Translate

Showing posts with label ritual. Show all posts
Showing posts with label ritual. Show all posts

Friday, September 2, 2011

PRIESTS AND RITUALS

.
.
From THE URANTIA BOOK
Part III, 90, 5
.
The essence of the ritual is the perfection of its performance; among savages it must be practiced with exact precision. It is only when the ritual has been correctly carried out that the ceremony possesses compelling power over the spirits. If the ritual is faulty, it only arouses the anger and resentment of the gods. Therefore, since man’s slowly evolving mind conceived that the technique of ritual was the decisive factor in its efficacy, it was inevitable that the early shamans should sooner or later evolve into a priesthood trained to direct the meticulous practice of the ritual. And so for tens of thousands of years endless rituals have hampered society and cursed civilization, have been an intolerable burden to every act of life, every racial undertaking.
.
.

 Ritual is the technique of sanctifying custom;
 ritual creates and perpetuates myths as well as contributing to the preservation of social and religious customs. Again, ritual itself has been fathered by myths. Rituals are often at first social, later becoming economic and finally acquiring the sanctity and dignity of religious ceremonial. Ritual may be personal or group in practice — or both — as illustrated by prayer, dancing, and drama.
.
.
.
Words become a part of ritual, such as the use of terms like amen and selah. The habit of swearing, profanity, represents a prostitution of former ritualistic repetition of holy names. The making of pilgrimages to sacred shrines is a very ancient ritual. The ritual next grew into elaborate ceremonies of purification, cleansing, and sanctification. The initiation ceremonies of the primitive tribal secret societies were in reality a crude religious rite. The worship technique of the olden mystery cults was just one long performance of accumulated religious ritual. Ritual finally developed into the modern types of social ceremonials and religious worship, services embracing prayer, song, responsive reading, and other individual and group spiritual devotions.
.
.
 The priests evolved from shamans up through oracles, diviners, singers, dancers, weathermakers, guardians of religious relics, temple custodians, and foretellers of events, to the status of actual directors of religious worship. Eventually the office became hereditary; a continuous priestly caste arose.
.
.
 As religion evolved, priests began to specialize according to their innate talents or special predilections. Some became singers, others prayers, and still others sacrificers; later came the orators — preachers. And when religion became institutionalized, these priests claimed to “hold the keys of heaven.”
.
.
 The priests have always sought to impress and awe the common people by conducting the religious ritual in an ancient tongue and by sundry magical passes so to mystify the worshipers as to enhance their own piety and authority. The great danger in all this is that the ritual tends to become a substitute for religion.
.
.
.
 The priesthoods have done much to delay scientific development and to hinder spiritual progress, but they have contributed to the stabilization of civilization and to the enhancement of certain kinds of culture. But many modern priests have ceased to function as directors of the ritual of the worship of God, having turned their attention to theology — the attempt to define God.
.
.
 It is not denied that the priests have been a millstone about the neck of the races, but the true religious leaders have been invaluable in pointing the way to higher and better realities.

.
.

Wednesday, June 1, 2011

THE SACRED ART OF NAVAJO SANDPAINTING

.
 .
.
.
Navajo Sandpaintings, also called dry paintings, are called "places where the gods come and go" in the Navajo language. They are used in curing ceremonies in which the gods' help is requested for harvests and healing.
.
.
The figures in sand paintings are symbolic representations of a story in Navajo mythology. They depict objects like the sacred mountains where the gods live, or legendary visions, or they illustrate dances or chants performed in rituals.
.
.
Sandpaintings are but one rite in a ceremonial. From the distinct set of paintings that belong to a specific chant, the chanter selects those that will best heal the patient, never using the entire repertoire of paintings on a single occasion. In the two-night form of a chant, one sandpainting is made, while the last four days of a nine-night ceremonial would have sandpaintings. After its sanctification, the patient sits on the painting while the chanter performs a ritual to enhance the absorption of its healing power. Immediately afterward, the remains of the painting are taken outside to an area north of the hogan, where they are returned to the earth.
. .
.

 ..
.
 .
.
.
.
According to Navajo belief, a sandpainting heals because the ritual image attracts and exalts the Holy People; serves as a pathway for the mutual exchange of illness and the healing power of the Holy People; identifies the patient with the Holy People it depicts; and creates a ritual reality in which the patient and the supernatural dramatically interact, reestablishing the patient's correct relationship with the world of the Holy People ( GriffinPierce 1992:43). For the Navajo, the sandpainting is a dynamic, living, sacred entity that enables the patient to transform his or her mental and physical state by focusing on the powerful mythic symbols that re-create the chantway odyssey of the storys protagonist, causing those events to live again in the present. The performative power of sandpainting creation and ritual use reestablish the proper, orderly placement of the forces of life, thus restoring correct relations between the patient and those forces upon which the patient's spiritual and physical health depend. The sandpainting works its healing power by reestablishing the patient's sense of connectedness to all of life ( Griffin-Pierce 1991:66).
.
.
.
.
.
.