A rare bronze of dancing Ardhanari(svara), the Androgyne or Hermaphrodite, is in the Colombo museum. It was originally excavated in Anurådhapura, Sri Lanka, in 1982. Professor S. PADMANABHAN of the Peredenia University, who visited my... more
A rare bronze of dancing Ardhanari(svara), the Androgyne or Hermaphrodite, is in the Colombo museum. It was originally excavated in Anurådhapura, Sri Lanka, in 1982. Professor S. PADMANABHAN of the Peredenia University, who visited my alma mater (The Tamil University of Thanjavur) a few months ago, gave us a copy of the photo (Fig. 1) which is of great importance for research pertaining to Ardhanari. The most significant feature of the image is that it accommodates the feminine part in its right side. Though the figure under study has been published and discussed around nine times, the identification does not seem to be very apt. Even though ADICEAM (1968) wrote an exhaustive account of Ardhanarisvara, the credit of bringing to scholarly attention the concept of Ardhanari with the breast on the right side as against Ardhanari with the breast on the left side goes to Professor Raju KALIDOS (1992). The report of KALIDOS (1993) was followed by brief notes of his colleagues, GOPALAKRISHNAN (1994-95) and KANDASAMY (1994).
This article is based on the hypothesis accounted by KALIDOS (1993: 68), “when the breast happens to be on the left the emphasis lies on the Male principle and on the Female principle when the breast appears on the right”. The pratimalaksana of the Silpasastras brings Ardhanarisvara under Sivatattvanidhi, thus putting stress on Siva and not on Devï. The icon under study is depicted with the breast on the right and so here the androgyne deity is accounted under ‘she’ and not ‘he’.
This article examines the role of food in the religious cosmology of Sri Lankan Buddhists, combining textual and ethnographic research and drawing on original material, including untranslated pamphlets and interviews. Looking at food as... more
This article examines the role of food in the religious cosmology of Sri Lankan Buddhists, combining textual and ethnographic research and drawing on original material, including untranslated pamphlets and interviews. Looking at food as an agent rather than an instrument reveals a creative and transformative power that is tangible in individual ritual contexts. One such context is the offering of dishes rich in milk to seven “milk mothers,” who are representatives of the Buddhist goddess Pattini. Despite its great popularity this ritual has so far received little scholarly attention. The milk mothers are often invited in fulfilment of a vow to Pattini who is associated with fertility, childbirth and childhood diseases, but also more generally with prosperity and health. The article demonstrates how milk is crucial for the success of this popular ritual as it creates the necessary ritual frame and, from an ayurvedic perspective, has the power to transform mothers into milk mothers.
I, Tonya (Craig Gillespie), biopic in uscita nelle sale italiane a partire dal 22 marzo, non dice niente di nuovo sul riscatto possibile attraverso lo sport. Il film ripercorre la parabola discendente di una delle promesse del pattinaggio... more
I, Tonya (Craig Gillespie), biopic in uscita nelle sale italiane a partire dal 22 marzo, non dice niente di nuovo sul riscatto possibile attraverso lo sport. Il film ripercorre la parabola discendente di una delle promesse del pattinaggio statunitense – Tonya Harding (interpretata da Margot Robbie, candidata come Migliore attrice protagonista ai prossimi Oscar) – che dopo aver per prima eseguito perfettamente un triplo axel nel 1991 durante i campionati nazionali scivola in quarta posizione solo un anno dopo in occasione dei Giochi Olimpici di Albertville. Che cosa significa essere sportivi? Fin dove si dilunga la genuinità della competizione nello sport?
I first became interested in Goddess spirituality because of my love of storytelling. Centuries-old stories yield multiple layers of meaning, and can be told many different ways to get at different truths. In this respect, the written... more
I first became interested in Goddess spirituality because of my love of storytelling. Centuries-old stories yield multiple layers of meaning, and can be told many different ways to get at different truths. In this respect, the written word is both a blessing and a curse. It preserves stories that might otherwise be lost; who knows what tales were told about the Venus of Willendorf, or the giant heads on Easter Island? But it also gives rise to the idea that there is a single “right” version of sacred stories. Adam and Eve can be a meditation on choice and responsibility, but the insistence on taking the story literally can turn it into a command to disbelieve science.
I’ve been working on some meditations about the connection between Goddess spirituality and political activism. Last weekend, with people across the country rising up against Proposition 8, I was reminded of a story from Sri Lanki, about the Goddess Pattini.
Pattini (also called Kannaki or Kannagi) began life as an ordinary woman, in a less-than-perfect marriage. Her husband Kovolan was a philanderer, lured away from her by a beautiful young dancer. After he’d burned through all their money, the dancer left him broke and alone. A wiser Kovolan returned to Pattini and begged her forgiveness.
