Saṃkarṣaṇa appears as a lion, while Aniruddha appears as a boar in this Vaikuntha Chaturmurti statue, showing Vishnu with his three main emanations, mid-5th century. Boston Museum.For English summary, see page 80 In Vaishnavism, Saṃkarṣaṇa is associated with the lion, which is his theriomorphic aspect."Samkarsana is represented by his theriomorphic form, the lion..." in He can be identified as Narasimha.
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The avatars were combined in the Vishnu statuary from this time, in statues known as Vaikuntha Chaturmurti. Saṃkarṣaṇa came to be associated with the lion, which is his theriomorphic aspect."Samkarsana is represented by his theriomorphic form, the lion..." in He can be identified as Narasimha. Saṃkarṣaṇa appears as a lion in some of the Caturvyūha statues (the Bhita statue), where he is an assistant to Vāsudeva, and in the Vaikuntha Chaturmurti when his lion's head protrudes from the side of Vishnu's head.
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In Chinese Buddhism and folk tradition, Hayagriva was sometimes assimilated into Horse- Face, one of two theriomorphic guardians of Diyu, the underworld. Some Chinese horse owners also worship Hayagriva in a non underworld form to protect their horses.
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Other items discovered included dishes and bowls carved from soft limestone, spindle whorls made of stone and possible loom weights, spatulae and drills, stylised anthropomorphic plaster figures, almost life-size, anthropomorphic and theriomorphic clay figurines, as well as shell and malachite beads.
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The presence of these pillar capitals, found near the Heliodorus pillar, suggests that the Bhagavata cult, although centered around the figures of Vāsudeva and Samkarsana, may also have involved the worship of other Vrishni deities. In his theriomorphic form, Saṃkarṣaṇa is associated to the lion.
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Aniruddha appears as a boar, and Samkarsana appears as a lion in this Vaikuntha Chaturmurti statue, showing Vishnu with his three main emanations, the mid-5th century. Boston Museum.For English summary, see page 80 In Vaishnavism, Aniruddha is associated with the boar, which is his theriomorphic aspect, also known as Varaha."The glorious Aniruddha should be Varaha who rescued the Earth" in "Aniruddha (is represented) by his theriomorphic form, the boar" in Aniruddha appears as a boar in some of the Caturvyūha statues, where he is an assistant to Vāsudeva, and in the Vaikuntha Chaturmurti when his boar's head protrudes from the side of Vishnu's head.
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Princeton: University Press, 1992, p. 7. Additionally, oval and theriomorphic cosmetic palettes appear in this period, but the workmanship is very rudimentary and the relief artwork for which they were later known is not yet present.Gardiner, Alan, Egypt of the Pharaohs. Oxford: University Press, 1964, p. 393.
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In addition to his better-known research, Alföldi also pursued other studies. He wrote about the art of photographing of Greek vase paintings, the psychological foundations of witchcraft and the importance of the theriomorphic worldview among the peoples of North Asia. In 1972, Alföldi was awarded the Order Pour le Mérite for Arts and Sciences. The only other historian to receive this honor was Sir Ronald Syme.
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Using this stolen power, Yaldabaoth creates a material world in imitation of the divine Pleroma. To complete this task, he spawns a group of entities known collectively as Archons, "petty rulers" and craftsmen of the physical world. Like him, they are commonly depicted as theriomorphic, having the heads of animals. Some texts explicitly identify the Archons with the fallen angels described in the Enoch tradition in Judaic apocrypha.
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The main figure is bigger than the others, wears a crown and earrings, as well as an ornate necklace and bracelets, and raises his hand in "abahaya mudra", a symbol of deification, and holds jar in the left hand. The figure would be Vāsudeva. To the proper right side of the crowned figure appears an unidentifiable face, and below it a seated lion. This part could identified with Samkarsana, combining anthropomorphic and theriomorphic characteristics, and later associated with Narasimha.
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She is also often seen with features from other predatory creatures, most notably being the tail of a Nile crocodile and the paws of a lioness. These features directly parallel those of other ferocious protective ancient Egyptian deities, most notably the crocodile god Sobek and the lioness goddess Sekhmet. These violent theriomorphic deities take on some of the aspects of the animals that they represent – both to the benefit and detriment of humans. Taweret's predatory form allows her to ward away evil from the innocent.
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Wesen are theriomorphic humans with certain traits and abilities characteristic in animals or mythological creatures. The non- human traits and abilities appear when wesen are aggressive or otherwise emotionally agitated, which is referred to as wogeing from the German wogen, meaning surge. According to the character Monroe, normal people can see only the human appearance of a wesen, not the woged one. However, wesen can allow themselves to be seen, which is the source of legends and stories passed down as fairy tales by The Brothers Grimm.
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The falcon- headed Horus and crane-headed Seth. Examples of humans with animal heads (theriocephaly) in the ancient Egyptian pantheon include jackal-headed Anubis, cobra-headed Amunet, lion-headed Sekhmet, falcon-headed Horus, etc. Most of these deities also have a purely zoomorphic and a purely anthropomorphic aspect, with the hybrid representation seeking to capture aspects of both of which at once. Similarly, the Gaulish Artio sculpture found in Berne shows a juxtaposition of a bear and a woman figure, interpreted as representations of the theriomorphic and the anthropomorphic aspect of the same goddess.
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The anima and animus are described in Carl Jung's school of analytical psychology as part of his theory of the collective unconscious. Jung described the animus as the unconscious masculine side of a woman, and the anima as the unconscious feminine side of a man, each transcending the personal psyche. Jung's theory states that the anima and animus are the two primary anthropomorphic archetypes of the unconscious mind, as opposed to the theriomorphic and inferior function of the shadow archetypes. He believed they are the abstract symbol sets that formulate the archetype of the Self.
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The arms are always close to the chest, but with no ornaments. On the back, hangs a large shield round hoplite type, with "episema" (central theme) geometric (radial and vortex of the most common reasons) or, more rarely figured. The heads are in this case obtained in a separate block and insert the neck through a hole, have a circular shape and had to be covered by a helmet or other headgear. The figurative scenes are rendered with subtle engravings and characters are both human and animals and legendary creatures, and gods theriomorphic (depicted with animal features).
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There is no exaltation of humans over animals or nature, unlike the Western traditions. A divine monkey has been a part of the historic literature and culture of China and Japan, possibly influenced by the close cultural contact through Buddhist monks and pilgrimage to India over two millennia. For example, the Japanese text Keiranshuyoshu, while presenting its mythology about a divine monkey, that is the theriomorphic Shinto emblem of Hie shrines, describes a flying white monkey that carries a mountain from India to China, then from China to Japan. This story is based on a passage in the Ramayana where the wounded hero asks Hanuman to bring a certain herbal medicine from the Himalayas.
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Narasiṃha statue In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṃha.Abdul Waheed Khan, An Early Sculpture of Narasiṁha, Andhra Pradesh Government Archaeological Series 16, Hyderabad: Government of Andhra Pradesh, 1964. Standing cult images of Narasiṃha from the early Gupta period, survive from temples at Tigowa and Eran.Alexander Cunningham, Archaeological Survey of India, Annual Reports IX (1873-75), p.47 These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu.
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She later enjoyed a meal at Hua's house, but upon learning that they had eaten snake meat, she vomited blood and died. Campany concludes: > This story hints at an even older stratum of legend behind the Maid Ma cult: > like other territorial gods known to Chinese religious history, she may have > begun as a theriomorphic deity (perhaps snake-headed) who gradually > metamorphosed into a human being and finally – the process culminating in Ge > Hong's Traditions narrative – into a full-fledged transcendent. Seen in this > light, several details of the Traditions hagiography might be read as > betraying these chthonic origins. Among these are Maid Ma's long nails, the > featuring of meat dishes among the fantastic foods served by the travelling > canteen, and the scene describing the "summoning" of Maid Ma, which is > reminiscent of shamanic invocations of deities to attend spirit-writing > sessions.
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