Search Results (29)

Feminist biblical criticism of Proverbs 1–9 has decried the figure of “Dame Folly” as reinforcing pejorative stereotypes of women that blame women for “the world’s sin and corruption.” To be sure, in the history of Christian biblical interpretation, Proverbs has been read in precisely this way—and with tragic consequences. In fact, Proverbs was used as fuel for the witch-hunting craze that infected the Christian West in the sixteenth and seventeenth centuries, with its particular focus on women as being especially “addicted” to heresy and “evil superstitions.” Nonetheless, as this essay demonstrates, a reading which denigrates all women universally as blameworthy is not really native to post-exilic Judaism or biblical literature in general before the Hellenistic period. Instead, it emerges with the influence of Hellenism and the misogynist stereotypes endemic to Greek literature, mythology, and even philosophy that distort and blur the lens through which Hellenistic Jews (and later Greco-Roman Christians) read their Scriptures. Through a reading of Proverbs in its own language, its own post-exilic Jewish world, and its own literary context, this essay both recovers the wise women of Israel, so esteemed and valued in post-exilic Judaism, and uncovers the identity of the real fool of Proverbs 9. Full article

This article explores how the photographic practice of Polish contemporary artist Krzysztof Marchlak draws on the visual language of early modern Italian painting. The main goal of the article is to highlight how historical iconography connected to the representations of St Sebastian is reimagined today in a contemporary photographic context. Krzysztof Marchlak’s exploration of the male nude explicitly bridges contemporary queer art with the visual traditions of the Renaissance and antiquity. His photographs reinterpret canonical forms such as contrapposto poses, the central placement of the male figure, and decorative motifs echoing mythological and sacred iconography, offering a critical re-reading. Full article

This text presents a sociological approach to the historical role that the figure of the witch has played and continues to play. Omnipresent in mythology and art, it is hardly surprising that fashion and cinema have drawn upon her as both a source of inspiration and a mirror of contemporary society. Both the catwalk and the screen have underscored the relevance of black in her attire, establishing a direct association between sombre garments and sorcery. It is inconceivable, for instance, to imagine a witch costume without certain accessories such as the hat or the broom. Yet a question arises: should we remain faithful to this imaginary, reinforced over centuries by recurring iconographic elements, or should we reconsider and deconstruct it? Accordingly, the objectives proposed here are, on the one hand, to historicise the concept of the witch as a social construct, with women erected as the embodiment of evil, and, on the other hand, to examine the role of clothing in reinforcing this construct through an exploration of the principal tendencies in fashion shows and the significance of costume design in fantastic and horror cinema. Full article

The origin of the Wutong deity, a controversial figure in Chinese folk religion, has long been an unresolved academic issue, hindering a clear understanding of its complex godhead and its derivative cults, such as the Five Road Deities of Wealth. This study aims to provide a comprehensive etymological solution to this long-standing problem. Through a systematic investigation combining cross-cultural linguistic analysis, comparative mythology, and socio-historical contextualization, this paper traces the deity’s evolution from its prototype to its final forms. The study argues that the Wutong deity’s prototype is the Buddhist Yakṣa General Pañcika, known in early China as the “Wudao Dashen” (Great Deity of the Five Paths). Its core godhead was formed by inheriting Pañcika’s attribute as a wealth deity, while degrading his myth of prolificacy into a licentious characteristic by conflating it with indigenous stereotypes of Yakṣas. Its name resulted from an orthographic corruption of “Wudao” to “Wutong,” and its “one-legged” image from a phono-semantic misreading of its transliterated name, “Banzhijia (半支迦).” This transformation was catalyzed by the severance of the Tangmi (唐密) lineage and the concurrent rise of commercialism in Song-dynasty Jiangnan. This evolutionary chain reveals the complete process by which a foreign deity was seamlessly integrated into the indigenous Chinese belief system, a “Flowing Pantheon,” through misreading and reconstruction, vividly illustrating the pluralistic and harmonious nature of Chinese religion. Full article

Human-headed birds, a recurrent yet understudied motif on Han dynasty pictorial stones, are examined in this study with a focus on their mythical representations. Placed within visualisation of the world of the Queen Mother of the West, a belief popular in the Han Dynasty, these figures are argued to depict the Blue Birds (Qingniao) of Han mythology. Moreover, a distinct variation in the Shandong region shows a human-headed bird offering Jiahe, an auspicious plant, symbolising immortality and well-being in tomb art. Through a chaîne opératoire analysis, the paper traces their creation as a composite form, integrating familiar Han bird imagery—particularly owls—with Greco-Roman Siren elements transmitted along the Silk Road. The regional clustering of such depictions in zones of early cross-cultural contact underscores the role of external influences in shaping Han visual traditions. This study highlights how mythological beings were adapted amid shifting religious ideas and transregional interactions in early imperial China. Full article

Not enough attention has been paid to the artistic approach of depicting human figures at the center of double-scroll patterns in Chinese Buddhist art. Originating from Greco-Roman culture, this motif entered China from the overland Silk Road around the late 5th century, evolving into two systems. The Hexi Corridor system, centered on Dunhuang, predominantly features lotus-born beings holding vines. The figural types evolved from lotus-born beings to celestial beings, bodhisattvas, and buddhas, with postures ranging from vine-holding to mudra-forming, lotus-tray-lifting, music-playing, and dancing, demonstrating a clear trajectory of development. The Northern Central Plains system, successively centered in Pingcheng, Qingzhou, and Yecheng, developed a relatively complete sequence only in buddha figures. The motif first spread through the Hexi Corridor before influencing the Northern Central Plains. It was adapted from its original Mediterranean context of mythological themes and funerary or temple use to illustrate Buddhist doctrines in China, absorbing elements of Han, Western Regions, and Central Asian cultures. By clarifying the motif’s origin, spread, evolution, and adaptation through systematic analysis of material evidence, this article reveals an intrinsic connection between Greco-Roman culture and Chinese Buddhist art, enriches the history of Sino-foreign cultural exchange, and reflects how Buddhism absorbed diverse cultural elements to achieve Sinicization. Full article

As a representative form of popular religion in southern Fujian (Minnan 闽南), the Sanping Patriarch (Sanping Zushi 三平祖師) belief exhibits distinct transregional and cross-cultural characteristics in its dissemination across Taiwan and Southeast Asia. Taking the ancestral temples in Fujian 福建 as a point of departure, this article systematically analyzes the transmission routes and localization strategies of this belief system in Taiwan and Southeast Asia. Drawing on detailed archival research, fieldwork (including site visits), and interviews, the study reveals how the belief has continually revitalized itself in pluralistic societies through strategies of “orthodoxy preservation” and “localized innovation.” The findings suggest that in Taiwan, the Sanping Patriarch belief primarily relies on kinship networks to maintain traditional practices. At the same time, in Southeast Asia, it spreads across ethnic boundaries through commercial and trade networks. Differences are also evident in the realm of mythological symbols, core rituals, and social functions. This study pays special attention to often-overlooked mythological figures such as the “Serpent Attendant” and “Tiger Attendant,” shedding light on the multilayered structure of folk religious systems. Full article

Analyzing how spinners are represented in art is a way to understand the role of women’s work in the medieval and premodern periods. What do spinners signify? How is this work depicted? Who are spinners? Using a selection of imagery from northern European medieval manuscripts and premodern prints from the 14th to the 17th centuries allows us to see how pervasive the spinner was as a symbolic device. Characters such as Eve, Mary, Sardanapalus, and Hercules are unified by their spinning. As they work with the spindle and distaff, they are makers in addition to being religious or mythological figures. Though spinning does not always (if at all) appear in their textual narratives, it is part of the established iconography for each and persisted as a way to communicate or demean the value of women’s domestic enterprises. Full article

My essay aims at considering the mythological figure of Melusina and her literary development, starting from the Middle Ages up to the Romantic period. The main purpose is to determine how this fictional entity, originally regarded as the symbol of nature and its fecundity, has changed over the time in relation to the historical and cultural complex and how this has reverberated in terms of interpretation of the identity of the literary character. I will consider the medieval versions of Jean D’Arras (1392), with some consequent references to Coudrette (1401–1405) and von Ringoltingen (1456), and the German romantic fairytale rewriting of Ludwig Tieck (1800). If the thematic nucleus remains the same, the configuration of the female character changes by reflecting the new Romantic poetics in terms of interest towards femininity, subjectivity and the study of the morphology of the Earth. In particular, Melusina is no longer seen as a mere and passive object, but as a subject who for the first time, hiding in an emblematic cave, reveals to the reader her own interiority and her own truth, totally assimilating herself to the external environment. The conclusion will show how the cultural subtext modifies the interpretation of this atavistic character. Full article

The present research revisits the mythological fiction of Shakuntala: The Woman Wronged (2015) through an ecofeminist lens. Author Utkarsh Patel approaches the legendary tale of submissive Shakuntala and recreates it by arming her with the attributes of resilience, assertiveness, and compassion. Her deep bond with nature equips her with the strength to fight against patriarchal strictures. Based on the study of ecofeminism, this paper draws parallels between the exploitation of women and nature at the hands of mercenary and oppressive forces. An analysis of this work suggests that nature itself provides strength and succour and is also a source of empowerment. The strength gained through communion with nature allows her to make her voice heard. The ecofeminist perspective reveals how Shakuntala’s connection with nature offers her a sanctuary where she can explore her identity and voice, unimpeded by the norms that seek to suppress her. Her love for and defence of the environment transcends mere ecological concern—it becomes a catalyst leading to her transformation. Additionally, Shakuntala’s deep connection with Aranyani, the Forest Goddess, aligns with the concept of nature as a mother figure. By drawing attention to the intertwined dynamics of nature, nurture, and empowerment, this research celebrates and propagates the harmony between nature, feminine forces, and their transformative power. Full article

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

Around the figure of Zöhre Ana, a contemporary female mystic in Ankara, Turkey, considered by her followers a saint and known for her healing powers, has grown a substantial cult followed by hundreds if not thousands of devotees, with its own mythology, cosmology, discursive tradition, and praxis. As with any religiocultural tradition, the cult of Zöhre Ana has developed a unique experiential world at the interface between her and her followers that engages all of the senses of participants. This study explores the visual dimension of this world, consisting specifically of the visions Zöhre Ana has had, the visible setting of the cult in specially arranged physical space, and the iconography of the saint. The visual elements of these dimensions reflect the Alevi cultural–historical milieu she and most of her followers come from, and this shapes the experience that occurs as participants interact with the visual world of Zöhre Ana. Full article

This paper deals with the landscape design strategy that was followed in the proposal that was submitted to the International Architecture Competition of the New Archaeological Museum of Cyprus. The aim of this document is to analyze how landscape and architecture interact. In the author’s design proposal for the New Archaeological Museum of Cyprus, the various “gardens” integrated into the Landscape are analyzed. The concept of landscape design is related to the sacredness of trees to certain gods in Ancient Greece and Greek Mythology. The proposal addresses the symbolic meaning of trees and water. The design triggered the creation of several “gardens”: the “Sacred Garden”, the “Stone Garden”, the “Olive Garden”, the “Sacred Grove”, and the “Public Garden”, combining their soft landscapes with the hard landscape of the “Plaza” and the “Courtyard”. Each figure in the garden has a symbolic meaning that allows for a dialogue between landscape and architectural design. In addition, the findings provide valuable insights into the historical and spiritual value of landscape elements (plants, water) that are also thermal regulators for sustainable urban planning. The research results may be of value to landscape architects, architects, and landscape designers in the Mediterranean region. Full article

Between March 2018 and May 2019, the archaeological team of the Xi’an Institute of Cultural Relics Protection and Archaeology excavated a Western Han tomb complex near Bailuyuan. This paper focuses on a bronze xuan with human-shaped feet discovered at tomb M21 of the complex, offering a foundation for further comparative analysis. According to the archaeological report, the Bailuyuan tomb complex, to which tomb M21 belongs, is of high status, indicating that the occupant of the main tomb held a rank no lower than a feudal lord, while the occupants of the other tombs were also likely members of the elite class. This tomb complex may belong to the accompanying tombs of the Ba Mausoleum, as it is located less than four kilometers from the mausoleum and the main tomb M1 within the complex yielded jade burial suit fragments and bronze chime bells. The central argument of this paper posits that the unusual human-shaped decoration on this xuan provides a new perspective on the significance of human-like imagery in bronzes from this and earlier periods. Such human-shaped decorations serve not only ornamental purposes but also carry symbolic meanings on cultural and religious levels, elevating them beyond mere functionality. Findings of this paper reflect that the unusual imagery in this xuan casts new light on the meaning of human-like figures in contemporaneous and even earlier bronzes. Full article

This essay attempts to analyse the discourses, gestures and projects of the new digital galaxy’s protagonists who conceive their mission in fundamentally religious terms. It will also aim to trace the intellectual genealogy and conceptual premises of their cultural and communicative vision. This analysis will attempt to define four ideal types based on reference figures taken from mythology and religion as well as the imaginary of contemporary popular culture: Prometheus, Moses, Hermes Trismegistus and Iron Man. Full article