our inner workings."  ~Avia Venfica

Understanding Symbols

According to Clare Gibson in Signs and Symbols "the study of the role of symbols in informing and influencing the inner mind" has been shaped by Carl Jung. Jung's identification of archetypal symbols represented a major advance in psychological understanding and therapy.

Gibson also states "Our perceptions and responses to symbolism are inevitably personal, and different signs will evoke a variety of responses, depending on specific experiences, memories and character of the individual". Symbols are both archetypal and personal and an in depth exploration is not possible here, yet, according to Gibson, a look at common symbolic images may give us a broader "understanding of the evocative language of symbolic images".

Gibson, C., (1996). Signs and Symbols, New York: Barnes & Noble.

 

Water Symbolism

 

 

 

 

 

Water is a universal symbol of the unconscious mind and is linked to the moon, femininity, and irrationality. Oceans are equated with chaos as they are boundless and ungovernable. The conscious mind is more closely linked to the lake or pond. The ancient belief that the earth was created from primordial waters is a psychological metaphor for the birth of ideas in the unconscious mind.

Water: primordial substance of Goddess Mother; one of the four elements; all four elemental symbols are found in the hands of Kali, the pre-Vedic Great Mother; in Sanskrit "Va" is one of the primary mantras the brought the universe into being; the glyph for water is a circle with a horizontal line, like the sea horizon, called a diameter, which literally means "Goddess Mother"; the primordial Ocean of Blood, the Generative Womb of All, the Deep

Cup: medieval universal symbol of water, the mother element; represents the water of the sea womb which gave birth to the earth and all that lived on it

Fountain: the fons vitae, or fount of life, was the source of the life force, the primordial "nether upsurge" of blood/water from the womb of Mother Earth

Lapis Lazuli: traditionally symbolized water as the primordial element of creation

Lotus: Hindu womb of nature; symbol of the four elements, water being the surrounding support for the stalk of the lotus blossum

Ocean: equated with the Tao as the primordial and the inexhaustible

Pearl: created from the union of male (fire) and female (water); the merging of water and moonlight

River: symbol of purification, death and rebirth; dwelling place of gods, goddesses, water-spirits, nymphs, and naiads (in Greek mythology a type of female spirit)

Sea: the eternal deep; Egyptian name for the sea is Temu; symbol of birth and rebirth; holy baptismal waters; in Scandinavia called "the Mother’s Womb"; associated with ancient goddesses the world over; global universality of the sea goddess

Streams: sacred, life-giving water; curative; restorative

Well: the feminine principle; womb of the Great Mother; sacred portal to the "other world"

The Tarot

The origin and history of Tarot cards is unclear and surrounded by mystery. The many theories are different and unrelated. The earliest decks that have been discovered come from Egypt or Europe. Some say the Tarot originated from ancient Egypt as twenty-two pictures from the Major Arcana are depicted on an ancient Egyptian initiation chamber located in the Sphinx. Another theory states that the origin is India because of similarities in numbers and types of symbols. Some have linked the Kabala, with its system of numbers and letters, to the Tarot.

Sallie Nichols, a Jungian psychologist, wrote up the Tarot as having deep psychological and archetypal significance, even encoding the entire process of Jungian individuation into the tarot cards. (Sallie Nichols. Jung and Tarot: An Archetypal Journey. San Francisco: Weiser Books, 1980.)

Tarot uses a system of ancient visual symbols to gain insight to spiritual development and personality. The cards are rich with psychic imagery and mythical portraiture (Arrien, 1988). The structure of the deck consists of the Major and Minor Arcanas. The Major Arcana relates to "the internal stages of the development of consciousness" (Gerulskis-Estes, 1981). The Minor Arcana, made up of suits: Cups; Wands; Pentacles or Disks; and Swords, depicts "the Divine Forces in action on each sphere and level of nature" (Gerulskis-Estes). Both Arcanas contain cards related to love, happiness, and wealth.

Here are a few details for a small selection of cards relating to love, happiness, wealth. From the Major Arcana, the card named The Lovers represents unification, relationships, the marriage of opposites, and emotional balance. The card Strength stands for passion, awareness, aliveness, and creative expression.

 

 

 

 

 

 

 

 

 

 In the Minor Arcana, the Ace of Cups represents love with wisdom and emotional balance. The Two of Cups symbolizes love that is mutually fulfilling. The Nine of Cups stands for happiness, which comes from emotional fulfillment. The Prince of Cups represents emotional passion and desire. In the suit of Disks or Pentacles, the Ten of Pentacles symbolizes both internal and external wealth through the gifts of communication and healing. The Knight of Swords stands for passionate thinking.

 

 

 

 

 

 

 

 

 

Arrien, A. (1988) The Tarot Handbook. Sonoma: Arcus Publishing Company.

Gerulskis-Estes, S. (1981) The Book of Tarot. New York: Morgan & Morgan.

Symbols Of Good Fortune

Carp – eastern symbol of good fortune; Japanese symbol of the gracious acceptance of fate

Cloud – In China, clouds represent the transformation that humans must undergo to attain spiritual enlightenment; the Chinese word for cloud is the homonym for fortune; as such clouds are a symbol of good luck

Cricket – auspicious symbol of good fortune

Dragon – Chinese symbol of good luck

Elephant – Indian and African symbol of good luck

Four-leaf clover – symbol of good luck either because of its rarity or the arrangement of its four leaves representing the Maltese cross symbol of divine or heavenly illumination

The number 5 – In China, two (yin) and three (yang) equals five (wu) which brings good luck

Fox – as rain spirit, a black fox is the Japanese symbol of good luck

Horseshoe – in the Greek alphabet, the shape of Omega meaning ”Great Om"; the omega shaped horseshoe is often hung in doorways for good luck; symbol of the magic sign known as the Dragon's Head and the Dragon's Tail depending if it is hung with the open end up or down

Lizard – Egyptian and Greek symbol of wisdom and good fortune, sacred to Serapis and Hermes

 

 

 

 

 

 

Mandrake – images carved from the poisonous mandrake root were thought to bring good luck

 

The color red – Chinese color of good luck

Shell – positive feminine symbol of good luck

Stork – good luck symbol

Swallow – a swallow’s nest in the eaves of the house brings good luck

White rat – Roman animal who foretold of good fortune

Mandrake image from http://www.thepoisonreview.com

Dieties and Symbols of Good Fortune and Luck

Deities and symbols of good fortune and luck are often linked to the concept of fate in both myth and tradition. Gods and goddesses were often fickle in their delivery of good or ill luck. Fortunately, in many cultures, guardian spirits had the positive attribute of bringing good fortune. Information about deities and symbols will be discussed in future blog posts.

Love, Good Fortune, Happiness, & Wealth

Love, good fortune, happiness, and wealth will be discussed in upcoming blog posts. As I review clients' sandtray scenes for items or themes related to the above, I notice archetypal figures of women and heroes, along with shells, hearts, heart-shaped designs, play money, and golden treasure. Do these items or designs represent both internal and external wealth, the idea of love, and happiness?  What do you think?

Fairies

 

 

 

 

 

 

 

 

 

 

"The Faerie Folk, by whatever name and in whatever form they may be known – fairies, elves, pixies, sprites, fawns, banshees, leprechauns, little people, etc. – can be said to be symbols, ‘manifestations’, of the profound Celtic bond with the natural and the supernatural world (these two worlds being inextricably inter-connected).

Fairies were (and still are to an extent) believed to be metaphysical beings that were often associated with mythological figures or deities of the Celtic religion.

Belief in fairies, however, can be found in both the written and oral traditions of many ancient cultures throughout the world.

The Faerie Folk could be said to represent a kind of ‘re-sizing’ of the gods and goddesses of the most ancient Celtic populations, bringing them closer to humans and human understanding.

 

 

 

 

 

 

 

 

 

 

 

Although fairies (and especially elves) were acknowledged as being of both sexes, they have always been particularly associated with the feminine principle. The Welsh, for example, called them ‘the Mothers’, and believed fairyland to be the Land of Women. As creatures and spirits of Nature, in fact, the Faerie Folk are closely related to the Celtic symbols of the Great Mother." from http://celticsymbols.net/faerie-folk/

Castle Symbolism

The symbolism of the castle is complex. According to Cirlot in A Dictionary of Symbols, the symbol of the castle is "derived at once from that of the house and that of the enclosure or walled city". In medieval art, walled cities represented the transcendent soul and the heavenly Jerusalem. Castles also represent the “difficult to obtain" and spiritual testing. As castles are often located atop hills or crags, the additional symbol of level or height exists.

The castle and moat are symbolic of physical and spiritual refuge and therefore an especially important symbol during the Crusades. A stronghold of either good or evil, castles usually hold a treasure or a princess (a symbol of enlightenment). As a symbol that houses the unobtainable treasure or an imprisoned person, the castle represent the acquisition of esoteric knowledge or spiritual attainment. To obtain the treasurer to free the prisoner, demanding tasks or heroic struggles must be successfully completed.

 

 

 

 

 

 

 

Caernarfon Castle was constructed at Caernarfon in Gwynedd, north-west Wales, by King Edward I of England, following his conquest of Gwynedd in 1283. Drawing by Megalobo.

Castles represent authority, dominance, power, romance, safety, sovereignty, and wealth. In heraldry the castle is symbolic of grandeur, nobility, solidity, and strategy.

In Sandplay – Silent Workshop of the Psyche, Bradway and McCoard view the castle as an androgynous symbol. "As a place to live in, it is a feminine image; as a fortress, it is a masculine image." The authors suggest that the use of this symbol may represent the bringing together of feminine and masculine aspects.

 

 

 

 

 

 

 

 

 

 

If a client uses a castle miniature, what does the item represent? Of course, much of the answer depends on the particular client, their history, and process. In my sandplay collection, the castle most often used was a sandcastle made to replicate the type of structure one would build at the beach. The sandcastle surface is covered with sand so the miniature is very realistic. Did clients use this particular sandcastle because my practice was in an area close to the coast? Are clients drawn to this castle miniature because of their experience of building sandcastles at the beach? There were many other stone castles from which to choose. Only occasionally were the fairytale castles placed in a scene. If I practiced in a region of the Rhine River in Germany, where castles tower above the river at almost every turn, would clients use castle miniatures as a symbol of protection and power more often? Symbols carry powerful personal and collective meanings. It is always interesting and challenging to decipher and to understand the meaning of sandplay miniatures for individual clients.

The Castle of Lichtenstein, also known as "Castle of the Faerie Tale", is located on a cliff next to Honau in Baden-Württemberg, Germany. Drawing by  Megalobo.

Color Symbolism ~ Yellow

Positive symbolism: dawn, divine power, energy, glory, gold, harvest, heavenly gates, light, power, purity, spirit, sun wisdom, wealth

Negative symbolism: avarice, betrayal, cowardice, decay, hypocrisy, treachery

Color of light deities, virgin goddesses’ hair, and the philosopher stone; in heraldry, called jaune and represented by dots, symbolizing generosity and high-mindedness; corresponds to the hexagon and the musical tone E natural; in precious stones represented by amber, diamond, jasper, and topaz

 

 

 

 

 

 

 Monk with Umbrella by Min Wae Aung

Priestly color of Brahmin, Buddhist, and Burmese - the saffron robe of the monk, representing renunciation, desirelessness, humility; Chinese color of the lunar hare, the Ch’ing Dynasty and imperial dignity (worn by the emperor when worshipping the earth); Egyptian color of the east; color of the canopy under which Hebrew marriages are performed; Indian brides stain their hands yellow to signified happiness and unity; Roman mythological color of the bough given to Aeneas, color of the thread which Jupiter drew souls to heaven; Navajo color of the west, the setting sun, and maize from which first woman was made

Chinese Symbolism of the Hare

 

 

 

 

 

 According to Chinese mythology, the hare is the fourth creature in the zodiac that leads the sun through the twelve terrestrial branches of the zodiac and resides in the moon.  Called tu-z, the hare is the governor of Cancer, the direction east, and the hours 5 to 7 a.m.

The hare represents Fang in the eastern quadrant and is depicted with mortar and pestle as it pounds cinnamon twigs, the symbol of longevity. Also known as Jade Hare, "the lunar festivities [are] held on the 15th day of the 8th month. It expresses the wish that the children...will rise in the social scale and enjoy a peaceful life" (Eberhard, pg 140). The hare "was the second of the twelve emblems of the Emperor of China, symbolic of the Yin force in the life of the monarch...considered an animal of augury" (Cirlot, pg 139).

Cirlot, J.E., (1995). A Dictionary of Symbols. New York: Barnes & Noble Books

Eberhard, W. (1986). A Dictionary of Chinese Symbols. London: Routledge.

A Short List of Black and White

Black angel – fallen angel

Black animals – power of darkness; devourer of the sun and the moon

Black Annis of Leicester – British folklore wind hag

Black Arky – Celtic demon of darkness

Black art – magical evil powers

Blackberry – Celtic fairy fruit

Blackbird – bad luck, evil

Black cat – necromancer

Black cloak – ignorance

Black clouds – in Chinese art the symbol of floods

Black dog – melancholy

Black-faced Madonna – sorrow, sadness, sympathy for men

Black-faced virgin – represents night when the creatrix is the most attentive to her duties

Black flag – piracy, death, sacrifice

Black heart – evil person

Black mountains – Navajo mythological mountains of the north which covered the earth nightly

     in darkness

Black Rose – silence, symbol of the initiate

Black serpent – Chinese symbol of the North

Black swan – something rare

Black tortoise – Chinese guardian of the North and water

 

White animals – sacrificed to light and sky deities

White bird – soul, spirit of life

White bull – recipient of an external soul

White-clay men – Greek ritual dancers covered in white clay to represent Titans and giants

White conch shell – symbol of bliss, deity trumpet

White cow – cloud aspect of the mother goddess

White crane – Japanese symbol of longevity

White crow – symbol of a rare or unusual occurrence

White dog – cloud; wind; Khen -pa, the Tibetan Old Father, controller of sky demons

White dove – departed spirit, soul

White feather – cowardice, American Indian peace sign

White flag – surrender

White flowers – Japanese symbol of the feminine

White garment – incorruptible, light, truth

White goddess – universal mother in her moon aspect

White horse – celestial knowledge

White lamb – innocence

White lily – emblem of virgin mothers

White magic – enchantments for good purposes

White Mountains – Navajo mythological mountains of the East, which cause day

White mule – written to heaven by Mohammed

White ox – sacrificed to the sun by Arabs

White pebbles – grave gifts

White rose – virginity

Symbolism of the Color White

 

 

 

 

 

 

 

 

 

 

White has many positive associations and few negative ones. White represents light, sun, illumination, sacredness, purity, virginity, and the transcendent. White is the Tibetan color of Mount Meru, the mountain at the center of the world, which embodies ascent to enlightenment. In the Orient, Ancient Greece, and Rome, white is the color of mourning.

White is often associated with the cardinal directions. White is the Egyptian, Aztec, Celtic, and Japanese symbol of the South. For people from Yucatán, South America, and India white represents the North. In Ceylon, Java, Siberia, and Tibet, white is the symbol of the East. In Navajo mythology, why is the symbol of the East and dawn, and also represent the maize from which first man came. White represents the West in Chinese lore.

As a symbol of life and love, death and burial, brides wear white to represent death of the old life and birth into the new. Deities clothed in white robes were symbolic of love-life-death. Aphrodite of the tombs; the Scandinavian, Freyja, goddess of love; and the Teutonic Hel/Freyja, the goddess of death, wore white garments.

In alchemy, White is the femina alba, the White Lily, and represents woman, the feminine principle, the moon, silver, quicksilver, the purity of undivided light, and the second stage of the Great Work.

For Amerindians, white is the color of sacredness and the Aztec color of the dying sun and night. In Buddhist mythology and belief, white is the color of self-mastery, redemption, and Sitatara, the White Tara, the highest spiritual transformation through womanhood, the Mother of all Buddhas.

 

 

 

 

 

 

 

 

 

 

Sitatara, the White Tara from www.jampaydorje.com/info.html

 

Chinese mythology tales of the White Tiger, Pai Hu, symbol of longevity, dignity, and military prowess. In China, why is the color of Autumn, metal, and mourning. The emperor wears white when worshipping the moon. 

White represents the purified soul, joy, purity, virginity, innocent, and the holy life in Christianity. White is worn at all sacraments: baptism, confirmation, first communion, marriage, and death.

In Hinduism, white symbolizes pure consciousness, self-illumination, and light.

Black Sandplay Miniatures

 

 

 

 

 

 

 

 

 

 

What do these black sandplay therapy miniatures evoke in you?  Power? Foreboding? Danger? Strength?  For each individual, reactions or associations will most likely be unique. What about the positive and negative associations and symbolism of the color black? All good questions to ponder when viewing a sandplay therapy scene.

 

Symbolism of the Color Black

 

 

 

 

 

 

 

According to J. E. Cirlot, in A Dictionary of Symbols, "Colour symbolism is one of the most universal of all types of symbolism and has been consciously used in the liturgy, in heraldry, alchemy, art, and literature." Black has both positive and negative connotations. A symbol of the world, wisdom, and eternity, black is also a representative of desolation, the unknowable, and death.

Black is the color of chaos and is associated with black magic, the sinister aspect of witchcraft, and the black arts. In symbology there are two shades of black – one shade opposing red signifies ignorance arising from passions – one shade opposing white signifies ignorance of mind not necessarily confirmed by wickedness of heart. Black is a common symbol of death, sorrow, and the underworld. In precious stones diamonds, jet, and tourmaline represent black.

Black is the heraldic color called sable, symbol of constancy, prudence, and wisdom and is represented by lines forming squares or by deep black. In Alchemy, black is the color of the nigredo, the "black of blacks" which results when sulfur (masculine) and mercury (feminine) incubate in the materia prima and complete the first stage of the Great Work. Black is an elemental symbol of the direction of deadly or dry winds. Culturally, the color black has some universal associations and also has both elemental and directional symbolism. The Black Sun is represented by a black circle symbolizing the spirit of the solar or heavenly god during his cyclic passage to the underworld. In this aspect he is known as the hidden one, Amen, or the Lord of Death, Seker. His blackness is as intensely dark as the sun’s light is intensely light. As the Persian mythological son god's brother, Ahriman, and the Mesopotamian Negral-Ninib, the Black Sun represents the dualism of the forces of light and dark, good and evil. 

For Amerindians, black is the color of the North, mourning, and night. Black is the Mayan symbol of the West, land of the setting sun, and death of an enemy. In Yucatán lore, black represents the West.

Black is the Chinese symbol of water, the North, yin, and winter. In Celtic mythology, black is the color of the North and the direction of winter. For Christians, black is a symbol of the Prince of Darkness, hell, death, sorrow, spiritual darkness and evil arts.

 

 

 

 

 

 

 

 

In Egypt, the color of rebirth and resurrection, black was also the symbol of the West; the color of Osiris at funeral rites; and the Thoth as a conductor of souls, who appears with the head of a black ibis.

Among the Greeks, black with a symbol of sacrifice. Black sails on vessels mark the ships of Athenian maidens and youths destined to be sacrificed to the Minotaur. In ancient Rome, men who wore the toga pulla, the black toga of mourning which express sympathy for a fallen political figure.

Black is the Qabalic Hebrew color of Understanding and the Kingdom. In Hinduism, black is symbolic of the South; Time; and Kali, the destroyer goddess. Black is used in sympathetic magic as the symbol of the blackness of clouds to evoke the rain. To learn one of the ancient Samaveda hymns known as Sakvari song, a student were black garments and ate black food to master Indra’s mighty weapon, the thunderbolt, and thus control the rain and the rain-god, Parjanya.

(see Bibliography category for references)

 

The Power of Color

The power of color and its symbolism can affect us both psychologically and physiologically. Color can be dramatic or subtle, invigorating or calming. Like our olfactory memory, which can trigger instant associations, color impressions can affect us in the same way. See a color associated with a personal experience and it may trigger a specific scene or emotional memory. Brilliant greens, yellows, and reds maybe remind us of a trip to see fall color changes. Vivid oranges and violets may bring back the memory of a particularly spectacular sunset. Subtle greens, blues, and grays may remind us of a contemplative walk along the shore.

Do you have color memory?

Does Color Amplify the Meaning of Miniatures?

 

 

 

 

 

 

After researching the meaning of the colors black and white, I reviewed the miniatures in my sandplay collection. There are many items in the category of black and white; including figures, animals, and natural objects such as stones and shells. I begin to wonder if the combination of the symbolism of the color black or white and the symbolism of the miniatures amplified or enhanced the meaning of the miniatures. I begin to review client’s trays to discern any additional meanings with this new information. I noticed trays that seemed to focus on color as well as miniatures. Most notably trays done in gold, silver, or predominately white miniatures. As I have noticed in the past…I have more information for musing and for looking at trays with an expanded perspective. Does it ever end? I hope not.

Color In The Sandtray

As I apply information regarding color theory and color symbolism while reviewing sandtrays of my clients, I begin to notice use of color in the tray in a new way. Some trays show color themes, balance of color, range of color, color harmony, only neutral tones, and/or a riot of color.

Since color perception and color associations are subjective and individual, what does the use of color mean in the tray? As I relate this information to the particulars of each client’s background and experience, can I discern any meaning? Any clues? In relation to the use of color, what is being revealed in the tray? The color that stands out the most in my recollection of trays is red: the red-themed tray of a prepubescent female client, the use of multiple red emergency vehicles of an adolescent in a crisis situation, the use of candles to surround and "burn down the school" to avoid going to school of a preteen client with acute separation anxiety.

As with many topics I research for myth, symbol, sandplay, I usually end up with more questions than answers. I believe this ongoing occurrence is what makes my research and quest to understand sandplay a humbling and heuristic experience.

Mayan Rabbit Symbolism in Ancient Mexico

 

 

 

 

 

 

The rabbit was the Aztecs’ favored creature of the hunt and was identified with the Chichimecs, the hunter-gatherers, and the patron hunting god, Mixcoatl, also known as the “cloud serpent”. The rabbit was also the ancient Mesoamerican symbol of the moon and is depicted in the art of Pre-Hispanic Central Mexico, Classic Mayan, and ceramic Mimbres art of the American southwest.

According to Miller and Taub, “In Postclassic Central Mexico, the rabbit was also closely identified with the intoxicating drink PULQUE. This association is well documented in the day name Tochtli, meaning rabbit in Nahuatl. The patron of Tochtli was MAYAHUEL, the goddess of MAGUEY [agave plant] and by extension its principle product, pulque. Moreover, the many PULQUE GODS were known collectively as the centzon totochtin, meaning 400 rabbits, or by the calendar name Ome Tochtli, or 2 Rabbit” (pg 142).

pulque: alcoholic beverage made from the fermented sap of the maguey (agave) plant

Nahuatl: 1. the Uto-Aztecan language of the Nahuatl 2. a member of a group of peoples native to southern Mexico and Central America, including the Aztecs

 

 

 

Rabbit vessel: Museo Nacional de Antropologia e Historia, Mexico City

 (see Bibliography Category for references)

Hare and Rabbit Symbolism

 

 

 

 

 

 

 

 

 

Hare n – a fast-running animal that resembles a rabbit but is larger, has longer ears and legs and does not burrow. Genus: lepus

Rabbit n – a small burrowing mammal with long ears, soft fur, and short tail. Family: lepordae

Hare symbolism:

represents the quality of good natured-ness; symbol of humility, love of learning, resourcefulness, solitariness, the track-finder, vigilance; negative symbolism – the falsifier, flightiness, madness, "mad as a March hare", mischievousness, one lacking in fixed principles, trickster, vagabondage, swift-of-foot; as a nibbler, wanton destroyer; "a hare crossing one’s path is unlucky because witches transform themselves into hares" (Jobes pg 725)

Africa – symbol of bad luck; hunters will return home if a hare crosses their path; trickster hero who gets the better of the lion by tricking the lion to eat a hot stone; positive symbolism – embodiment of experienced wisdom and shrewd benevolence; Bushman legendary messenger of the moon, who falsifies

American Indian – Great Spirit known as Glooscap, Manabhozho, Manbush, Messou (Potawatomi), Michabo, the Great Hare, is considered an animal-demiurge by Algonquin Indians

Chinese and Japanese legend – "supernatural creature of auspicious omen that inhabits the moon, where it pounds with mortar and pestle, the elixir of life" (Jobes, page 725)

Christian – symbol of Easter; symbolized fecundity and lust; a white hare is sometimes placed at the foot of the Virgin Mary to indicate her triumph over lust

Egyptian – an attribute of Osiris, symbolic of open eyes; "in the Egyptian series of hieroglyphs, the hare is the determinative sign defining the concepts of being, and symbolic in consequence of elemental existence" (Cirlot, PG 139)

Folklore – identified with the god of the underworld

Greek – associated with Eross; also associated with Hecate, the lunar goddess

Germanic – associated with the goddess Harek

Hebrew – symbol of contemplation, intuition, door, light, open window, the unclean

Heraldry – one who enjoys a peaceful and retired life

Japan – called うさぎ (usagi) symbol of the sunrise and gratitude

Mythological – hare is sacred to the moon

Rabbit symbolism:

mildness, fecundity, fleet- footedness, gregariousness, long eared listener; represent watchfulness

North American – legendary holy animal "which burrowed away the soil and released the primeval race from the underworld" (Jobes, pg 1316); giver of luck in the chase 

Huron – called Ioskeha, called Totochtin by Nahuatl Indians (Aztec), god of drunkenness and idleness

Rabbit Hunt – "Zuni fertility ceremonial. Children conceived on the night of the hunt supposedly would be exceptionally vigorous" (Jobes, pg 1316)

(See Bibliography Category for references)

Acorn Symbolism

 

 

 

 

 

 

 

 

 

In Scandinavian and Celtic lore, the acorn is the symbol of androgyny, life, fecundity, and immortality and is sacred to Thor. According to Jobes (1961), the acorn is "a combination of I, the holy one, and O, the generative orator or cup". The acorn also represents the male principle. The acorn is associated with Jupiter and Zeus as the fruit of the oak, the holy tree, and represents fertilizing power and the kernel of life. In heraldry, the acorn symbolizes strength.

(see Bibliography Category for references)

Chinese Heart Symbolism

 

 

 

 

 

 

 

 

 

The Chinese word for heart is xin and mind hsin are the same. Confucius taught that true knowledge lies in the heart and his teachings emphasized human-heartedness. The Chinese call the heart the king of all organs and "the thinking heart". The wisdom of the Tao states that a balance and order in the heart will influence all other senses. In Chinese medicine, the heart is the command center of consciousness and intelligence.

Confucius taught an ethical system that was heart-oriented. His concept of jen included the capacity to affirm others as you would want to be affirmed. If one attained chun tzu (humanity at its best) and li (right behavior), one had rightness of heart. "For Confucius, how people treated one another in this life took precedence over concerns of otherworldly things" (Goodwin, 2001).

After two and a half thousand years the Tao Te Ching, written by Lao-Tzu, is still being translated and read. Tao means "the way or path" or "the way in which one does something". Through wu wei (quietude) one may become in tune with the tao.

"Confucians work for balance… Taoists respect the dynamic imbalance, from yin to yang and back, as being the very essence of life – which you might as well get in harmony with, since you exist inside its melody" (Goodwin).

Chinese medicine is both philosophical and physiological with its holistic approach to the mental, emotional, behavioral, social, and spiritual aspects of the individual. Practitioners of Chinese medicine look for imbalance within each system and in the complex connections between the different body systems. Of the five systems, the heart is the most important. The yin (receptive) and yang (active) must be in balance for all aspects of health. Adjectives used to describe imbalance in heart energy include: 

Heart Full         always too tired

Heart Large      cardiac failure 

Heart Small      coronary artery disease

Heart Tight       angina 

Heart Closed    restricted energy

 

Calligraphy image ~ http://mindfuldiscipline.blogspot.com/2012/11/from-heart-to-hand-traditional-chinese.html

See Bibliography category for references

Deities of Love

Aonghua Og or Oengus – Celtic god of love; son of the Dagda, Lord of All Knowledge, and the river goddess Boann; four birds representing his kisses always hovered above his head; dwelled in the place of the Boyne named Bruigh na Boyne (the Boyne river in the east of Ireland, rises at Trinity Well, near Carbury, County Kildare); his golden harp was a symbol of the wind

Aphrodite – Greek goddess of love and desire; born from sea foam; daughter of Zeus and the nymph Dione; embodiment of charm, seduction, and sensuality; as an androgynous deity called Hermaphrodite when paired with Hermes, the male principle

Bastet

 

 

 

 

 

 

 

 

 

 

 

 

 

Bastet – also known as Bast, Egyptian cat/woman goddess of pleasure and joy; guardian of marriage; daughter of the sun god Re; she was the mother and divine protector of all pharaohs; her attribute was a sacred rattle

Cupid – Roman god of love; send a Vulcan and Venus; depicted as a boy with wings; his gold tipped arrows caused people to fall in love; from the Latin cupido meaning desire and passion

Eros– Greek god of the power of sex and amorous desire; son of Aphrodite and Ares; sibling of Anteros, deity of unhappy love; lover of Psyche; his attributes are the dove, lyre Mussel shell, and swan

Freya

Freya – Northern European goddess of love and sex, her name means lady; one of the most promiscuous of the deities,; she drove a chariot pulled by two cats; twin sister of the Norse god, Frey; daughter of the sea god Njord and the goddess Skadi; wife of Od, a sun god

Ishtar – Assyro-Babylonian goddess of love; daughter of Sin and Ea; wife of Tammuz; in her aspect as evening star, deity of love and harlotry

Kama – Hindu god of love and voluptuousness; his name means desire; sprang from the heart of Brahma; his concerts were Rati, goddess of sexual desire and affection and Priti, goddess of pleasure; he carried a bow made of sugar cane strong with honeybees; his flower tipped arrows made people fall in love; his festival is Madonatsava; he is invoked by brides; when he angered Siva he was burned to ashes thus he became known as Ananga, meaning bodiless

Venus – Roman deity of gardens and spring, later goddess of love and beauty; mother of Aeneas; wife of Mars; daughter of Jupiter and Dione; called Ishtar by the Babylonians

Xochiquetzal – Aztec goddess of sexual love and fecundity; her name means "precious flower" or "beautiful rose"; women who were to become brides braided their hair to resemble Xochiquetzal to honor her; human sacrifice was part of the festival to celebrate her

Container Symbolism

According to Barbara Walker, in The Women's Dictionary of Symbols and Sacred Objects, containers are objects that are "ordinary for the most part, yet treated as sacred by some groups of people at some times. Many are household items somehow associated with ancient religious symbolism and used…in a way that has been called "living in a sacred manner". Following is a list of vessels or containers and their symbolic meaning.

athanor – mystic vessel of alchemy; the vas spirituale; the womb of matter; the Vessel of Hermes; the dwelling place of the Anima Mundi; represents the metaphoric uterus

basket – sacred to the Goddesses; carried by the moon Goddesses Diana and Hecate; legendary boat-cradle of Moses, Sargon, and Romulus and Remus; on Greek coins, a basket covered with ivy symbolizes the Dionysian Mysteries

bowl – used at sacrificial ceremonies to catch the blood of the person sacrificed; the Greek word for this type of bowl is amnion, which also means the container of blood in the womb; Babylonian symbol for the whole cosmos known as the Goddesse’s mixing bowl; an inverted bowl is the Native American symbol of the heavens

cauldron – symbol of transmutation and germination; most Celtic mythic cauldrons are located at the bottom of a sea or lake, as cauldron of Bran, Cerridwen, and Huon gives an inexhaustible supply of good things; primary feminine symbol of the pre-Christian world; the Egyptian hieroglyph of three cauldrons represents the great female deep that gave birth to the universe; in Indian myth, Indra drank of the magical soma (moon blood) from three cauldrons; Odin of Norse mythology acquired wisdom, insight, and magic power by drinking the "wisest blood in the world" from the three cauldrons known as Odrerir, Són, and Bodn; symbol of the womb of the Great Goddess

chalice – the Christian transcendental form of the cup; related to the Grail, often formed of two halves of a sphere, the top half closing over the bottom half; as holy chalice or goblet, receptacle for the blood of deities or sacred kings

ciborium – container used in Christian churches, symbol of the Ark of the Covenant, the Eucharist, the Last Supper

clay pot – representative of mythological metaphoric human beings; Sumero-Babylonian Goddess, known as the Potter, made the first people out of clay; a feminine craft, pot making used the creative substance adamah or bloody-clay; the sacred pot, kernos, symbolized the womb from which Adonis would be reborn

cup – originally a matriarchal symbol of the womb vessel, later becoming a patriarchal vessel of the blood-filled chalice of resurrection; sole function is to contain; symbol of friendship, good fellowship, salvation, temperance, and wisdom; holder of water and wine, source of eternal life; as a fertility emblem symbol of female reproductive energy; in the Tarot deck the ancient name for the heart suit, signifying passion; Christian symbol of the destiny of mankind, the Eucharist; in Greek and Hebrew tradition, represents the union with the savior god; in the Hebrew Pesach feast placed in the center of the table for the prophet Elijah, the invisible guest, the promise of the coming of the Messiah; in Norse mythology, the life-token containing the soul

goblet – Jemshid, legendary king of the Peris, possessed the seven-ringed golden goblet of the sun, filled with the elixir of life

horn of Amalthea – the Greek mythological sacred goat who provided milk to Zeus; at her death Zeus honored Amalthea by making one of her horns a wonder - whoever possessed the horn had abundance of food and drink; symbol of peace and prosperity

jar – depicted with flowing streams of water, the Egyptian and Middle Eastern symbol of fertility; Isis wore a jar shaped amulet representing the fountains of living water; in Indian myth, any deity could be incarnated in a jar of water called a pitha; the Babylonian savior god Nebo was led to the place of his immolation and resurrection by a "jar-bearer"

kapala – human skull cup, used as a Buddhist altar object; tantric symbol used when offering libation to the gods; emblem of Buddhasaktis (consorts of Buddhas), dakinis (female air deities), Dharmapala (defender deities), Ekajata (the angry goddess known as the Blue Tara), and Yi-dam (protective tutelary deity); in Tibet called t’od-p’or

sangreal – according to tradition, the cup used at the Last Supper, in it Joseph of Arimathea caught the blood of Christ flowing from his side

(See Bibliography Category for references)