Scientists Discover that Ancient Egyptians Drank Hallucinogenic Cocktails from 2,300 Year-Old Mug

If ZZ Top have a favorite ancient Egypt­ian deity, that deity is sure­ly Bes, whom the New York Times’ Alexan­der Nazaryan quotes cura­tor and schol­ar Branko van Oppen de Ruiter as call­ing “a beer drinker and a hell-rais­er.” In a paper pub­lished last month in Sci­en­tif­ic Reports, Van Oppen and fif­teen col­lab­o­ra­tors call the row­dy but appar­ent­ly benev­o­lent Bes “one of the most fas­ci­nat­ing and wild­ly pop­u­lar fig­ures of ancient Egypt­ian reli­gion,” and he’s come to mod­ern pub­lic atten­tion thanks to the sub­ject of that paper: a 2,000-year-old cup mold­ed in the shape of his head that has test­ed pos­i­tive for traces of psy­che­del­ic sub­stances — as well as alco­hol and bod­i­ly flu­ids.

Their analy­sis of the mug, a 3D mod­el of which you can exam­ine above, “yield­ed evi­dence of two plants known to have hal­lu­cino­genic prop­er­ties: Syr­i­an rue and the blue water lily,” writes Nazaryan, and it also bore traces of “a fer­ment­ed alco­holic liq­uid derived from fruit,” then sweet­ened with pine nuts, hon­ey, and licorice.

Those were the sorts of ingre­di­ents ancient Egyp­tians had at hand to make the med­i­cine go down — if med­i­cine it was. Nazaryan quotes dig­i­tal archae­ol­o­gist Davide Tanasi, whose lab per­formed the research, cit­ing the traces of sub­stances like blood and breast milk as under­scor­ing that “this is a mag­i­cal potion,” rather than one intend­ed as pure­ly cura­tive.

Bes, as Van Oppen and his col­lab­o­ra­tors write, “emerged from the mag­i­cal realm of the world of demons as a guardian fig­ure,” and by the Roman Impe­r­i­al age “spo­rad­i­cal­ly acquired divine wor­ship.” He “pro­vid­ed pro­tec­tion from dan­ger, while simul­ta­ne­ous­ly avert­ing harm” — and also “had a cer­tain regen­er­a­tive impor­tance con­tribut­ing to the ful­fill­ment and hap­pi­ness of fam­i­ly life in all facets of repro­duc­tion, from viril­i­ty and sex­u­al­i­ty, via fer­til­i­ty and fecun­di­ty, to child­birth and growth.” Hence the spec­u­la­tion that women hop­ing to become preg­nant would drink the potion from his head in order to take a psy­che­del­ic jour­ney that would set them on the path to moth­er­hood. That’s hard­ly the most effi­cient means to the end, as we’d see it today, but giv­en the birthrates of increas­ing­ly many soci­eties across the world, we mod­erns may find our­selves in need of Bes’ assis­tance yet.

Relat­ed con­tent:

The Gold­en Guide to Hal­lu­cino­genic Plants: Explore the 1977 Illus­trat­ed Guide Cre­at­ed by Harvard’s Ground­break­ing Eth­nob­otanist Richard Evan Schultes

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Beautiful 19th Century Maps of Dante’s Divine Comedy: Inferno, Purgatory, Paradise & More

Even the least reli­gious among us speak, at least on occa­sion, of the cir­cles of hell. When we do so, we may or may not be think­ing of where the con­cept orig­i­nat­ed: Dan­te’s Div­ina Com­me­dia, or Divine Com­e­dy. We each imag­ine the cir­cles in our own way — usu­al­ly fill­ing them with sin­ners and pun­ish­ments inspired by our own dis­tastes — but some of Dan­te’s ear­li­er read­ers did so with a seri­ous­ness and pre­ci­sion that may now seem extreme. “The first cos­mo­g­ra­ph­er of Dante’s uni­verse was the Flo­ren­tine poly­math Anto­nio Manet­ti,” writes the Pub­lic Domain Review’s Hunter Dukes, who “con­clud­ed that hell was 3246 miles wide and 408 miles deep.” A young Galileo sug­gest­ed that “the Inferno’s vault­ed ceil­ing was sup­port­ed by the same phys­i­cal prin­ci­ples as Brunelleschi’s dome.”

In 1855, the aris­to­crat sculp­tor-politi­cian-Dante schol­ar Michelan­ge­lo Cae­tani pub­lished his own pre­cise artis­tic ren­der­ings of not just the Infer­no, but also the Pur­ga­to­rio and Par­adiso, in La mate­ria del­la Div­ina com­me­dia di Dante Alighieri dichiara­ta in VI tav­ole, or The Divine Com­e­dy of Dante Alighieri Described in Six Plates.

“The first plate offers an overview of Dante’s cos­mog­ra­phy, lead­ing from the low­est cir­cle of the Infer­no up through the nine heav­en­ly spheres to Empyre­an, the high­est lev­el of Par­adise and the dwelling place of God,” writes Dukes. “The Infer­no is visu­al­ized with a cut­away style,” its cir­cles “like geo­log­i­cal lay­ers”; ter­raced like a wed­ding cake, “Pur­ga­to­ry is ren­dered at eye lev­el, from the per­spec­tive of some lucky soul sail­ing by this island-moun­tain.”

In Par­adise, “the Infer­no and Pur­ga­to­ry are now small blips on the page, worlds left behind, encir­cled by Mer­cury, Venus, Sat­urn, and the oth­er heav­en­ly spheres.” At the very top is “the can­di­da rosa, an amphithe­ater struc­ture reserved for the souls of heav­en” where “Dante leaves behind Beat­rice, his true love and guide, to come face-to-face with God and the Trin­i­ty.” You can exam­ine these and oth­er illus­tra­tions at the Pub­lic Domain Review or Cor­nell Uni­ver­si­ty Library’s dig­i­tal col­lec­tions, which adds that they come from “a sec­ond ver­sion of this work pro­duced by Cae­tani using the then-nov­el tech­nol­o­gy of chro­molith­o­g­ra­phy” in 1872, “pro­duced in a some­what small­er for­mat by the monks at Monte Cassi­no” — a crew who could sure­ly be trust­ed to believe in the job.

via the Pub­lic Domain Review

Relat­ed con­tent:

Visu­al­iz­ing Dante’s Hell: See Maps & Draw­ings of Dante’s Infer­no from the Renais­sance Through Today

An Illus­trat­ed and Inter­ac­tive Dante’s Infer­no: Explore a New Dig­i­tal Com­pan­ion to the Great 14th-Cen­tu­ry Epic Poem

Rarely Seen Illus­tra­tions of Dante’s Divine Com­e­dy Are Now Free Online, Cour­tesy of the Uffizi Gallery

A Dig­i­tal Archive of the Ear­li­est Illus­trat­ed Edi­tions of Dante’s Divine Com­e­dy (1487–1568)

Explore Divine Com­e­dy Dig­i­tal, a New Dig­i­tal Data­base That Col­lects Sev­en Cen­turies of Art Inspired by Dante’s Divine Com­e­dy

Dante’s Divine Com­e­dy: A Free Course from Colum­bia Uni­ver­si­ty

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Isaac Newton Creates a List of His 57 Sins (Circa 1662)

Sir Isaac New­ton, arguably the most impor­tant and influ­en­tial sci­en­tist in his­to­ry, dis­cov­ered the laws of motion and the uni­ver­sal force of grav­i­ty. For the first time ever, the rules of the uni­verse could be described with the supreme­ly ratio­nal lan­guage of math­e­mat­ics. Newton’s ele­gant equa­tions proved to be one of the inspi­ra­tions for the Enlight­en­ment, a shift away from the God-cen­tered dog­ma of the Church in favor of a world­view that placed rea­son at its cen­ter. The many lead­ers of the Enlight­en­ment turned to deism if not out­right athe­ism. But not New­ton.

In 1936, a doc­u­ment of Newton’s dat­ing from around 1662 was sold at a Sothe­by’s auc­tion and even­tu­al­ly wound up at the Fitzwilliam Muse­um in Cam­bridge, Eng­land. The Fitzwilliam Man­u­script has long been a source of fas­ci­na­tion for New­ton schol­ars. Not only does the note­book fea­ture a series of increas­ing­ly dif­fi­cult math­e­mat­i­cal prob­lems but also a cryp­tic string of let­ters read­ing:

Nabed Efy­hik
Wfn­zo Cpm­fke

If you can solve this, there are some peo­ple in Cam­bridge who would like to talk to you.

But what makes the doc­u­ment real­ly inter­est­ing is how incred­i­bly per­son­al it is. New­ton rat­tles off a laun­dry list of sins he com­mit­ted dur­ing his rel­a­tive­ly short life – he was around 20 when he wrote this, still a stu­dent at Cam­bridge. He splits the list into two cat­e­gories, before Whit­sun­day 1662 and after. (Whit­sun­day is, by the way, the Sun­day of the feast of Whit­sun, which is cel­e­brat­ed sev­en weeks after East­er.) Why he decid­ed on that par­tic­u­lar date to bifur­cate his time­line isn’t imme­di­ate­ly clear.

Some of the sins are rather opaque. I’m not sure what, for instance, “Mak­ing a feath­er while on Thy day” means exact­ly but it sure sounds like a long-lost euphemism. Oth­er sins like “Peev­ish­ness with my moth­er” are imme­di­ate­ly relat­able as good old-fash­ioned teenage churl­ish­ness. You can see the full list below. And you can read the full doc­u­ment over at the New­ton Project here.

Before Whit­sun­day 1662

1. Vsing the word (God) open­ly
2. Eat­ing an apple at Thy house
3. Mak­ing a feath­er while on Thy day
4. Deny­ing that I made it.
5. Mak­ing a mouse­trap on Thy day
6. Con­triv­ing of the chimes on Thy day
7. Squirt­ing water on Thy day
8. Mak­ing pies on Sun­day night
9. Swim­ming in a kim­nel on Thy day
10. Putting a pin in Iohn Keys hat on Thy day to pick him.
11. Care­less­ly hear­ing and com­mit­ting many ser­mons
12. Refus­ing to go to the close at my moth­ers com­mand.
13. Threat­ning my father and moth­er Smith to burne them and the house over them
14. Wish­ing death and hop­ing it to some
15. Strik­ing many
16. Hav­ing uncleane thoughts words and actions and dreamese.
17. Steal­ing cher­ry cobs from Eduard Stor­er
18. Deny­ing that I did so
19. Deny­ing a cross­bow to my moth­er and grand­moth­er though I knew of it
20. Set­ting my heart on mon­ey learn­ing plea­sure more than Thee
21. A relapse
22. A relapse
23. A break­ing again of my covenant renued in the Lords Sup­per.
24. Punch­ing my sis­ter
25. Rob­bing my moth­ers box of plums and sug­ar
26. Call­ing Dorothy Rose a jade
27. Glutiny in my sick­ness.
28. Peev­ish­ness with my moth­er.
29. With my sis­ter.
30. Falling out with the ser­vants
31. Divers com­mis­sions of alle my duties
32. Idle dis­course on Thy day and at oth­er times
33. Not turn­ing near­er to Thee for my affec­tions
34. Not liv­ing accord­ing to my belief
35. Not lov­ing Thee for Thy self.
36. Not lov­ing Thee for Thy good­ness to us
37. Not desir­ing Thy ordi­nances
38. Not long {long­ing} for Thee in {illeg}
39. Fear­ing man above Thee
40. Vsing unlaw­ful means to bring us out of dis­tress­es
41. Car­ing for world­ly things more than God
42. Not crav­ing a bless­ing from God on our hon­est endeav­ors.
43. Miss­ing chapel.
44. Beat­ing Arthur Stor­er.
45. Peev­ish­ness at Mas­ter Clarks for a piece of bread and but­ter.
46. Striv­ing to cheat with a brass halfe crowne.
47. Twist­ing a cord on Sun­day morn­ing
48. Read­ing the his­to­ry of the Chris­t­ian cham­pi­ons on Sun­day

Since Whit­sun­day 1662

49. Glu­tony
50. Glu­tony
51. Vsing Wil­fords tow­el to spare my own
52. Neg­li­gence at the chapel.
53. Ser­mons at Saint Marys (4)
54. Lying about a louse
55. Deny­ing my cham­ber­fel­low of the knowl­edge of him that took him for a sot.
56. Neglect­ing to pray 3
57. Help­ing Pet­tit to make his water watch at 12 of the clock on Sat­ur­day night

via JF Ptak Sci­ence Books/Pub­lic Domain Review

Relat­ed Con­tent:

In 1704, Isaac New­ton Pre­dict­ed That the World Will End in 2060

Isaac New­ton The­o­rized That the Egypt­ian Pyra­mids Revealed the Tim­ing of the Apoc­a­lypse: See His Burnt Man­u­script from the 1680s

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

Jonathan Crow is a writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. 

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Mythology Expert Reviews Depictions of Greek & Roman Myths in Popular Movies and TV Shows

It’s safe to say that we no longer believe in the gods of the ancient world — or rather, that most of us no longer believe in their lit­er­al exis­tence, but some of us have faith in their box-office poten­tial. This two-part video series from Van­i­ty Fair exam­ines a vari­ety of movies and tele­vi­sion shows that have drawn on Greek and Roman myth since the mid-twen­ti­eth-cen­tu­ry, includ­ing Jason and the Arg­onautsClash of the Titans, Troy, and Dis­ney’s Her­cules. Offer­ing com­men­tary on their faith­ful­ness to the source mate­r­i­al is Peter Mei­neck, Pro­fes­sor of Clas­sics in the Mod­ern World at New York Uni­ver­si­ty.

Not that he insists on hold­ing these enter­tain­ments to rig­or­ous stan­dards of accu­ra­cy. “I would not use the term ‘accu­ra­cy’ at any point in Xena: War­rior Princess, because it’s fan­tas­tic,” he says at one point. But then, when it comes to the sto­ries told by ancient Greeks and Romans, we’re deal­ing with rather fan­ta­sy-rich mate­r­i­al from the start.

Height­ened, aug­ment­ed, refined, and syn­cretized over many gen­er­a­tions, they’ve come down to us in forms that reflect more or less eter­nal­ly human notions about the forces that gov­ern real­i­ty and its vicis­si­tudes — ready made, in some cas­es, to incor­po­rate into the lat­est twen­ty-first-cen­tu­ry super­hero spec­ta­cle.

Pos­sessed of dis­tinc­tive phys­i­cal traits, tem­pera­ments, super­hu­man pow­ers, and even grudges, the many gods of the poly­the­is­tic antiq­ui­ty were, in their way, the com­ic-book heroes of their time. And just as we have dif­fer­ent “uni­vers­es” of char­ac­ters to choose from, dif­fer­ent eras and cul­tures had their own line­ups of deities, none quite the same as any oth­er. “At the pin­na­cle of this teem­ing numi­nous uni­verse were the Olympians, the twelve gods head­ed by Zeus and Hera,” says ancient-his­to­ry Youtu­ber Gar­rett Ryan in the Told in Stone video above. “The Greeks influ­enced Roman reli­gion vir­tu­al­ly from the begin­ning. By the time Rome emerged into the full light of his­to­ry, the Roman gods had been assim­i­lat­ed to their Greek coun­ter­parts.”

Hence our rec­og­niz­ing Greek Olympians like Posei­don, Artemis, Athena, and Diony­sus, but also their Roman equiv­a­lents Nep­tune, Diana, Min­er­va, and Bac­chus. “There seems to have been lit­tle doubt in Romans’ minds that their chief gods were the same as those of the Greeks,” Ryan says. “The Greeks, for their part, gen­er­al­ly accept­ed that the Romans wor­shipped their gods under dif­fer­ent names — while also being “eager col­lec­tors of exot­ic deities,” many of which could be found with­in their own vast empire. The result was a bewil­der­ing pro­fu­sion of gods for every occa­sion, Greek-inspired or oth­er­wise: an omen of the more-is-bet­ter ethos that the Hol­ly­wood block­buster would embrace a cou­ple of mil­len­nia lat­er.

Relat­ed con­tent:

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

How Rome Began: The His­to­ry As Told by Ancient His­to­ri­ans

A Vir­tu­al Tour of Ancient Athens: Fly Over Clas­si­cal Greek Civ­i­liza­tion in All Its Glo­ry

The Beau­ty & Inge­nu­ity of the Pan­theon, Ancient Rome’s Best-Pre­served Mon­u­ment: An Intro­duc­tion

Behold Ancient Egypt­ian, Greek & Roman Sculp­tures in Their Orig­i­nal Col­or

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Wisdom of Alan Watts in 4 Mind-Expanding Animations

Per­haps no sin­gle per­son did more to pop­u­lar­ize Zen Bud­dhism in the West than Alan Watts. In a sense, Watts pre­pared U.S. cul­ture for more tra­di­tion­al­ly Zen teach­ers like Soto priest Suzu­ki Roshi, whose lin­eage con­tin­ues today, but Watts did not con­sid­er him­self a Zen Bud­dhist. Or at least that’s what he tells us in the talk above, ani­mat­ed by Trey Park­er and Matt Stone, the cre­ators of South Park. “I am not a Zen Bud­dhist,” he says, “I am not advo­cat­ing Zen Bud­dhism, I am not try­ing to con­vert any­one to it. I have noth­ing to sell.” Instead, he calls him­self “an enter­tain­er.” Is he pulling our leg?

After all, Watts was the author of such books as The Spir­it of Zen (1936—his first), The Way of Zen (1957), and ”This Is It” and Oth­er Essays on Zen and Spir­i­tu­al Expe­ri­ence (1960). Then again, he also wrote books on Chris­tian­i­ty, on “Erot­ic Spir­i­tu­al­i­ty,” and on all man­ner of mys­ti­cism from near­ly every major world reli­gion.

And he was ordained an Epis­co­pal priest in 1945 and served as such until 1950. Watts was a tricky character—a strict anti-dog­ma­tist who found all rigid doc­trine irri­tat­ing at best, deeply oppres­sive and dehu­man­iz­ing at worst.

While Watts may not have been any sort of doc­tri­naire Zen priest, he learned—and taught—a great deal from Japan­ese Bud­dhist con­cepts, which he dis­tills in the video at the top. He gleaned very sim­i­lar insights—about the uni­ty and inter­con­nect­ed­ness of all things—from Dao­ism. Just above, see a very short ani­ma­tion cre­at­ed by Eddie Rosas, from The Simp­sons, in which Watts uses a sim­ple para­ble to illus­trate “Dao­ism in per­fec­tion.”

The con­cepts Watts elu­ci­dates from var­i­ous tra­di­tions are instant­ly applic­a­ble to eco­log­i­cal con­cerns and to our rela­tion­ship to the nat­ur­al world. “The whole process of nature,” he says above in a para­ble ani­mat­ed by Steve Agnos, “is an inte­grat­ed process of immense com­plex­i­ty.” In this case, how­ev­er, rather than offer­ing a les­son in uni­ty, he sug­gests that nature, and real­i­ty, is ulti­mate­ly unknow­able, that “it is real­ly impos­si­ble to tell whether any­thing that hap­pens in it is good or bad.” The most rea­son­able atti­tude then, it seems, is to refrain from mak­ing judg­ments either way.

It’s that ten­den­cy of the human mind to make hasty, erro­neous judg­ments that comes in for cri­tique in the Watts talk above, ani­mat­ed by Tim McCourt and Wes­ley Louis of West­min­ster Arts & Film Lon­don. Here, he reach­es even deep­er, inves­ti­gat­ing ideas of per­son­al iden­ti­ty and the exis­tence of the ego as an enti­ty sep­a­rate from the rest of real­i­ty. Return­ing to his grand theme of inter­con­nect­ed­ness, Watts assures us it’s “impos­si­ble to cut our­selves off from the social envi­ron­ment, and also fur­ther­more from the nat­ur­al envi­ron­ment. We are that; there’s no clear way of draw­ing the bound­ary between this organ­ism and every­thing that sur­rounds it.” But in order to dis­cov­er this essen­tial truth, says Watts, we must become “deep lis­ten­ers” and let go of embar­rass­ment, shy­ness, and anx­i­ety.

If you enjoy these excerpts from Alan Watts’ lec­tures, you can find many hours of his talks online. What Watts would have thought of this, I do not know, but I’m cer­tain he’d be glad that so much of his work—hours of lec­tures, in fact—is avail­able free of charge on YouTube.

Relat­ed Con­tent:

The Great­est Hits of Alan Watts: Stream a Care­ful­ly-Curat­ed Col­lec­tion of Alan Watts Wis­dom

Alan Watts Intro­duces Amer­i­ca to Med­i­ta­tion & East­ern Phi­los­o­phy: Watch the 1960 TV Show, East­ern Wis­dom and Mod­ern Life

What If Mon­ey Was No Object?: Thoughts on the Art of Liv­ing from East­ern Philoso­pher Alan Watts

Zen Mas­ter Alan Watts Dis­cov­ers the Secrets of Aldous Hux­ley and His Art of Dying

Alan Watts On Why Our Minds And Tech­nol­o­gy Can’t Grasp Real­i­ty

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

 

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Behold Gustave Doré’s Dramatic Illustrations of the Bible (1866)

One occa­sion­al­ly hears it said that, thanks to the inter­net, all the books tru­ly worth read­ing are free: Shake­speare, Don Quixote, the sto­ries of Edgar Allan Poe, the Divine Com­e­dy, the Bible. Can it be a coin­ci­dence that all of these works inspired illus­tra­tions by Gus­tave Doré? When he was active in mid-nine­teenth-cen­tu­ry France, he worked in a vari­ety of forms, includ­ing paint­ing, sculp­ture, and even comics and car­i­ca­tures. But he lives on through noth­ing so much as his wood­block-print illus­tra­tions of what we now con­sid­er clas­sics of West­ern lit­er­a­ture — and, in the case of La Grande Bible de Tours, a text we could describe as “super-canon­i­cal.”

Doré took on the task of design­ing 241 engrav­ings for a lux­u­ri­ous new French-lan­guage edi­tion of the Vul­gate Bible in the mid-eigh­teen-six­ties. The project “offered him an almost end­less series of intense­ly dra­mat­ic events,” writes biog­ra­ph­er Joan­na Richard­son: “the loom­ing tow­er of Babel, the plague of dark­ness in Egypt, the death of Sam­son, Isa­iah’s vision of the destruc­tion of Baby­lon.”

All pro­vid­ed prac­ti­cal­ly ide­al show­cas­es for the ele­ments of Doré’s intense­ly Roman­tic style: “the moun­tain scenes, the lurid skies, the com­pli­cat­ed bat­tles, the almost unremit­ting bru­tal­ism.” But along with the Old Tes­ta­ment “mas­sacres and mur­ders, decap­i­ta­tions and aveng­ing angels” come Vic­to­ri­an angels, Vic­to­ri­an women, and Vic­to­ri­an chil­dren, “sen­ti­men­tal or wise beyond their years.”

Those choic­es may have been moti­vat­ed by the simul­ta­ne­ous pub­li­ca­tion of La Grande Bible de Tours in both France and the Unit­ed King­dom. In any event, the edi­tion proved suc­cess­ful enough on both sides of the Chan­nel that a major exhi­bi­tion of Doré’s work opened in Lon­don the very next year.

Though vis­i­bly root­ed in their time and place — as well as in the artist’s per­son­al sen­si­bil­i­ties and the aes­thet­ic cur­rents in which he was caught up — Doré’s visions of the Bible still make an impact with their rich and imme­di­ate­ly rec­og­niz­able chiaroscuro por­tray­als of scenes that have long res­onat­ed through the whole of West­ern cul­ture. You can see the whole series on Wikipedia, or as col­lect­ed in The Doré Gallery of Bible Illus­tra­tions at Project Guten­berg — all, of course, for no charge.

Relat­ed con­tent:

Gus­tave Doré’s Dra­mat­ic Illus­tra­tions of Dante’s Divine Com­e­dy

Gus­tave Doré’s Exquis­ite Engrav­ings of Cer­vantes’ Don Quixote

Gus­tave Doré’s Macabre Illus­tra­tions of Edgar Allan Poe’s “The Raven” (1884)

Behold Gus­tave Doré’s Illus­tra­tions for Rabelais’ Grotesque Satir­i­cal Mas­ter­piece Gar­gan­tua and Pan­ta­gru­el

The Adven­tures of Famed Illus­tra­tor Gus­tave Doré Pre­sent­ed in a Fantasic(al) Cutout Ani­ma­tion

Sal­vador Dalí’s Illus­tra­tions for the Bible (1963)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

World Religions Explained with Useful Charts: Hinduism, Buddhism, Judaism, Islam, Christianity & More

It does­n’t take an expert in the field to know that, around the world, there is much dis­agree­ment on the sub­ject of reli­gion. But as explained in the Use­fulCharts video above by Matt Bak­er, whose PhD in Reli­gious Stud­ies makes him an expert in the field, every source does agree on the fact that the four largest reli­gions in the world are Chris­tian­i­ty, Islam, Hin­duism, and Bud­dhism. “These are the undis­put­ed ‘big four,’ ” Bak­er says, and they’ve thus been the sub­jects of the var­i­ous videos and charts he’s made explain­ing their his­to­ries and char­ac­ter­is­tics. But in his area of exper­tise, he adds, “it is often said that there are five major world reli­gions.”

The fifth major reli­gion, as you may have already guessed, is Judaism, though its six­teen mil­lion adher­ents don’t enter the same numer­i­cal league as the world’s 1.9 bil­lion Mus­lims or 2.4 bil­lion Chris­tians. The Jew­ish faith punch­es well above its weight in respects like its age, and its being “the par­ent reli­gion to both Chris­tian­i­ty and Islam.” Com­ing in at 400 mil­lion believ­ers is a reli­gion, or cat­e­go­ry of reli­gions, that to many read­ers may seem much less famil­iar than Judaism: Chi­nese folk reli­gion, or as Bak­er calls it, “Chi­nese Syn­cretism,” refer­ring to its mix­ture of dif­fer­ent ideas and tra­di­tions.

You can get up to speed on Chi­nese Syn­cretism, as well as Islam, Hin­duism, and Bud­dhism, in the two-hour video at the top of the post, which com­piles Bak­er’s Use­fulCharts expla­na­tions of those reli­gions’ evo­lu­tions and all the intel­lec­tu­al, doc­tri­nal, and cul­tur­al branch­es that have grown in the process. To Chris­tian­i­ty, the biggest of the big four, Bak­er has devot­ed an entire series, pre­sent­ed in its entire­ty in the three-hour video just above.  You may be able to describe the dif­fer­ences between Catholi­cism and Protes­tantism, but what about the dif­fer­ences between, say, the Syr­i­ac Catholic Church, the Evan­gel­i­cal Free Church of Amer­i­ca, and the Mekane Yesus Church of Ethiopia?

Bak­er can and does describe those dif­fer­ences, using his own fam­i­ly tree-style charts as a visu­al aid. Only one view­ing may not be enough to gain a clear under­stand­ing of what sep­a­rates each Chris­t­ian denom­i­na­tion from every oth­er. But it will cer­tain­ly be enough to instill an under­stand­ing that, in an impor­tant sense, there is such thing as Chris­tian­i­ty, sin­gu­lar; bet­ter, per­haps, to speak of the many and var­ied Chris­tian­i­ties than have been prac­ticed over the mil­len­nia. The same goes, in dif­fer­ent ways, for the oth­er major world reli­gions, and if you zoom in far enough, even the minor ones turn out to be rich with their own com­plex­i­ties. But then, as Bak­er sure­ly would agree, there are no minor reli­gions — at least if you’re curi­ous enough about them.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to the World’s Five Major Reli­gions: Hin­duism, Judaism, Bud­dhism, Chris­tian­i­ty & Islam

180,000 Years of Reli­gion Chart­ed on a “His­tom­ap” in 1943

A Visu­al Map of the World’s Major Reli­gions (and Non-Reli­gions)

Ani­mat­ed Map Shows How the Five Major Reli­gions Spread Across the World (3000 BC — 2000 AD)

70,000+ Reli­gious Texts Dig­i­tized by Prince­ton The­o­log­i­cal Sem­i­nary, Let­ting You Immerse Your­self in the Curi­ous Works of Great World Reli­gions

Phi­los­o­phy of Reli­gion: A Free Online Course

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

16th-Century Japanese Historians Describe the Oddness of Meeting the First Europeans They Ever Saw

Go to Japan today, and the coun­try will present you with plen­ty of oppor­tu­ni­ties to buy pantabako, and tem­pu­ra. These prod­ucts them­selves — bread, cig­a­rettes, and deep-fried seafood or veg­eta­bles — will be famil­iar enough. Even the words that refer to them may have a rec­og­niz­able ring, espe­cial­ly if you hap­pen to be a Por­tuguese-speak­er. Japan­ese has more than its fair share of nat­u­ral­ized terms, used to refer to every­thing from the kon­bi­ni on the cor­ner to the riizanabu­ru prices found there­in, but none of them are as deeply root­ed as its terms import­ed from Por­tu­gal.

Rela­tions between Japan and Por­tu­gal go back to 1543, when the first Por­tuguese sailors arrived in the south­ern Japan­ese arch­i­pel­ago. Impres­sions of this encounter are includ­ed in the video above, a Voic­es of the Past com­pi­la­tion of how actu­al six­teenth-cen­tu­ry Japan­ese his­to­ri­ans described their unex­pect­ed vis­i­tors. “A south­ern bar­bar­ian ves­sel came to our shores,” writes one of them, anony­mous­ly. From it “emerged an unname­able crea­ture, some­what sim­i­lar in shape to a human being, but look­ing rather more like a long-nosed gob­lin, or the giant demon mikoshi-nyūdō.”

This grotesque, unin­tel­li­gi­ble crea­ture turned to be a bateren; that is, a padre, a mis­sion­ary priest come to spread the kirishi­tan reli­gion in this dis­tant land. In this pri­ma­ry task they faced severe, ulti­mate­ly insur­mount­able chal­lenges, but as the first Euro­peans to make con­tact with Japan, they also hap­pened much more suc­cess­ful­ly to dis­sem­i­nate West­ern con­cepts and tech­niques in agri­cul­ture, sci­ence, and art (not to men­tion dessert cul­ture). Their intro­duc­tion of the gun, described in detail by anoth­er con­tem­po­rary his­to­ri­an, also changed the course of Japan­ese his­to­ry, doing its part to make pos­si­ble the uni­fi­ca­tion of Japan in the fol­low­ing cen­tu­ry.

Kurusu in hand, these bateren argued that one should devote one­self to Deusu in order to avoid eter­nal con­dem­na­tion to inheruno and gain admis­sion to paraiso. There were con­verts, though per­haps not in num­bers as large as expect­ed. Then as now, the Japan­ese had their own way of going about things, but in the six­teenth cen­tu­ry, they had rulers inclined to crack down hard on sus­pi­cious for­eign influ­ence. The last sec­tion of the video con­tains tes­ti­mo­ny of a show­down staged between Chris­tian­i­ty and Bud­dhism, a debate in which the bateren seemed to have put on a poor show. Defeat­ed, they were either expelled or exe­cut­ed, and not long there­after, Japan closed the doa — as they now call it — for a cou­ple more cen­turies.

Relat­ed con­tent:

Hear the First Japan­ese Vis­i­tor to the Unit­ed States & Europe Describe Life in the West (1860–1862)

The His­to­ry of Ancient Japan: The Sto­ry of How Japan Began, Told by Those Who Wit­nessed It (297‑1274)

What Hap­pens When a Japan­ese Wood­block Artist Depicts Life in Lon­don in 1866, Despite Nev­er Hav­ing Set Foot There

A Japan­ese Illus­trat­ed His­to­ry of Amer­i­ca (1861): Fea­tures George Wash­ing­ton Punch­ing Tigers, John Adams Slay­ing Snakes & Oth­er Fan­tas­tic Scenes

The 17th-Cen­tu­ry Japan­ese Samu­rai Who Sailed to Europe, Met the Pope & Became a Roman Cit­i­zen

Hear an Ancient Chi­nese His­to­ri­an Describe The Roman Empire (and Oth­er Voic­es of the Past)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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