Vila Wolf's Dyslexic Folklorist Ranting

tongue twisting

Beatus of Liébana, Commentaria in Apocalypsin (the ‘Beatus of Saint-Sever’), Saint-Sever before 1072

BnF, Latin 8878, fol. 4v

Horsemen of the Apocalypse

Apocalypse, Flanders 15th century

BnF, Néerlandais 3, fol. 7r

falling demons

Apocalypse, Belgium ca. 1313

BnF, Français 13096, fol. 36r

Whore of Babylon

Apocalypse, Saint-Amand Abbey 9th century

Valenciennes, Bibliothèque municipale, ms. 99, fol. 31r

initial ‘Q’ – archangel Michael slaying the Dragon

psalter, Würzburg ca. 1240-1250

LA, The J. Paul Getty Museum, Ms. Ludwig VIII 2, fol. 61v

the Beast, the Dragon and the False Prophet

Revelation 16:13 ‘And I saw three unclean spirits like frogs come out of the mouth of the dragon, and out of the mouth of the beast, and out of the mouth of the false prophet’ (‘Et vidi de ore draconis, et de ore bestiæ, et de ore pseudoprophetæ spiritus tres immundos in modum ranarum’)

Beatus of Liébana, Commentaria in Apocalypsin (the 'Beatus of Saint-Sever’), Saint-Sever before 1072

BnF, Latin 8878, fol. 184v

Tourists flocking to Guatemala for “end of the world” parties have damaged an ancient stone temple at Tikal, the largest archeological site and urban center of the Mayan civilization. “Sadly, many tourists climbed Temple II and caused damage,” said Osvaldo Gomez, a technical adviser at the site, which is located some 550 kilometers (340 miles) north of Guatemala City. “We are fine with the celebration, but (the tourists) should be more aware because this is a (UNESCO) World Heritage Site,” he told local media. Gomez did not specify what was done, although he did say it was forbidden to climb the stairs at the site and indicated that the damage was irreparable. Temple II, which is about 38 meters (125 feet) high and faces the central Tikal plaza, is one of the site’s best known structures. Friday marked the end of an era that lasted 5,200 years, according to the Mayan “Long Count” calendar. Some believed the date also marked the end of the world as foretold by Mayan hieroglyphs. More than 7,000 people visited Tikal on Friday to see native Mayan priests hold a colorful ceremony and light fires as the sun emerged to mark the new era. Critics complained that the event was really for tourists and had little to do with the Mayans. About 42 percent of Guatemala’s 14.3 million residents are native Mayans, and most live in poverty and endure discrimination. The ancient Mayans reached their peak of power in Central America between the years 250 and 900 AD.

Shiva as Nataraja (Lord of Dance), Elephanta Caves, Gharapuri

In the Hindu pantheon, Shiva is one of the primary emanations of Brahman or in the orthodox sect of Shaivism, the supreme being itself. He is sometimes associated with the Bronze Age Harappan civilization of the Indus Valley, possibly depicted in the motif of a horned seated figure, as well as represented in the Rigveda as the demigod Rudra, the conqueror of evil. In these earlier traditions, he is a relatively minor figure that developed into an amalgamation of different important figures including Indra and Soma.

Shiva is worshipped in the form of linga, an aniconic pillar, often paired with yoni, representing the complimenting divine male and female creative energies, respectively. These forces interact to allow dynamic change, resisting both inertness and reactivity. This is also seen in the goddesses, consorts, and female aspects of the Hindu gods, which are all manifestations of Devi.

In addition to his fiercer aspects, Shiva is also held to be the original ascetic yogi and a beneficent deity associated with mountains and water. One of his major functions is to break the fall of the Ganges while meditating as it descends from the heavens on Mount Kailash in the Himalayas. In doing so, he delivers the waters as a tangible connection with the divine, protects the mortal realm, and serves as the nexus for where they meet.

As part of the Hindu Trimurti and a god of transformations, he is a reminder of unity of the universe. Shiva Nataraja dances the tāṇḍava nṛtya, or cosmic dance, which is the source of the endless rhythm of creation and maintenance of reality, while marking its dissolution, disillusion, and rebirth.

St John’s Vision of Christ and the Seven Candlesticks, 1497-98, Albrecht Dürer