Rod/wiatowid Sumerowie stworzyli nieco inn mitologi, bardziej zwizan z wod i wowsymbolik. Najwyszym Bogiem dla Sumerw bya Nammu, przedstawiana jako wowa bogini i boska rodzicielka, identyfikowana z pierwotnym wodami lub pierwotnym morzem, ktre w staroytnych wierzeniach oznaczay ywio kosmiczny wody wypeniajce cay wszechwiat, czyli energi kosmiczn. Dla Polakw nie jest to Jahwe ani inne semickie imi, lecz wiatowid (czyli witowit, lecz wtedy o tym nie wiedziano) 1978 - Wadysaw Koodziej umiera, wadz przekazuje swojemu nastpcy Lata 90'te - Jerzy Gawrych rozwizuje zwizek i wstpuje do innego, lecz nie wiele rnicego si statutem - Rodzimego Kocioa Polskiego.
(Redirected from Zuleika (tradition))
José y la mujer de Putifar, oil on canvas, by Antonio María Esquivel, 1854
Zuleika Ceremony Islamic art painting on tiles of Mo'avin-Almamalik tekyeh, Kermanshah
Zuleikha (Arabic: زلیخا) is the name given to the Biblical Potiphar's wife in Jewish and Muslim tradition, although she is only mentioned as the 'wife of Aziz' in the Qur'an. The word 'Azeez' is the Qur'an's honorific title designated for Potiphar.
Texts[edit]
The Bible (Genesis 39:5-20) narrates her treatment of Joseph, slave to her husband Potiphar:
And he left all that he had in Joseph's hand; and, having him, he knew not aught save the bread which he did eat. And Joseph was of beautiful form, and fair to look upon. And it came to pass after these things, that his master's wife cast her eyes upon Joseph; and she said: 'Lie with me.' But he refused, and said unto his master's wife: 'Behold, my master, having me, knoweth not what is in the house, and he hath put all that he hath into my hand; he is not greater in this house than I; neither hath he kept back any thing from me but thee, because thou art his wife. How then can I do this great wickedness, and sin against God?' And it came to pass, as she spoke to Joseph day by day, that he hearkened not unto her, to lie by her, or to be with her. And it came to pass on a certain day, when he went into the house to do his work, and there was none of the men of the house there within, that she caught him by his garment, saying: 'Lie with me.' And he left his garment in her hand, and fled, and got him out. [...] And she laid up his garment by her, until his master came home. And she spoke unto him according to these words, saying: 'The Hebrew servant, whom thou hast brought unto us, came in unto me to mock me. And it came to pass, as I lifted up my voice and cried, that he left his garment by me, and fled out.' And it came to pass, when his master heard the words of his wife, which she spoke unto him, saying: 'After this manner did thy servant to me'; that his wrath was kindled. And Joseph's master took him, and put him into the prison, the place where the king's prisoners were bound; and he was there in the prison.
A story about Zuleikha is told in Sefer haYashar, where she was mocked by other aristocratic Egyptian ladies, her circle of friends, for being infatuated with a Hebrew slave boy. Inviting her friends to her home, Zuleikha gave them all oranges and knives to slice them with. While they engaged in this task, Zuleikha had Joseph walk through the room. Distracted by his handsomeness, all the ladies accidentally cut themselves with the knives, drawing blood. Zuleikha then reminded her friends that she had to see Joseph every day. Following this incident, her contemporaries no longer mocked her.[1][2]
Great sinner or great lover[edit]
Christian and other scriptural commentators have regarded Zuleikha as a sinner and villainess. Notable exceptions are the great Sufi mystic poets Rumi and Hafiz. For Rumi, Zuleikha's obsession with Joseph is a symptom and manifestation of the soul's great deep longing for God. This, he insists, is true of any person's deep love for another. Jewish commentators also see some good motives in her actions. Rashi comments that the wife of Potiphar saw through astrology that she would have children through Joseph. The astrological calculations however were slightly off. Asenath, her daughter (by adoption, in some accounts) became the wife of Joseph and therefore the wife of Potiphar begot grandchildren (not children) through Joseph.
See also[edit]
Yusuf and Zulaikha, legend and poem
Zuleika Dobson, a 1911 novel by Max Beerbohm
References[edit]
^Sefer Ha-Yashar, Vayeshev. Venice. 1625.
^'Joseph'. Jewish Encyclopedia. 1901. Retrieved 24 October 2018.
Wikimedia Commons has media related to Joseph and Potiphar's wife.
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Zbruch Idol, Kraków Archaeological Museum
Zbruch Idol, an example of a bałwan
The Zbruch Idol, Sviatovid (Worldseeker, Polish: Światowid ze Zbrucza, Ukrainian: Збручанський ідол, Russian: Збручский идол) is a 9th-century sculpture, more precisely an example of a bałwan,[1] and one of the few monuments of pre-Christian Slavic beliefs. The pillar was commonly incorrectly associated with the Slavic deity Svetovid, although current opinions on the exact meaning of all the bas-reliefs and their symbols differ. It is thought that the three tiers of bas-relief represent the three levels of the world, from the bottom underworld, to the middle mortal world and the uppermost, largest, world of heavenly gods.
Presentation of the reliefs adorning each side of the bałwan of Zbrucz carving. Ryc. Ratomir Wilkowski, broszura programowa Rodzimego Kościoła Polskiego z 2013 r.
It is suggested that the sculpture was disposed of or was buried in a pit some time after the baptism of Kievan Rus, and acceptance of Christianity in Poland in 966, like various buried idols in Kiev and Novgorod. In the 19th century, when the Zbruch River (a left tributary of the Dniester) changed its bed, the area where the pillar was buried became submerged.[2] It was discovered during a drought near the village of Lychkivtsi, just north of Husiatyn, in 1848. The statue is now on display in the Archaeological Museum of Kraków in Poland, with exact copies located in a number of museums, including the State Historical Museum in Moscow.
Description[edit]
The Zbruch Idol is a four-sided pillar of grey limestone, 2.67 m (8.8 ft) in height, and has three tiers of reliefs engraved upon each of the four sides. The lower tier is 67 cm (26 in); the middle tier is 40 cm (16 in); and the top tier is 167 cm (66 in). It is possible that during the 1848 excavation of the monument its lower layer was broken off and lost.[2] The reliefs are in rather poor condition, though some traces of original polychrome were found in the 1960s.[1] The reliefs depict the following characters:
Three sides of the lowest tier show a kneeling, bearded entity who appears to support the upper tier on his hands; the fourth side is blank.
The middle tier shows a smaller entity with extended arms on all four sides. Only one of four sides has a entity with a tiny 'child' figure.
The four sides of the uppermost tier have the largest figures of the idol, with four faces united beneath a tall rounded hat. Each of the sides has a distinct attribute: a ring or a bracelet; a drinking horn, or horn of plenty; a sword and a horse; and an eroded solar symbol.
Discovery and controversy[edit]
The statue was discovered in August 1848 in the village of Lychkivtsi (Liczkowce) in Podolia (then in the Austrian Empire,[3] now in Ukraine), during a drought that made the bottom of the river visible. The owner of the village, Konstanty Zaborowski, brother of the late poet, Tymon, donated it to Polish Count Mieczysław Potocki, who in 1850 reported it to the Kraków Scientific Society.[2] It was also Potocki who first wondered that the statue might represent Swiatowid.[2] Initially kept in the Library of the Jagiellonian University, in 1858 it was moved to the temporary exhibition of antiquities in the Lubomirski family palace and then to the headquarters of the Kraków Scientific Society. However, it was not until 1950 that it was placed on permanent exhibition. Since 1968 it has been kept in the Kraków Archaeological Museum.[2]
Ever since the discovery of the monument there has been debate about what exactly the idol represents.[1][4][5]
Andrei Sergeevich Famintsyn in his 1884 work 'Ancient Slav Deities'[6] argued against Lelewel's theory, and instead claimed that the Zbruch pillar is a representation of a single deity and that all four sides of each tier represented one entity. As was first suggested by Count Potocki, he identified the deity as a representation of the Slavic four-headed god Swiatowid, until then primarily associated with the island of Rügen, but now understood to be pan-Slavic. The reasoning was that historical sources mentioned the deity of Rügen as being kept in a wooden temple together with a sacred sword, a drinking horn and a horse. Famintsyn was also the first to recognize the three-tiered structure as being related to the three levels of the world, linking it to the Slavic deity Triglav.
The identification of the deity with Swiatowid was also supported by Gabriel Leńczyk, who was also the first to identify the eroded solar symbol on the side, previously believed to be without attributes.[7] Another theory was presented by Henryk Łowmiański, who in his 1979 monograph on the religion of Slavs[8] suggested that the idol was altogether non-Slavic, as it was made of stone, and not of wood, which was the basic construction material of the Slavs, but the legends of Swiatowid exist among all Slavic cultures nonetheless.
Boris Rybakov in his 1987 work Paganism of Ancient Rus (Russian tribes)[9] argued that four sides of the top tier represent four different Slavic gods, two female and two male, with their corresponding middle-tier entities always of the opposite gender[verification needed]. In Rybakov's hypothesis, the male deity with the horse and sword is the Lightning god Perun, the female with the horn of plenty is Mokosh, the female with the ring is Lada, and the male deity with the solar symbol, above the empty underworld, is Dažbog, (the God of sunlight for whom the sun was not an object but an attribute, thus the symbol's position on his clothing rather than in his hand[verification needed]). Further, Rybakov suggests the underworld deity as Veles.
Rybakov also claimed the side with the female figure holding a horn as the front of the idol, based on the bottom-tier figure, which is shown with legs as if seen from head-on, the two adjoining sides showing the legs from the side, and the fourth side left blank. Finally, Rybakov believes that the idol's overall phallic shape is meant to unite all of the smaller figures as a single overarching all seeing larger deity, Rod.
According to Aleksey Komar and Natalia Khamaiko (2011), the sculpture is a fake produced by Tymon Zaborowski, whose estate was located near the place where the statue was found.[10]
References[edit]
Wikimedia Commons has media related to Zbruch Idol.
^ abcRoman Kozłowski (1964). 'Badania technologiczne posągu Światowida z Muzeum Archeologicznego w Krakowie'. Materiały archeologiczne (in Polish). V: 61–67.
^ abcdeMarta Zaitz (2005). 'Światowid - kamienny posąg z IX wieku'. Museum's Website (in Polish). Archaeological Museum of Kraków. Retrieved 2007-01-24.
^Kuropatnicki, Ewaryst Andrzej (1858). Geografia albo dokładne opisanie Królestw Galicyi i Londomeryi w roku 1786(PDF) (in Polish). Drukarnia Zakładu Narodowego im. Ossolińskich. p. 100.
^various authors; Janusz Kotlarczyk (1993). 'W poszukiwaniu genezy wielotwarzowych wyobrażeń Światowida, Świętowita, Rujewita i innych'. In Marian Kwapiński, Henryk Paner (ed.). Wierzenia przedchrześcijańskie na ziemiach polskich (Pre-Christian Beliefs in Polish lands) (in Polish). Gdańsk. pp. 56–64.
^Włodzimierz Szafrański (1987). Polish Academy of Sciences (ed.). Prahistoria religii na ziemiach polskich (Pre-history of Religion on Polish Lands) (in Polish). Wrocław: Ossolineum. pp. 356–357, 417–418. ISBN978-83-04-02624-7.
^Andrei Famintsyn (1884). Божества древних славян (Ancient Slav Deities) (in Russian). Sankt-Peterburg: Aleteya. OCLC28657234.
^Gabriel Leńczyk (1964). 'Światowid zbruczański (Swiatowit of the Zbrucz river)'. Materiały Archeologiczne (in Polish).
^Henryk Łowmiański (1979). Adam Mickiewicz University (ed.). Religia Słowian i jej upadek (The Religion of Slavs and its Fall) (in Polish). Warsaw: Państwowe Wydawnictwa Naukowe PWN. ISBN978-83-01-00033-2.
^Boris Rybakov (1987). 'Святилища, идолы и игрища'. Язычество Древней Руси [Paganism of Ancient Rus] (in Russian). Moscow: Nauka.
^Kalik, Judith; Uchitel, Alexander (2018). Slavic Gods and Heroes. Routledge. ISBN9781138493193.
Bibliography[edit]
‹See Tfd›(in German) Weigel. Bildwerke aus altslawischer Zeit. Archiw fur Anthropologie, 1882, Bd. XXI
Комар А., Хамайко Н.Збручский идол: памятник эпохи романтизма? // Ruthenica. Київ, 2011. Том X. C. 166-217. ‹See Tfd›(in Russian)
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