The Five Dakinis

 

Masks for The Five Wisdom Dakinis (2016)

The Dakinis are the most important elements of the enlightened feminine in Tibetan Buddhism. They are the luminous, subtle, spiritual energy, the key, the gatekeeper, the guardian of the unconditioned state. When you want to accomplish something, you always invoke the presence of the Dakinis.”

— Lama Tsultrim Allione

I  made this Collection of Masks for a sacred dancer back in 2014, and they came to mind today, so I felt like sharing this post again.  Mekare*** is a  the Tantric dancer and teacher who has worked extensively with Prema Dasara and her beautiful 21 Praises of Tara dance ritual.   This collection I made for Mekare represent the Fierce Aspects of the Dakinis,  which she felt it was important for women to call upon in our world.  Here is something she wrote about the Dakinis: 

"The Dakini is a primordial female wisdom energy found particularly in Tibetan Buddhism.  They are called "Skydancers" for they are completely free, able to travel between worlds and dimensions, free of the entanglements of the mind, and intimate with impermanence. They dance in limitless luminous space. Embodiments of the Dakini are said to do their practices in graveyards,  adorned with skulls and bone ornaments representing their intimacy with impermanence and their freedom from all fear.  They are ferocious and wise, primal and magical. Fierce allies and agents of change.  Their compassion is immense.

They can be tricksters of the most sublime order, terrifying and demanding of truth, and also the most kind of guides, playful and nurturing.  They break through barriers, invoke strength and power, guide us across the thresholds of awareness and change. 

Depictions of the Dakini show her with a crown of skulls, in a wreath of flame, teeth bared in ferocious  display like a tiger -  eyes piercing and somewhat terrifying but with a rare beauty.  The beauty of understainding, compassion, and hilarity shines forth.  In Tibetan Buddhist Tantra there are 5 Wisdom Dakinis, each having a specific gift of mind transformation - the transformation or transmutation  of the poisons of the mind into wisdom."...............Mekare

I immediately related to the Dakinis being associated with the Five Elemental forces.  My sense is that they are like the Devas, primal beings, builders and creators.  Their concerns and origin are not necessarily human.  In this sense, they are elemental beings, associated with the 5 Directions.  Air, Fire, Water, Earth and Center or Aether.  Perhaps, like Kali dancing with Her skull necklace,  the skulls and bones that adorn them represent a ferocious hilarity at the fears that beset us, and the reality of impermanence.  Mekare went on to say:

"Dakini is a source of refuge. Besides taking refuge in the Three Jewels (Buddha, Dharma and Sangha), we also take refuge in the Three Roots (Guru, Yidam and Dakini): Guru as the root of blessings because he or she will guide us to attain enlightenment; Yidam as the root of accomplishment because through the skilful method of practicing on an Yidam or tutelary deity, one will realise the nature of his or her own mind; Dakini as the root of all enlightened activities since Dakini represents primordial wisdom.

Dakini is associated with spaciousness, therefore has the ability to give birth to limitless prospects of enlightened activities: pacifying, enriching, magnetising and destroying. Dakini also embodies the union of emptiness and wisdom. There is nothing more than this.  A Dakini has the ability to move freely in  space which is beyond thoughts and beyond fabrications. This is the state of awareness which is under control, stable and yet free. Everyone has the ability and the potentials to realise the Wisdom Dakini principles or nature within oneself."

The Green Karma Dakini,  Element of Air

 The transmutation of overwork, struggle, and competition  into  

all-accomplishing wisdom and enlightened activity.

Associated with Karma Dakini:  Fulfillment. Aware choice. 

Grace. Ease. The Tao. The Martial Artist aware in every direction. 

 Compassionate and capable action in the world.

The Red Padma Dakini, Element of Fire

 The transmutation of desire, lust, and grasping into discerning awareness.

Associated with Padma Dakini:  Compassion. Radiance. Magnetism 

in order  to bring benefit. Warmth. Comfort. Delight. Joy.

The Gold Ratna Dakini, Element of Earth

 The transmutation of arrogance and greed into equanimity and generosity.
Associated with Ratna Dakini:  Abundance. Stability.
The richness inherent in every moment and everything. 
Golden. Generosity. Enrichment.

The Blue Vajra Dakini, Element of Water

 The transmutation of confusion and anger into mirror-like wisdom.

Associated with Vajra Dakini:  Clarity.  Precision. Intelligence. Intuition. 

Reflection.  Clear seeing wisdom.

The White Buddha Dakini, Element of Space

 The transmutation of despair, depression, apathy, 
and disconnect into  illuminated spacious mind.  
Associated with Buddha Dakini:  Calm. Peace. Spacious. Soothing.
 Realization  of connection and the web of all. 
The restful state of enlightened mind.

Dakinis by Penny Slinger
http://journeyingtothegoddess.wordpress.com

***

MEKARE is a Sacred Dancer, Artist, Storyteller, Shamanic Bodywork Therapist, and Visionary Creatrix who is passionate about embodiment, evolution, sacred dance, and healing.  She has traveled extensively, studying with indigenous healers and dancing ecstatically around the world, including performing for His Holiness the Dalai Lama in the Mandala Dance of the 21 Praises of Tara with Prema Dasara.

Asherah Rising

 

A relief from the palace of Ashurnasirpal II (883-859 BC) showing an Asherah Tree with male figures holding anointing oils.  

 For many years I've made  "tree of life" images.  I'm not sure where I got the image from originally, but the Tree, and images of women with roots and branches, have been an inner iconography for as long as I can remember.   In early lithographs I made often a  woman within the Tree, or the Tree was a backdrop to everything else in the painting (not unlike the Web motif I also became fascinated by in my later "Spider Woman"  Project).  In my 1993 "Lovers" card from my Rainbow Bridge Oracle, or the 1986 lithograph below I called  "Axis Mundi".  The "Tree" is ubiquitious for me, and it's taken me a while to notice that.

The large painting I called "Gaia" (1986) for my MFA program (it was 9 feet long) showed the Goddess as a Trinity, and the barren Tree behind them.  I only was able to show that painting once, and it was destroyed eventually.  Large paintings don't last very long I'm afraid, especially when they come off the frame. That painting is still important to me, especially the confrontational gaze of the Trinity:   I wanted them to confront the viewer with the loss, destruction and disrespect our civilization has wrought on the Tree of Life.

Which was also Asherah, the Great Mother.  The Great Mother who was banished from the Bible and banished from what became the religious underpinnings of western civilization as the Patriarchs of Jerusalem erased the Feminine to create the first monotheistic  religion (that we know of).  Yawah became the sole God, male and "a jealous God who would have no other".  The Goddesses, along with sundry other regional Gods,  became "the great abomination" to those who were the "Chosen" of Yaweh.   Later this concept  evolved into Christianity and Islam.  And the Goddess continued to be written out of religion, although She kept making Her appearance here and there.  It is not easy to completely eliminate the divinity of half the human race, although the his-story of  Western religion demonstrates a long and continuing effort, sometimes by negation, as in turning Asherah into "abomination", or sometimes by mythological co-option.  It is interesting, for example,  that the ancient and ubiquitous Trinity, the 3-part Goddess such as Persephone/Demeter/Hecate,  which represented the cycles of nature as embodied withing the Great Mother, was later absorbed into Christianity as the Father, Son and Holy Ghost.  In fact, this Trinity may be very ancient indeed, and may also even preceed the Hindu Brahma/Vishnu/Shiva Trinity (Creator/Sustainer/Destroyer).

A whole lot of co-option and re-mything goes on as religions evolve!  Especially, it seems,  if theologians are determined to get rid of the Goddess all together.

As I began to explore clay sculpture and leather sculpture later in life, I found myself fascinated with torsos that  became the Goddess, emerging from the trees, sustaining, the Mother within the Tree, breasts and belly. 

So, the Mother who was a Tree called to me, as I believe She has called to many.  As the great evolutionary Crisis of our time -  ecological destruction and the possibilities of nuclear war - have arrived,  so must the Great Mother arise from the depths of humanity's collective unconscious and it's layered Mythos. 

Her time has come, and She is speaking, loud and clear.  

It was a few years back that I finally learned about  Asherah, the ancient Canaanite and early Hebrew Goddess associated with pre-monotheistic Judaism.  She likely has much earlier origins as well.  As  Asherah  was often represented as a tree, the ubiquitous  "Asherah poles" (ashirim)  associated with Her worship in early (pre-monotheistic) tribal  Judaism were possibly made of wood, and possibly they were taken from sacred trees dedicated to Asherah, as there is Biblical mention of groves.  These (presumably wooden) icons may have been household icons dedicated to Asherah, and were believed to invoke prosperity and fertility.  Asherah  is  sometimes  referred to as the "wife of Yahweh",  whose name became something that could not be uttered, only represented as "the Lord".  The Asherah poles, and eventually the name of Asherah itself, were banned from worship as Judaism became monotheistic and established the sole deity as male.  

Interestingly, with the early advent of Gnostic Christianity, Asherah is perhaps re-born in the form of Sophia, the feminine face of deity, often called the "mother" and sometimes also called the  "wife" of Yaweh.  The emblem for Sophia was often a dove.   

I never would have associated the Tree of Life archetype,  which has been a part of my artistic and spiritual vocabulary for more years than I remember,  with  Asherah had I not had a kind of visionary experience during a healing session in the early Fall of  2017 with an alternative  healer. 

Not unlike Reiki practitioners she worked with me for over an hour, helping me to enter into an altered state of consciousness.  As I closed my eyes, the session began with a vivid inner appearance of a white dove.  But it was not a literal kind of bird, it was more like a sacred emblem or symbol, what one might see in a church.   I immediately thought of the "Dove of Sophia",  which is of course associated with  Peace to this day.  And Sophia,  like Asherah, was eventually removed from monotheistic theology.

The healer, after the session was over, told me that she saw a Goddess form present during the healing.   The healer, who was not much familiar with Goddess archetypes,  said that the name she got was "Ashara".  She also mentioned that somehow trees or wood were associated.   I couldn't think of what that meant at the time, not until I later looked it up on the Internet.  And then (of course!) I discovered the Hebrew Goddess  "Asherah". 

At that time,  I felt this had to do with my passage into old age.  Rites of passage, in my experience, are never easy or comfortable, cozy or predictable.  They are thresholds. I like to think I was  given a Blessing as I entered into the last part of my life. I reflect as well that at that time I was working to heal and release old wounds, familial wounds that were arising for examination. 

It occurs to me now as then that it is not possible to talk of healing the wounds that are "personal" without seeing that they are also interwoven with what is universal.   Familial abuse is about social abuse as well as including  the long reach of ancestors, going back, and going forward.  Roots.  

And beyond that....... the Tree of Life, the roots beneath,  the leaves above.   All things woven.  

Visions, like dreams, have multiple layers of meaning, and like dreams, exist outside of time.  In my experience Spirit communicates in visionary, symbolic, mythic ways.  As always,  I am grateful to be graced at any time in my life with these Visitations of the transcendant and ineffable. 

"Asherah"  by David Hostetler

Asherah poles (from Wikipedia)

An "Asherah pole" is a sacred tree or pole that stood near Canaanite religious locations to honor the Ugaritic mother-goddess Asherah, consort of El. The relation of the literary references to an asherah and archaeological finds of Judaean pillar-figurines has engendered a literature of debate.  The asherim were  objects related to the worship of the fertility goddess Asherah, the consort of either Ba'al or, as inscriptions from Kuntillet ‘Ajrud and Khirbet el-Qom attest, Yahweh, and thus objects of contention among competing cults.  In translations that render the Hebrew asherim into English as "Asherah poles," the insertion of "pole" begs the question by setting up unwarranted expectations for such a wooden object: "we are never told exactly what it was", observes John Day.[4] 

Asherah, detail from an ivory box from Mīna al-Bayḍā near Ras Shamra
 (Ugarit), Syria, c. 1300 BCE; in the Louvre, Paris

.

Though there was certainly a movement against goddess-worship at the Jerusalem Temple in the time of King Josiah, (2 Chronicles 34:3) it did not long survive his reign, as the following four kings "did what was evil in the eyes of Yahweh" (2 Kings 23:32, 37; 24:9, 19)]. Further exhortations came from Jeremiah. The traditional interpretation of the Biblical text is that the Israelites imported pagan elements such as the Asherah poles from the surrounding Canaanites. In light of archeological finds, however, modern scholars now theorize that the Israelite folk religion was Canaanite in its inception and always polytheistic, and it was the prophets and priests who denounced the Asherah poles  who were the innovators and creators of monotheism, which came to have an exclusive male god.

Asherim are mentioned in the Hebrew Bible in the books of Exodus, Deuteronomy, Judges, the Books of Kings, the second Book of Chronicles, and the books of Isaiah, Jeremiah, and Micah. The term often appears as merely אשרה, (Asherah) referred to as "groves" in the King James Version, which follows the Septuagint rendering as ἄλσος, pl. ἄλση, and the Vulgate lucus, and "poles" in the New Revised Standard Version; no word that may be translated as "poles" appears in the text. Scholars have indicated, however, that the plural use of the term (English "Asherahs", translating Hebrew Asherim or Asherot) provides ample evidence that reference is being made to objects of worship rather than a transcendent figure, objects that represented a Goddess identified with the form of a tree.  

The Hebrew Bible suggests that the poles were made of wood. In the sixth chapter of the Book of Judges, God is recorded as instructing the Israelite judge Gideon to cut down an Asherah pole that was next to an altar to Baal. The wood was to be used for a burnt offering.

Deuteronomy 16:21 states that YHWH (rendered as "the Lord") hated Asherim rendered as poles: "Do not set up any [wooden] Asherah [pole] beside the altar you build to the Lord your God" or as living trees: "You shall not plant any tree as an Asherah beside the altar of the Lord your God which you shall make". That Asherahs were not always living trees is shown in 1 Kings 14:23: "their asherim, beside every luxuriant tree" - they may have been other objects meant to represent the Goddess in addition to the trees.

However, the record indicates that the Jewish people often departed from this ideal. For example, King Manasseh placed an Asherah pole in the Holy Temple (2 Kings 21:7). King Josiah's reforms in the late 7th century BC included the destruction of many Asherah poles (2 Kings 23:14).  Exodus 34:13 states: "Break down their altars, smash their sacred stones and cut down their Asherim [Asherah poles]." 

Some biblical archaeologists have suggested that until the 6th century BC the Israelite peoples had household shrines, or at least figurines, of Asherah, which are strikingly common in the archaeological remains.

Raphael Patai identified the pillar figurines with Asherah in his book (forward by Merlin Stone)  The Hebrew Goddess.

https://en.wikipedia.org/wiki/Asherah_pole

"At the Roots".....................

 

Well, as I return to painting trying to find my way into the complexities of paint and color, strange Personae seem to be emerging.  Who is this old woman, with her backdrop of Roots, roots that want to emerge and entwine with her white hair into the foreground?  I'm not sure who she is, but I think I like her, and I am sure she has a story of some kind.  I guess I've always been one who tries to read the stories that are in faces, whether I paint them, or make masks, or watch others use the masks to animate the stories to be found within them.

"Women at the Roots" - I reflect on an article I wrote a while back inspired by Sharon Blackies remarkable book 'If Women Rose Rooted", which I discovered when I visited Glastonbury back in 2018. 

"This is the core of our task:  to remake the world in the image of those ancient   stories.  To respect and revere ourselves, and so bring about a world in which women are respected and revered, recognized once again as holding the life-giving power of the Earth itself.  As always, the stories show us the way.  The old stories, the ones which tell us that women are the land, the Body of the Earth Mother.  The old stories, the ones in which the Earth is sacred."

Sharon Blackie 

ps:  Here's a varient in which I made her eyes a field of stars. 

Real Green Men: Regenerators of Life

I felt, as terrible heat waves and floods arise this summer, like re-posting this so very hopeful article about "Real Green Men" (and women).  

The Green Man is an almost universal archetype of the renewal of life in the spring, and it is, of course, beloved by contemporary neo-Pagans as well, symbolizing manhood as re-newer and re-generator instead of as "warrior", which so often becomes authoritarian  destroyer in patriarchal "alpha male" culture (and this includes "dominating" nature, instead of working with nature.) New (or very old)  archetypes and models for men, as for women, and new myths for all , are so important now.  The Goddess is rising, and so is  The Green Man, by whatever name.  Truly, as women rise and change, so must, and do, men.  Men who are generators of life, and regenerators.  

I went looking for "living Green Men".  And boy (excuse the pun) did I find them!  What I learned gave me extraordinary hope, and a vision of the power of the Green Man (and Green Women as well) to bring rebirth to the land and  to the future, if we, as a global humanity,  can only listen to what these contemporary Green Men have dedicated their lives to.

Below is a wonderful documentary that I ran across almost by accident, about a man in India who single handedly, and with extraordinary dedication, planted a thriving forest, beginning his work in 1979.  His story began my search for other "Forest Men".   To watch and listen is to be not only inspired, but to feel hope.  Because I believe that this is what the future civilization will have to look like, these technologies of love, sustainability, Earth based science and spirituality, along with new and old ways for human beings to cooperate and get along with each other. We really have no choice as a common humanity - we must change, or die.   I believe, instead of vast space stations and digital robots and endless wars, the future will have to look more like a forest, or a garden, if there is to be a future civilization at all.  

Watching John Liu's documentary about the incredible restoration of an ancient landscape in China was extraordinarily hopeful.  Or the stsory of Jadave Payeng and his family,  bring a devastated island back to life.  And more..........the message Jadav Payeng , and John Liu, and Brad Lancaster (and the Others I have, through the grace of UTube, been able to share here) carries is that renewal can happen in very simple ways, ways dedicated to helping the intelligence of Nature to do what nature does. Assisting, like planting trees, or allowing environmental diversity to be protected enough to return. These regenerated forests and deserts truly offer us hope.

I am reminded of a book by Alan Weisman called THE WORLD WITHOUT US, in which the author researched areas around the world that had become abandoned or off limits to people, like the neutral or demilitarized zone between North and South Korea - and the extraordinary renewal that took place in such environments. There was also a 2008 television documentary called "Life After People" that explored the same theme.

I will let these people speak instead. They are true Green Men.

Jadav Payeng, Majuli Island, India

 https://youtu.be/HkZDSqyE1do

Hugh Wilson, Hinewai Nature Reserve, New Zealand

https://youtu.be/3VZSJKbzyMc

David Bamberger, Selah Preserve, Texas

https://youtu.be/ZSPkcpGmflE

David Milarch, Redwood Forests of California and Oregon

https://youtu.be/wW9w6eCQQkU

John D. Liu*,  Re-greening the desert

https://youtu.be/IDgDWbQtlKI

* (for a documentary by John D. Liu, see also

 "Hope in a Changing Climate"     (https://youtu.be/bLdNhZ6kAzo)

 

 And, of course, Tucson's own 

Brad Lancaster:  Water Harvesting in Arizona

https://youtu.be/KcAMXm9zITg

O Taste and See

O Taste and See

by Denise Levertov

The world is not with us enough

O taste and see

the subway Bible poster said,

meaning The Lord, meaning

if anything all that lives

to the imagination’s tongue,

grief, mercy, language,

tangerine, weather, to

breathe them, bite,

savor, chew, swallow, transform

into our flesh our

deaths, crossing the street, 

plum, quince,

living in the orchard 

and being

hungry, and plucking

the fruit.

The Night Blooming Cereus

We go about the circles of our daily lives, the chores, the small dramas, the contentments and irritations, occasionally looking up to notice the colors of a brilliant sunset, or a dedicated parade of summer ants bearing purple petals to who knows where, or the delicious, sugared dark taste of the morning coffee, or the familiar cat, radiating pure love as she purrs in one's lap.  Occasionally we notice, sigh, perhaps say to ourselves "Nice".  Or "Wow".  Then back to the lists, the rising and falling of domestic or economic life.

Why does it often take an encounter with one's mortality to awake to the incredible, rich, gorgeous artistry of Life, all around us?  I suppose the answer to that is obvious.  But then....... there it is, and all one can do is stand, with mouth open, noticing, recognizing, "tasting and seeing".  

Lemons from my lemon tree

Just a week ago I spent three days in the ER at a local hospital to emerge with a diagnosis of congestive heart failure and an aneurism.  Now I wait another week to have open heart surgery.  An interim, a "liminal zone" of time in which I am awake.  All of this, all of this I've loved, and built, and collected, the garden I love,  the paintings I've done or imagine are yet to be done, the plans, the disappointments, the squabbles and the friendships, the cup I particularly like to drink tea out of, the sun coming through a yellow bottle I always notice...........it all could be over pretty soon  now.  Or not, but my perception of my "time" will not be the same, ever again.   What does one do with that kind of awakening.  Not a poetic or metaphysical abstraction, but carnal, immanent, solid?  Well,  gratitude helps.  And,...........

                                                                    O Taste and See

What a feast!  What if we daily understood (meaning, to "live under "a truth)  that it's such a Privilege to be here?  To experience and be a part of this amazing world with all of its polarities and struggles, among vast mysterious  communities of other Beings evolving in their own unique ways all around us?  And each moment with its own unique Beauty that blooms and dies and seeds, so fast, so precious, so amazing.  Collateral beauty, ackward beauty,  dark beauty that opens the heart and teaches the hard lessons too.  Who is the Conductor, who the orchestra?

For the past few years I've had the peculiar experience of having "life reviews" without the necessity of being dead. I think a lot of older people experience this.   In other words,  it's like long forgotten moments seem to arise from the well of my memory, often in ways that seem unrelated to whatever I am doing or even thinking about at the time.

I tend to feel those moments are part of the ineffable and  timeless gestalt that I really am, and they are worth looking at for what they may have to teach me now as I try to get an overview of the threads that weave the tapestry of my long life. 

Of  course, so many of those memory moments aren't happy, or illuminated, many are sad or painful or embarrousing or traumatic or show me the ways I may have hurt someone, been very unconscious, hurt myself, wasted time or love or purpose.   Those too are welcome now,  they are wise teachers in the unfolding of this grand adventure that has been (and is still, it's not over yet!) Lauren Raine.  I know, a strange post this, but I find myself in a state of awe.  It's a funny thing, but I find it strange that it would take heart disease to open my heart so.  May healing come to my heart, and may that vision that is with me now, remain.  I think of a line from a poem I wrote a long time ago, so here I quote myself:  

"We are given a vision so bountiful

we can only gaze with eyes wide,

like a child in summer's first garden.

Here is a poem by Rumi that also comes to mind today.  

The Guest-House 

This being human is a guest-house.

Every morning a new arrival.

A joy, a depression, a meanness,

some momentary awareness comes

as an unexpected visitor.

Welcome and entertain them all!

Even if they're a crowd of sorrows,

who violently sweep your house

empty of its furniture,

still, treat each guest honorably.

He may be clearing you

out for some new delight.

The dark thought, the shame, the malice,

meet them at the door laughing,

and invite them in.

Be grateful for whoever comes,

because each has been sent

as a guide from beyond.

  

 

"Seeing in the Dark"..........an Exploration of new Paintings

"Persephone" 2023

 

"Deeply I go down into myself.  

My God is Dark, and like a webbing 

made of a hundred roots that drink in Silence."

........... Rainier Maria Rilke

I found the above quote by Rilke while navigating through my files, and it has become a poem that inhabits my imagination these days.  Roots, the generative Dark,  the Webbing to all that lies under the appearances of things, below surfaces, the pentimentoes of life, the unseen union that we must learn to see "In the Dark"...........

I am trying to return to my first love, Painting.  With AI,  I guess I and my colleagues are truly obsolete - who could compete with what that Monster leering at us on the horizon can do?  (I guess that shows that I am very concerned about what has so thoughtlessly and blithely been unleased on humanity).  

Regardless,  I have always found painting the most difficult of arts, and the most extraordinary dance of form, light and shadow, and the joy of color. To see those colors emerge from a tube, become alive on a canvas............ It's not easy for me to paint,  I guess I always feel intimidated until I begin, and then I just become emersed in the making.  

Strangely, although it is just past the Solstice and High Summer now, I  seem to have an interest in the dark, in noir, in buried and invisible Roots.  I guess I can thank Rilke for that, and before me sit a collection of intimidating, blank, very black canvases on which to create worlds.  The painting above is the first so far.

But I see that this theme has haunted me before..............

"Seeing in the Dark"  2009

"Solitude" (from The Rainbow Bridge Oracle) 

'Hecate" 1997

"Past Desire, Hope or Love, I Rest in You a Seed" (1993)