Houses, dogs, hair, oceans, moons, when we mention these words, we often think of not only the objects they represent, but also give them more meanings, such as houses may mean "stability" as opposed to "wandering", dogs mean "loyal", hair may mean "messy" or "numerous", ocean means "vast", moon means "romantic" or "holy", and so on. According to David Fontana, a British psychologist, educator and professor of psychology at Cardiff University, the power of symbols can not only stimulate the emotions and souls in everyone's heart, but also connect the experiences and memories shared by human beings to a certain extent. So, from different perspectives such as culture, history, psychology, etc., what is the root of symbols, and what kind of evolutionary process has it undergone?
The following is an excerpt from David Fontana's book Symbols: Human Civilization Behind 500 Symbols, with subtitles added by the editors, not original, and the images used in the text are from the book. It has been authorized by the publishing house to publish.
Symbols: Human Civilization Behind 500 Symbols, by David Fontana, translated by Wu Dongyue, China Friendship Publishing Company, April 2021.
We humans are born with an innate ability to think symbolically. This stems from our willingness to use some things to represent others. We look at a picture, it represents a landscape or a face; we read words, and words have their meaning. If we lose this ability, neither mathematics nor language will be available. Numbers represent quantities, and philosophically they are complex and esoteric concepts (as in the case of "red" or "cowardice," abstractions), but in everyday life we can use them with ease and unambiguousness. Text is more complex. They are presented on paper or screens in the form of sounds or symbols, representing objects, events, emotions, etc., often far from the scene of speaking or writing.
For example, a simple word "house" can immediately evoke a series of concepts in a person's mind, such as buildings, interiors, homes, security, and even mortgages and debts. In other words, even if a word has a straightforward basic meaning, its related meanings may be colorful and intricate. This is the essential connotation of symbolism. This ability to create symbols is unique to humans, and other primates have not evolved similar language skills precisely because of this lack of ability. We take language for granted, but whenever we think about it a little, we realize what an amazing achievement language is. Our minds can summon a wealth of meanings through specific words, including abstract concepts, visual images, ideas, memories, hopes, fears, longings, regrets, and so on.
True symbols have universal inner power,
It can convey meanings that go far beyond itself
The creation of symbols has its mysterious and even magical side. Once we lose it, our minds lose vast expanses of rich pictures. Ordinary symbols, such as houses, dogs, hair, oceans, and moons, all contain relevant information that is the source of value for our lives, and they have a double thickness of semantics and emotions. Taking the moon as an example, we don't need any deep reading or cultural experience to know that the moon is not just a changing yellow disk in the night, morning, and afternoon sky. We might think of its long-standing connection to romantic love (which is reinforced by movies, though it predates movies); we might also think of another romance of a different nature—the adventures of the American moon landing in 1969. Whether we look up at the moon, read the moon chapter, or just think about the moon or gossip about the moon with others, these very different related information will jump to mind consciously or unconsciously.
During the Middle Ages and the Renaissance, people of insight who sought to understand the universe compiled complex and elaborate symbol systems. This Turkish miniature painting from 1583, from the book The Essence of History, presents a picture of the universe centered on the earth, in which the zodiac and the twenty-eight houses are arranged in an orderly manner.
There are also huge differences between symbols. Over time, some symbols will be consciously or unconsciously added new meanings in various complicated use processes, so that their connotations will gradually enrich; other symbols will be deliberately selected or designed by humans. The latter should be more appropriately called a sign. They serve a symbolic purpose, of course, only on the premise that we decide to use them in this way.
In contrast, some symbols themselves have some inner meaning, such as a circle, a line that overlaps end to end, without beginning and end, which almost immediately conveys to us a complete, holistic, and even eternal idea. This idea is not learned from others, it seems to be an inherent part of the circle itself. Our minds, intuitively, react to the circle in this way. There is a natural but direct exchange of meaning between our minds and the circle—a kind of mental closeness. There is much more to be said about the circle, but this example shows us that, from the point of view of the mind, the true symbol has universal inner power and can convey meanings far beyond itself.
One of the stone tablets that make up the Mayan calendar. These intricately carved symbols are Mayan script. The development of writing is one of the most difficult and complex symbol creations.
Logos are the same as logos,
They are all products of intentional inventions by human beings for specific purposes
So far, we have all approached the generation of symbols from a Western, modern perspective, believing that the conclusions drawn from them are somewhat universal, but our visions are thus constrained by culture. Differences in beliefs and social customs, and differences in culture (including climate, terrain, flora and fauna, etc.) can lead our minds to very different directions. The intersection of belief systems and cultural influences can make the situation more complex. It is only when we extend our focus to other eras and cultures that symbolic symbolism becomes truly engaging.
True symbols, whose meanings evolved over time, are pictorial markers that people deliberately choose in order to convey some clear meaning. The difference between the former is the accumulation of nature and the latter is deliberate. In addition, there is another category called logos, which, while giving a visual impression that may resemble symbols, uses them in a more similar way to logos.
$ is an almost universal sign that means dollars. From our modern perspective, the figure has its own casual side: there does not seem to be an inherent connection between the dollar sign and the dollar; and even if we do not make such a connection, people can understand each other when talking about a certain amount of money. In fact, there are many existing theories that explain the origin of the dollar sign. Before 1963, the Oxford English Dictionary recorded that its most likely origin was the diagonal number 8, representing the ancient Spanish silver coin, and some theories suggest that it originated from the double-snake-wound scepter of the Greek god Hermes, who was the patron saint of bankers; some claims were more succinct, saying that it was a superposition of the letters p and s, representing the Mexican monetary unit peso. Of course, none of this mattered to a shy student, and it didn't prevent him from writing to his wealthy aunt to borrow money.
Other signs are more expressive, such as the silhouette of a jumping deer on the side of the road that automatically alerts the driver. If this logo is made into a three-dimensional image, the effect will be different. You'll clench your fists and give you a thumbs up when you agree, but the historical origins of this iconic gesture are far less clear than when you extend your hand to instruct others to see the rainbow.
The Great Western Railway uses the ancient coats of arms of London (pictured on the left) and Bristol (pictured on the right) as the company's logo, which refers to the continuity, vitality and prosperity of history.
Logos, like logos, are the product of intentional human inventions for specific purposes, but unlike most logos, they are distinctly figurative. Jumping deer can be colored, with green eyes and striped brown fur, used as the logo of the courier company. The fawn is, of course, also a symbol, conveying the associated message of shyness and speed. Trademarks and logos are used as visual sketches of business organizations and their products, usually falling within the category of signs (for identification purposes), but also often having the characteristics of logos (presenting their own advantages in images, such as agility and speed). Flags, coats of arms, badges, badges, and emblems representing political parties, schools, and sports teams may tend to the other extreme, purely expressive, with a certain feature of the logo, but they are generally classified as logos. This area of semantic coincidence is where the study of symbols is most colorful. The study of symbols is not a scientific discipline, but it is by no means a mess, and we should have a correct view of it from the perspective of its complexity.
Symbols that have a lasting and universal appeal,
Rooted in the collective unconscious of human beings
Compared with logos and logos that generally refer to specific entities, real symbols tend to represent more elusive and esoteric concepts that cannot be easily appealed to words. Most of them have been honed over a long period of time and have continued to this day in a multicultural environment, fully confirming their value. They are like another language, suggesting things that are imperceptible to the naked eye—such as aspirations, longings, worries, and vague, half-understood concepts such as divinity, soul, faith, immortality, innocence, solemnity, purity, detachment. One of the characteristics of them is that their meaning is usually intuitively available and does not require much explanation. Religious symbols, such as the Christian cross, the Islamic crescent sign, the seven-candlestick of Judaism, the Buddhist falun, the Taoist tai chi, the Hindu Omka, they and many other true symbolic designs can become divine incarnations, not only for the sake of application, but also because they have the inner power to convey important truths. They are a treasure trove of supreme meaning, enough to change the essence of life-changing wisdom.
Many of the true symbols are said to be spontaneously generated by the subconscious mind, thanks to some kind of deep intuition that is hidden deep in the depths of our minds. Such symbols tend to trigger immediate emotional responses, even for those unfamiliar with them, and they seem to be tuging at the back of a memory that can never be recalled. As a result, they are sometimes described as nodes connecting different worlds—the visible and palpable, restricted outer world on the one hand, and the infinite inner world that can only be reached through meditation and dreams. In a sense, the real symbol creates itself. Both signs and logos are quickly forgotten with the loss of utility, but the real symbols will always exist, pointing to the immortal part of the spirit. By undoing the layers of cultural differences, we will reap major discoveries that reveal the nature of human beings.
Our mind is one of the greatest mysteries, it is the eternal expansion of our inner universe. Our memory and consciousness may give us a glimpse of the beginning of the mind, but its question of its end is still shrouded in doubts. Beyond all the thoughts we can awaken, there is a vast collection of all the past experiences that make up our lives, far beyond the reach of consciousness. At a deeper level of the mind is also lurking what the Swiss psychologist Carl Gustav Jung called the "collective unconscious", which is the realm of our mental life, and Jung believes that our inheritance of it is the same as our body's inheritance of physiological characteristics. More deeply connected to our own existence is the soul or spirit. This part of us, called our eternal essence by the world's great spiritual traditions, is the sacred and ineffable self that transcends the fleeting world of the senses.
Painted ceilings of the Minakshi Shiva Temple in the southern Indian city of Madurai.
Symbols that have lasting and universal attraction have roots in the collective human unconscious. As a result, they are given the ability to return to these deeper levels as a gateway. This symbol frequently appears in dreams, which are nocturnal adventures created for us unconsciously, staged on the magical stage of the sleeping mind. They can also be used as objects for concentrating the mind during meditation. Meditation helps to bring consciousness to peace, to calm the noise of mental inertia, to make subtle language of the unconscious emerge and cross the boundaries of consciousness, to gain an understanding of aspects of ourselves that have not yet been discovered. If the symbol of our meditation has a special attraction to us, it has the potential to reveal a deeper meaning, to lead us to the spiritual source at the core of the self. We can meditate with our eyes closed and imagine symbols in our minds; or we can open our eyes and gaze peacefully at the symbols placed in front of us. There is no better way to sense the profound truths expressed by symbols than to use them as mirrors in meditation, which can effectively enhance our self-awareness.
Myths and legends stand out as archetypals,
It's because they have a timeless charm
Looking back at the world's most famous myths and legends, they attract us first of all because of their dramatic and historical nature. The exploits of the heroes of Iasson and Argo in capturing the Golden Fleece and the great wars depicted in Norse legends provide a harmless and fun way to both captivate children and summon a long-forgotten fantasy world. In fact, many of the world's grand myths and legends, especially those of ancient Egypt and Greece, are rich in extraordinary symbolism that refract the deep realms of the human mind and help us explore the realms of the individual and collective unconscious.
Carl Jung was a pioneer of this idea, describing the collective unconscious as beings that contain "archetypes." The so-called archetype, the intrinsic energy of the mind and spirit, which enables us to instinctively move toward eternal values and fundamental themes, including love, truth, heroism, etc., and the latter includes gods, creation, nature, wisdom, life and death, and so on. Each prototype has a complex layer of meaning, and the symbolic hand laws of ancient mythology provide the most convenient way to understand these archetypes. Symbolism has a variety of forms of expression, sometimes it uses allegorical objects (such as rings, treasures), creatures (such as dragons, multi-headed dogs), topographic features (caves, rivers, oceans, mountains), and sometimes it uses symbolic themes such as journeys, love, war, heroism, loyalty, etc. Mythological archetypes can also represent negative forces that human beings must fight, either lurking in the self or manifesting themselves in others, including betrayal, greed, cruelty, pride, selfishness, and so on.
Certain myths and legends stand out as archetypes because they have a timeless charm that shocks the soul. Once in contact with them, we can immediately decipher their symbolism and think of important experiences and concerns in our lives. We may be obsessed with the struggle between heroes and enemies, and this is precisely because our hearts are also caught up in such struggles, such as the contest between faith and doubt. We should not think that the legends of ancient Greece or Mesopotamia are only historical, they may express some indispensable aspect of our hearts. Even though the beliefs behind them have long since faded and become a historical legacy of vague memories, many ancient myths and legends can still be passed down to this day, and this may be the reason for this.
Psychotherapies that explore the depths of the mind also tend to encounter these archetypes. Analysts have studied areas such as dreams, childhood memories, neurosis, adult depression, fear, and craving, and have found that comparing them horizontally to typical themes of myths and folktales often inspires them. In fact, the psychology of modern psychoanalysis, which began with Sigmund Freud, Karl Jung, and their followers, only rediscovered what had been learned in detail by the ancestors. Modern topics, in particular, such as transcendental emotions and strange feelings for parents, are clarified in myths. It can be seen that the archetypes in these myths are important tools to help us self-knowledge.
As we have seen, the concept of archetype has a special connection with carl Jung's research, but its origins are the Hellenistic Jewish philosopher Philo Judith, also known as Alexander's Philo (about 20 BC to 50 AD), who used this term to represent the image of God, as a human side of God. Jung used the term archetype more broadly to mean "universal images constituting the collective unconscious"; these images, though themselves illusory energies, were convinced that they would emerge in human consciousness in the form of symbols. Philo, on the other hand, argues that when the soul is gradually freed from selfish and selfish desires and realizes its unity with the gods, archetypes can live forever.
For the Egyptians, this bird, known as the "ba", symbolized the human soul. As a pure archetype, it represents the purification and blessing of the human soul in future lives.
Shadows, troublemakers, heroes and wise men,
Jung believed that archetypes were most often represented in human form
Jung believed that archetypes were most often represented in human form. Anima and Animus are two of them, representing the female side of men and the masculine side of women, respectively. Each of us carries these qualities in our bodies, and ideally the male will come into contact with his Anima and the female with her Animus. However, once an anima or animus jumps to dominance, the balance of the ego is compromised. Jung believed that men dominated by Anima would be overly moody and emotionally susceptible, while women dominated by Animus would show an overly arbitrary, cold side. Anima and Animus simply provide balance and prevent overly masculine or feminine behavior. Like all archetypes, Anima and Animus can project outward onto the ideal image of the opposite sex, driving men to spend their lives looking for a woman who is both beautiful and admiring for themselves to love, driving women to vainly try to find a perfect opposite sex that combines male virtues to protect and cherish themselves.
devil. This medieval door ornament represents the image of the devil in the Christian tradition, warning people to stay away from sin.
In myths and fairy tales, Anima usually appears as a captive princess or a mysterious young woman who gives directions to a lost hero or helps him retreat after completing a dangerous mission. Animus generally appears as a brave, resourceful young man, but is often put in danger because of his stubborn and willful nature.
Another important archetype is the "shadow," which is the negativity of personality, the sum of instincts and traits that even we ourselves do not want to admit. Jung believes that if the shadow is not recognized, it may eventually erupt uncontrollably when we can't withstand the pressure, making us make us behave very differently from usual, and making us regret it afterwards. It can also be projected outwards to harm others, minorities and even small States. Its potential dangers are obvious. However, the shadow is not entirely negative either. Once its energy is discovered and draws social attention, it has the potential to help us find the necessary forces for autonomy and self-determination.
There is also a prototype that is likely to cause trouble, that is, "trick-or-treaters". "Tricksters" represent all those who inexplicably go down a crooked path, rob the fruits of success, play cruel games, challenge or disrupt the established order. On an inner level, "troublemakers" stimulate self-doubt and remind us of the existence of anxiety. When we most want to make a good impression, the presence of "tricksters" can make us look particularly clumsy.
However, like the shadow, the "trickster" does not bring all negative effects, it can sometimes bring about desirable changes. It can also help us discover our unconventional side of ourselves, or remind us that we are indulging in self-deception. In addition, it makes us realize that life is unpredictable, that we should not take ourselves too seriously, that we should not get carried away, that everything in life will remain the same, and that success is always at our fingertips.
Historical "troublemakers" incarnated as court courtiers or fools, and are the only kind of people who can satirize and ridicule the established order. In Norse mythology, this character is played by Loki, who always disrupts the plans of other gods. In African folklore, the "trickster" is often a rabbit. African slaves brought this tradition to the Americas, combined with the stories of native American rabbit crooks to create the image of the Brehr rabbit. In nature, the wind is fickle, coming and going completely out of our control, and is one of the most iconic "trick-or-treater" symbols.
Tyre Oren Spiegel. A banknote issued in 1921 bears the head of Tyre Oren Spiegel, the legendary "troublemaker" of Germany.
"Heroes" represent the most beautiful part of us, lofty ideals, self-sacrifice, honorable pursuits. He is a profile of all of us, a symbol of the best we can aspire to. He can also project to the outside world, for example, we long for a perfect leader, a superman who will solve all our problems for us.
Heroes are the most beloved archetypes in Western or war-themed films. We also find him in fairy tales, and he often embarks on a journey to find something magical (treasure, sword, ring, holy grail, etc.) that will play a role in correcting all wrongs. He can also be internalized as a symbol of our search for our true selves, our search for our secrets. He also appears in tragic myths and typical stories, ending up dismal because of a flaw. For example, Achilles, who died of injury to the only weakness of his heel; Hamlet, who died of indecision; Caesar, who died of refusal to listen to the diviner; King Lear, who died because he could not distinguish between true love and flattery. Flawed heroes symbolize human fragility, reminding us that even heroes cannot escape the fate of being defeated by death. As Shakespeare said in The Simberians, "The talented child returns to the spring soil, just like the man who sweeps the chimney." ”
A Greek vase made in the 6th century BC. The hero's confrontation with the shadow.
Along with the hero in our bodies is the archetype of the "wise man", who generally appears in the form of a wise old man, a sage, a wizard, a parent, with the ability to guide, heal, inspire, and sometimes possess supernatural abilities. Just as we project heroes outward, we project wise men, trying to find their presence within ourselves. As a result, we tend to think that others, for example, scientists on TV screens, self-bragging therapists, are smarter than we are. That is why we are so easily deceived by all kinds of false masters and false prophets.
Author 丨 [English] David Fontana
Excerpt 丨An also
Edited by 丨 Wang Qing
Introduction Proofreading 丨 Wei Zhuo