Who are koschuny and what is blasphemy?

Increasingly, I see and hear on the Internet and on the street to use the concept koschun, blasphemy in a negative sense. But this is not the case. And there is a feeling that no one is interested in the history of any kind, nor the history of their country. Everyone interested only career and own purse.
I will try to explain what is actually blasphemy and who are koschuny.

Who are koschuny and what is blasphemy?

Important section of the Volkhov-wizards was the creation and transmission of inherited diverse folk rituals. Its origins came from the distant depths of prehistory and through careful preservation of the traditions of the echoes of verbal creativity came in the remote corners of Russia to the XIX century., Before meeting with researchers ethnographers. Translations from Greek allow us to determine how to translate into Russian some words, such as "koschyuny", "fable".

Koschuny and fable — similar concepts, but not identical, "inii gudut (played on stringed instruments) inii bayut koschyunyat him." Bayat, fable, obviously, refers to the different types of oral literature, and this action is subject to much less attacked the clergy than koschuny from which is produced and our modern word curse, abuse the shrine. In fables, obviously, a great svetstvo maybe household (but not epic), and in koschunah more pagan, mythological, that seemed particularly blasphemous and patristic IV-VII centuries. and Russian clergy XI — XIV centuries.
Koschuny semantically associated with the sorcerers and wizards, "Neither give heed Cheras ruled nor koschyunnyh vlsheb."
Koschuny-myths clearly opposed to true epic-historical narrative. Church writers of that time believed that to be "a place of glorious koschyun DELES skazyvati story", ie preferred epic myths. There were special "button accordions" and skazateli myths — "koschyunniki" to which people came, in spite of the prohibition:
"Yes you start power koschyunnikom vspreschati — vidish many sbirayuschesya to koschyunnikom."
To some extent koschuny connected with the funeral rites
"Harbored many DRC vanity sake plachyut (of the dead), and those who go down koschyunyayut and revel."
Koschuny-myths clearly opposed to true epic-historical narrative. Church writers of that time believed that to be "a place of glorious koschyun DELES skazyvati story", ie preferred epic myths. There were special "button accordions" and skazateli myths — "koschyunniki" to which people came, in spite of the prohibition:
"Yes you start power koschyunnikom vspreschati — vidish many sbirayuschesya to koschyunnikom."
To some extent koschuny connected with the funeral rites
"Harbored many DRC vanity sake plachyut (of the dead), and those who go down koschyunyayut and revel."
Of this phrase shows that koschuny sung during funerals for the dead. Where they performed "for the sake of vanity," ie, especially solemn pominatelnym pie is the one that is sung some mythological tales.
In determining the original etymology of the word "koschuna", one should accept the premise of the dual foundations of his, the first half (Kosh) said directly to the concept of fate, lot, and the second — a more diverse set of values.
Russian translators XI — XII centuries. consistently translated the Greek word "koschyuny" united in it the concept of fate and a good start. Performed myths-koschuny elders' starchskyi bashi "," starcha koschuny. " "Koschyunoslovie" sometimes combined in the same sentence with "Coben," apparently, the performance of tales could be accompanied by certain ritual gestures and body movements.
In the "Materials" Sreznevskii (including also translated works by which we can accurately imagine the value of Russian words) related to folklore the following terms:
Bayan, a charmer (incantator) — «producing or singing a spell."
Skaz, skazanie.
Koschyuna — a myth.
Koschyunoslovie — the telling of myths.
Koschyunit — cast, story.
Koschyunnik — a magician skazatel koschun.
Blasphemy (later) — abuse of the Christian shrine.
We should also add:
Koschnoe — "that is to say black as hell", "hell"
Scrag, Koschuy Immortal Korchunov — a fantastic character.
The key to penetrate the half-forgotten world of ancient Slavic mythology can be a widespread and sustainable Koschei the Immortal, in the very name of which contains a reference to the mythological antiquity "koschun" and in touch with the essence of the infernal "koschnogo" otherworldly realm. Eastern Slavic fairy tale fiction for a long time was known as the mythological researchers as famous Ukrainian ethnographer NF Sumtsov had expressed serious doubts about the possibility of scientific knowledge of Slavic mythology: "The borders of mythology hang in the air, nothing lasting and sustainable never been here and now, with current status of folklore mythology has certain content. "
However, with the further study of folklore, it appears that grinds the descendants of the ancient myths and fairy tales really are just magical (mythological) tales: "The origin of the myth of the fairy tale is not in doubt." And in the future due to the growth of tribal militias and armed clashes in the mythological narrative weaves increasingly heroic epic.
Thus, the Eastern Slavic fairy tale is the guardian of Warriors mixed together echoes of archaic myths and fragments of heroic epic, born back in the I millennium BC
"The beginning of the so-called magic concludes vestigial moments and above all religious and mythological beliefs of primitive man … Tale is full of motifs that contain a belief in the existence of" the other world "and the opportunity to return there …".
"Hostile Space -" other "realm of the marine realm, the realm of the Serpent, Koschei, Yagi … Getting into this world, destroying it, the hero says one world of human justice and humanism."


The secret of the persecution of the harp …


Zharnikova SV "Psaltery — an instrument of harmonization of the Universe"

Zharnikova Svetlana

Deputy Director of the Vologda regional scientific-methodical center of folk art, Ph.D., anthropologist. Member of the scientific and social movement "Northern Tradition."

More than 20 years of research Hyperborea, collecting information on particles, restoring appearance amazing country, no less legendary than the famous Atlantis and Shambhala.

Every researcher who has studied the history of Orthodoxy in Russia, stops in front of an inexplicable phenomenon sharply negative attitude to this, seemingly harmless musical instrument as the harp. So another preacher of the 12th century Cyril of Turov threatened posthumous torments those "who practice witchcraft, buzzing in the harp, predicts the tale." In the 16th century Book of Needs of the issues in the confessional is like, "Do not sing the song Yasi demons, did not play a harp in Iasi?". A Superior Pamphilus Pskov scolded for being "them during Kupala Night played tambourines and wheezed and buzzing strings." Historical documents show that at the time of Alexei Mikhailovich Romanov harps were removed from the population and burned carts. Why? Now, apparently, we can answer this question.
But let's start with the fact that in 1903, in the Indian city of Bombay came to light book of prominent Indian scientist and public figure Tilak 'arctic homeland in the Vedas. " Devote his entire life to the study of the native people, he had a long and carefully analyzing ancient traditions, legends and sacred hymns, born in the depths of thousands of ancestors of Indians and Iranians. And those strange phenomena that have been described in the sacred books of the Rig Veda, the Mahabharata, the Upanishads, Tilak concluded that these texts were created in the north of Europe, somewhere near the Arctic Circle. Here is the homeland of the Indo-Iranians, or as they called themselves Aryans. Some of them 4 — 5 thousand years ago, went to the territory of India and Iran. Tilak's book was translated into all European languages translated into Russian for the first time only in 2000, Natalia Guseva Romanovna and was published in Moscow in 2001. In the mid 50-ies of XX-th century eminent Sanskrit scholar Rahula Sankrityayana described the movement in his book "From the Volga to Ganga" and introduced into scientific use a new term — indoslavy. Note that in 1964 one of the greatest Sanskrit scholars of India Professor Durga Prasad Shastri said, "If I were asked what two world language most similar to each other, I would answer without hesitation Russian and Sanskrit."
Thus, the ancient Vedic rites, rituals, sacred texts are relevant to severnorusskoy folk tradition, which the researchers have repeatedly noted that it is characterized by preservation of archaic vestiges of phenomena sometimes are reflected even in the Vedic tradition. It is well known the great importance attached to the Vedic mythology waterfowl — goose, swan, duck, where it symbolizes the sky, the light, the fire, the sun, and the incarnation of the Creator and the universe. So in Sanskrit hamsa — goose — Swan soul who has known the supreme Truth, the supreme spirit, light, fire, sacred music in Rome, the music of the universe.
But in the Russian folk tradition of waterfowl images play a crucial role. Often it is the goose, swan, duck mark a sphere of the sacred in the ritual songs of the calendar cycle. And in these songs is harps are an essential component of the sacred sound of the text. An example is the pre-wedding song recorded in the Arkhangelsk region, "where the geese were you, where you spend the night where he slept, visited. We slept at the princess, visited the pervobrachnoy. And what does the princess? In harp playing, equipping gifts. "
In harp hummed, and here it is worth remembering that in the Russian dialects and Sanskrit for "gu" means sound. Neither Hooke — no sound, no guknut, that is not sound. But apart from this termite "gu" in Sanskrit means more and walk around. Recall the Russian word for a walk. We are walking holiday, we'll walk the wedding, then there are sounds and moving. And here we come, perhaps, to the main point.
In the ancient Vedic texts, the books of the epic Mahabharata, and Adiparva Ashvamedhikaparva said that the creation of the universe is as follows. In thought and expression, which is articulated by the thought of the Creator, there was some huge egg, "as the eternal seed of all beings. It was the true light the eternal Brahma — wonderful, unpresentable, omnipresent. He who is hidden and not detectable cause real and not real. " Brahmo a union of male and female, that is something in between. He had only one property is sound. In Ashamedhikaparve Brahmo called Ultralight light ether. It is this light Ultralight created space and made the basis of personality, which is essentially heavenly. Note that Ultralight light is the name of our background with you Russian icons. Brahma in the old Aryan texts called ether. And states — the highest element of ether. He has only one property, and it is called sound. Ether produces seven sounds and chord. Then the sound of air traffic or generate wind. And he already has two properties, sound and touch, that is inertia. And inertia is an intrinsic property of wind and movement. By reducing the speed of light, or in excess of the ether, as a result of contact — inertia, there is visible light, composed of the seven colors of the spectrum, which correlates with the seven pervozvukami. Properties of light is sound, touch and look. Moreover, an intrinsic property of light (visible light), is precisely the image. All that you and I see in this world is what has the image. Born out of sound and movement, that visible light is on the border, referring to the world as the light of divine right and as a way to peace shown by Reveal.
Note that in sermons against paganism in X11 — X111-century "Tale of the days of creation and Recom week," says Russian pagans worshiped in the first day of the seven-day week (Sunday) is not the sun, claiming that the sun was just a real embodiment of light and white the light, the light that is universal. Wrote Boris Rybakov, that this light, having no visible source is not tangible and inscrutable, as the emanation of divine creative world, and was the subject of medieval pagan worship. In the sacred texts of the Upanishads say that the universal light it zlatotsvetnaya bird that lives in the heart of the sun. Fire called white bird carrying a light. The Sanskrit word for fire, "purifying, cleansing," sounds like a pavane and pavaka — clean, bright light. Furthermore, Pavane is a fresh breeze, and Pavane Mann is the name of many hymns of praise. But in severnorusskih ceremonial songs waterfowl goose — a swan is called pavanka, peafowl, pavane. Thus, fire, and a hymn of praise in Sanskrit, is directly related to the name severnorusskim goose — swan — pavanka, peafowl, pavane. And here it is worth remembering that the Old Slavic ritual bonfires V1 — V century BC looked like pieces of flaming swans. What evidence found by archaeologists ashpan — the remains of campfires. Knowing that in the old tradition, the musical mood associated with geese, swans, creates music space that is comparable to the harp in this mythopoetic along with weaving of world harmony, one can understand why the author of "Lay" links in a single image a flock of swans and live strings — gusel are driving fingers prophetic Bojana, both on the basis of ducks threads, creating a weave epic song.
In the Rig Veda gimnotvorchestvo sages (rishis or Rush) is a process in which the supreme creative power of the word (voiced the thought) creates space, it weaves. On the unity of concepts tabby pattern and song, weave cloth, to explain the song, shows the term Sanskrit as "prastava" analog in severnorusskom dialect "prastava", "prastavka." But severnorusskaya "prastavka", "prastava" is embroidered or woven pattern-filled strip of cloth that adorns the shirts, aprons, towels ends religionists, tablecloths, wedding sheets, that is, notwithstanding that the sacred things. Sanskrit is "prastava" — a sacred text, a hymn of praise. So in the hymns of the Rig Veda the poet-singer asks for her help, weaving work, and says that the new and the new thread is woven into the sky and into the ocean enlightened poets. Moreover, within the text of the national anthem, the term "prastava" has many meanings: "prastava" — is a fire, the sun, the risen sun, the time after the sun, air, rain, wind, summer, speech, human skin, the call of love, the three worlds. Thus, fulfilling the sacred hymn, the poet-singer-musician put together into one the three worlds. Voice, singing ritual as weft is woven from threads — the words on the threads basics — strings fabric of the universe. In this structure, a musical instrument is virtually identical to the loom. It is no accident in the Vedic texts, millennial-old said about the three strands framework along which goose-light-fire, creating a material world.
A three-winged ancient harp, it is very close to the ideal musical instrument — a divine instrument. Think about the words of the hymns of the ancient Vedas conspiracies — Adharva Vedas — a story about the preservation of the harmony in the universe: "Two UNIC scurry basis, six pegs two scurrying, one other yarn stretches and do not break it, do not interrupt. Here pegs — they base the sky became voices for weaving shuttles. " Mentioned in the hymn of six poles, three on each side, which spanned three strings — the warp (gunas) are sacred pillars, on which the Rig Veda says "Like geese lined up in rows, columns came to us dressed in a bright raised before fire poets, gods take the path of the gods. "
Psaltery players from year to year, from century to century, from the Millennium Goals, constantly in the process of creative inspiration repeated the act of creation of the universe. They are buzzing, so the sound of traffic and gu gu, creates the third component — the visible light, but showing all the manifestations of the universe, the whole material, illusory world. They feed off the light space, preventing chaos destroy it, saving our world and the supreme law of life. It is no coincidence for them, which is also called clowns and "skomrat" in Sanskrit means messenger, the messenger, saying "going with the light on the light." And in that struggle for the spiritual power that was in Russia for a millennium, apparently, they have remained unbeaten, since even at the end of a XX-th century in Russia remained archaic form gusli living tradition that has been found in the expedition of the Leningrad Conservatory Pskov, Novgorod and Kirov regions.

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