Why The Seven Lucky Gods in my book?
Why did I add “The Seven Lucky Gods” in my book Manifestation Magic?
Welcome back to my virtual space, I'm Elhoim, and here is a very long post to read, enjoy.
If you have already purchased my new book "Manifestation Magic: 21 Rituals, Spells, and Amulets for Abundance, Prosperity, and Wealth" you will have noticed that one of the most curious chapters is dedicated to mentioning and briefly describing a mixed list of divinities of luck and good fortune of various origins, so that nobody feels omitted (regardless of their religious path and preference), such as the fact that the Goddesses & Gods of good fortune (mostly) act in various religions without the need or intervention of initiatory processes, blessing all their believers equally and without exceptions, in addition, I have a personal belief that their names mentioned out loud act as mantras that bring good fortune and joy to all those who follow them.
Welcome back to my virtual space, I'm Elhoim, and here is a very long post to read, enjoy.
If you have already purchased my new book "Manifestation Magic: 21 Rituals, Spells, and Amulets for Abundance, Prosperity, and Wealth" you will have noticed that one of the most curious chapters is dedicated to mentioning and briefly describing a mixed list of divinities of luck and good fortune of various origins, so that nobody feels omitted (regardless of their religious path and preference), such as the fact that the Goddesses & Gods of good fortune (mostly) act in various religions without the need or intervention of initiatory processes, blessing all their believers equally and without exceptions, in addition, I have a personal belief that their names mentioned out loud act as mantras that bring good fortune and joy to all those who follow them.
Obviously, the space in the books is certainly limited, so having a blog allows me to expand the content a little more in an accessible way for everyone, although the section on the seven gods of luck is quite short, here you have the complementary information that you might need.
If you have not yet purchased and read "Manifestation Magic", sorry for ruining the surprise for you, lol, but you still have time to find my book in your favorite store, by clicking here and here.
Why the Seven Lucky Gods? The seven gods of good fortune are well known for their “Japanese origin”, their related imagery is available in all kinds of art forms, paintings, sculptures, and statuettes in shops and restaurants around the world, in fact, my first contact. with the gods of fortune, it was through the popular and charming "Hotei" in a Chinese food place in my native Venezuela, usually, Hotei is confused with Buddha, and the reason why there is so much confusion around the Buddha image, because It is common to find pictures, paintings, and statues of Hotei in a variety of Asian food restaurants, where his image is related to a good omen of joy, good fortune, and financial abundance.
Why the Seven Lucky Gods? The seven gods of good fortune are well known for their “Japanese origin”, their related imagery is available in all kinds of art forms, paintings, sculptures, and statuettes in shops and restaurants around the world, in fact, my first contact. with the gods of fortune, it was through the popular and charming "Hotei" in a Chinese food place in my native Venezuela, usually, Hotei is confused with Buddha, and the reason why there is so much confusion around the Buddha image, because It is common to find pictures, paintings, and statues of Hotei in a variety of Asian food restaurants, where his image is related to a good omen of joy, good fortune, and financial abundance.
The seven gods of fortune entirely represent the cycle of evolution and consolidation of the pagan gods in multiple cults; A recurring character is capable of working certain wonders and "miracles", is venerated in life and after death, and is remembered and venerated as a divinity, time and followers do the rest, turning the character into a legend, the legend into a myth, and many times in a divinity capable of granting all kinds of wishes to mortals from beyond. The most interesting topic about the seven gods of fortune is their origin and number (seven or eight), which I will tell you about below.
“It is known that these deities mostly have their origins as ancient gods of fortune from religions popular in Japan: from Mahayana Buddhism (Benzaiten, Bishamonten, Daikokuten) which came to Japan from China but originated in India, and from Chinese Taoism (Fukurokuju, Hotei, Jurojin); except for one (Ebisu) who has a native Japanese ancestry.
These gods have been recognized as such for over a thousand years. In the beginning, these gods were worshiped by merchants as the first two (Ebisu and Daikokuten) were gods of business and trade.”
She is represented as a smart, beautiful woman with all the aforementioned attributes. She carries a biwa, a Japanese traditional lute-like instrument, and is normally accompanied by a white snake. She is the patron of artists, writers, dancers, and geisha, among others.
He is the god of fortune in war and battles, also associated with authority and dignity. He is the protector of those who follow the rules and behaves appropriately. As the patron of fighters, he is represented dressed in armor and a helmet, carrying a pagoda in his left hand. He also acts as the protector of holy sites and important places and holds a spear in his right hand to fight against the evil spirits. He is usually depicted in illustrations with a hoop of fire.
Under his incarnation as Vaiśravaṇa is one of the “Four Heavenly Kings”, and is considered an important figure in Buddhism.
In the Pāli Canon of Theravāda Buddhism, Vaiśravaṇa is called Vessavaṇa. Vessavaṇa is one of the Cāturmahārājika deva or "Four Great Heavenly Kings", each of whom rules over a specific direction. Vessavaṇa's realm is the northern quadrant of the world, including the land of Uttarakuru. According to some suttas, he takes his name from a region there called Visāṇa; he also has a city there called Ālakamandā which is a byword for wealth. Vessavaṇa governs the yakshas, beings with nature between 'fairy' and 'ogre'.
Is the god of commerce and prosperity, and he is sometimes considered the patron of cooks, farmers and bankers, and a protector of crops. He is also considered a demon hunter, the legend says that the god Daikokuten hung a sacred talisman on the branch of a tree in his garden and, by using this as a trap, he was able to catch a demon.
This god is characterized by his smile, by his short legs, and by the hat on his head. He is usually depicted with a bag full of valuable objects. Daikokuten's popular imagery originated as a syncretic conflation of the Buddhist death deity Mahākāla with the Shinto deity Ōkuninushi.
He is the god of wisdom, luck, longevity, wealth, and happiness. This god receives certain credits, such as being one of the Chinese philosophers who could live without eating (breatharian). Moreover, *he is the only “lucky god” who was said to have the ability to resurrect the dead. Fukurokuju is characterized by the size of his head, being almost as large as the size of his whole body, and is represented wearing traditional Chinese costumes. He normally carries a cane in one hand and in the other a scroll with writings about the world, he is usually accompanied by a turtle, a crow, or a deer, animals that are frequently used in Japan to symbolize a long life.
It has been theorized that he is Japanese assimilation of the Chinese Three Star Gods (Fu Lu Shou) embodied in one deity. Most related in appearance to the Chinese star god Shou, he is the God of wisdom and longevity. According to some, before attaining divinity, he was a Chinese hermit of the Song Dynasty and a reincarnation of the Taoist Deity, Xuantian Shangdi. It is said that during his human incarnation, he was a sennin; an immortal who could exist without eating food.
*He is the only member of the Seven Lucky Gods credited with the ability to resurrect the dead.
Hotei's original Chinese name was Kaishi, and according to legend, he died in March 916. The Japanese began to believe in Hotei during the Edo era. The reason why the Japanese have such great respect for this god comes from a legend that says that, before Zen Buddhism arrived in Japan, an alternative Buddhist thought was extended by a priest of dubious aesthetic, who actually was a manifestation of Miroku. Miroku was the patron of those who could not be saved by the beliefs of Buddha, and Hotei was later perceived and accepted by the Japanese as a second Miroku.
He is depicted as a fat, smiling, bald man with a curly mustache. Hotei was a Zen priest, but his appearance and some of his actions were against their moral code: his appearance made him look like quite a mischievous person and he had no fixed place to sleep.
He always appears half-naked, as his clothes are not wide enough to cover his enormous belly. He blessed the Chinese, and they nicknamed him "Cho-Tei-Shi" or "Ho-Tei-Shi", which means ‘bag of old clothes.
He carries a bag on his shoulders that is loaded with fortunes for those who believe in his virtues. His name literally means "cloth sack", and refers to the bag that he is conventionally depicted as carrying as he wanders aimlessly. His jolly nature, humorous personality, and eccentric lifestyle distinguish him from most Buddhist masters or figures. He is almost always shown smiling or laughing, hence his nickname in Chinese, the "Laughing Buddha".
Hotei's traits and virtue are contentment, magnanimity, and happiness.
Their Origin.
(The following descriptions (largely) come from the book "The seven lucky gods of Japan" by Reiko Chiba. The most complete book on the subject, and also the one with the clearest references.)“It is known that these deities mostly have their origins as ancient gods of fortune from religions popular in Japan: from Mahayana Buddhism (Benzaiten, Bishamonten, Daikokuten) which came to Japan from China but originated in India, and from Chinese Taoism (Fukurokuju, Hotei, Jurojin); except for one (Ebisu) who has a native Japanese ancestry.
These gods have been recognized as such for over a thousand years. In the beginning, these gods were worshiped by merchants as the first two (Ebisu and Daikokuten) were gods of business and trade.”
~ Reiko Chiba.
Gods of Mahayana Buddhism (India)
Benzaiten
Benzaiten (弁才天 or 弁財天) (also known as Benten) is a Japanese Buddhist goddess who originated from the Hindu goddess Saraswati. Her origin is found in Hinduism, as she comes from the Hindu goddess Saraswati. She is the only female Fukujin in the modern grouping. When she was adapted from Buddhism, she took the attributes of financial fortune, talent, beauty, and music. She is represented as a smart, beautiful woman with all the aforementioned attributes. She carries a biwa, a Japanese traditional lute-like instrument, and is normally accompanied by a white snake. She is the patron of artists, writers, dancers, and geisha, among others.
Bishamonten or Vaiśravaṇa
Bishamonten's (毘沙門天) origins can be traced back to Hinduism, but he has been adopted into Japanese culture. He comes from the Hindu god Kubera and is also known by the name "Vaisravana".He is the god of fortune in war and battles, also associated with authority and dignity. He is the protector of those who follow the rules and behaves appropriately. As the patron of fighters, he is represented dressed in armor and a helmet, carrying a pagoda in his left hand. He also acts as the protector of holy sites and important places and holds a spear in his right hand to fight against the evil spirits. He is usually depicted in illustrations with a hoop of fire.
Under his incarnation as Vaiśravaṇa is one of the “Four Heavenly Kings”, and is considered an important figure in Buddhism.
In the Pāli Canon of Theravāda Buddhism, Vaiśravaṇa is called Vessavaṇa. Vessavaṇa is one of the Cāturmahārājika deva or "Four Great Heavenly Kings", each of whom rules over a specific direction. Vessavaṇa's realm is the northern quadrant of the world, including the land of Uttarakuru. According to some suttas, he takes his name from a region there called Visāṇa; he also has a city there called Ālakamandā which is a byword for wealth. Vessavaṇa governs the yakshas, beings with nature between 'fairy' and 'ogre'.
Daikokuten
Daikokuten (大黒天) is a syncretic Japanese deity of fortune and wealth. Daikokuten originated from Mahākāla (a protector deity), the Buddhist version of the deity Shiva (“The Auspicious One” and “The Great One”) in Hinduism, conflated with the native Shinto god Ōkuninushi (the head of the Gods of the Earth and the primordial Ruler of Earth). Is the god of commerce and prosperity, and he is sometimes considered the patron of cooks, farmers and bankers, and a protector of crops. He is also considered a demon hunter, the legend says that the god Daikokuten hung a sacred talisman on the branch of a tree in his garden and, by using this as a trap, he was able to catch a demon.
This god is characterized by his smile, by his short legs, and by the hat on his head. He is usually depicted with a bag full of valuable objects. Daikokuten's popular imagery originated as a syncretic conflation of the Buddhist death deity Mahākāla with the Shinto deity Ōkuninushi.
Gods of Chinese Taoism
Fukurokuju
The god Fukurokuju (福禄寿) from China used to be a hermit during the Chinese Song dynasty, distinguished for being a reincarnation of the Taoist god Hsuan-wu. It is said that during his human incarnation, he was a sennin; an immortal who could exist without eating food.He is the god of wisdom, luck, longevity, wealth, and happiness. This god receives certain credits, such as being one of the Chinese philosophers who could live without eating (breatharian). Moreover, *he is the only “lucky god” who was said to have the ability to resurrect the dead. Fukurokuju is characterized by the size of his head, being almost as large as the size of his whole body, and is represented wearing traditional Chinese costumes. He normally carries a cane in one hand and in the other a scroll with writings about the world, he is usually accompanied by a turtle, a crow, or a deer, animals that are frequently used in Japan to symbolize a long life.
It has been theorized that he is Japanese assimilation of the Chinese Three Star Gods (Fu Lu Shou) embodied in one deity. Most related in appearance to the Chinese star god Shou, he is the God of wisdom and longevity. According to some, before attaining divinity, he was a Chinese hermit of the Song Dynasty and a reincarnation of the Taoist Deity, Xuantian Shangdi. It is said that during his human incarnation, he was a sennin; an immortal who could exist without eating food.
*He is the only member of the Seven Lucky Gods credited with the ability to resurrect the dead.
Hotei or Budai
Hotei (布袋) is the god of fortune, guardian of children, patron of diviners and barmen, and also the god of popularity. He is a historical Chinese monk who is often venerated as Maitreya Buddha in Chan Buddhism. He also came to be venerated in Vietnam, Korea, and Japan.Hotei's original Chinese name was Kaishi, and according to legend, he died in March 916. The Japanese began to believe in Hotei during the Edo era. The reason why the Japanese have such great respect for this god comes from a legend that says that, before Zen Buddhism arrived in Japan, an alternative Buddhist thought was extended by a priest of dubious aesthetic, who actually was a manifestation of Miroku. Miroku was the patron of those who could not be saved by the beliefs of Buddha, and Hotei was later perceived and accepted by the Japanese as a second Miroku.
He is depicted as a fat, smiling, bald man with a curly mustache. Hotei was a Zen priest, but his appearance and some of his actions were against their moral code: his appearance made him look like quite a mischievous person and he had no fixed place to sleep.
He always appears half-naked, as his clothes are not wide enough to cover his enormous belly. He blessed the Chinese, and they nicknamed him "Cho-Tei-Shi" or "Ho-Tei-Shi", which means ‘bag of old clothes.
He carries a bag on his shoulders that is loaded with fortunes for those who believe in his virtues. His name literally means "cloth sack", and refers to the bag that he is conventionally depicted as carrying as he wanders aimlessly. His jolly nature, humorous personality, and eccentric lifestyle distinguish him from most Buddhist masters or figures. He is almost always shown smiling or laughing, hence his nickname in Chinese, the "Laughing Buddha".
Hotei's traits and virtue are contentment, magnanimity, and happiness.
Jurojin
Considered the incarnation of the southern pole star (南極星 "nankyokusei"), Juroujin (寿老人) is the great god of the elderly and of longevity in Japanese Buddhist mythology.
Jurōjin originated from the Chinese Taoist god, the Old Man of the South Pole. He is known as the immortal of the Northern Song dynasty (960–1127) and may have been a historical figure of the period. Jurōjin is identified as the personification of the Southern Polar Star.
It is said that the legendary Juroujin is based on a real person who lived in ancient times. He was approximately 1.82 meters tall with a very long head. Besides his distinctive skull, he is represented with a long white beard, riding a deer, and is often also accompanied by a 1500-year-old crane and a tortoise, as symbols of his affinity with long lives. In addition, he is usually represented under a peach tree, as the fruit of this tree is considered, by Chinese Taoism, as able to prolong life. In his hand, he holds a cane and a book or a scroll. The wisdom of the world remains written in its pages. Jurojin enjoys rice and wine and is a very cheerful figure.
From the period of the gods Izanami and Izanagi, Ebisu (恵比寿) is the only one whose origins are purely Japanese. He is the god of prosperity and wealth in business, and of plenitude and abundance in crops, cereals, and food in general. He is the patron of fishermen and therefore is represented with fishermen's costumes such as a typical hat, a fishing rod in his right hand, and a fish that can be either a carp, a hake, a codfish or sea bass, or any large fish, in general, that symbolize abundance in meals (such as a feast or banquet). It is now common to see his figure in restaurants where fish is served in great quantities or in household kitchens.
In medieval times, Ebisu's origin came to be tied together with Hiruko, the first child of Izanagi and Izanami (the creator deity, and the goddess of creation and death), born deaf and without bones due to his mother's transgression during the marriage ritual. Hiruko struggled to survive but, as he could not stand, he was cast into the sea in a boat of reeds before his third birthday.
The weak child overcame many hardships, grew legs (and, presumably, the rest of his skeletal structure) at the age of three, and became the god Ebisu. He remains slightly crippled and deaf, but always cheerful and auspicious.
Ebisu's festival is celebrated on the twentieth day of the tenth month, Kannazuki (the month without gods). While the other myriad members of the Japanese pantheon gather at “The Grand Shrine of Izumo” (the Big Temple in the Heavens), Ebisu does not hear the summons due to his deafness, and because of this, he is still available for worship.
Is a Fukujin (Japanese) Goddess, and is adapted via Buddhism from the Hindu goddess Lakshmi. Kisshōten has the traits of beauty, happiness, and fertility. In the 1783 edition of the Butsuzōzui compendium, Kichijōten replaced Fukurokuju as one of the seven Fukujin.
Kichijōten's iconography is distinguished from the other Fukujin goddesses by the Nyoihōju gem (如意宝珠) in her hand (s a wish-fulfilling jewel within both Hindu and Buddhist traditions).
Jurōjin originated from the Chinese Taoist god, the Old Man of the South Pole. He is known as the immortal of the Northern Song dynasty (960–1127) and may have been a historical figure of the period. Jurōjin is identified as the personification of the Southern Polar Star.
It is said that the legendary Juroujin is based on a real person who lived in ancient times. He was approximately 1.82 meters tall with a very long head. Besides his distinctive skull, he is represented with a long white beard, riding a deer, and is often also accompanied by a 1500-year-old crane and a tortoise, as symbols of his affinity with long lives. In addition, he is usually represented under a peach tree, as the fruit of this tree is considered, by Chinese Taoism, as able to prolong life. In his hand, he holds a cane and a book or a scroll. The wisdom of the world remains written in its pages. Jurojin enjoys rice and wine and is a very cheerful figure.
The Japanese One
Ebisu / Webisu / Hiruko
Ebisu Is the Japanese god of fishermen and luck. He is one of the Seven Gods of Fortune (七福神, Shichifukujin), and the only one of the seven to originate purely from Japan without any Buddhist or Taoist influence.From the period of the gods Izanami and Izanagi, Ebisu (恵比寿) is the only one whose origins are purely Japanese. He is the god of prosperity and wealth in business, and of plenitude and abundance in crops, cereals, and food in general. He is the patron of fishermen and therefore is represented with fishermen's costumes such as a typical hat, a fishing rod in his right hand, and a fish that can be either a carp, a hake, a codfish or sea bass, or any large fish, in general, that symbolize abundance in meals (such as a feast or banquet). It is now common to see his figure in restaurants where fish is served in great quantities or in household kitchens.
In medieval times, Ebisu's origin came to be tied together with Hiruko, the first child of Izanagi and Izanami (the creator deity, and the goddess of creation and death), born deaf and without bones due to his mother's transgression during the marriage ritual. Hiruko struggled to survive but, as he could not stand, he was cast into the sea in a boat of reeds before his third birthday.
The weak child overcame many hardships, grew legs (and, presumably, the rest of his skeletal structure) at the age of three, and became the god Ebisu. He remains slightly crippled and deaf, but always cheerful and auspicious.
Ebisu's festival is celebrated on the twentieth day of the tenth month, Kannazuki (the month without gods). While the other myriad members of the Japanese pantheon gather at “The Grand Shrine of Izumo” (the Big Temple in the Heavens), Ebisu does not hear the summons due to his deafness, and because of this, he is still available for worship.
The (very powerful) Eight One
Kisshōten ("Auspicious Heavens") or Kisshoutennyo.
It is the eighth deity, many times omitted for having been introduced later, although in some Buddhist and Taoist currents it simply takes the place of Fukurokuju.Is a Fukujin (Japanese) Goddess, and is adapted via Buddhism from the Hindu goddess Lakshmi. Kisshōten has the traits of beauty, happiness, and fertility. In the 1783 edition of the Butsuzōzui compendium, Kichijōten replaced Fukurokuju as one of the seven Fukujin.
Kichijōten's iconography is distinguished from the other Fukujin goddesses by the Nyoihōju gem (如意宝珠) in her hand (s a wish-fulfilling jewel within both Hindu and Buddhist traditions).
with love, Elo.
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Bibliography
- Elhoim Leafar (2021). "Manifestation Magic: 21 Rituals, Spells, and Amulets for Abundance, Prosperity, and Wealth". Weiser Books.
- Chiba, Reiko (28 August 2012). Seven Lucky Gods of Japan. Tuttle Publishing.
- Garcia, Hector (2012). Geek in Japan: Discovering the Land of Manga, Anime, Zen, and the Tea Ceremony. Tuttle Publishing.
- Faure, Bernard (2015). The Fluid Pantheon: Gods of Medieval Japan, Volume 1.
- Faure, Bernard (2015). Protectors and Predators: Gods of Medieval Japan, Volume 2. University of Hawaii Press.
- Ashkenazi, Michael (2003). Handbook of Japanese Mythology, Santa Barbara, California:
- Davis, F. Hadland (1912). Myths and Legends of Japan
- Catherine Ludvik (2001), From Sarasvati to Benzaiten, Ph.D. Thesis, University of Toronto, National Library of Canada.
- Leighton, Taigen Dan (1998). Bodhisattva Archetypes: Classic Buddhist Guides to Awakening and Their Modern Expression. New York: Penguin Arkana.
- Finegan, Jack (1989). An Archaeological History of Religions of Indian Asia. Paragon House.Peterson, Christopher. "When Did the Buddha Become Fat?". Article for Psychology Today. Retrieved 1 November 2018. (Read the article here)
- Seow (2002). Legend of the Laughing Buddha. Asiapac Books.
- Levine, Gregory (2007). Awakenings: Zen Figure Painting in Medieval Japan. Japan Society.
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