Рогатый Бог: различия между версиями
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По словам Сабины Мальокко | По словам Сабины Мальокко | ||
Джеральд Гарднер пишет, что Рогатый Бог - это Низшее божество, посредник между непознаваемым верховным божеством и людьми. (В викканской литургии в "Книге теней" эта концепция непознаваемого верховного божества упоминается как "Дригтин". Это не личностный бог, а скорее безличное божество, подобное Дао даосизма.) | |||
Хотя Рогатый Бог является самым распространенным изображением мужского божества в викке, он не является единственным. Другие примеры включают Зеленого человека и Бога Солнца. В традиционной викке, однако, эти другие образы викканского бога включены или объединены в образе Рогатого Бога как его аспекты или манифестации. Иногда это проявляется в добавлении рогов к иконографии Солярного Бога или Зеленого Человека. Зеленый человек, например, может быть изображен с ветвями, напоминающими оленьи рога, а Бог Солнца может быть изображен с короной или ореолом солнечных лучей, которые могут напоминать рога. Дорин Валиенте назвала Рогатого Бога "старейшим из богов" как в "Кредо Ведьм", так и в своем Обращении к Рогатому Богу. | |||
Виккане верят, что Рогатый Бог, как Повелитель Смерти, является их "утешителем" после смерти и до перевоплощения и что он правит подземным миром или летней страной, где души умерших пребывают в ожидании перерождения. Некоторые, такие как Джоанна Пирсон, считают, что это основано на месопотамском мифе о нисхождении Иннаны в подземный мир, хотя подтверждений этой версии нет. | |||
===Names of the Horned God=== | ===Names of the Horned God=== | ||
Версия от 17:44, 6 сентября 2022
Рогатый Бог - одно из двух главных божеств некоторых неоязыческих, в первую очередь викканских верований. Этот образ воплощает в себе мужское воплощение божественности, женским воплощением которой является Триединая Богиня или Богиня-Мать. Как правило в викканских верованиях он ассоциируется с дикой природой, мужской активной сексуальностью, охотой и жизненным циклом. Хотя в разных традициях изображения божества различаются, он всегда изображается с рогами (оленьими, козлиными, бычьими, турьими), подчас можно встретить изображения Бога как териоцефала (имеющий голову зверя), таким образом подчеркивая "союз божественного и животного".
Термин "Рогатый бог" появился еще до возникновения викканских верований в их современном виде, этот термин возник в начале 20 века для обозначения синкретического рогатого или рогатого антропоморфного бога, который якобы существовал в верованиях различных народов. Термин возник благодаря Маргарет Мюррей, которая в своей работе "Культ ведьм в Западной Европе 1921 года", выдвинула теорию о том, что Рогатый Бог был божеством, которому поклонялись средневековые ведьмы, и который был демонизирован средневековой церковью в образе Дьявола.
Образ нашел отклик, ему посвящены несколько психологических теорий, кроме того Рогатый Бог стал повторяющейся темой в фэнтезийной литературе. Хотя нет исторических свидетельств о том, что подобное единое синкретическое божество действительно существовало (как ставится под сомнение и существование единого колдовского культа в Европе), тем не менее многие легенды, сказания, мифы и верования различных народов действительно говорят о фигуре мужского божества, увенчанного рогами. Это и греческие Пан и Дионис, и кельтский Кернунн, и славянский Велес, и египетский Амон, и многие другие божества, у которых мы находим рога либо как основной атрибут, либо в определенных их ипостасях. Даже некоторые изображения Моисея украшены рогами.
Рогатый Бог Викки
В традиционной классической викке Рогатый Бог рассматривается как мужская сторона божественности, будучи одновременно противоположным Богине, и в то же время дополняя ее. Сам викканский бог может проявляться во многих формах, в том числе как Солярное божество, Умирающий и воскресющий Бог, Бог, принесенный в жертву, и Бог Растительности. Для виккан Рогатый Бог - это "олицетворение жизненной силы животных и дикой природы".
Дорин Валиенте пишет, что Рогатый Бог также переносит души умерших в подземный мир, то есть является Богом-психопомпом наподобие Гермеса.
Виккане в целом, как и некоторые другие неоязычники, придерживаются дуалистической картины мира, описывая его поляризованным на гендерные противоположности - мужские и женские энергии. В традиционной викке Рогатый Бог и Триединая Богиня рассматриваются как равные и противоположные по полярности воплощения этих энергий. Однако в некоторых новых традициях викки, и особенно в тех, которые находятся под влиянием феминистической идеологии, больше внимания уделяется Богине, и, следовательно, символика Рогатого Бога менее проработана и проявлена.
В Викке отмечают восемь традиционных саббатов, знаменующих смену времен года, которые составляют Колесо года. Символически смена времен года и сезонов описывается отношениями между Рогатым Богом и Богиней. Рогатый Бог рождается на Йоль или на Имболк, оплодотворяет Богиню, а затем умирает в течение осенних и зимних месяцев, и вновь возрождается через Богиню. Иногда мы можем увидеть Его образ, разделенным как бы на два божества, подчас враждующих, как Король Дуб и Король Остролист.
У различнх викканских ковенов и течений существуют некоторые отличия в том, какой из праздников соответствует какой части цикла жизни богов. Некоторые виккане считают, что Рогатый Бог умирает на Ламмас, 1 августа, который является праздником первого урожая. Другие, что он умирает на Мабон, день осеннего равноденствия. Третьи полагают Рогатого Бога умирающим 31 октября, на Самайн. Затем он возрождается в день Зимнего солнцестояния, 21 декабря. В эту ночь богиня либо рождает, либо зачинает Бога (рождая на Имболк).
В гарднерианской викке Благославляющая молитва, читаемая в конце каждой ритуальной встречи, содержит строки, относящиеся к Рогатому Богу:
- In the name of the Lady of the Moon,
- and the Horned Lord of Death and Resurrection
- Во имя Владычицы Луны
- и Рогатого Господина Смерти и Воскресения
По словам Сабины Мальокко
Джеральд Гарднер пишет, что Рогатый Бог - это Низшее божество, посредник между непознаваемым верховным божеством и людьми. (В викканской литургии в "Книге теней" эта концепция непознаваемого верховного божества упоминается как "Дригтин". Это не личностный бог, а скорее безличное божество, подобное Дао даосизма.)
Хотя Рогатый Бог является самым распространенным изображением мужского божества в викке, он не является единственным. Другие примеры включают Зеленого человека и Бога Солнца. В традиционной викке, однако, эти другие образы викканского бога включены или объединены в образе Рогатого Бога как его аспекты или манифестации. Иногда это проявляется в добавлении рогов к иконографии Солярного Бога или Зеленого Человека. Зеленый человек, например, может быть изображен с ветвями, напоминающими оленьи рога, а Бог Солнца может быть изображен с короной или ореолом солнечных лучей, которые могут напоминать рога. Дорин Валиенте назвала Рогатого Бога "старейшим из богов" как в "Кредо Ведьм", так и в своем Обращении к Рогатому Богу.
Виккане верят, что Рогатый Бог, как Повелитель Смерти, является их "утешителем" после смерти и до перевоплощения и что он правит подземным миром или летней страной, где души умерших пребывают в ожидании перерождения. Некоторые, такие как Джоанна Пирсон, считают, что это основано на месопотамском мифе о нисхождении Иннаны в подземный мир, хотя подтверждений этой версии нет.
Names of the Horned God
The Horned God is given different names and epithets by different Wiccan groups and traditions. Epithets for the Horned God include The Lord and the Old One. Another term used is Old Horny, in reference to the deity's horns and also to his sexual nature.<ref>
Doreen Valiente, a former High Priestess of the Gardnerian tradition, claimed that Gerald Gardner's Bricket Wood coven referred to the god as Cernunnos, or Kernunno, which is a Latin word, discovered on a stone carving found in France, meaning "the Horned One". Valiente claimed that the coven also referred to the god as Janicot (pronounced Jan-e-co)Шаблон:Need-IPA, which she theorised was of Basque origin, and Gardner also used this name in his novel High Magic's Aid.<ref>
Stewart Farrar, a High Priest of the Alexandrian tradition referred to the Horned God as Karnayna, which he believed was a corruption of the word Cernunnos.<ref>
</ref> The historian Ronald Hutton has suggested that it instead came from the Arabic term Dhul-Qarnayn which meant "Horned One". This term had been used in the Qur'an to refer to Cyrus the Great or alternatively Alexander the Great, who considered himself the son of the horned deity Ammon-Zeus, and wore horns as a part of his regalia. Margaret Murray had mentioned this information in her 1933 book The God of the Witches, and Hutton theorised that Alex Sanders had taken it from there, enjoying the fact that he shared his name with the ancient Macedonian emperor.<ref name="triumph">
In the writings of Charles Cardell and Raymond Howard, the god was referred to as Atho. Howard had a wooden statue of Atho's head which he claimed was 2200 years old, but the statue was stolen in April 1967. Howard's son later admitted that his father had carved the statue himself.<ref>The Coven of Atho</ref>
In Cochrane's Craft, which was founded by Robert Cochrane, the Horned God was often referred to by a Biblical name; Tubal-cain, who, according to the Bible was the first blacksmith.<ref name="Roebuck"> Chapter One.</ref> In this neopagan concept, the god is also referred to as Bran, a Welsh mythological figure, Wayland, the smith in Germanic mythology, and Herne, a horned figure from English folklore.<ref name="Roebuck"/>
In the neopagan tradition of Stregheria, founded by Raven Grimassi and based on the works of Charles Godfrey Leland, the Horned God goes by several names, including Dianus, Faunus, Cern, and Actaeon.
Horned God in psychology
Jungian analysis
Sherry Salman considers the image of the Horned God in Jungian terms, as an archetypal protector and mediator of the outside world to the objective psyche. In her theory the male psyche's 'Horned God' frequently compensates for inadequate fathering.
When first encountered, the figure is a dangerous, 'hairy chthonic wildman' possessed of kindness and intelligence. If repressed, later in life The Horned God appears as the lord of the Otherworld, or Hades. If split off entirely, he leads to violence, substance abuse and sexual perversion. When integrated he gives the male an ego 'in possession of its own destructiveness' and for the female psyche gives an effective animus relating to both the physical body and the psyche.<ref>
In considering the Horned God as a symbol recurring in women's literature, Richard Sugg suggests the Horned God represents the 'natural Eros', a masculine lover subjugating the social-conformist nature of the female shadow, thus encompassing a combination of the shadow and animus. One such example is Heathcliff from Emily Brontë's Wuthering Heights. Sugg goes on to note that female characters who are paired with this character usually end up socially ostracised, or worse - in an inverted ending to the male hero-story.<ref>
Humanistic psychology
Following the work of Robert Bly in the Mythopoetic men's movement, John Rowan proposes the Horned God as a "Wild Man" be used as a fantasy image or 'sub-personality'<ref>
</ref> helpful to men in humanistic psychology, and escaping from 'narrow societal images of masculinity<ref name=rowanhealing>
</ref> encompassing deference to women and paraphillia.<ref name=rowanhealing/>Шаблон:Rp
Theories of historical origins
Several theories have been created to establish historical roots for the worship of a Horned God.
Margaret Murray
Following the writings of suffragist Matilda Joslyn Gage<ref>
</ref> and others, Margaret Murray, in her 1921 book The Witch-Cult in Western Europe, proposed the theory that the witches of the early-modern period were remnants of a pagan cult and that the Christian Church had declared the god of the witches was in fact the Devil. Without specific recourse to any specific representation of this deity Murray speculates that the head coverings common in inquisition-derived descriptions of the devil 'may throw light on one of the possible origins of the cult'.<ref name="MurrayWitch">Шаблон:Cite book</ref>
In 1931 Murray published a sequel, The God of the Witches, which tries to gather evidence in support of her witch-cult theory. In Chapter 1 "The Horned God".<ref name="MurraGod">Шаблон:Cite book</ref> Murray attempts to claim that various depictions of humans with horns from European and Indian sources, ranging from the paleolithic French cave painting of "The Sorcerer" to the Indic Pashupati to the modern English Dorset Ooser, are evidence for an unbroken, Europe-wide tradition of worship of a singular Horned God. Murray derived this model of a horned god cult from James Frazer and Jules Michelet.<ref>
In dealing with 'The Sorcerer",<ref name=MurrayWitch/>Шаблон:Rp the earliest evidence claimed, Murray based her observations on a drawing by Henri Breuil, which modern scholars such as Ronald Hutton claim is inaccurate. Hutton states that modern photographs show the original cave art lacks horns, a human torso or any other significant detail on its upper half. Breuil considered his drawing to represent a shaman or magician - an interpretation which gives the image its name. Murray having seen the drawing called Breuil's image 'the first depiction of a deity', an idea which Breuil and others later adopted. Hutton's theory led him to conclude that reliance on Bruiel's initial sketch resulted in many later scholars erroneously claiming that "The Sorcerer" was evidence that the concept of a Horned God dated back to Paleolithic times<ref>
Murray also used an inaccurate drawing of a mesolithic rock-painting at Cogul in northeast Spain as evidence of group religious ceremony of the cult, although the central male figure is not horned.<ref name=MurrayWitch/>Шаблон:Rp The illustration she used of the Cogul painting leaves out a number of figures, human and animal, and the original is more likely a sequence of superimposed but unrelated illustrations, rather than a depiction of a single scene.<ref name=triumph/>Шаблон:Rp
The idea of a historical Horned God cult is widely regarded as being a fantasy. Despite widespread condemnation of her scholarship some minor aspects of her work continued to have supporters.<ref>Шаблон:Cite book</ref>Шаблон:Rp<ref>"Other historians, like Byloff and Bonomo, have been willing to build upon the useful aspects of Murray's work without adopting its untenable elements, and the independent and careful researches of contemporary scholars have lent aspects of the Murray thesis considerable new strength." — J. B. Russell (1972) Witchcraft in the Middle Ages. Cornell University Press. p.37.</ref>
Influences from literature
The popular image of the Greek god Pan was removed from its classical context in the writings of the Romantics of the 18th century and connected with their ideals of a pastoral England. This, along with the general public's increasing lack of familiarity of Greek mythology at the time led to the figure of Pan becoming generalised as a 'horned god', and applying connotations to the character, such as benevolence that were not evident in the original Greek myths which in turn gave rise to the popular acceptance of Murray's hypothetical horned god of the witches.<ref name=triumph/>
The reception of Aradia amongst Neopagans has not been entirely positive. Clifton suggests that modern claims of revealing an Italian pagan witchcraft tradition, for example those of Leo Martello and Raven Grimassi, must be "match[ed] against", and compared with the claims in Aradia. He further suggests that a lack of comfort with Aradia may be due to an "insecurity" within Neopaganism about the movement's claim to authenticity as a religious revival.<ref name="Clifton">
Valiente offers another explanation for the negative reaction of some neopagans; that the identification of Lucifer as the god of the witches in Aradia was "too strong meat" for Wiccans who were used to the gentler, romantic paganism of Gerald Gardner and were especially quick to reject any relationship between witchcraft and Satanism.<ref name="Valiente61">Valiente, Doreen, quoted in Clifton, p. 61.</ref>
In 1985 Classical historian Georg Luck, in his Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds, theorised that the origins of the Witch-cult may have appeared in late antiquity as a faith primarily designed to worship the Horned God, stemming from the merging of Cernunnos, a horned god of the Celts, with the Greco-Roman Pan/Faunus,<ref name="LuckArcana">Шаблон:Cite book</ref>Шаблон:Rp a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for later Christian conceptions of the Devil, and his worshippers were cast by the Church as witches.<ref name="LuckArcana" />
Influences from occultism
Eliphas Levi's image of "Baphomet" serves as an example of the transformation of the Devil into a benevolent fertility deity and provided the prototype for Murray's horned god.<ref name="Wood"/> Murray's central thesis that images of the Devil were actually of deities and that Christianity had demonised these worshippers as following Satan, is first recorded in the work of Levi in the fashionable 19th-century Occultist circles of England and France.<ref name="Wood">Juliette Wood, "The Celtic Tarot and the Secret Traditions: A Study in Modern Legend Making": Folklore, Vol. 109, 1998</ref> Levi created his image of Baphomet, published in his Dogme et Rituel de la Haute Magie (1855), by combining symbolism from diverse traditions, including the Diable card of the 16th and 17th century Tarot of Marseille.
Gerald Gardner and Wicca
Margaret Murray's theory of the historical origins of the Horned God has been used by Wiccans to create a myth of historical origins for their religion.<ref name="Davy"/> There is no real evidence to support claims that the religion originates earlier than the mid-20th century.<ref name="triumph"/>
Modern scholarship has disproved Margaret Murray's theory, however various horned gods and mother goddesses were indeed worshipped in the British Isles during the ancient and early Medieval periods.<ref>Шаблон:Cite book</ref>
The "father of Wicca", Gerald Gardner, who adopted Margaret Murray's thesis, claimed Wicca was a modern survival of an ancient pan-European pagan religion.<ref name="NatureRelToday">Шаблон:Cite book</ref> Gardner states that he had reconstructed elements of the religion from fragments, incorporating elements from Freemasonry, the Occult, and Theosophy, which came together in the Hermetic Order of the Golden Dawn, where Gardner met Aleister Crowley, whose influence became the basis for Wiccan magical practices.<ref>
Gerald Gardner was initiated into the O.T.O. by Aleister Crowley and subsequently went on to found the Neopagan religion of Wicca. Various scholars on early Wiccan history, such as Ronald Hutton, Philip Heselton, and Leo Ruickbie concur that witchcraft's early rituals, as devised by Gardner, contained much from Crowley's writings such as the Gnostic Mass. The third degree initiation ceremony in Gardnerian Wicca (including the Great Rite) is derived almost completely from the Gnostic Mass.<ref>Ecclesia Ordinis Caelestis Templum Olympicus - Thelemic Origins of Wicca</ref>
Romano-Celtic fusion
Georg Luck, repeats part of Murray's theory, stating that the Horned God may have appeared in late antiquity, stemming from the merging of Cernunnos, a horned god of the Celts, with the Greco-Roman Pan/Faunus,<ref name="LuckArcana">Шаблон:Cite book</ref> a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for later Christian conceptions of the devil, and his worshippers were cast by the Church as witches.<ref name="LuckArcana"/>
Fantasy and science fiction
In 1908's The Wind in the Willows by Kenneth Grahame, in Chapter 7, "The Piper at the Gates of Dawn", Ratty and Mole meet a mystical horned being, powerful, fearsome and kind.<ref name="Clifton"/> Grahame's work was a significant part of the cultural milieu which stripped the Greek god Pan of his cultural identity in favour of an unnamed, generic horned deity which led to Murray's thesis of historical origins.
Outside of works that predate the publication of Murray's thesis, horned god motifs and characters appear in fantasy literature that draws upon her work and that of her followers.
In the novel Childhood's End (1953) by Arthur C. Clarke, all humans have a collective premonition, also described as a memory of the future, of horned aliens which arrive to usher in a new phase of human evolution. The collective subconscious image of the horned aliens is what accounts for mankind's image of the devil or Satan. This theme is also explored in the Doctor Who story The Dæmons in 1971, where the local superstitions around a landmark known as The Devil's Hump prove to be based on reality, as aliens from the planet Dæmos have been affecting man's progress over the millennia and the Hump actually contains a spacecraft. The only Dæmon to appear is a classic interpretation of a horned satyr-like being with hooves.
In the critically acclaimed and influential 1950s TV series created by Nigel Kneale, Quatermass and the Pit, depictions of supernatural horned entities, with specific reference to prehistoric cave-art and shamanistic horned head-dress are revealed to be a "race-memory" of psychic Martian grasshoppers, manifested at the climax of the film by a fiery horned god.<ref>White, Eric (1996) Once they were men: Now they're Landcrabs: Monsterous Becomings in Evolutionist Cinema, in
Murray's theories has been seen to have had influence on Blood on Satan's Claw (1971), where a murderous female-led cult worships a horned deity named Behemoth.<ref> Hunt, Leon (2001) Necromancy in the UK: Witchcraft and the occult in British horror, in
Marion Zimmer Bradley, who acknowledges the influence of Murray, uses the figure of the "horned god" in her feminist fantasy transformation of Arthurinian myth, Mists of Avalon (1984), and portrays ritualistic incest between King Arthur as the representative of the horned god and his sister Morgaine as the "spring maiden".<ref>
Also, in the popular video game Morrowind, its expansion Bloodmoon has a plot enemy known as Hircine, the Daedric god of the Hunt, who appears as a horned man with the face of a deer skull. He condemned his "hounds" (werewolves) to walk the mortal ground during the Bloodmoon until a champion defeats him or Bloodmoon falls. He also appears as a horned wolf or bear when in combat.