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Subscribe to this list via RSS Blog posts tagged in Art

Posted by on in Studies Blogs
Of Flags and Symbols

I really, really wanted to write about the art of Mesopotamia for my next blog post, especially in light of the destruction of Mesopotamian art and artifacts by the Islamic State, but I have really found myself a wee bit sidetracked by the horrific events of June 17, 2015 when a young man named Dylann Roof sat in Bible study in Charleston, South Carolina before turning his gun on the group. Nine people were murdered that day. Accompanying this news has been the debate about what has come to be known as the Confederate flag, and calls for it to be removed from the state capitol grounds of South Carolina. For those who may not be American, or have not followed the story, South Carolina not only continued to fly the Confederate flag on its state building lawn after the massacre, it was not even flown at half mast.

The Confederate flag has been a subject of much debate in the United States I would argue, since the end of the Civil War. For black people, it represents slavery and a horrible time in United States history. For those who fly it with pride, it is said to represent liberty. The argument has been heated and vehement on both sides. Why is this symbol so polarizing?

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  • Gus diZerega
    Gus diZerega says #
    Your initial comment and my reply inspired me to write something for W&P on the flag and Southern culture amnd how Pagans can have
  • Rianna Stone
    Rianna Stone says #
    Perhaps the household I grew up in was the exception then. Racism was not tolerated by my family and no one I knew tolerated it ei
  • Gus diZerega
    Gus diZerega says #
    Rianna- I have just posted my response, inspired largely by your criticisms. I think you might find it rather different than you
  • Rianna Stone
    Rianna Stone says #
    The reason why the flag wasn't lowered is because it cannot be lowered without something from the legislature to make it happen. W
  • Gus diZerega
    Gus diZerega says #
    Well, I was born in Southwestern Virginia, have relatives there I saw at least yearly once I was old enough to drive back there

Posted by on in SageWoman Blogs

b2ap3_thumbnail_squat-to-standing.jpgI've aways loved the Kiki Dee Band's song, written by Bias Boshel, "I've Got the Music in Me."

Huh? The music that is in you — where is it? How do you tap into it?

If you're asking me, belly queen as I am, I'll say we tap into our music — into every expression of our life force — by deepening into our body's center, the sourcepoint of our creative energy. We cultivate our relationship with this soul-power as we honor, rather than shame, our bellies. We activate it with movement and breath.

In The Woman's Belly Book, one of the many inquiries for deepening into our body's center is Chapter Eleven's "Draw Out Your Deepest Knowing."

The guidelines for this activity include: 

  • Sitting comfortably, enter into the Centering Breath. Notice any images and sensations that come into your awareness as you focus your attention within your body’s center.

  • Consider your arm to be an extension of your belly, a pipeline ready to carry information from your body’s center through to your hand and out onto paper. Maintaining your awareness in your belly, take the colored markers that appeal to you. Let your arm and hand move across the paper, spilling out colors, shapes, and lines.

  • Give yourself all the permission you need to make your marks freely, without judgment or restriction.

These same guidelines apply when I'm at the piano, improvising — letting music arrive without planning, without thinking. Just as with drawing, my arms serve as pipelines, allowing the flow of energy and information from body's center to keyboard.

The music that emerges in this way is so heart- and soul-satisfying. As one of my mentors, Mark Kelso of Muddy Angel Music, likes to say: The fun isn't so much in playing music; it's in being played by the music.

There's a delicate balance between improvisation and composition. Certainly, each can inspire the other.

By my lights, as improvisation offers sensory experience of the life force concentrated in the body center, it expresses the energy of the Sacred Feminine.

Composition can likewise convey the sense of the Sacred Feminine. In this clip from Ethan Hawke's magnificent film, "Seymour: An Introduction," hear what virtuoso pianist Seymour Bernstein says about Beethoven's expression of — and ambivalent relationship with — the feminine:

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Posted by on in Paths Blogs
Goddess Art and Body Image

Images of large bodied goddess figures really helped me deal with sudden changes to my body that happened in 1997. I dealt with more pressing issues first, but eventually I dealt with suddenly being a fat person, a person society perceives as less hard working, less beautiful, having less willpower, less healthy, less strong-- just generally less. I made several artworks based on different goddesses of the ancient world, and it helped me process those issues.

This art is a sunprint, which is a contact photograph that yields a photonegative image of the printed object, in this case a paper cutout of a line drawing I made of the goddess of Laussel. This is an adaptation rather than a replica, so it isn't precisely like the statue. The curved line represents the icy cave entrance, with the warmth of the earth within.

Some don't call these images goddesses, but fertility fetishes. These types of Stone Age statuary are officially named Venuses, such as the Venus of Willendorf, and Venus of Laussel, but Venus is a goddess name and is culturally specific. If I said I was making fetish art, people would get the totally wrong idea. When I was looking for images like these to adapt to sunprint art, I found them in art books in the public library as Mother Goddess figures, so that's the idea I'm going with. I've been considering them goddesses since I first saw them and by now they have become part of my personal path, so to me they are goddesses.

Given the age of the Willendorf and Laussel sculptures, between 20,000 to 25,000 years old, the people of that time and place would have been hunter-gatherers. Having a large body would have indicated abundance and prosperity, and fertility derived from same, all of which are positive things. None of  those are things I had at the time I was making this art, but re-imagining the social meaning of a large body from a negative to a positive still helped me pull out of negative thinking and depression. Identifying with these ancient body-positive images made a positive difference in my life.

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Posted by on in Paths Blogs
Equality for Minoan Men!

It can be hard for us modern folks who have always lived in a patriarchal society to envision any other kind of culture. As Riane Eisler perceptively noted in her book The Chalice and the Blade, we come from a dominance hierarchy type society so we tend to assume that any other kind of society from history or prehistory must be similar. In other words, if the men aren’t in charge and disproportionately powerful compared to the women in a culture, then the reverse must be true: the women must hold all the power while the men are largely powerless and oppressed.

This unfortunate bias has spilled over into our interpretation of Minoan society. I can’t count how many times people have told me, “Oh, those Minoans, their art is all women. You don’t see men anywhere, so the women must have held all the power.” I’d like to dispel this myth, for myth it is, and it’s totally inaccurate. It’s based on the idea that all societies must be dominance hierarchy types and it fails to consider another type of society: the egalitarian culture, which is what the Minoans really had. That’s a society in which women and men are equals and all adults have the same standing regardless of gender. This myth is also based on a careful selection of Minoan art that in no way represents the enormous and beautiful collection we have from this ancient civilization. So let’s explore the accuracy (or lack thereof) of the women-in-charge myth by actually looking at the art of the ancient Minoans.

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  • Thesseli
    Thesseli says #
    This article makes me think of this story -- http://www.npr.org/templates/transcript/transcript.php?storyId=197390707 -- an in par
  • Laura Perry
    Laura Perry says #
    That's kind of disturbing, but I guess it's a reminder that what we think we see isn't necessarily the same as what's really there
"Lord of the Beasts": An Interview with the Witch of Forest Green

 

 

In Which Our Intrepid Blogger Speaks with Artist, Herbalist, and Witch-at-Large

 

 Sarah Anne Lawless Concerning Her Ground-Breaking Print, Lord of the Beasts,

 

and Sundry Other Matters

 

Sarah, who is the Horned to you?

The Horned Ones to me are the great spirits of the wild lands and forests. They are not male or female, but both and neither. In the lore of animistic cultures around the world and through time there always seems to be a male or female spirit, or one of each, that is the guardian or protector of a particular forest or land mass and who is Lord or Lady of all the flora and fauna that dwell within it. Their horns are a weapon as much as they are a crown, and symbol of power and otherworldly knowledge.

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  • Bruno
    Bruno says #
    Cool. Reminds me also of the Dragon in the film Excalibur. "a seer's magic comes from the land and its spirits" I don´t know if t

Posted by on in Culture Blogs

b2ap3_thumbnail_800px-April_in_Vaucluse_Cecile_Bouillon_2014.pngOne of the things I love about Paganism is the ability to find beauty in strange places. What is beauty? What do we perceive as beautiful? Nature? Art? Music? Those would seem easy. But the sort of art I like may or may not be the same type of art that you like. I’m not a fan of abstract art. This piece on the left leaves me cold. (By Cesbou*) While I could stare for hours at 19th century landscape paintings. Here’s one from Thomas Cole. b2ap3_thumbnail_800px-Cole_Thomas_Mountain_Sunrise_Catskill_1826.jpg

 

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Posted by on in SageWoman Blogs


b2ap3_thumbnail_perugino_047-sm.pngLegend has it that, following the crucifixion, Mary Magdalene fled to southern France, spending the last years of her life in the sanctuary of Sainte Baume. Her relics are said to rest in a church in nearby Saint Maximin.

Whoever Mary Magdalene was in fact, whether she partnered with Jesus to birth a child, whatever her actual history, the idea of her heartens and strengthens me. For me, and perhaps for you too, she carries the energy of fierce compassion, fearless integrity. A woman interweaving spirit and matter, activating her body-centered power to manifest creation. A gutsy woman par excellence.

This sense of woman integrating heaven and earth, sheltering pro-creative power within her body's center, may be as old as human consciousness.

Much of what we know about human origins comes to us from southern France, the prehistoric cave paintings and engravings discovered there. Our ancestors' art, such as the Venus of Laussel, shows our original impulse to revere women and the center of women's bodies.

b2ap3_thumbnail_Venus-de-Laussel-detail-bras.jpgThis limestone engraving, discovered in 1911 in the Dordogne, has been a central inspiration for The Woman's Belly Book. Seventeen and one-half inches high, the ochre-stained engraving dates back 25,000 years.

The Venus of Laussel brings forth a full-figured woman. She rests her left hand on her belly, perhaps pointing to her navel. Her head turns over her right shoulder; she's looking at the horn she's holding up in her right hand. Thirteen lines scratch the horn's surface.

Who knows what the sculptors had in mind and heart when they carved out this figure? Who knows what they meant their work to signify?

As I see her, this figure is using her arms and hands to link her belly with the calculation, the calendar, which is the horn she is holding.

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  • Lisa Sarasohn
    Lisa Sarasohn says #
    I certainly got carried away. The Venus of Laussel engraving is about seventeen and one-half inches high, not seventeen and one-ha

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