A sense of the tutelary spirit prevails — not just of the hunt, but of the ancient forest itself.
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There are comedy bits, fabulous costumes (by Toni-Leslie James) and musical interludes, some involving Marilyn Monroe (Sawyer Smith) as a tutelary spirit.
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This is perhaps because she works in an allegorical vein under the tutelary spirit of Odilon Redon, but that doesn't really begin to describe how incomparable she is.
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The Tai Nyaw practise Theravada Buddhism, but have also maintained their original animist religion. Important to the Nyaw people is the tutelary spirit of the village, known in the dialect as ผู้เจ้า .
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Also each town or city had one or more İye, whose protection was considered particularly vital in time of war and siege. An İye is spirit who is regarded as the tutelary spirit or protector of a nation, place, clan, family, or person.
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To enter the spirit world, trance has to be initiated by a shaman through the hunting of a tutelary spirit or power animal.Jolly, Pieter (2002). Therianthropes in San Rock Art "The South African Archaeological Bulletin", 57(176):85–103 The eland often serves as power animal.Lewis-Williams (1987).
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31 According to another legend of the Vientiane region the Phi Na, a tutelary spirit that looks after the rice fields originated in the skull, the mouth and the teeth of Nang Khosop.Charles Archaimbault. (1973) Structures religieuses lao: rites et mythes. Volume 2 of Collection Documents pour le Laos, p.
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The presence of a Shinto shrine within a Buddhist temple is a manifestation of the syncretic fusion of Shinto and Buddhism that was normal until the Meiji restoration. See the article Shinbutsu shūgō. The gongen was originally the tutelary spirit () of Hōkō-ji in Shizuoka and was brought here in 1890 by Aozora Kandō.Kamiya Vol.
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The Lao Krang are Theravada Buddhists, but also maintain older animist beliefs. Especially revered is the tutelary spirit of the village, the hu chao nei. Traditional activities include farming, as well as making a red dye from beetles used to stain textiles, hence the namesake krang or 'lac'. Traditionally, marriages were only between members of the same group.
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In Kālidāsa's poem Meghadūta, for instance, the narrator is a romantic figure, pining with love for his missing beloved. By contrast, in the didactic Hindu dialogue of the "Questions of the ", it is a tutelary spirit of a lake that challenges . In Mahavamsa poem of Sri Lanka, a local population is given the term Yakkhas. Prince Vijaya encountered the royalty of the yakkhas' queen, Kuveni, in her capital of Lanka pura, and conquered them.
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After solitary fasting for several days, the child was encouraged to have a vision of the spirit animal that was to be his or her tutelary through life. Dreams were the great source of spiritual instruction, and children were taught how to interpret and understand them. The principal ceremonial was the dance to the tutelary spirit, next to which in importance was the scalp dance. Trading posts were first established in the upper Columbia region.
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Coyote is the tutelary spirit of Coyoteway, a healing ceremony. Coyoteway aims to restore harmony with an offended Holy person or persons, in this case Coyote People (including foxes and wolves). In Coyoteway, Coyote is a being who lies behind all Coyote People and, when offended, responds by causing illness. As in all Navajo Holyway healing rituals, the singer acts as a mediator between Coyote, the totemic sponsor of the Coyote clan, and the patient.
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A tutelary ( or ) (also tutelar) is a deity or spirit who is a guardian, patron, or protector of a particular place, geographic feature, person, lineage, nation, culture, or occupation. The etymology of "tutelary" expresses the concept of safety and thus of guardianship. In late Greek and Roman religion, one type of tutelary deity, the genius, functions as the personal deity or daimon of an individual from birth to death. Another form of personal tutelary spirit is the familiar spirit of European folklore.
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In the dualistic Slavic belief the zmey may be both good tutelary spirit and evil, in which case is considered not local and good, but evil and trying to inflict harm and drought. Saint Jeremiah's feast is of the snakes and the reptiles, there is a tradition of jumping over fire. At the Rusalska Week the girls don't go outside to prevent themselves from diseases and harm that the dead forces Rusalii can cause. This remained the holiday of the samovili.
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Coyote is the tutelary spirit of "Coyoteway", one of the Navajo curing ceremonies which feature masked impersonators of divinities. The ceremony is necessary if someone in the tribe catches "coyote illness", which can result from killing a coyote or even seeing its dead body. During the ritual, the patient takes the part of the hero of a ceremonial myth and sits on a sandpainting depicting an episode from the myth. He or she "meets" Coyote, who appears in the form of a masked impersonator.
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Chadwick and Zhirmunsky consider that the main outlines of the cycle as we have it in Mongolia, Tibet and Ladakh show an outline that conforms to the pattern of heroic poetry among the Turkic peoples. (a) Like the Kirghiz hero Bolot, Gesar, as part of an initiation descends as a boy into the underworld. (b) The gateway to the underworld is through a rocky hole or cave on a mountain summit. (c) He is guided through the otherworld by a female tutelary spirit (Manene/grandmother) who rides an animal, like the Turkish shamaness kara Chach.
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The result has been described as "comic genius of the highest order". J. B. Priestley analysed the stylistic devices which help to produce this effect: The comic and ironic invention of the novel is seen at its finest in the character of Seithenyn, "one of the immortal drunkards in the literature of the world", as David Garnett described him. He is "a Welsh Silenus, a tutelary spirit of an amiable and approachable type", whose conversational style, with its alcoholically twisted logic, has led to his being repeatedly compared to Falstaff. He is perhaps Peacock's greatest character.
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Saunatonttu, literally translated as "sauna elf", is a little gnome or tutelary spirit that was believed to live in the sauna. He was always treated with respect, otherwise he might cause much trouble for people. It was customary to warm up the sauna just for the tonttu every now and then, or to leave some food outside for him. It is said that he warned the people if a fire was threatening the sauna, or punished people who behaved improperly in it—for example, slept, or played games, argued, were generally noisy or behaved otherwise immorally there.
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The glaistig is an ambivalent ghost that appears in legend as both a malign and benign creature. Some stories have her luring men to her lair via either song or dance, where she would then drink their blood. Other such tales have her casting stones in the path of travellers or throwing them off course. In other, more benign incarnations, the glaistig is a type of tutelary spirit and protector of cattle and herders, and in at least one legend in Scotland, the town of Ach-na-Creige had such a spirit protecting the cattle herds.
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A totem (Ojibwe doodem) is a spirit being, sacred object, or symbol that serves as an emblem of a group of people, such as a family, clan, lineage, or tribe. While the term totem is derived from the North American Ojibwe language, belief in tutelary spirits and deities is not limited to indigenous peoples of the Americas but common to a number of cultures worldwide. Contemporary neoshamanic, New Age, and mythopoetic men's movements not otherwise involved in the practice of a tribal religion have been known to use "totem" terminology for the personal identification with a tutelary spirit or spirit guide. However, this can be seen as cultural misappropriation.
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Kusumoto (2002:52-53) According to another, the founder of the shrine, who was a Kamakura period samurai called Sasaki Moritsuna, saw the pine tree move very slightly and emit sounds like those of a koto, so he gave the cape its name. Nitta Yoshisada stopped at Koyurugi Jinja in 1333 to pray for victory. Having won, he came back to offer a sword and some money to the shrine, with which the shinden was later restored. The shrine used to be called from the name of Koshigoe's tutelary spirit (), but its name was changed during the shinbutsu bunri (the forced separation of Buddhism and Shinto in temples and shrines) in the Meiji era.
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The next earliest example is by an anonymous author, probably of the 1st century BCE, lamenting the death of Bion; this poem has sometimes been attributed to the Hellenistic poet Moschus. Virgil's "Eclogue 5," written in the 1st century BCE, is the most imitated ancient model of the pastoral elegy. Virgil has two shepherd-poets, Mopsus and Menalcus, commemorate their dead friend and fellow poet Daphnis. Mopsus first laments Daphnis as a godlike figure whose death has caused all of nature to mourn (a pathetic fallacy conventional in pastoral elegies). Mopsus concludes his lament, however, by immortalizing Daphnis with the epitaph “known from here unto the stars” (line 43). Menalcas then describes Daphnis’ deification and nature's rejoicing and praise for Daphnis’ generosity—he is now a tutelary spirit for the pastoral world.
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The history of altars in Latin America is complex and is often deemed paradoxical; as its original purpose was for the worshipping of gods and human sacrifice. The altar transitioned from being a symbol of non-Christian worship to a worldwide symbol of Christianity. The history of the altar begins not in Latin America, but in ancient Rome. The home altar held a prominent place in family homes and was adorned with personal household gods or spirits called “lares,” which were worshiped daily. In addition to altars being used for the worship of household gods, they were also used for blood sacrifice and various other rituals involving the suspending of wreaths, in the hopes of evoking one’s genius, or “tutelary spirit of a person or place.” In 392 AD, with the banning of other religions, Christian ruler Theodosius I forbade the use of altars for non-Christian rituals.
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Pǔtóu dàmiào, the "First Great Temple by the Riverside", in Zhangzhou, Fujian. Chinese religion in its communal expression involves the worship of gods that are the generative power and tutelary spirit (genius loci) of a locality or a certain aspect of nature (for example water gods, river gods, fire gods, mountain gods), or of gods that are common ancestors of a village, a larger identity, or the Chinese nation (Shennong, Huangdi, Pangu). The social structure of this religion is the shénshè (literally "society of a god"), synonymous with shehui , in which shè originally meant the altar of a community's earth god, while huì means "association", "assembly", "church" or "gathering". This type of religious trusts can be dedicated to a god which is bound to a single village or temple or to a god which has a wider following, in multiple villages, provinces or even a national importance.
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The craft is not an ancient, pre-Christian tradition surviving into the modern age. It is a tradition rooted in "cunning- craft," a patchwork of older magical practice and later Christian mythology. In his grimoire Azoëtia, Chumbley incorporated diverse iconography from ancient Sumerian, ancient Egyptian, Yezidi, and Aztec cultures. He spoke of a patchwork of ancestral and tutelary spirit folklore which he perceived amidst diverse "Old Craft" traditions in Britain as "a gnostic faith in the Divine Serpent of Light, in the Host of the Gregori, in the Children of Earth sired by the Watchers, in the lineage of descent via Lilith, Mahazael, Cain, Tubal- cain, Naamah, and the Clans of the Wanderers." Schulke believed that folk and cunning-crafts of Britain absorbed multicultural elements from "Freemasonry, Bible divination, Romany charms, and other diverse streams," what Chumbley called "dual-faith observance," referring to a "co-mingling of ‘native’ forms of British magic and Christianity".
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He is a religio-political figure, a sacerdotal king who represents the link connecting the three realms of Heaven (An), Earth (Ki) and humanity. He is the reflection of Heaven on Earth, specifically embodying Heaven's third aspect, Enki, representing human craft and productivity in alliance with the creation of the gods; representing humanity co-creating with the gods a celestially-centred kingdom where all the spirits are at peace and from where all evil demons are cast away. The lugal is like the "personal god" (also referable to as tutelary spirit, genius, numen or demon) of an individual and the father of a family. Like the personal god generating and organising the individual (joining the ishtaru, which is the individual's female aspect, or matter, or "personal goddess"), and the father generating and organising a family in conjunction with the mother, his wife, so the lugal is the father of the city and its population.
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