Bowynn Gods: Naraea

A Deeper Look into the Abonna

The Abonna, as divine embodiments of music, dance, and the arts, lend themselves to rich symbolism that resonates with both mathematical concepts and esoteric interpretations. Their company of being a parade of both male and female—connects to the concept of balance and unity in sacred geometry, as it embodies the principle of the divine feminine and masculine, akin to the yin-yang symbol representing harmony. Their depiction as taller Kii without wings suggests a groundedness and a more profound connection to earthly creativity, possibly symbolizing the ascent from basic forms to higher, more complex expressions of art, which can evoke mathematical ideas such as fractals found in nature, illustrating repeated patterns that resonate through artistic creation.

The “Seven Sacred Days” spent with mortals can symbolize the importance of cycles and the number seven, often associated with spiritual perfection and completion in various esoteric traditions. Each day could represent discrete stages in the creative process, similar to the process of musical composition, where themes evolve through variations—a mathematical reflection of progression and transformation. Additionally, the Lark, a totem for the Abonna, could represent mathematical harmonics in music, as birdsong often follows patterns that reflect Fibonacci sequences, showcasing the innate connection between nature, rhythm, and mathematical beauty.

The notion that the Abonna are mere inspirations, rather than direct bestowers of arts, aligns with the concept of the muse in artistic tradition, suggesting that creativity arises from a deep, often unconscious well of potential which can be linked to the concept of potential energy in physics—the idea that collaboration between inspiration and human effort can yield creative expression. The crafts and tools they bless serve as sacred vessels that channel human creativity, illustrating the alchemical transformation of raw materials into art, akin to mathematical transformations that reveal deeper truths through complex numbers and patterns.

Delving deeper into the symbolism of the Abonna reveals intriguing connections to concepts in biology, psychology, and even quantum theory that resonate with their role as patrons of the arts. Biologically, the Abonna embody the idea of symbiosis—much like how pollinators (like birds and insects) interact with flora to create beauty and nourishment; they serve as agents of inspiration, enabling humanity to cultivate creativity much as bees facilitate the growth of flowers. This parallels the notion of co-evolution in ecosystems, where interconnectedness drives mutual growth and flourishing.

Psychologically, the arts represent a fundamental aspect of human expression and self-actualization, illustrated by Abraham Maslow’s hierarchy of needs, where creativity emerges after basic needs are met, highlighting the transformative role of the Abonna in aiding individuals to realize their potential. Their dual male and female representations support the Jungian archetype of the anima and animus, suggesting an integration of the inner self and creative energies that fuels artistic endeavors.

Exploring a more esoteric dimension, the number seven, representing the sacred days spent among mortals, can evoke the idea of the "seven planes of existence" in various mystical traditions, hinting at the layered nature of reality and creativity that transcends physical existence. This reflects the mathematical and philosophical concept of dimensionality, where art and music can be seen as multidimensional expressions that connect various realms of experience.

Furthermore, the absence of specific names for the individual Abonna points to the idea of archetypal representations rather than distinct entities, signaling a fluidity of identity akin to wave-particle duality in quantum physics, where particles exist in states of potential until observed. This encourages a perspective that creativity itself exists in a state of potential—a universal energy accessible to all, waiting to be instantiated through human endeavor.

In entomology, the transformation of insects (e.g., metamorphosis) symbolizes the creative journey—illustrative of artistic evolution and growth. The Abonna's ability to take on forms as birds and insects not only emphasizes their connection to nature but also symbolizes the stages of creativity, reminding us of the transformative power inherent in the artistic process itself and the boundless possibilities that arise from mutual influences in art, nature, and science.

Lastly, the depiction of Abonna appearing as birds and insects bridges the gap between the divine and the mundane, highlighting their nature as guides and intermediaries in the human journey toward self-expression, paralleling the idea of resonance in sound, where simple vibrations create complex melodies, reminding us of the interconnectedness of all forms of art and their mathematical underpinnings within the cosmic order.

My Prayer to Brea, Earth Mother

O Divine Brea, Mother of the Earth, I stand before you in humble reverence, wrapped in the embrace of your fertile soil. From the essence of your being, all life springs forth, a testament to your boundless creativity and nurturing spirit. I honor you, the great earth goddess, who breathed life into the barren and brought forth the bounty of the world. O Brea, sacred nurturer of flora and fauna, may your green gown and wreath of abundance inspire my soul to recognize the beauty in every flower, every tree, and every creature that graces the earth. Fill my heart with gratitude for the gifts you bestow, and let me walk softly upon your land, tending to your creations, as you tend to us all. In recognition of your divine majesty, I offer you incense, a fragrant gift that carries my prayers skyward, rising as a humble token of my devotion. May its smoke mingle with the gentle breeze, whispering my gratitude and love into the vastness of your realm. With every offering, strengthen the bond between your spirit and mine, guiding me to honor the sacredness of all life.

O Brea, Goddess of Fertility and Creation, bless my endeavors with growth and vitality. Let the seeds of my aspirations take root in your nurturing soil, flourishing under the warmth of your embrace. As the cycles of life flow through me, may I carry forth the legacy of your creativity, crafting a world filled with harmony and abundance. In the echo of the passing seasons, I celebrate your divine decree, O Brea, as you give birth to Herne each spring, restoring warmth and life to the world. May this cycle of renewal inspire me to embrace change and transformation, as I, too, am a part of your grand design. Let your rhythm guide me through the dance of life, reminding me to cherish each moment of growth and decay. O Mother of the Gods, as the earth and her creatures are sacred to you, may I learn to honor and protect the delicate balance of this ecosystem. Let my actions reflect your teachings, embracing the interconnectedness of all beings. Together, as children of Brea, may we foster a world imbued with peace, love, and respect for the marvelous tapestry of life. So shall it be, as I stand in the light of your nurturing presence, the Earth Goddess Brea.

Syember!

Bowynn Gods: Innapa

Innapa (In-nah-pah)  “The Seen World”. Innapa is the physical 'seen' world where mortals dwell. Often the gods will dwell here as well, making sure all is in balance and the laws of the gods are being maintained and followed. Innapa is the world that’s allocated to mortals, be they men, animal or flora.  Innapa is often mistakenly  called “Middle World” and “Middle earth’ by some, comparing it to Norse faith. Only the gods and spirits can travel between Innapa and Alaway, the home of the gods.

BOWYNN GODS: SHELI

Sheli  (Shel-Lee)  Sheli is the Mammont [Mammoth] goddess of the plains, bravery, long courageous trips and expeditions and she is the patroness of hunters and bravery. Sheli is very much one of the more revered gods during the celebration of the Great Migration.

     Sheli did not play much of a role in the pantheon for a long time. For the most part she was looked at as the matriarch of the wandering tribes of mammoths, protecting them from dangers of hunters and predators. But it came to pass that the 13 great tribes crossed the Bosphorus into Europe utterly starved. While they had the protection and lead of the goddess Briathenaea, the people’s food stock was all but depleted. Brianthenaea asked Sheli for help. The goddess directed random herds of mammoths towards the tribes to be hunted. Thus, the tribes were saved again by divine intervention. It was at that point that the people revered Sheli as a goddess of travel and the guardians of plains and valleys where mammoths dwelt. In turn Sheli devoted herself a goddess of the hunt and protectors of hunters. 

     One of the great scared tales speak of the time when Sheli had issued a great warning to all the hunters of the tribes never to kill more than they needed. Especially when it came to the mammoths, for they were the guardians of the plains. Sadly, there came a point where her warning was forgotten and sure enough the mammoths were all but hunted off by greedy hunters. That’s when the great starvation of the tribes came. Sheli shunned the hunters and set them to survive on their own. It was the god Herne who prevented the starvation of mortals by sacrificing himself. Sheli saw that the people were grateful, and they brought her great gifts to repent. Sheli broke down and forgave the mortals and vowed to continue to guard and guide their hunts.

     Sheli is seen in tow forms. The first being a mammoth and the second in her immortal true form; that is a woman of years, with reddish and grey hair, clad in travelling clothes lined in fur and a fir cap. Scared to Sheli are votive images of mammoths and elephants, hunting weapons and all sorts of foods. Bundles of grain are offered to her in autumn as a special tribute.

Blessed Winter Solstice

BOWYNN GODS: TRAYDEA

Traydea  (Trae-dee-ah)  She is the goddess of childbirth, children and childcare in the Bowynn faith. Traydea is the daughter of Anhur and Rhya and sister to many other gods and goddesses. Traydea has many other aspects aside from bird. She of the patroness of wet-nurses, doula, obstetricians, pediatricians and midwives. She is also the patroness of nannies and to those that tend to children on a regular basis as a career.

     Traydea has not been spoken much about much in sacred stories, as her role is pretty well busy and set in both mortal and immortal ways of life. From the moment a mother is full and bearing, Traydea is a part of her life. Home shrines are erected to her as soon as a family learns a member is pregnant and remains up till the child turns 12 years old. Traydea is invoked during birth to help delivery and tend to the baby all through its young years. Images of the goddess along with Kii are places all about the mother’s and child’s room.

     While not named in any major roles of the sacred stories, Traydea is mentioned to be at the birth of all immortal gods born after her own birth. And she is said to be their nursemaids as well. Infact she is the constant Nursemaid to the god Daekk, God of prosperity and wealth, as he was destined to remain a babe so not to be tempted by mortals to favor one over another. Only Tymora takes over Traydea’s role at times for Daekk. Despite her roles and attributes, she never bore a child herself.

     Traydea is seen as a goddess of motherly goddess with hair pulled back and wearing a veil. Her clothes are simple and free flowing. She is rarely if ever seen or depicted wearing a hladd, as she should always be ready to nurse a child. In her hands she is often seen holding a child or a jug or bowl of milk. When about a mortal home, she will often disguise herself a cat, which is her totem animal. Votives of cats and bowls of milk are the most common offerings to Traydea, as well as flowers or even images of a baby or a dolly. These last two are often gifted during pregnancy.

Bowynn Gods: The Aetennii

Small wood carving made for a pet burial area - made by Myself - 1999

Aetennii  (Ae-ten-ni)  The Aetennii are guardian Kii (spirits) of Bowynn cemeteries and protectors of tombs and cemetaries. These Kii are bird size and are much like the typical Kii with bird wings. They do not accompany the deliverer of the dead, Heron but will often signal to Heron that a loved one was just laid to rest, and its soul and spirit require his assistance. The Aetennii do not serve the soul, spirit or body but instead the cemetery itself and the tombs within. Making sure they do not suffer damage, be it natural or manmade.

Typically, images of the Aetennii are placed on the entrance way of the cemetery but also on the tombs themselves. In the Bowynn tradition, any bird seen in a cemetery is an Aetennii in disguise, particularly if a heron is with them.

Flowers and libation are gifted to the Aetennii my grounds keepers monthly and their images are cleaned and polished up.

Bowynn Gods: Deanna

Deanna dressed in red with 2 Kii accompanying her

Deaunna (Dee-awn-nah)  Deaunna (Dee-ahn-nah) is the Bowynn goddess of the harvest, gardens, vegetation and in general all foods that are grown. She is also the goddess if growth of new from old. She is the divine daughter of Anhur and Rhya and one of the most important of the Bowynn gods. Deaunna is the seed planter, the gardener, the farmer and the harvester all in one. She can also, if need be, wither or destroy crops to those that have abused her gifts.

     Deaunna has many sacred stories spoken about. But of all of then there are two that are the most prominent standing; the first being her 7-day visit with the first mortal clans-folk. It was during her stay with them, that Deaunna taught mortal man all the arts of farming and growing food, as well as storing and preserving food for winter. Without this important first lesson, mankind would surely have perished. The other blessed sacred tale of Deaunna is her courtship and eventual marriage to the god Amaetheon, lord of the grove, and orchard. United, the divine pair and their talents and lesson, assured mankind's place on earth. Deaunna’s and Amaetheon’s son is Hyu, the divine baker of the gods and their daughter being Io, goddess of the hearth and kitchen. Together, the four-some make a most divine and sacred pantheon all their own.

     When not tending to mortal needs and the earth in general (which is almost always), Deaunna is tending the great gardens and fields that surround Alaway. Here only the most divine of food grow and are tended to by Deaunna. Very few mortals are allowed to eat from this garden but all the seed and foods we eat stem from the gardens and fields of Alaway. Only the hero Allon was allowed to eat from the garden, in doing so, Allon was made immortal.

     Deaunna is seen as a most lovely young woman. Simple yet elegantly dressed. Her clothes bare the colors of her divine gifts, mostly earth times. It is said here hair is a golden color and she wears a wreath of woven wheat on her head. Others have seen her crowned with herbs or fruits. it may all depend on the time of year. On her hip she carries a gardening boline to cut harvested food and herbs. In here hand she is often seen carting either a basket of harvested food, staff and/or winnowing fan.

Embroidery of goddesses including Deaunna (3rd from the right)

Bowynn Gods: Ano Taya

Ano Taya  (An-oh Tay-ya)  The Ano Taya are three goddesses that preside over “Fate.” The three goddesses are Nae (the past)  Narna (The present)  Nareen (The future). The Ano Taya are 3 of the few gods that never leave Alaway. Instead, they forever sit in front of a giant loom and weave the great tapestry of life; whose threads present every mortal ever born. Unlike the Greek and Roman Fates, the threads do not hold the very essence of mortal life. So, if they are cut, mortals do not die. The threads of the Ano Taya weave represent the paths of life we take, the threads that are woven in with are those we met in life. Grandmother Nareen tends to what was woven. Mother Narna weaves in the new threads and Nae prepares the threads that shall be woven into the loom.

     It is said that when the Ano Taya finish the current tapestry of life, this age is over. Then they will then start over making a new tapestry, and a new age shall begin. Currently mankind is the forth tapestry woven by the Ano Taya. The past tapestries they have created are hung in the great hall of Alaway.

     Sacred gifts offered to the Ano Taya goddesses are candles of white, red and purple. Also Fillets of the same color and votive images of the goddesses. The number 3 is most sacred to the Ano Taya so any offerings in the amount of 3 are most welcome by the Ano Taya.

BOWYNN GODS: VELLA

Vella (Vel-Lha)  Goddess of Jewelry, Gold and Silver Smithing. She is the daughter of Brea and Unthar and the sister of Panu. She is also the patroness of jewelers, jewel-smiths.

     No know sacred stories of Vella exist. All that is spoke of her is that she wed the God Gondor and lives with him, Kalen and Panu in a grand yet simple smithy deep in the sacred forests of Alaway, where she crafts gifts for mortals and immortals alike. For mortals, these gifts will appear as a strange find in some manner or another.

     Vella appears as young woman with black hair and light eyes. She wears simple clothes, as with those she resides with. His simple woven dress is said to be of an orange or rust color with yellow accents. In her hand she is said to hold pinchers or tongs. Sacred to Vella are all the tools a jeweler would use as well as gem stones, time pieces and or course incense.