The Wiccan horned masculine deity is a central figure in Wiccan belief and practice. This deity is often referred to as the Horned God or the Green Man and represents the masculine aspect of divinity in Wiccan cosmology. The imagery of the horned god can vary among different traditions and interpretations within Wicca, but he is commonly depicted as a figure with antlers or horns, symbolizing his connection to the natural world and the cycles of life and death. The horned god is associated with various aspects of nature, such as the wilderness, animals, and fertility. He is seen as a protector and guide, embodying both strength and wisdom. In some traditions, he is viewed as a consort to the goddess, representing the dynamic interaction between masculine and feminine energies.
"King Henry III and the Cosmati work at Westminster Abbey" by David Carpenter in The Cloister and the World. 1996.
The pavement was thoroughly cleaned and conservation and consolidation work was carried out and it was re-dedicated by the Dean at a service on 21st May 2010. Jewellery and homewares inspired by the complex patterns and unique craftsmanship of the Cosmati pavement are available from the Westminster Abbey Shop.
In some traditions, he is viewed as a consort to the goddess, representing the dynamic interaction between masculine and feminine energies. This duality is seen as essential to the balance and harmony of the universe. In addition to his association with nature and fertility, the horned god is also associated with personal transformation and spiritual growth.
Cosmati Pavement
The great pavement in front of the High Altar of Westminster Abbey is a unique and remarkable object. The complexity and subtlety of the design and workmanship can be seen nowhere else on this scale.
About the Cosmati Pavement
It was laid down in 1268 by order of Henry III who had started re-building Edward the Confessor's Abbey in the new Gothic style in 1245. The workmen came from Rome, with a man called Odoricus at their head. The pavement belongs to a type of inlaid stone decoration known as Cosmati work, after one of the families of craftsmen who specialized in it and the technique is called opus sectile, 'cut work'. This differs from ancient Roman and earlier medieval mosaic work which consists of square stones of equal size. It is also abstract in design. There is an even bigger contrast with the other great 13th century pavement at the Abbey, that in the Chapter House which is a tiled floor in the English tradition.
The great pavement is 24 feet 10 inches (7 metres 58 centimetres) square, with dimensions calculated in Roman feet and consists of geometrical patterns built up from pieces of stone of different colours and sizes cut into a variety of shapes: triangles, squares, circles, rectangles and many others. The central roundel is made of onyx and the pavement also includes purple porphyry, green serpentine and yellow limestone. Also part of the original material are pieces of opaque coloured glass – red, turquoise, cobalt blue and bluish white. It lies on a bed of dark limestone known as Purbeck marble. This is a major departure from Italian methods, since at home the workmen used white marble as a base. The use of glass in a pavement also goes against Italian practice.
The design consists of a broad border with a rectangle in the middle of each side and five roundels between each rectangle. The border encloses another square set transversely with its corners pointing north, south, east and west. Between the inner border and the transverse square are four triangular spaces occupied by large roundels. Within the transverse square is a pattern known as a quincunx, with a large roundel in the very centre flanked by four roundels as if in orbit around the centre. The basic layout is a four-fold symmetry, but in detail the variations are endless. No two roundels are the same. Of the four 'orbiting' roundels one is circular, one hexagonal, one heptagonal and one octagonal. The infill patterns are all different.
He is often seen as a guide through the cycles of life, death, and rebirth, offering wisdom and support to those who seek it. Many Wiccans see him as a source of inspiration and guidance in their own spiritual journeys. The horned god is often honored and invoked in rituals and ceremonies within Wicca. Offerings of food, drink, and other symbols of fertility and abundance are made to him, and prayers and invocations are offered to seek his blessings and assistance. Many practitioners also work with specific aspects or archetypes of the horned god, such as the Hunter or the Lord of the Wildwood, depending on their personal spiritual path and preferences. Overall, the Wiccan horned masculine deity holds a significant place in Wiccan belief and practice, representing the masculine aspect of divinity and embodying the power and wisdom of nature. His role as a guide and protector, as well as his association with personal transformation and spiritual growth, make him a central figure in the Wiccan spiritual tradition..
Reviews for "Invoking the Horned God: Rituals and Practices for Establishing a Deep Spiritual Connection"
1. Samantha - 2/5 stars - I was highly disappointed with the concept of the Wiccan horned masculine deity. As a practicing Wiccan, I found it to be a misrepresentation of our beliefs. The portrayal of a male deity with horns felt too cliché and played into outdated stereotypes. Additionally, the emphasis on masculinity felt exclusionary to those who identify as feminine or non-binary. Overall, I believe this depiction missed the mark and could have been approached in a more inclusive and respectful manner.
2. Jonathan - 1/5 stars - The Wiccan horned masculine deity was a complete turn-off for me. I found it to be overly masculine and patriarchal, which goes against the inclusive and balanced nature of Wicca. The concept of associating horns with masculinity just reinforced harmful stereotypes and negated the divine feminine energy that is also significant in our practice. I believe there are much better representations of deity within Wicca that should be explored instead of perpetuating these outdated ideas.
3. Emma - 2/5 stars - I struggled to connect with the idea of the Wiccan horned masculine deity. It felt too rooted in traditional gender roles and didn't resonate with my personal beliefs. I think Wicca should embrace a more fluid and inclusive understanding of deity, rather than clinging to rigid representations of masculinity. Ultimately, this concept just didn't align with my spiritual journey and left me feeling disconnected from the larger Wiccan community.
4. Michael - 3/5 stars - While I appreciate the attempt to incorporate a masculine deity in Wicca, I have some reservations about the concept of the horned deity. It felt like a stereotype and didn't offer a nuanced understanding of gender and spirituality. I believe there are better ways to honor masculinity without relying on these outdated tropes. While I didn't dislike the idea entirely, I do think it could have been presented in a more inclusive and thoughtful manner.