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Yoni
Originally uploaded by *Gabisa Motonia
Yoni In Hinduism this is the female organ of all creation.
In Hindu temple art female genitalia are often emphasized to symbolize the Great Mother’s crucial meta-physical role in giving birth to all that is.
F. A. Marglin notes that, on a more personal scale, the yoni is said to invigorate the male through sexual intercourse.
Popular Hindu Indian folk belief maintains that during intercourse vaginal fluids enter the male generative organ, symbolically known as the linga (roughly parallel to the phallus of the Western mythos). This mingling of bodily fluids is believed to give the male his wife’s spiritual power (shakti).
Ancient Kings thus had several concubines as their divine right–this not only for the gratification of lust but also, so the belief goes, for an increase in spiritual power.¹
As the yoni and especially sexual-erotic scenes appearing on Hindu temple engravings are often interpreted by outsiders as an inferior, crass type of spiritual representation, Hindus (and Jungians) tend to say that those who see it that way are merely projecting their own shadow.
The yoni is sometimes depicted as a triangle with apex facing downwards. V. K. Chari says
These geometrical figures have symbolic meanings: the triangle with the apex turned upwards (called vahni kona or cone of fire) may represent male energy, the one with the apex turned downwards female energy (yoni), the matrix of creation, and so forth-which the adept are to meditate upon.²
» Jung (Carl Gustav), Linga, Siva
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¹F. A. Marglin in The Encyclopedia of Religion. Eliade, Mircea (ed). New York: 1987, Collier Macmillan, Vol. 15, pp. 530-535.
²V. K. Chari, “Representation in India’s Sacred Images: Objective vs. Metaphysical Reference” in Bulletin of the School of Oriental and African Studies, University of London, Vol. 65, No. 1, 2002: 52-73, pp. 65-66.
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Zoroastrianism
Zoroastrianism Ancient Persian religion founded around 1200 BCE by Zarathustra.
Its sacred scripture, the Avesta, has some affinities with the Hindu Rig Veda and portrays an eternal struggle between good and evil, personified by Ahura Mazda (Good) and Angra Mainyu (Evil).
Fire is regarded as holy and a perpetual flame is maintained by temple priests who wear masks to prevent polluting the fire with their breath.
This notion of spiritual pollution is important to Zoroastrianism.
Jamsheed K. Choksy suggests a complex interplay among biological, psychosocial and spiritual factors when outlining the Zoroastrian belief that ritual space is “pure” as opposed to “impure” or “polluted.”
Access to ritual spaces had never been equally available to all the faithful, irrespective of gender and class, especially because of considerations relating to purity and pollution. In Zoroastrian society, a wide range of items categorized as pollutants–from bad thoughts, false words, and harmful deeds to bodily fluids when released–are ascribed power to vitiate the efficacy of rituals paces, rites performed herein, and participants. So direct access to performances within pure space was and is generally restricted to duly initiated, purified members of the hereditary male clergy during propitiatory rituals, and to purifiers and candidates for cleansing during purificatory rituals. In the absence of priests, male and female members of the laity–especially religiously learned individuals–may perform basic rites.
Jamsheed K. Choksy, “To Cut off, Purify, and Make Whole: Historiographical and Ecclesiastical Conceptions of Ritual Space” Journal of the American Oriental Society, Vol. 123, No. 1 (Jan. – Mar., 2003: 21-41), p. 30.
The Muslim conquest of Iran in the 7th century threatened the extinction of Zoroastrianism but the religion has survived in limited numbers with the Gabars of Iran and Parsees of India. » Ahriman
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Anima
Anima In C. G. Jung‘s psychological theory the anima is the ‘unconscious’ contrasexual component of the male Self—i.e. the man’s supposed ‘inner woman.’
The anima presents itself to consciousness in a series of archetypal images. Usually a primitive sexual figure emerges first.
As psychological development progresses, the initial symbol is followed by increasingly refined, ‘higher’ images.
According to Jung, the anima has a dark or light form. Like all symbols, it mediates psychologically destructive or creative unconscious forces.
An example of the negative anima would be dreaming of a leather-clad Whipping Mistress who beats and binds male victims into submission.
Some adherents of contemporary sadomasochism movements claim that their activities represent a socially safe ‘playing out’ of the negative anima, although many places where such activity occurs are designated as “Common Bawdy Houses” and against the law.
Another instance of the negative anima could be the horrible, blood-dripping Hindu goddess Kali.
Jungian thought suggests that such images (and related practices) contain enormous potential for psychological growth, providing their energy is understood and positively redirected by the conscious ego.
Positive anima symbols would be the archetypal image of the Fairy-Godmother or the Chinese Goddess of Mercy, Kwan Yin.
Historical embodiments of destructive anima-power arise in ruthless figures whose negative archetypal power dominates consciousness, such as Queen “Bloody” Mary of England.
On the other hand, benevolent figures such as Lady Diana Spencer and Mother Teresa each in their own way represent positive incarnations of the anima figure.
Jung also sees the Blessed Virgin Mary in this light. For Jung, Jesus’ mother Mary is an archetypal symbol of a somewhat vague “feminine principle.”
Not unlike other belief systems claiming to embrace all religions within their own schema, Jung’s rendering on this central aspect of Catholicism is quite different from the Catholic view, itself. » Animus, Great Mother
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Animus
Animus In C. G. Jung‘s analytical psychology, the animus is the unconscious contrasexual component of the female self–i.e. the woman’s supposed ‘inner male.’
The animus reveals itself to consciousness by virtue of a series of archetypal images. Usually a primitive, sexual figure first emerges.
As psychological development progresses, the initial symbol is followed by a series of increasingly refined, ‘higher’ images.
Jung says the animus may take either a dark or light form. Like all symbols, it mediates destructive or creative unconscious forces. The negative aspect of the animus has been symbolized by figures like Frankenstein, the Werewolf, Faust and Dr. Jekyll‘s evil counterpart, Mr. Hyde.
It’s perhaps been historically embodied by maniacal types such as Adolf Hitler, Jack the Ripper and Diocletian.
The positive animus is symbolized by the male heroes of world mythology. It is incarnated in wrestling figures like The Rock (lower, more sensual form), the Romantic poet Shelly (higher level of eros), Winston Churchill (societal or cultural hero), and Mahatma Gandhi (spiritual exemplar). » Anima
Critics of this aspect of Jung’s archetypal psychology tend to see his gender theories as too general, sexist and metaphysical.
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