They were here an...
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They were here and might return
Journeying the realms of virtu-reality where wo-man strives to decipher the conundrum........Note that: 1) may contain content inappropriate or scary for children. 2)In my ken, all beings thought of being gods are entities from other dimensions with supernatural powers way beyond regular human capacity. This made many people who experienced their presence misconcept them as gods, demi-gods, and.....Things are going to change when proportion of us evolves into 'luminous'
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Sárkány | They were here and might return |


Sárkány is a Hungarian humanoid demon.


He has the power to turn people to stone in a gaze. 


His function is to control the weather and he can be seen riding his horse in the thunder clouds. 


In some versions he is regarded as a dragon. 


He is sometimes depicted with seven or nine heads on a human body; identified as Sárkány.


Instead of a hoard of gold, this dragon sleeps on a bed of diamonds and crystals...   






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Ashur, Assur, Aššur, A-šur, Aš-šùr

Ashur, Assur, Aššur, A-šur, Aš-šùr | They were here and might return |


In the ancient Near East, Ashur, assuming the role of Enlil (Sumerian) and Marduk (Babylonian), was originally the main god of the city of Ashur, the capital of Assyria.


The Assyrians saw him primarily as a warrior god and believed that he supported them against their enemies.


Ashur is represented as a winged disc enclosing a stretched bow, ready to let fly an arrow...

A winged disc with horns, enclosing four circles revolving round a middle circle; rippling rays fall down from either side of the disc; a circle or wheel, suspended from wings, and enclosing a warrior drawing his bow to discharge an arrow; the same circle; the warrior's bow, however, is carried in his left hand, while the right hand is uplifted as if to bless his worshipers.


Ashur's horned cap was like those of Anu and Enlil. His emblem, like that of Marduk, was the serpent-dragon. He is sometimes shown riding on a snake-dragon. He is pictured on Assyrian monuments, cliff reliefs and cylinder seals...


The popularity of Ashur is due to the military successes of the Assyrian armies; and it follows, with equal necessity, that Ashur, whatever he may originally have been, becomes purely a god of war, from the moment that Assyria enters upon what appeared to be her special mission.


All the titles given to Ashur by the kings may be said to follow from his rôle as the god who presides over the fortunes of the wars.


If he is the 'ruler of all the gods,' and their father, he is so simply by virtue of that same superior strength which makes him the 'law-giver' for mankind, and not because of any ancient traditions, nor as an expression of some nature-myth.


Ashur is the giver of crown and sceptre, and the kings of Assyria are the patesis of the god, his lieutenants. He is the god that embodies the spirit of Assyrian history, and as such he is the most characteristic personage of the Assyrian pantheon—in a certain sense the only characteristic personage.


Because the qualities of so many other gods were transferred to Ashur, he had little or no clear character or traditions of his own. More than anything, he was a symbol of the people and power of Assyria.





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Three-Legged Crow, The Tripedal Crow, Sanzuwu, Sānzúwū, Sam'zuk'wu, Sae tsoh u, Yatagarasu, Samjok-o

Three-Legged Crow, The Tripedal Crow,  Sanzuwu, Sānzúwū, Sam'zuk'wu, Sae tsoh u, Yatagarasu, Samjok-o | They were here and might return |


The three-legged (or tripedal) crow is a supernatural creature found in various parts of the world including Asia, Asia Minor, and North Africa.


It is believed by many cultures to inhabit and represent the sun.


This seems to vary depending on cultural folklore...


Some of the more common ones include:



The three-legged crow in Chinese folklore is called Sānzúwū.It dates back to the Zhou dynasty (11th to 3rd century BC), when it appeared as a decoration on formal imperial garments... 


The earliest known depiction of a three-legged crow appears in Neolithic pottery of the Yangshao culture... Sanzuwu is referred to as Sun crow, and usually depicted as red rather than black...

It is responsible for the sun’s passage across the sky. There are many legends of this bird, e.g.:

The Chinese sun goddess was the mother to ten child-suns. Every day one of the children would be carried to the top of a mulberry tree on the back of a crow, and then fly into the sky to be the sun for each day.


Each child took turns each day so there was light during the days.


It is said that one day, all ten child-suns ascended to the sky on the same day and scorched Earth to drought.


The emperor, who also happened to be their father, tried to convince the child-suns to ascend one at a time, but after they did not listen, he ordered an archer to shoot them down.


It just happened that one of the child-suns was visiting the underworld that day and hence was not killed.


Folklore says this three-legged crow now lives inside the sun...



In Japan the tripedal crow is called Yatagarasu. This great crow was sent from heaven as a guide for Emperor Jimmu on his initial journey from the region which would become Kumano to what would become Yamato.


It is generally accepted that Yatagarasu is an incarnation of Taketsunimi no mikoto...


The word Yatagarasu has been translated as “eight-span crow” (i.e. giant crow) or and deemed to mean Supreme (or Perfect) Divine Crow (the number ‘eight’ in Japanese numerology having the meanings of ‘many’ or ‘a multitude’, or ‘perfect’ or ‘supreme’) or just “large crow”.


Although there is no description in the ancient historical chronicles stating that the Yatagarasu was specifically three-legged,  the crow has been depicted as such at various shrine locations...

Shrine or temple traditions clearly state the crow is three-legged.



During the period of the Koguryo Kingdom, the Samjok-o was a highly regarded symbol of power, thought superior to both the dragon and the Korean phoenix...


The three-legged crow was one of several emblems under consideration to replace the phoenix in the Korean seal of state when its revision was considered in 2008...






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Jahaiyra Albert's curator insight, October 18, 2013 12:29 AM

this was so long it deserved to me scooped.

Shannon Bench's curator insight, October 18, 2013 9:12 PM

Great, NOW they worship birth defects... what the hell is wrong with this picture?

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Sedna, Sanna, Mother of the Sea. Mistress of the Sea, Arnapkapfaaluk, Takánakapsâluk, Takannaaluk

Sedna, Sanna, Mother of the Sea. Mistress of the Sea, Arnapkapfaaluk, Takánakapsâluk, Takannaaluk | They were here and might return |


The Inuit goddess Sedna 's story begins with a common theme—a beautiful young woman who is not impressed by any of her multiple suitors. 


Sedna's father, a widower, was constantly trying to marry her off, but she would have none of it. 


One fateful day a sea bird (a fulmar) promised to take her away to his “comfortable, luxurious” home. The impulsive young girl eloped with the fulmar. 


The “veritable palace” he had described turned out to be a filthy, smelly nest. And, to make matters worse, her new husband treated her like a slave. 


Sedna begged her father to come and take her back home, and he agreed...


But as they were heading across the waters, a flock of fulmars surrounded the boat.


The incessant flapping of their wings caused a tremendous storm to arise and their small vessel was being tossed from side to side. 


Fearing for his own safety, Sedna's father threw her into the ocean to appease the angry birds. 


When Sedna tried to climb back into the boat, he cut off her fingers.


As she struggled to use her mutilated hands to try again, he cut off her hands and threw her and her appendages into the water. 


As she sank to the bottom of the ocean, her dismembered limbs grew into fish, seals, whales, and all of the other sea mammals.


She descended to Adlivum (the Inuit Land of the Dead) where she  rules. 


 As Queen of the Adlivum, Sedna is responsible for sending food to the hunters. 


To ensure that she continues to feed the people, shamans must descend through many horrifying places to reach Sedna and soothe her....


The goddess Sedna teaches us that we must delve into the dark, cold places that we fear most if we are to find the riches that rest there...


Sedna reminds us that, in spite of all our infirmities (and foolish mistakes), we are still worthy of love and respect and have every right to expect, and even demand, that others treat us well....


If the hunters and shamans do not catch anything for a long time, the Shaman will transform himself into a fish. In this new form, he or she will swim down to the bottom of the ocean to appease Sedna the Sea goddess.


The Shaman will comb the tangles out of Sedna's hair and put it into braids.


This makes her happy and soothes her anger.


Perhaps it is because Sedna lost her fingers that she likes to have her hair combed and braided by someone else.


When she is happy, she allows her animals to make themselves available to the hunters.


Animals do not mind giving themselves up to provide food, clothes, and shelter for the Inuit...






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Nyx, Nox, Nyktos

Nyx, Nox, Nyktos | They were here and might return |


One of the ancient Protogenoi*, Nyx in Greek folklore, (Nox in Roman translation) is the primordial goddess of the night, and embodiment of the night...


A shadowy figure, Nyx is the mother of personified gods such as Hypnos (sleep) and Thánatos (death).


Her appearances in lore are sparse, but reveal her as a figure of exceptional power and beauty...


In Hesiod’s Theogony, Nyx is born of Chaos; her offspring are many, and telling.


With Erebus the deity of shadow and darkness, Nyx gives birth to Aether (atmosphere) and Hemera (day). Later, on her own, Nyx gives birth to Momus (blame), Ponos (toil), Moros (fate), Thanatos (death), Hypnos (sleep), Charon (the ferryman of Hades),the Oneiroi (dreams), the Hesperides, the Keres and Fates, Apate(deception), Philotes (friendship), Geras (age), and Eris (strife)...


Also deadly Night bore Nemesis Indignation to afflict mortal men, and after her, Deceit Apate and Friendship and hateful Age and hard-hearted Strife...


In Book 14 of Homer’s Iliad, there is a quote by Hypnos, the minor god of sleep, in which he reminds Hera of an old favor after she asks him to put Zeus to sleep.


He had once before put Zeus to sleep at the bidding of Hera, allowing her to cause Heracles (who was returning by sea from Laomedon’s Troy) great misfortune.


Zeus was furious and would have smitten Hypnos into the sea if he had not fled to Nyx, his mother, in fear.


Hypnos goes on to say that Zeus, fearing to anger Nyx, held his fury at bay, and in this way Hypnos escaped the wrath of Zeus.


Nyx took on an even more important role in several fragmentary poems attributed to Orpheus.


In them, Nyx, rather than Chaos, is the first principle. Nyx occupies a cave or adyton, in which she gives oracles. 


Kronos – who is chained within, asleep and drunk on honey – dreams and prophesises.


Outside the cave, Adrastea clashes cymbals and beats upon her tympanon, moving the entire universe in an ecstatic dance to the rhythm of Nyx’s chanting. Phanes – the strange, monstrous, hermaphrodite Orphic demiurge – was the child or father of Nyx.


Nyx is also the first principle in the opening chorus of Aristophanes’s Birds, which may be Orphic in inspiration. Here she is also the mother of Eros.


In other texts she may be the mother of Charon (with Erebus), and Phthonus “envy” (with Dionysus?).


The theme of Nyx’s cave or house, beyond the ocean (as in Hesiod) or somewhere at the edge of the cosmos (as in later Orphism) may be echoed in the philosophical poem of Parmenides.


The classical scholar Walter Burkert has speculated that the house of the goddess to which the philosopher is transported is the palace of Nyx; this hypothesis, however, must remain tentative.


There is also rumor that Nyx gave birth to her reincarnation, a son whose name would also be Nyx.


But she gave birth to twins, having a daughter as well, who was named Hemera, “Day”.


The text implied that Hemera was not the sister of Aether, but the sister of Nyx’s reincarnation...



Tartarus, the Residence of Nyx:

Nyx resided in a gloomy house located in Tartarus, in the depths of Hades' Underworld.


Nyx was sharing her residence with her daughter Hemera, the embodiment of the Day, without the two of them ever meeting each other at home.



The Transition from Day to Night:

Nyx used to reside in her home all day long, taking care of her dark spirited children.


But when the evening set in, Nyx was leaving her home to set off for her nightly journey.


On her way she met Hemera, the Day, who was returning home from her daily trip and they were greeting each other peacefully.




In the Greek folklore the name Protogenoi (pl.; Gr. Πρωτογενοι, sing. Protogenos) means First Born or Primeval and are a group of beings who were born in the beginning of our universe.


The Protogenoi are the first entities or beings that come into existence. They form the very fabric of our universe and as such are immortal.






See Hypnos:


See Hera:


See Hades:


See Dionysos:

See Kharon:



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Tom Hickathrift and the Ogre of the Smeeth

Tom Hickathrift and the Ogre of the Smeeth | They were here and might return |


The Ogre of the Smeeth is a terrible giant from the folklore of England. He had a bad temper and was quick to anger. The Giant lived in a cave near the East Anglian town of Wisbech during the 11th century...


Everyone avoided going near his territory and would sometimes take twice as long to travel to their destination to avoid this aggressive beast.


Tom Hickathrift was a giant of a man.


As a child, he ate as much as five ordinary men could in one sitting and, by the time he was ten years old, he was already eight feet tall! Tom was well known for having supernatural strength but boy, was he lazy.


He wasn't that smart either - until one day, when he came face to face with the Ogre of the Smeeth. One day, his elderly mother sent Tom to a local farmer for straw.


He amazed everyone by using a cart-rope to gather together more than twenty hundredweight of straw and believe me, that's a lot of straw! The farmer laughed and called Tom a fool.


"Do you really think you can carry such a heavy load? " jeered the farmer.


Tom flung the load over his shoulder, as if it was as light as a feather.


The farmer and his men stood by, speechless.


Once his incredible strength became known, Tom's lazy days were over.


No more could he sit in the chimney corner doing as little as possible, as everyone wanted to hire him for work.


Tom soon found that work brought its own reward and he became very merry, taking delight in company, going to fairs and meetings and he had many Adventures.


Tom's fame soon spread to a wealthy brewer at King's Lynn.


Wanting a good strong man to carry his beer to Wisbech, he hired Tom.


The brewer was very careful to tell Tom the route he must take around the Smeeth, an area of boggy marshland between the two towns, for a fearsome and terrible Ogre lived in a cave there.


Ogres in general are not very pleasant and this one was worse than most. He had a monstrous appetite for eating passers-by!


Unfortunately, avoiding the Ogre meant taking the long route - over twenty miles - around the great common, which belonged to the seven villages of the marshland; a very long detour for one so naturally lazy.


It was a scorching hot summer's day, as Tom wearily hauled his cart of beer barrels along the winding path.


Weary of the long trek, he foolishly decided to take a short cut through the Smeeth - into the Ogre's territory.


The first sign that this was a mistake was the sight of human skulls hanging from every tree along his path.


The second sign was even more obvious, the Ogre stood silently on the path before him!


If you thought Tom was big, you should have seen the Ogre!


He was twelve feet tall and six feet around the waist, a large Ogre indeed.


"Who gave you authority to come this way? " he roared.


"I'll make an example of you - see how many heads hang on yonder tree?

Yours shall hang higher than all the rest. "


Suddenly, Tom realised he had no weapon!


For once in his life, Tom thought quickly and, without hesitation, he ripped an axle and a wheel off his cart.


He bravely faced the slavering Ogre with these for sword and shield.


The fight was long and terrible, the sound of the mighty blows echoed across the marshland.


The Ogre was strong and rained down heavy blows on Tom, but Tom gave as good as he got and was quicker and lighter on his feet.


A well aimed blow to the side of the Ogre's head sent him reeling.


Knowing that he was weakening, the Ogre tried a trick and asked Tom for a drink.


Tom would have none of it; his dim days were behind him.


"Oh no," he said, "my mother taught me better than that; who'd be a fool then? "


Using all his strength, Tom felled the Ogre with one last crushing blow.


His head rolled and stopped at Tom's feet. The Ogre was dead.


Exhausted but curious, Tom looked inside the Ogre's cave and was amazed and astonished by what he saw. Gold, silver and jewels lay everywhere!






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Ourea, Oúrea, Ouros, Oros

Ourea, Oúrea, Ouros, Oros | They were here and might return |


The Ourea were the Protogenoi* (primeval gods) or rustic Daimones** (spirits) of the mountains. They are children of Gaea. .


Each and every Mountain was said to have its own ancient bearded god.


Mountains were occasionally depicted in classical art as bearded old men rising up from between their craggy peaks.


There are 10 total and each mountain has its own god:
Aitna: The volcano of Sikelia (Sicily in Italy) and its goddess.


Athos: A Mountain of Thrake (North of Greece) and its god.


Helikon: A Mountain of Boiotia (in Central Greece) and its god. He entered a singing contest with the neighbouring Mount Kithairon.


Kithairon: A Mountain of Boiotia (in Central Greece) and its god. He entered a singing contest with the neighbouring Mount Helikon.


Nysos: A Mountain of Boiotia? (in Central Greece) and its god. He was the nurse of the god Dionysos.


Olympos1: A mountain in Thessalia (northern Greece), the home of the gods, and its god.


Olympos 2: A Mountain of Phrygia (in Anatolia) and its god.


Oreios: The Mountain-God of Mount Othrys in Malis (central Greece).


Parnes: A Mountain of Boiotia and Attika (in Centra Greece) and its god.


Tmolos: A Mountain of Lydia (in Anatolia) and its god. He was the judge of a musical contest between Apollon and Pan.



"And she brought forth long hills, graceful haunts
of the goddess Nymphs who dwell amongst the glens of the hills..."

Hesiod, Theogony, 129–131; Argonautica, 1.498.



The primeval gods or "Protogenoi" of Greek mythology were the basic components of the universe which were emerged at creation.

They included Earth, Air, Sea, Sky, Fresh Water, Underworld, Darkness, Night, Light, Day, Procreation and Time.




The "Theoi Nomioi" were the gods of the countryside, the pastures and wild forests.

They fell under the dominion of three gods : Hermes the lord of the herds, Dionysos the god of wild vegetation, and Artemis queen of the beasts.




Tmolos and the Musical Contest between Apollo and Marsyas; A Punishment Story


The Satyr Marsyas was a famous flutist from Phrygia, in today's Central Turkey, who boasted that he could play the double flute better than Apollo.


When Apollo found out, he challenged the Satyr to a musical contest.


The victor of the contest would do whatever he wished with the loser and the judges of the contest would be the Muses.

First played Marsyas on his flute and the melody was wonderful. Then it was Apollo's turn. Apollo played notes full of harmony with his lyre and his voice was heavenly spellbinding everything around him.


Then Apollo played with his lyre upside down and told Marsyas to do the same, but Marsyas was unable to.


So Apollo was declared as the winner of the contest... and the punishment he chose for Marsyas was harsh: Apollo hang Marsyas over a pine tree and flayed him alive...


It is said that Tmolos was supposedly the judge of the musical contest between Apollo and the satyr...



See Gaea:


See Dionysus:


See Apollon:


See Satyr:






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Meili | They were here and might return |


Meili, old Norse "the lovely one or mile-stepper, is son of Odin and brother of Thor, in old Germanic folklore...


It is proposed that Meili's mother is Jörð, a goddess and the personified Earth... In the Harbaardzljod from the Poetic Edda, Thor told Harbard (Odin in disguise as a ferryman) that he had brother named Meili.


Thor spake:

"My name indeed shall I tell,

| though in danger I am,

And all my race; 

I am Othin's son,

Meili's brother,

and Magni's father."


But, Meili is not mentioned elsewhere despite his apparent importance to Thor!!!


Another theory advocates that Baldr and Meili are one and the same...


Only very little is known about Meili...


His name  as mile-stepper, if accurate, could mean that he was a Norse god of travel.


Given the importance of travel in Norse culture, Meili would then have been an important figure in the Norse pantheon, but no first-hand accounts of his status are known to exist, so his rank and function among the Æsir* remains a point of conjecture...



*Æsir: (Aesir are warrior deities of the sky who lived in Asgard**).


** Asgard: The Aesir lived in a heavenly realm ruled by Odin called Asgard. This place, which contained the great hall known as Valhalla, was separated from Jotunheim below, the place of the gods known as the Vanir, by a bridge, Bifrost (perhaps the Milky Way), guarded by Heimdall.






See Odin:


See Thor:


See Heimdall:



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The Rougarou II: The Female 'Loup-garou'

The Rougarou II: The Female 'Loup-garou' | They were here and might return |


What fearsome creature howls under the full moon? Loup-garou is native to France and Francophone regions of North America...


In French Canada, it can only be one thing: the legendary loup-garou, the lone werewolf of Quebec lore. 

The Loup-garou is fearsome werewolf; said to roam the thick forests of 19th-century Quebec.


Akin to the male Rougarou, the female Loup-garou tranforms from a woman to werewolf-like being (she-wolf) at her own will.


The legend says that when a person comes into contact with a loup garou and sheds the blood of the beast, the Loup Garou will then changed to its human form and reveal their secret.


The victim then becomes a Loup Garou for one hundred and one days. If the victim speak of the encounter to anyone, they become a loup garou themselves.


But if they remain quiet about it, they will return to their human form and continue on with their lives. In the legends, the loup garou is said to be someone the victim knows, such as a jealous former lover.


What the makes the Loups-ga·rous different from the common werewolves is that they don't change with the cycles of the moon and have complete change over their actions.


So, what makes these creatures so dangerous and terrifying is the fact that while in their wolf form they are completely aware and as intelligent as they are in their human form.


Like any good legend, the story of the loup-garou changes with the teller. With their enhanced abilities and senses, it make them difficult to destroy. These are magnificent, intelligent and blessed creatures (in some tales), but beware le Loup Garou...

Very often the loup garou to the wendigo. For example, the Ojibwa people tell stories of the “rugaru,” as a creature indulging in cannibalism, which is the same process for becoming a wendigo.

Both creatures are described as large bipedal creatures with fierce animal aspects...


A young man named André apprentices as a hunter and trapper with an experienced coureur de bois who has a terrible secret... 






See The Rougarou II: The Male:



See the Wendigo:



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Nuala, Úna, Oonagh, Oona

Nuala, Úna, Oonagh, Oona | They were here and might return |


Nuala is the wife of Finnbheara, king of the Irish fairies,,,


She is thought the most beautiful of all women, with golden hair sweeping to the ground, and is the mother of seventeen sons.


Sometimes she is thought to have a separate residence of her own of Cnoc Sídh Úna [Knocksheogowna]...


It is said Nuala can transform herself in to any shape that she wants, but the one most pleasing to her is that of a young calf (or perhaps lamb). 


Some people say Knocksheogowna means 'the mountain of the fairy-calf' others dispute this and say it means 'Úna's Mountain'.


Nuala is known to have a fondness for all animals particularly young ones.




It could be possible that Nuala is a diminutive form of Finnguala (modern spellings: Fionnghuala or Fionnuala; literally fionn-ghuala meaning "fair-shoulder"); the daughter of Lir of the Tuatha Dé Danann.

In the legend of the Children of Lir, she was changed into a swan and cursed by her stepmother, Aoife, to wander the lakes and rivers of Ireland, with her brothers Fiachra, Conn and Aodh, for 900 years until saved by the marriage of Lairgren, son of Colman, son of Cobthach, and Deoch, daughter of Finghin, which union broke the curse.



At any rate, Nuala is a somewhat elusive figure, but nevertheless her sidhe dwelling was a very important place in former times, and she is still remembered by local people...






See Tuatha Dé Danann:




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Estelblau's comment, September 18, 2013 5:19 AM
What a beautiful name! Thanks for sharing!
Mhd.Shadi Khudr's comment, September 18, 2013 6:57 PM
It is indeed. I like it. Thanks to you for your kind remark.
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Polevik, Polewik, Polevoi, Poludnisa

Polevik, Polewik, Polevoi, Poludnisa | They were here and might return |


In Slavic/Slavonic folklore, polevik (Singular: Poleviki) are nature spirits, protectors of fields (pole means field)...


A polevik usually hides in corn fields.


It delights in misdirecting travellers, and even cruelly killing drunken farmers and idlers. 

Terrible tales were told around hearth-fires of the Polevik's harsh and blood-thirsty nature, and of the peril a slothful farmer faced...


Despite this, the Polevik received a grudging respect from the farmers for their diligent protection, and paid their fields a small tithe of blood to show the Polevik their connection to the land.


Some of the youngest Polevik have become disaffected with their rustic lifestyle, and have hired out to unscrupulous fae as assassins; a task at which they prove unnervingly adept.


Fortunately, forgoing their bond with the land, they also lose the associated Birthright and Frailty, although this doesn't bother them unduly.


In their eyes, they're just reaping a harvest of a different variety.

Their favourite quote >>"Time to reap the harvest"...


The appearance of the Polevik was described differently in every region.


In Poland, he appears as a deformed dwarf with eyes of dual color and grass instead of hair. He shows up either at noon or sunset and wear either all black or all white suits.


In the northern parts of Russia, she is a female called Poludnisa, ('Poluden' meaning 'noon') and appears as a tall, beautiful girl dressed in white...


A female spirit Poludnitsa walks along the field in white clothes, taking care of the grain. The midday is supposed the time of her reign, when no one should stay in the open field. She chases people from the field, can even scrag them or cut their heads with her hook.


It is said that you can prevent Polevik from coming near your land by placing two eggs and a cockerel at the edge of a field...




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Salmon of Knowledge, Salmon of Wisdom, Bradán feasa, Fintan, Finntan

Salmon of Knowledge, Salmon of Wisdom, Bradán feasa, Fintan, Finntan | They were here and might return |


Bradán feasa is a creature figuring in the Fenian Cycle of Irish lore; not to be confused with the Fintan mac Bóchra, who was known as "The Wise" and was once transformed into a salmon.

The Salmon figures prominently in The Boyhood Deeds of Fionn, which recounts the early adventures of Fionn mac Cumhaill.


According to the story, it was an ordinary salmon that ate the nine hazel nuts that fell into the Well of Wisdom (aka Tobar Segais) from nine hazel trees that surrounded the well.


In doing so, the salmon gained all the knowledge in the world. Moreover, the first person to eat of its flesh would, in turn, gain this knowledge.


The poet Finn Eces spent seven years fishing for the salmon. When he finally caught it, he instructed his apprentice, Fionn, to prepare it for him.


Fionn burned his thumb when spattered with a drop of the hot fat from the cooking salmon and immediately sucked on it to ease the pain. Unbeknownst to Fionn, all the wisdom had been concentrated into that one drop, and Fionn had just imbibed it all.


When he brought the cooked meal to Finegas, his master saw a fire in the boy's eyes that had not been there before. When asked by Finegas, Fionn first denied that he had eaten of the fish. But when pressed, Fionn admitted his accidental taste.


Throughout the rest of his life, Fionn could access this font of knowledge merely by biting his thumb.


It was this incredible knowledge and wisdom gained from the Salmon of Knowledge that allowed Fionn to become the leader of the Fianna, the famed heroes of Irish folklore.

In Welsh lore, the story of how the poet Taliesin received his wisdom follows a similar pattern...

Similarly the legendary Welsh poet Taliesin claims:

"I have been a blue salmon
I have been a dog
I have been a stag
I have been a roebuck on the mountain
I have been a grain discovered....
I rested nine nights
in her womb, a child
I have been dead, I have been alive.
I am Taliesin...


A very ancient salmon features in the Welsh tale, Culhwch and Olwen, an early Arthurian legend.

Culhwch is given a series of near-impossible tasks by his prospective father-in law, before he can win the hand of his beloved Olwen.


One of the tasks is to find and release Mabon, a divine child who has been imprisoned. After asking a series of wise old beasts, none of whom know the child's whereabouts, Culhwch and Arthur's men are directed to the oldest and wisest of the animals, the Salmon of Llyn Llyw.


The salmon not only tells them where Mabon is, but kindly (and impressively) gives them all a ride on its back to the prison, where they succeed in their mission...





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Mhd.Shadi Khudr's insight:


"[The Druid renames him Fionn, for the glow of inspiration.]"


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Mielikki, Lady of the Forest, the Lady of Tapiola, the Lady of Mehtola, The Sharer Maid, Osatyttö

Mielikki, Lady of the Forest, the Lady of Tapiola, the Lady of Mehtola, The Sharer Maid, Osatyttö | They were here and might return |


Mielikki is the wife, or the daughter-in-law, of Tapio and as such the Lady of the Forest (Tapiola/Mehtola) in the Finnish epic based on the Karelian folklore...


The word Mielikki can be derived to the Finnish word meaning Favourable or Luck.


Sometimes Mielikki was also called The Sharer Maid, Osatyttö according to the way she, unpredictably, shared the game (Emon viljat ) to the hunters—when they left for hunting the daily food like hares, birds or fur animals like squirrel etc. The king Tapio was for the big game only, like bear and elk...


Mielikki is known as a skillful healer who heals the paws of animals who have escaped traps, helps chicks that have fallen from their nests and treats the wounds of wood grouses after their mating displays...


She knows well the healing herbs and will also help humans if they know well enough to ask her for it...


Her symbol is a white unicorn on a green field.  Her totem is the bear...


So, when you dismantle your Yule tree, keep a jar full of its needles handy. Burn these throughout the year to banish frosty feelings or to warm up a chilly relationship. The pine smoke, being from a woodland tree, also draws Mielikki’s attention to any pressing needs you may have...




Image adapted from:



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Almaqah, Ilumquh, Ilmuqah, Almouqah

Almaqah, Ilumquh, Ilmuqah, Almouqah | They were here and might return |


A moon-god and tutelary god of the ancient South Arabian kingdom of Saba, Yemen...


The members of the tribe of Saba called themselves 'the children of Almaqah.'


He is symbolised by a cluster of lightning flashes and a weapon which looks similar to the letter S...


However, on Almaqah being the sun god scholar Jacques Ryckmans states; "Almaqah was until recently considered a moon god, but Garbini and Pirenne have shown that the bull's head and the vine motif associated with him are solar and dionysiac attributes.


He was therefore a sun god, the male counterpart of the sun goddess Šams, who was also venerated in Saba, but as a tutelary goddess of the royal dynasty."







Bronze plaque dedicated to the god Almaqah



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Taranis, Taranos, Taranus, Taranoos, Taranucnos; seldom Taran

Taranis, Taranos, Taranus, Taranoos, Taranucnos; seldom Taran | They were here and might return |


Taranis is the god of thunder in Celtic folklore, in the Iberian penninsula of the Gallaeci, and possibly the earlier Celtiberians, as well as of the Gauls, but also in the Rhineland and Danube regions, amongst others.


He was associated, as was the cyclops Brontes ("thunder") in Greek lore, with the wheel... i.e. the wheel of time. Apparently he controlled this by way of ritual matings with Diur, or the oak tree.


Taranis’ name and attributes are likely related to those of Thor, the Norse thunder god.


Many representations of a bearded god with a thunderbolt in one hand and a wheel in the other have been recovered from Gaul, where this deity apparently came to be syncretised with Jupiter.


Taranis was said to infiltrate the sky with thunderous energy when he became inebriated after drinking too much Celtic mead. As mead was often a constant during celebrations of marriage and battle victories, Taranis was a good-humored god and served as a figure of whole-hearted joy and zeal.



Some Roman sources associate Taranis with the Roman war god, Mars.


Taranis is commonly seen riding across the heavens in a chariot, his horses very much a part of his power – their galloping hooves would usually produce the crack of thunder and sparks of lightening in the skies...






See Jupiter:


See Thor:


See Mars:


See Bangpūtys:



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Pyrausta, Pyrallis, Pyragones

Pyrausta, Pyrallis, Pyragones | They were here and might return |


A four-legged winged beast that dwells in the copper smelting furnaces in Cyprus.


It is percieved as a cross between a dragon and an insect.


Pyrausta has been seen flying through the air over the furnaces.


Similar to the Salmander, the Pyrallis cannot fly too far away from fire otherwise it will quickly die.


As such, the Pyraustae are demonic fire lizards from the lower planes, doubtlessly related to the salamander.

They embody the senseless, destructive and devouring aspect of fire, which they represent perfectly.


The Pyragones all come flying from the conflagration, breathing the toxic fumes as if they were the purest air.

They roar, burn and destroying everything in their path, hissing frantically as they do.

The Pyrausta is constantly surrounded by a flowing halo of fire and smoke...





See the Salamander:



The image is of a pyrallis which evolved to feed on nectar!!!


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Amala, Smoke hole, Very Dirty

Amala, Smoke hole, Very Dirty | They were here and might return |


Amala is the Atlas-like giant of theTsimshian, Nass, Skidegate, Kaigani, Massett, and Tlingit Native American folklore.


According to a number of tribes, this culture hero, the world originally supported by an old man who took the weight on a pole balanced on his chest.


Amala was the youngest of several brothers, dirty and lazy but phenomenally strong.


The name Amala refers to his being very dirty and literally means “smoke hole.”


When the old man was dying, he sent for Amala who then took over the job of supporting the world-pole on his chest while it spins...


Once a year, a servant applies duck-oil to his muscles to relieve him.


The Tsimshian apocalypse tale tells of a time when all ducks will have been hunted to extinction.


At that time the servant will not appear to relieve Amala who will let the world fall from the pole and be destroyed...



There is a similarity between Cinderella and Amala in that both sleep in ashes and both are abused by their tribe or family.


The storyline of Amala - the despised member of the tribe who overcomes adversity and rises to be a hero among his people, may be a combination of elements of the downtrodden and derided hero or heroine, such as Cinderella, and the hero of the Atlas-type who dwells in the underworld...



Suppportive Resources:



See the Greek Atlas:



This image is for Amala, whils he is trying to carry the blue plent prior to adjusting it on an axis:



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Cardea, Carda

Cardea, Carda | They were here and might return |


Caedea, a huntress and the mother of Proca by Janus, is the goddess of thresholds and especially door-pivots (cardo "door-pivot"), health (akin to Carna), and family in Roman folklore.


Cardea is the protectress of little children against the attacks of vampire-witches. 


It is said that she used to be seen as a two-faced goddess perhaps indicating a dual nature...


She obtained the office from Janus in exchange for her personal favors. She lured Janus into a cave and tried to run away but he saw her with his other face and caught her.


She was given the power to repel demons and bore a son, Proca. However, this story is also told of the nymph Carna.


Some identify Cardea with Eurynome, others with Artemis, Carna, Carnea or Rhea...






See Rhea:



Image adapted from:



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Axex | They were here and might return |


The Axex, in ancient Egyptian folklore, is a legendary creature with a hawk's head on a quadruped body (possibly feline).


The muscular torso of the Axex is winged and bulky.


The skull of the Axex is adorned with three curved appendages which some researchers have suggested this to bear more than a passing resemblance to the crest of a rooster...


The Axex is often associated with the more well known Griffin...



Supportive: ; ;



See the Gryphon:



Image adapted from:


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Simurgh, Simorgh, Simurg, Simoorg, Simourv, Angha, Kerkés, Semrug, Semurg, Samran, Samruk

Simurgh, Simorgh, Simurg, Simoorg, Simourv, Angha, Kerkés, Semrug, Semurg, Samran, Samruk | They were here and might return |


The Simurgh is a Griffin-like gigantic bird creature in Persian literature, art and culture.


It is also evident in the iconography of medieval Armenia, the Byzantine empire, and other regions that were within the sphere of Persian cultural influence...


The Simurgh is also found in the folklore of the Turkic peoples of Central Asia...


The Persian legend describes the Simurgh is a gigantic, fabulous, benevolent, winged monster in the shape of a bird; a kind of peacock with the head of a dog and the claws of a lion. Its natural habitat is a place with plenty of water. In some legends, the Simurgh can actually purify water from poisons and encourage fertility... 


The Simurgh is thought to have originally roosted in Gaokerena, the Tree of Life, which stood in the middle of the world sea, Vounukhasa.


The tree was said to house the seeds of all plant life on earth and when the Simorgh took flight from its branches its leaves shook causing the seeds of these plant to fall out.


These seeds were then said to have floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, eventually taking root to become the many forms of plant life we know today...


This fabulous bird is said to have the gift of human speech.

 As for the simurgh, in the Shahnama, the great 11th century Iranian epic poem of Ferdowsi, Prince Zal, the son of Saam was born an albino, so his father considered him the spawn of the devil and abandoned him to die.


But he didn’t die because he was adopted by the simurgh and taken to her nest where she raised him. 


Years later, Saam regretted what he had done and when he learned his son was still alive, he called him back. As Zal left the simurgh’s nest, she gave him some of her feathers to burn if he ever needed help.


 Zal eventually became shah of Iran and fathered Rustam, the great hero of the Shah-nama.... 


The simurgh is best described in a 13th century Persian book known as “The Conference of the Birds.” In it the author, Farid ad-Din ‘Attar (d. 1230), described how 30 of the birds (si means 30 in Persian, murgh is bird) decided to seek out their leader, the simurgh, the legendary bird... 


They had to pass through seven valleys which represent the spiritual way before they reached the simurgh.


There they meditated and then asked the simurgh what was the secret of the mystery of the unity and plurality of beings. The answer was to annihilate themselves in the simurgh because there they would find themselves. 


In other words, this was one of the earliest examples of an allegorical journey in Middle Eastern mysticism. Mevlana Celaleddin Rumi (d. 1273) is supposed to have been greatly influenced by ‘Attar’s work...

In another example, the physician Hypocrates has mounted a simurgh and is off to the Kaf Mountains, presumably to obtain medicine... 


The Simurgh is sometimes compared to a Phoenix...


 According to a legend, this creature is so old that it has seen the world destroyed three times over. In all that time, Simurgh has learned so much that it is thought to possess the knowledge of all ages...



Excerpted from the following Resources:



See the Gryphon:



See the Phoenix:



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Volupta, Voluptas, Pleasure

Volupta, Voluptas, Pleasure | They were here and might return |


The goddess of pleasure, the beautiful daughter of Cupid and Psyche in Roman folklore...


She is often found in the company of the Charites, or Three Graces, and she is known as the goddess of "sensual pleasures" whose Latin name means "pleasure" or "bliss".

Hedone is her Greek counterpart.


Volupta's opposites are the Algea, or pains...






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Síla na Géige, Sheela na Gig, Sheela no Gig

Síla na Géige,  Sheela na Gig, Sheela no Gig | They were here and might return |


A Sheela na Gigis a medieval stone carving of a naked woman with her legs spread wide.


Sheela na Gigs are considered to be mother goddesses, a patron for fertility in British-Celtic folklore. However, some other references might downgrade them to the level of demons.


These have been found mainly in the British Isles. Oddly enough, many of these old representations of goddess are found on churches, and some castles.


It is said that the Sheela na Gig is there to keep evil spirits away, but there may be a deeper and more positive significance.


She is the Earth mother who gives and receives life back to herself, a figure of change and transition.


"...A delicious irony in this history of the sheelas is that, even if they were introduced into the Celtic lands as a Christian attack on women, “it seems wise to suggest that the device of the sheela… was absorbed there into a native belief in powerful female protectors.


These carvings upon the later medieval buildings of Ireland may, then, have been a last manifestation of the old tutelary goddesses.”

                               __ Kathryn Price NicDhàna


The name, Sheela na Gig, was first published in the Proceedings of the Royal Irish Academy 1840-44, as a local name for a carving once present on a church gable wall in Rochestown, County Tipperary, Ireland; the name also was recorded in 1840 by John O'Donovan, an official of the Ordnance Survey of Ireland, referring to a figure on Kiltinan Castle, County Tipperary.


Scholars disagree about the origin and meaning of the name in Ireland, as it is not directly translatable into Irish. Alternative spellings of "Sheela" may sometimes be encountered; they include Sheila, Síle and Síla.


There are many theories surrounding the meaning behind the sheela na gig, and the most popular is that she is a survivor of an ancient pagan goddess.


Usually, the sheela has been identified with the Celtic goddess Callieach who is known to be a "hag" like figure of Irish folklore.


The lore of the sheela says, that she appeared as a lustful hag, and most men refused her advances, except one.


After this man slept with her, she turned into a beautiful maiden, and granted the man with royalty and blessed his reign...


 "Womb as tomb"

An interesting theory was envisaged by Sligo Artist Michael Quirke.

He believes that the sheela image is the third in the Celtic goddess trinity of maiden-mother-crone.


In her aspect as the crone, she invites the hero back into her womb to death.


Through this stark figure, we are reminded that we are all born of Mother Earth, and we will all return to the earth in death (through the same "door"--the womb of the earth).


In this aspect, sheela-na-gig could be very like the Indian deity Kali, goddess of death.


Depictions of Kali are often even more fearsome than sheela-na-gigs. In addition to having withered breasts, fierce visages and visibly empty wombs, Kali figures often wear garlands of human skulls!


Sheela na Gig's appearance can differ, she can represent fertility and look youthful or withered like an old infertile hag.


She represents the extremes of birth and death.


She is the mother who nurtures and devours all nature at the same time...






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An Elfish version of Síla na Géige :


Mhd.Shadi Khudr's insight:



"I am not sure where I first heard the term ‘Sheela-na-gig’, but I do remember trying to find out what it meant.

Most explanations I came across were colourful but derogatory towards women.

My favourite was ‘a crazy hoor that might leap out at you showing her gee’, that last word being the slang in Ireland for the female genitals and not a million miles away from ‘gig’..."

                                                                __ Fiona Marron



"In Ireland there is the Hill of Tara. When you arrive at this Hill, you have to pass through a small cemetery and old church before reaching the actual mounds of Tara...


... After we checked out the mounds, we walked back through the cemetery where I noticed a single standing stone.


As I looked at it, I realized that there was a slightly faded carving at the bottom right corner.


As I looked closer, it revealed itself to me, I had found my first sheela na gig! Very exciting indeed!..."


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Dionysus, Dionysos, Dionysius, Bromios, and perhaps Dithyrambos

Dionysus, Dionysos, Dionysius, Bromios, and perhaps Dithyrambos | They were here and might return |


Dionysos, Olympian god in Greek folklore, is the son of Zeus and the mortal woman, Semele (daughter of Cadmus of Thebes).


Semele is killed by Zeus' lightning bolts while Dionysus is still in her womb. Dionysus is rescued and undergoes a second birth from Zeus after developing in his thigh.


Zeus then gives the infant to some nymphs to be raised. In another version, one with more explicit religious overtones, Dionysus, also referred to as Zagreus in this account, is the son of Zeus and Persephone, Queen of the Underworld.


Hera gets the Titans to lure the infant with toys, and then they rip him to shreds eating everything but Zagreus' heart, which is saved by either Athena, Rhea, or Demeter.


Zeus remakes his son from the heart and implants him in Semele who bears a new Dionysus Zagreus.


Hence, as in the earlier account, Dionysus is called "twice born." The latter account formed a part of the Orphic religion's religious mythos.


At any rates, Dionysus appears to be of two distinct origins.


On the one hand, Dionysus was the god of wine, agriculture, and fertility of nature, who is also the patron god of the Greek stage.


On the other hand, Dionysus also represents the outstanding features of mystery religions, such as those practiced at Eleusis: ecstasy, personal delivery from the daily world through physical or spiritual intoxication, and initiation into secret rites.


Scholars have long suspected that the god known as Dionysus is in fact a fusion of a local Greek nature god, and another more potent god imported rather late in Greek pre-history from Phrygia (the central area of modern day Turkey) or Thrace...


It does seem clear that Dionysus, at least the Phrygian Dionysus, was a late arrival in the Greek world...


Briefly, Dionysus returns to Thebes, his putative birthplace, where his cousin Pentheus is king. He has returned to punish the women of Thebes for denying that he was a god and born of a god. Pentheus is enraged at the worship of Dionysus and forbids it, but he cannot stop the women, including his mother Agave, or even the elder statesmen of the kingdom from swarming to the wilds to join the Maenads (a term given to women under the ecstatic spell of Dionysus) in worship.


Dionysus lures Pentheus to the wilds where he is killed by the Maenads and then mutilated by Agave...


Dionysus is depicted as either an older bearded god or a pretty effeminate, long-haired youth.


His attributes included the thyrsos (a pine-cone tipped staff), drinking cup, leopard and fruiting vine.


Dionysus was usually accompanied by a troop of Satyrs and Mainades (female devotees or nymphs)...


Writers often contrast Dionysus with his half-brother Apollo. Where Apollo personifies the cerebral aspects of mankind, Dionysus represents the libido and gratification...






See Hera:


See Persephone:


See Apollon:


See Rhea:


See Demeter:


See the Ourea:


See Satyr:


See Nyx:

See Kharon:



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Mhd.Shadi Khudr's comment, September 21, 2013 6:38 PM
Hola Estelblau! Gracias :)
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Wepwawet, Upuaut, Wep-wawet, Wepawet, Ophois

Wepwawet, Upuaut, Wep-wawet, Wepawet, Ophois | They were here and might return |


Wepwawet, whose name means “opener of the way” and is believed a standard that led armies to battle and “opens the way” to king of the champion of royalty, is originally a war god from Ancient Upper Egypt...


Wepwawet is also originally known as the funerary deity who portrayed as a jackal headed man with soldier dress and carrying weapons in his hand.


Sometimes, he was also depicted as a wolf or a jackal.


Wepwawet can appear sometimes as a wolf standing at the prow of a solar-boat.


Some interpret that Wepwawet was seen as a scout, going out to clear routes for the army to proceed forward.


One inscription from the Sinai states that Wepwawet “opens the way” to king Sekhemkhet’s victory…


In the later Egyptian funerary context, Wepwawet assists at the Opening of the mouth ceremony and guides the deceased into the netherworld.


Most significantly, in later pyramid texts, Upuaut is called "Ra" who has gone up from the horizon, perhaps as the "opener" of the sky.


Note that Ra or Re is the ancient Egyptian sun god. By the Fifth Dynasty he had become major in ancient Egyptian religion, identified primarily with the midday sun.
The meaning of the name is uncertain, but it is thought that if not a word for 'sun' it may be a variant of or linked to words meaning 'creative power'.


An other text was briefly circulated claiming that Wepwawet was born at the sanctuary of Wadjet, a location in the heart of Lower Egypt.


Consequently, Wepwawet, who had hitherto been the standard of Upper Egypt alone, formed an integral part of royal rituals, symbolising the unification of Egypt.


Eventually, his identity merged into that of Anubis, and so when Anubis, the god of the dead in the Ogdoad belief system, was displaced by Osiris (Ausare), the god of the dead in the Ennead, Wepwawet, more accurately Anubis, became considered Isis' (Aset's) adopted son (his real mother being said to be Nephthys (Nebt-het), the father being Osiris)...




See Anubis:


See Ra:


See Nephthys :


Image adapted from:


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Shoten, Shoden, Shōden-sama, Binayākya, Daisho-kangiten

Shoten, Shoden, Shōden-sama, Binayākya, Daisho-kangiten | They were here and might return |


Shoten is esoteric Japanese Buddhism's version of the Indian elephant-headed god Gaṇeśa or Vināyaka.


Shoten is the patron of enterprise, who removes obstacles and vouchsafes wisdom...


As in India he came to be thought of as the son of Śiva, or Daijizaiten in Japan.


The cult of Shoten was brought to Japan from China and Tantric Buddhism by the founder of the Shingon sect early in the ninth century and was also taken up by the Tendai sect.


Shoten is depicted as a double figure: a powerful male god in an embrace with a gentle goddess or bodhisattva.


The connection between this dual image and the embracing Śiva and his śakti is obvious.


In both cases the embrace has symbolic importance, conveying wholeness.


Shoten also signifies the union of the individual with the Buddha...


With Enlightenment the two images become one...


It is said that the single-bodied version of Shoten may have two, four or six arms and is yellowish-red in colour...






See Gaṇeśa:



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