Category: Arts & culture

Aizen myo-o

The Asian Museum of Art in San Francisco has a polychromed wood sculpture of Aizen Myo-o, the Japanese name for the esoteric Buddhist deity of love and passion. His original Sanskirt name is Ragaraja. I have very little understanding of esoteric Buddhism, so rather than get some details wrong, here’s a 1916 description of Aizen myo-o’s attributes and iconography from a Japanese English-language publication:

A sculpture of a being with red skin, six arms, and a ferocious expression
The Esoteric Buddhist king of passion (Japanese: Aizen Myoo [sic]), 1600-1700. Japan. Edo period (1615-1868). Gilding and colors on wood. Asian Museum of Art, San Francisco: The Avery Brundage Collection, B6059+

Aizen Myo-o, by Noritake Tsuda (expert in the Tokyo Imperial Museum), The Japan Magazine: A Representative Monthly of Things Japanese (Japan Magazine Co., Tokyo), vol 7, no 7, November 1916, pp. 401-402:

“Another familiar Buddhist deity is Aizen Myo-o, though he is not so widely popular as Fudo [Myo-o], treated in our last number of the Japan Magazine. Aizen Myo-o is the Indian god known in Sanskrit as Raga-vidyaraja. Raga usually means color, especially red, which symbolizes love or affection. Vidya means finding, and Raja a king; and sometimes the Sanskrit name used for this deity is Namu-vajra-raga-vidyaraja, or again simply Ragaraja.

“Aizen Myo-o is said to be a partial incarnation of Kongo-satta, in Sanscrit Vajrasattva, who took an oath to expel from mankind all wicked passions and to hasten the coming of all men to Buddha, giving them happiness and good fortune.

“This god is represented commonly in red with three terrible eyes, six arms, the figure seated on a lotus pedestal with lion headdress. Some ideas associated with the iconography of Aizen Myo-o may be inferred from one of the old masterpieces of painting representing him. The most beautiful and interesting of these is in the Hobodai-in temple in Kyoto. The painting is now a national treasure, and at present is on view at the Imperial Museum, Tokyo. A minute examination of the piece shows that the body and features have been painted in red. In the sutra referring to this deity, his heart and body are said to shine as the sun; and it is probable that the red color was selected to represent this, as well as to suggest reality. The gaping, terrible eyes sparkle marvelously in the red face, one of the eyes being placed lengthwise between the usual two. The three eyes are to give the beholder an impression of terror and awe as well as to suggest that this god has the oversight of three different aspects of the world. The eyes are blue with golden eyebrows. The mouth is open and has a grotesque grin with teeth gleaming, a common characteristic of Aizen to represent truth indestructible; the Logos, which, in Buddhism, is symbolized by the first letter of the alphabet.

“The hair on the head of Aizen stands erect in bizzare fashion, and a cap, in shape like a lion, is placed on the head with a fine-pointed kongo-sho stuck in it. The erect hair is intended to symbolize the subjugation of all evil agents. In his first left hand Aizen holds a bell; and in his first right hand another kongo-sho, both of which are symbols of mercy, bringing the peace of Vajrasattva to men. In the second left hand he holds a bow and in the second right hand an arrow, to dispel the four demons and the three other obstacles of man, shooting especially the pessimistic passions. The third left hand is extended in a grasping attitude with nothing in it, and in the corresponding right hand a lotus bud is just opening, the gesture suggesting that the bud is to be thrown at something. This symbolizes the driving out of all worldly trouble by lotus-like purity. The red lotus on which the god is seated, typifies the stability of his will. In front of the pedestal stands a treasure jar, around which are scattered treasure symbols, which suggest the bounty of the deity to all in need.

“It is noticeable that red is the prevailing color in the icons of this deity; and this is always so, because in esoteric Buddhism red always stands for love and the faculties that make for affection and compassion. The painting just described comes down from the 12th century and may be taken to represent Aizen Myo-o in his most orthodox form.

“Several other forms, however, are found among the representations of him, as, for example, some with four heads or two heads and four hands, but such divergences from the conventional form are rare.

“The Aizen Myo-o is the god of the upper classes chiefly, especially since the Fujiwara period, as he is believed to have the power of staying calamities, or gaining happiness, for those who serve him. On occasions of worship an altar of red is erected and a red image of Aizen is placed thereon; and the officiating priests are also robed in red.

“There now remains in Japan some 21 representations of Aizen Myo-o which are listed as state treasures. In addition to the painting above mentioned there is a very beautiful one on silk in the Gokokuin in Tokyo, as well as a very fine gilt statuette of him in the Imperial Museum, Tokyo, which is dated February, 1297 A.D.”

So wrote Noritake Tsuda in 1916. More recently, as can be seen in the Wikipedia entry for Aizen myo-o, there have been Western attempts to recast Aizen myo-o as a deity of same-sex male love and passion. It’s an interesting possibility, but I don’t know enough to judge if this is merely Western wishful thinking, or a considered appraisal of the historical record.

It appears that Aizen myo-o spread beyond Buddhist circle into Shinto rites. In their book Shinto in History: Ways of the Kami (Routledge, 2018), John Breen and Mark Teeuwen document how Aizen myo-o was part of a kanjo or Shinto initiation rite:

“The kirikami [i.e., written notes] of this [Shinto] initiation further reveal that the syllable un, that is at the heart of the ritual, represents not only the mind of enlightenment, but is also the seed syllable (shuji) of Aizen Myoo or King Raga. This figure (which is also bright red) represents human lust and desire, and personifies the insight that one’s innate desires are no other than inherent enlightenment itself…. The practice revealed in Ise kanjo thus teaches the practitioner that the kami [i.e., Shinto deity or power] dwells in his own heart/mind. The initiate is taught to visualize the kami as the syllable un, representing both the mind of enlightenment and his innate desire, in the guise of Aizen Myoo. The insight to be gained from this is that enlightenment and desire are identical…. The kirikami go on to teach that the kami of the Inner and Outer Shrine of Ise appear in our world as a golden and a white snake…. both the kami of Ise and [of] Aizen Myoo are snakes….” [pp. 103-104]

The case of Aizen Myo-o shows yet again that it’s unwise to assume that a deity belongs exclusively to one tradition and has only certain specified attributes. That’s an assumption Westerners, especially Protestants (and their offspring, the crusading atheists), like to make, but it’s often incorrect. Deities tend to have regional variations, just as Ragaraj became Aizen myo-o when he left India fro Japan.. Deities may move between traditions, just as Aizen Myo-o moves between the porous boundaries of Japanese Buddhisms and Shinto. And deities may have more than one manifestation, just as Aizen myo-o can be both a humanoid with six arms and three eyes, and, at an esoteric level, a snake.

You can find quite a few photographs of Aizen Myo-o sculptures and paintings online. The Cleveland Museum of Art has posted the following photograph with a CC0 license, which allows me to repost it here:

Aizen My??, early 1300s. Japan, Kamakura period (1185-1333). Wood with black lacquer and red pigments; overall: 75 x 59 x 35 cm (29 1/2 x 23 1/4 x 13 3/4 in.). The Cleveland Museum of Art, Bequest of Elizabeth M. Skala 1987.185

A note on orthography: Usually there are macrons over both “o”s in the Romanization of this deity’s Japanese name: Aizen My?-?. And there are supposed to be macrons over the first and third “a”s in the Sanskrit name: R?gar?ja. However, diacritical marks don’t always translate well in all web browsers, so I’ve left them off.

Part of a series on deities.
My definition of “deity.”

New online resource

Back in 2020, in the depths of the pandemic, I began assembling a collection of copyright-free hymns. (Remember when we were all figuring out navigate copyright laws with online worship services?) I uploaded PDFs of the hymns to Google Drive, and made the folder publicly accessible. It was clumsy, and probably very few people actually used those hymns.

I finally moved all those hymns off Google drive and onto one of my own websites. You can find them here — with a much-improved navigation system.

Google is even more evil than I knew

Cory Doctorow wrote a lengthy blog post on how evil Google has become. I already knew that Google search results have declined in quality over the past few years. But I didn’t realize how bad it’s gotten. Here’s how Doctorow describes it:

“When you send a query to Google, it expands that query with terms that are similar – for example, if you search on ‘Weds’ it might also search for ‘Wednesday.’ In the slides shown in the Google trial, we learned about another kind of semantic matching that Google performed, this one intended to turn your search results into ‘a twisted shopping mall you can’t escape.’

“Here’s how that worked: when you ran a query like ‘children’s clothing,’ Google secretly appended the brand name of a kids’ clothing manufacturer to the query. This, in turn, triggered a ton of ads — because rival brands will have bought ads against their competitors’ name (like Pepsi buying ads that are shown over queries for Coke). …

“As [Megan] Gray points out, this is an incredibly blunt enshittification technique: ‘it hadn’t even occurred to me that Google just flat out deletes queries and replaces them with ones that monetize better.‘ We don’t know how long Google did this for or how frequently this bait-and-switch was deployed.” [emphasis added]

In short, Google is far more evil than I expected. Once again, in bigger type:

Google just flat out deletes queries and replaces them with ones that monetize better. — Megan Gray

Next time you use Google to search, remember that. Google is going to replace your actual search query. You will not be searching for what you wanted to search for. You will be searching for something that will make Google more money.

Redesign

Back in 2015, the Unitarian Universalist Association (UUA) developed a WordPress theme for congregational websites. It was one of the best things the UUA has done in the past 25 years, because the theme made it super easy to build an excellent website in just a few hours.

Unfortunately, the UUA WordPress theme hasn’t been updated in three years, with no indication that it will ever be updated again. The design is beginning to look outdated. The theme relies on plugins that are now outdated, making it difficult to use the latest improvement in WordPress such as the Gutenberg block editor. We’ve been using the UUA WordPress theme in Cohasset, but it’s getting to the point where we feel like we have to start looking for an alternative.

So I’ve been looking at congregational websites to see what others are doing. I looked at the website of Temple Beth Israel in Northfield, N.J., because an old friend is rabbi there — love the site, but they hired a web design firm to make a custom WordPress template for them, which we can’t afford. Ditto with Grace Cathedral in San Francisco — another great site, but again we can’t afford a custom WordPress template. For a minimalist look, Unity Temple in Oak Park, Ill., uses a customizd version of the Kale WordPress theme. The Kale theme is free, but I’m sure they paid for the customization, which we probably can’t afford. The UU Congregation of Atlanta, Georgia, uses the Divi theme, which costs $89 a year. We can probably afford that, but it looks like Divi is complicated enough that we’d have to hire a WordPress developer, which we probably can’t afford.

Turning to websites we could maybe afford, Second Unitarian in Chicago uses the Cream Magazine theme, giving their site a nice straightforward look. The theme is reasonably priced at $49.

Um. Yeah. That’s it.

That’s the only UU congregational website I’ve found so far that looks good, and seems affordable.

But if you know of a great congregational website using an inexpensive WordPress theme, please put the URL in the comments….

Still going on

In 1977, Ursula K. LeGuin wrote an introduction for her anti-war novel The Word for World Is Forest — a novel which she had begun writing in 1968. In the 1977 introduction, she said:

“1968 was a bitter year for those who opposed the [Vietnam] war. The lies and hypocrises doubled; so did the killing. Moreover, it was becoming clear that the ethic which approved the defoliation of forests and grainlands and the murder of noncombatants in the name of ‘peace’ was only a corollary of the ethic which permits the despoilation of natural resources for private profit or the GNP, and the murder of creatures of the Earth in the name of ‘man.’ The victory of the ethic of exploitation, in all societies, seemed as inevitable as it was disastrous.”

Today, in 2023, the connection between war and environmental exploitation is still in place. Sad to say, humanity is still dominated by the ethic of exploitation.

Another problematic hymn

“The Earth Is My Mother,” no. 1073 in the Unitarian Universalist hymnal Singing the Journey, turns out to be one of those problematic songs.

The first problem is — who wrote it? In Singing the Journey, it’s attributed to “Native American, from Songs for Earthlings, ed. Julie Forest Middleton, copyright 1998 Emerald Earth Publishing.” Let’s look first at whether it’s truly a Native chant, and second, who might own the copyright.

On the “Rise Up and Sing” website, Annie Patterson and Peter Blood note: “It has been suggested that this chant is based on a Lakota (Plains) chant and elsewhere as coming from the Hupa tribe of Northern California.” But, as they point out, it’s almost impossible to evaluate such claims. Patterson and Blood also write: “We urge people to consider carefully issues of cultural and religious appropriation in utilizing material like this. At the very minimum acknowledge the issues involved when you utilize songs of this kind.” To put it more bluntly: if it’s really a sacred chant from a specific indigenous tradition, then you probably shouldn’t be singing it unless you know the actual social context from which the chant comes, and whether it’s a chant that has a specific cultural meaning that you should respect. And if it’s not actually a sacred chant from a specific indigenous tradition, then if you sing it you look like you’re “playing Indian.”

Next, let’s think about who owns the copyright. If it is in fact a chant from an indigenous tradition, then either the copyright should be held by a person from that indigenous tradition who composed it, or it’s from a folk tradition in which case it’s in the public domain.

There’s a third possibility, one which I believe is the most likely: the chant came out of the New Age community and/or the environmental activist community. These two communities overlapped a good deal, and both generated a lot of creative ferment in the late twentieth century. A quick search of documents on Google Books leads me to believe this third possibility is likely. Prior to 1990, I found a couple of definite references to this chant being used by environmental activists.

In the earliest appearance I can find, the lyrics to this chant were printed in The International Permaculture Seed Yearbook, 1983, along with the notation, “The Earth Chant is based on a Native American chant with the portions starting ‘the moon’ added by Dawn Seed. Reproduction and singing of the chant is encouraged,” i.e., the publishers were not claiming copyright. (The moon portion goes like this: “The moon is our grandmother, we must take care of her….”) Then a few years later, the lyrics of the song appeared as part of the testimony given by environmental activist Robin Gould of Santa Fe, New Mexico, during a public hearing held by the U.S. Department of Energy for an Environmental Impact Statement for the Waste Isolation Pilot Plant Project, held on 17 June 1989 in Santa Fe (see p. 46 of the transcript, lines 3-22). Gould apparently sang the song during the public hearing.

So I’m guessing that this chant was in wide circulation among (White) environmentalists and (White) New Agers at least as early as 1983, maybe going back to the 1970s. Note that the phrase “the earth is our mother” dates back even further. For example, the phrase “The Sky is our father, the Earth is our mother” appears in anthropologist James George Frazer’s book The Worship of Nature: The Worship of the Earth, the Sky, and the Sun (London: Macmillan & Co., 1926). Interestingly, Frazer attributes the phrase, not to indigenous North Americans, but to the Lo-lo p’o people of China. And many others in the West have used the phrase “the earth is our mother” — not just anthropologists, but also socialists, spiritualists, Christians, etc., going back twenty-five hundred years to Lucius Junius Brutus, the founder ancient Rome.

Thus the lyrics to the verses predate Julie Forest Middleton’s 1998 publication of them. Mind you, I don’t fault Middleton for copyrighting the version she printed in her song collection. It’s fine to copyright typesetting and arrangements. But the lyrics predate her 1998 publication by at least a decade, and the long history of the phrase “the earth is our mother” means the lyrics of the verses are almost certainly in the public domain.

As for the non-lexical vocables of the chorus — usually rendered as “Hey, yunga, ho, yunga…” or as “Hey, yanna, ho yanna…” — their origins are obscure. These vocables are somewhat consistent with some Native American music. David McAllester, in an article titled “New Perspectives in Native American Music,” notes: “In traditional Native American music, many songs may be entirely vocabalic and a majority are largely so with only a line or two of translatable text. The vocables are part of a Native American view that a song does not need many, or even any, lexical words to communicate its meanings” (Perspectives of New Music, vol. 20, no. 1/2, Autumn, 1981 – Summer, 1982, p. 434). It would be very difficult to determine if the lyrics to the chorus are actual Native vocables (which could be cultural misappropriation), or vocables designed to sound like Native vocables (which would be “playing Indian”).

As for the melody, it could be a traditional Native American melody, borrowed from somewhere. Or it could have been based on someone’s hazy recollection of a Native American chant. Or it could have been composed by non-Native singers (and it does sound a lot like many of the chants that were emerging in Neo-Pagan and New Age circles in the late twentieth century). Maybe someday someone will figure out where this melody came from, but for now I have to conclude that we just don’t know.

So should we sing this chant, or not? Even if it’s in the public domain, the criticism leveled by Annie Patterson and Peter Blood remains — singing this chant could be cultural misappropriation, or it could be “playing Indian.” Either way, I don’t think we should be singing it.

Updated and substantially rewritten 1 Oct. 2023, based on additional research.

Other professions

In 1778, James Boswell recorded a conversation between Dr. Samuel Johnson, then aged 68, and a man with whom he had been at college, one Oliver Edwards, then aged 65. One of these exchanges, included by Boswell in his Life of Johnson, interested me:

“Edwards. ‘I wish I had continued at College.’ Johnson. ‘Why do you wish that, Sir?’ Edwards. ‘Because I think I should have had a much easier life than mine has been. I should have been a parson, and had a good living, like Bloxam and several others, and lived comfortably.’ Johnson. ‘Sir, the life of a parson, of a conscientious clergyman, is not easy. I have always considered a clergyman as the father of a larger family than he is able to maintain. I would rather have Chancery suits upon my hands than the cure of souls. No, Sir, I do not envy a clergyman’s life as an easy life, nor do I envy the clergyman who makes it an easy life.'” (James Boswell, Life of Johnson [Oxford Univ. Press, 1924], pp. 229-230).

I’m in my early sixties, and find myself thinking the same kind of thoughts that Oliver Edwards thought. Except that instead of wishing that I were a clergyman (because after all I am a clergyman), I think about other professions I might have followed.

But I find myself disagreeing with Johnson. I often disagree with Johnson. He liked patriarchy and hierarchy, and I don’t. So I don’t take the (literally) patriarchal view that a clergyperson is “the father of a larger family.” In my view, clergy (of all genders) are co-equal with congregants. And I’m sure Johnson would be as appalled at my views as I am at his views.

Why Amazon sucks, cont.

I promised a friend that I’d buy 30 of his poetry books for a reading he’s doing in our congregation this weekend.

Unfortunately, he self-published through Amazon. So I had to buy his books through Amazon. Yuck. I expect Amazon to underperform, but they outdid themselves this time.

First of all, I paid extra for 2 day shipping. The books took four days to arrive. No surprise there. Amazon consistently ships items late, even when you pay extra for their Prime service.

Secondly, here’s what the books looked like when I unpacked the box:

New books shipped in too large a box.
What the box looked like when we opened it

The books were shipped loose in way too large a box. There was essentially no attempt to keep the books from flinging themselves around during shipping. As a result, corners are damaged, covers are bent. It’s just a mess.

First lesson to be learned: don’t self-publish your books through Amazon. Your customers are liable to receive poorly packaged and damaged books.

Second lesson to be learned: Amazon. Doesn’t. Care. About. Books.

Elder God Party in 2024

Back in the 2008 and 2012 presidential election cycles, this blog encouraged people to vote for Cthulhu for president. According to an old MIT webpage :

“Cthulhu is a large green being which resembles a human with the head of a squid, huge bat-wings, and long talons (true, that doesn’t really resemble a human, but bear with me here). [In] H. P. Lovecraft’s story ‘The Call of Cthulhu,’ Cthulhu rests in a tomb in the city of R’lyeh, which sank beneath the Pacific Ocean aeons ago. Cthulhu is dead but not truly dead, as he and his fellow inhabitants of R’lyeh sleep the aeons away…. From time to time R’lyeh comes to the surface, and Cthulhu’s dreams influence sensitive individuals across the globe to depict his image, slay, and found cults dedicated to him.”

Back then, I thought it was funny to promote Cthulhu as perhaps the worst presidential candidate anyone could conceive of. Then came the 2016 presidential election, and it didn’t seem funny any more.

As we approach 2024, the Republican Party seems to have turned into awakened Cthulhu — they’re ready to get violent with anyone they don’t agree with (“if I have to kick down doors, that’s just what patriots do”). The Democratic Party, by contrast, seems to drift ever further from their roots as the party of economic opportunity for ordinary working people — they look like Cthulhu sleeping away the aeons.

With both the Republicans and the Democrats trying to become bad imitations of an Elder God, I’ve decided it’s time to bring back the Elder God Party. Let’s get a real Elder God involved in politics. Imagine a debate between Donald Trump, Joe Biden, and Cthulhu. Cthulhu speaks first. Donald Trump starts to shout over him, and Cthulhu eats him. Joe Biden tries to inject a comment, and Cthulhu mocks him for not being vicious enough. That’s the end of the debate. After Cthulhu is declared the winner, he eats the audience.

Look at it this way. We can die a slow death from ecological disaster while ruled by an authoritarian regime. Or we can die the same slow death while under the leadership of a party that is unable to organize its followers around the obvious unifying cause. Or — we can die a really fast death by electing Cthulhu, who will simply kill everyone and eat them.

Do the right thing. Vote for a really fast death. Vote the Elder God Party in 2024.

Email notifications

Every once in a while, someone asks me if they can get notified by email when I post something on this blog. There are several solid email notification solutions for WordPress that charge a fee — but I can’t justify spending any more than I already do on this website. And all the email notification solutions I’ve found take time to set up and maintain — but I’d rather spend the limited amount of time I have on writing blog posts rather than on maintaining an email list.

These days, most of the web is devoted to making money. Websites are either trying to promote a business or a nonprofit, or websites are trying to show you advertisements. Those people who make money from their websites — by showing you ads, or by promoting goods or services, or by soliciting donations for a nonprofit — are more likely to have a marketing budget and staff time they can devote to their website. But on this website, it’s just me, with no marketing budget.

I wish RSS were still a viable option for reading blogs, but it’s not. I guess your only option is to check this site regularly for new posts.

But even if there are no email notifications here, there are no ads, either. And no gobbling up your personal data and selling it….