Tiger Dream Interpretation


A man of Asian descent has the following dream. “I was in a far away exotic place. Eventually I noticed these things on the floor. They looked like old washed up, mud cover tree trunk (medium sized) sitting there embedded in the floor. I looked closer at one, and it looked like a mud covered/dark stone tiger. Looking closer I realized it just didn’t look like one, it was a tiger, sort of half incarnated. Out of a bit of fear, I kicked sand from the floor on it’s face to see it was real. I felt bad I did that immediately thereafter. The tiger looked back at me.

I am in a light blue colored room and I see two tigers and then notice that the room is full of tigers. One is bigger than the rest. There are two more big female tigers, each with two cubs. I make sure the door is closed. There is no lock. Door is flimsy poor Asia slider wood door with window panes.

I decide to switch to a room upstairs. I walk out of the room, and realize I forget my phone and my key to that room. I go back in and find them. I go back out out of the room and try to lock the door. It won’t. More I try to lock, the more the door comes off the hinges. There is another door in the room I was in an adjacent room. That too opens and man and women appear, and that door falls off too. Then the tigers come into the room. There are two. We are somewhat afraid but we stand there and not run. The two tigers sit there against the light blue wall.

I feel myself surrendering to the situation. The room goes dark. And out of nowhere, there is a light, coming from above me and to the right, and just slightly in front, like a flash light shining down on me. It is a pure white light. Not too bright. Not too dim. I just stand there. Empty mind, just light. Until it eventually fades. I think of the old painting from Europe lit in the same light, when spoken to from above. The light at the end was amazing. It was there with eyes open or closed. Didn’t matter. I was in pitch lack room laying in bed, lucid state. It wasn’t a big light, like a flashlight at the ceiling. I remember it was very white, though.”

INTERPRETATION – Dreams are the way the psyche speak to images and give expression to instincts that derive from most primitive levels of our existence to return us to the natural law of our being.

Creativity is woven into us and ready to be ignited like the tiny speck of immense energy in the early moments of the universe. Instinctively we know that life is an adventure of chaos and order; we desperately want to control thing for the fear of disequlibrium. This dream actually offers us a paradoxical dynamic in the face of chaos, the courage to “surrender” to the moment rather than to try to control it. When the dreamer surrenders to the environment, “the room goes dark…out of nowhere, there is a light, coming from above…like a flash light shining down (on the dreamer). It is a pure white light…I just stand there, empty mind, just light… I think of the old painting from Europe lit in the same light, when spoken to from above…the light at the end was amazing.”

Surrendering in Goethe’s words is to ‘die and become’. To the extent that the ego consciously embraces “death” it constellates life in depth. Surrendering is to give up a belief about some form of control and reposition us for a different type of encounter. What we have to give up in our surrender is our “objective” mechanical worldview and reintegrate ourselves into nature’s self-organizing patterns that provide us access to light and energy. By surrendering we once again immerse ourselves in light and energy.

Light and energy are the creation principle of the cosmos and our planet. In the new scientific Gaia creation story, the theory is that our planet and its creatures constitute a single self-regulating system, which is in fact, a “great living being”. We now recognize that the Earth itself comes alive in the whirling dance of matter in space that manifested the crust of the earth that eventually transformed itself in what we call nature, water, mountains, valleys as well as stones.

The dream begins with nature in the form of trees and stones, “I was in a far away exotic place. Eventually I noticed these things on the floor. They looked like old washed up, mud cover tree trunk…embedded in the floor. I looked closer at one, and it looked like a mud covered/dark stone tiger.” Our awareness if “mud covered tree trunks” initiates our understanding that we are about to enter a story of growth, proliferation, generative and regenerative processes. Trees, often symbolized as the tree of life, stand for inexhaustible life, and are equivalent to a symbol of immortality.

“Out of a bit of fear, I kicked sand from the floor on its face to see if it was real.” Creation stories abounding from all around the ancient world all have a common theme, where mankind is created from sand, dirt, mud, or clay. In the Egypt creation myth, sand and mud are obtained from the Nile to create life. In Genesis 2.7 “the LORD God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature.” On in China the goddess Nau Gua “carefully shaped yellow clay making human images which she breathed into and they came alive.”

The mud, clay or dust form of the tigers is the prima materia that births this primal creation energy into the dreamer’s life. In alchemy, the prima material is the ‘single original stuff that goes through a number of alchemical operations to produce the Philosophers’ Stone. One alchemist says, “one must start with a bit of the Philosophers’ Stone if one is to find it.” As Jung says, “…the entire alchemical procedure…could just as well represent the individuation process.” Tiger energy is for this man his access to man’s Philosophers’ Stone for his individuation process

Tigers are the biggest cats in the whole entire World. The tiger is associated with Tsai Shen Yeh, the Chinese God of Wealth, and this god is usually seen sitting on a tiger. The tiger is the protector of the dead, and will often be seen in graves as a mark of protection, assuring peace for those who have died. It is also an image symbolizes the supremacy of the intangible forces, and our ability to harness the tiger’s power in our lives.

Stones are symbols of being, of cohesion and harmonious reconciliation with the Self. Their hardness and durability suggests to us the antithesis of a biological thing subject to the laws change, decay and death and well as the antithesis to dust and sand as aspects of disintegration. Paradoxically the Philosopher’s stone symbolizes unity and strength. In Islamic worship, the most celebrated stone is the Kaaba meteorite in Mecca, Among the stones venerated by the ancients, the Greek’s had the omphaloi, or in Hebrew, the stone is God’s house, ‘and this stone which I have set for a pillar, shall be God’s House’ Genesis 22). In other words the stone is a symbol of authentic Self, a symbol of our wholeness and individuation.

Stones are among our earliest tool, weapons and symbols of power, Increasing the might and the effectiveness of early men and women in coping with their environments. The stone as an archetype can be considered compared to our brief human life span as a symbol of endurance; indeed it suggests the concept of eternity. Yet, the common stone surrounds us everywhere and we give it little value. For the alchemist, the “mean, uncomely stone, cheap in price” becomes the indestructible material of transformation into the Philosopher’s stone. The Arabian alchemist Morienus expressed it even more directly: This thing (the philosopher’s stone) is extracted from you: you are its mineral and one can find it in you.” The dreamer must patiently work throughout his life, like the ancient alchemists, “with love” to transform what we least value-the dead, the ignorant or false aspect of ourselves, into the true stone, wise and eternal.

The Gaia creation story shares with us that all the mysteries of life including the matter in the universe are part of our ecosystems in evolution. Even DNA virtually the oldest thing in Earth’s evolution is still alive on its surface-propagating itself from the beginning in the unbroken chain, as surface rock transformed into “endless creatures who recycled it in turn into sediments that were subducted back into the magma of origin by great tectonic plates.” In other words, at one point the matter of stones like all earth were part of the self-regulating living systems of which all other life forms evolved since. As the crust became more alive with bacteria it creates its own atmosphere and finally produces the larger life forms –the trees animals (tigers) and people.

Tiger Dream Interpretation-bTigers in many Asia cultures are powerful symbols the emergence of the king archetype, the central organizing principle of the Self, the all in us Light as the spirit of the Self has emerged to shine on this man’s life birthing his creativity at a deeper level giving him access to the cosmic energy of all life. This illumination is a signal of his spiritual strength.

To surrender to an archetype like the “tiger” takes an authentic ego rather than the inflated ego that tries to dominate and control life. The building blocks of the evolving authentic ego engaging an archetype often emerge in dreams as earthly animal representatives of transpersonal principles. Here the awakening is the evolution of the authentic ego and its alliance with unconsciousness is able the animate the “stone tigers,” birthing their living presence as a primal force of his nature and humanity. The dream shows there is no way to keep this tiger family of energy inanimate in his life and work any more. Here the urge to consciousness that has resided in the unconscious and not been fully realize as a natural urge has emerged. There is no way to lock away this energy. The tiger path is his “light” and the archetypal state of his enlightenment of the authentic Self emerge as opposed to a previous state of ego consciousness

The blue color of the room that the tiger emerge in is important representing the lunar context that is the holding container of this energy for the dreamer. Like the lion is representative of the burning force of the sun, the solar aspect of life, in contrast, the tiger with it play of yellow body and black stripes mirrors the symbolic ambivalence of the power of the night and the lunar. The tiger as a big cat that can dispatch its prey with a single stroke of mite to the neck is an energy of lithe elegance and lusty sensuality. It conveys protective grace and noble authority that has inspired everything from warrior societies to shamanic magic. They hunt in silence and agility that almost seems supernatural. The tiger signifies the structure and ferocity of the warrior, the urge of the capacity to spring into action at a critical time yet as the dream show the ability to “surrender” to the silence of nature. On its black forehead marking’s every tiger carries a pattern identical with the Chinese character for “king.” In the Japanese traditions the tiger is a creature of mountainous ascent and descent, and evocative of the qualities of the lunar yin, at sunset, autumn and earth. Here and not here, the tiger is like a spirit of wind, “ The mysterious rustling of the wind in a bamboo thicket, a sound that has an unearthly and eerie charm.” The tiger represents the vital powers within ourselves that are now being embodied in space, habitat and respects the force of its living presence in nature. The tiger represents one of nature’s most extraordinary incarnations of creative aggressiveness and sovereign instinct.

Rudolph the Red Nosed Reindeer and the Mayan Calendar

By  Howard Teich, Ph.D.

Rudolph first appeared in a 1939 booklet written by Robert L. May and published by Montgomery Ward.

Rudolph first appeared in a 1939 booklet written by Robert L. May and published by Montgomery Ward.

Rudolph the Red Nosed Reindeer is a fictional reindeer with a glowing red nose. He is popularly known as “Santa’s 8th Reindeer and is the lead reindeer pulling Santa’s sleigh on Christmas Eve, bringing gifts to children who have been good. The luminosity of his nose is so great that it illuminates the team’s path through inclement winter weather.

Rudolph’s glowing red nose made him a social outcast. The other reindeer harassed him mercilessly and excluded him from their fun because of this unusual trait. However, one Christmas Eve Santa Claus was having difficulty making his flight around the world because it was too foggy. When Santa went to Rudolph’s house to deliver his presents he noticed the glowing red nose in the darkened bedroom and decided it could serve as a makeshift lamp to guide his sleigh. He asked Rudolph if he would lead the sleigh for the rest of the night. Rudolph agreed, and was rewarded with recognition and acceptance amongst his fellow reindeer for his heroics that helped Santa Claus.

Christmas is about love and fertility. Whether one is religious or not, this special time is celebrated on a global scale. In fact, from the beginning of human time, this astronomical event, the winter solstice—the shortest day and longest night of the year—has inspired celebration of the subsidence of light into darkness.

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Mayan Twin Heros : Hunahpu and Xbalanque

Hunahpu and Xbalanque By Four Arrows (aka Don Jacobs)

All cultures have twin hero myths and most have one twin who is a “solar,” more aggressive and direct twin and the other is a “lunar” twin, more passive and reflective. In Western culture, the solar twin often kills the lunar twin or the lunar twin becomes unimportant in the culture. Cain and Able, Romulus and Remus, Jacob and Esau, Hercules and Iphecules, etc. In Indigenous twin hero stories, the two twins also represent these polar dualities, but they work as complementary pairs. Examples are many, such as the Navajo myth with Mexico origins about Child Born of the Water (Lunar) and Monster Slayer (Solar). The twins help one another to fight the monsters that symbolically keep us from being in balance, recognizes human relationship with complete natural world of which we are part.

Mayan CalendarThe Mayan Twin Hero Myth is a story to know and honor in preparation for the end of the particular calendar in which their twin heroes, Hunahpu and Xbalanque are depicted. Hunapu (Blowgun Hunter-Solar) and Xbalanque (Hidden Sun-Lunar) were trying to make a garden but every time they clearedaway the underbrush, the forest animals put it back again. Finally they caught a rat and held its tail over the fire (which is why rats have no hair there), until it started explaining. The rat started talking. “Look, you are not cut out to be gardeners anyway. There’s something you’d be better at. I’ll tell you if you let me go.”

The rat explained that their father and uncle had been great handball players and how they were cut out themselves to be great ballplayers. The rat said, “You just need the proper gear and I know where your father hid it before he was lost to the Underworld.”

The boys got the gear and started playing, but were noisy about their playing so that the Lords of Death were affronted by their lack of humility. They sent messengers to summon the boys to a ballgame in the Underworld.

This was OK with the Twins who wanted to defeat the Lords of Death because they learned it was they who took their father. They allowed themselves to go through many challenging tests and ordeals so as to get to a place where they could finally kill the Lords of Death, the same ordeals their father experienced but had failed and never came back from the Underworld.

Near the end of their successful completion of the tests, Hunahpu made their first mistake. From his hiding place in the blowgun, he wanted to see if it was daylight, so he stuck his head out and a night- flying bat sliced it off.

Hunahpu and Xbalanque

The Lords of Death started the game using this brother’s head for a ball. But his twin, Xbalanque, managed to fool the Lords and got his brother’s head back and put it back onto him, and then replaced the head with a squash. The boys resumed the game and one, defeating the Lords of Death, and setting up the opportunity to destroy them.

The boys then sought their father, found him, but he was not up to the trip home. So they left him in the ball court, saying they would play ball regularly to pray for and honor all those who sought hope, knowing this would at last ease their father’s heart forever. The boys, finished with their work, and no longer arrogant, accepted the light and shadow aspects of life and the complementary nature of their opposing personalities. The Gods then intervened in not only helping them climb back to Earth’s surface, but honored them and gifted the world by making Xbalanque the Moon and Hunahpu the Sun. Hunahpu and XbalanqueThey became the two complementary forces that must remain in balance for life to survive on Earth. They should remind us that every one of the millions of star molecules we are made of must be in balance with its complementary twin. This means we cannot over-identify with one force or the other because of ego fear or ego satisfaction or other needs of the ego. We must accept the dark and the light in ways that we know how to keep our solar and lunar aspects in harmony and not be split into one when we are better to be more with the other (like what happened when the bats cut of the one twin’s head for his wanting it to be daylight when it was still night.)

It is time for us all to find our twins and not be afraid of being one with them so that we can ultimately use the combined power of both to be in balance. Human civilizations have lost this balance. We must awaken to this before the cosmos itself rebalances as it is doing with climate change and other vibrational anomalies.

Txun blays :
ya huh, txoe kata key ya, ma wah nee.Translation :
I am walking toward the future making good and balanced decisions.

Being out of balance ultimately is an act of insanity and the prophesy of the fifth world is about regaining sanity. We have more knowledge now than ever before about both what is wrong and what the solutions are to correct, yet we continue moving forward with our over-identificationwith only one side or the other of the solar-lunar duality, continuing to do the very things we know will kill us all. It is time to wake up, and then celebrate returning to an era of harmony!

Then finished, the pair departed Xibalba and climbed back up to the surface of the Earth. They did not stop there, however, and continued climbing straight on up into the sky. One became the Sun, theother became the Moon

Death to one of the twins, losing life essence and power, and then a resurrection or rebirth taking place


Native American Moon Shield

Usually, the moon is personified in myths as a female deity, but it is also known in some cultures as a male figure. Lunar symbolism brings together powers associated with the cyclical patterns in nature: the tide, the fertility cycle of a woman, the shedding of the snake’s skin. All of these repetitive modes of change, death and rebirth, are associated in lunar symbolism. The moon represents a force that expresses itself indirectly and through endurance rather than through direct aggression and oppression. It is the power of water to wear away the stone, the survival of the snake that disappears into the earth as it flees the hungry eagle, and the power of healing that comes through a connection with deep, vegetative forces in the psyche.

The medicine shield of Chief Arapoosh of the Crow Indians offered physical and spiritual protection through the powers of the Moon, who is portrayed as he appeared to the chief during a vision quest.

A deer tail and eagle feathers wrapped in red trade-cloth are fastened at one side of the shield. The head and neck of a crane are tied to the opposite side, together with crow or raven feathers, a length of otter fur, and a cluster of hawk feathers. A narrow length of red trade-cloth is tied to the crane’s lower bill.

These shields had two primary functions among the Crow Indians: to protect the owner in battle against the enemy and to serve as a spiritual protector by embodying the sacred powers of the spirit-guardian of the warrior.

The shields were made from the thick hump section of the bison hide and could turn any arrow, even the Civil War musket balls of the white troops. It was not until the introduction of the carbine that they lost that effectiveness. But by far the greater power was inherent in the symbolism of the designs, which often stemmed from forms that appeared during a vision quest. Arapoosh said that on a vision quest in his youth, he had been visited by the figure in black, who was the spirit of the Moon. He was told to regard the visitor as his spirit-guardian–a supernatural protector who would watch over him, help him whenever called upon, and guide his life.

The vision quest was a major goal in life for all of the Plains Indian men, to such an extent that those who never achieved a vision felt they were failures; and this attitude was shared to a certain extent by the community. Therefore success and the creation of indicia to demonstrate success, as well as one’s belief in the powers that came with the vision, were very important. Anything that happened during the quest became critical. It might indicate the whole future way of life for the person. Perhaps it signalled the appearance of beneficial or harmful spirits to be attended to. Or it might even provide a view of the future to the supplicant. Symbols representing these benefits or dangers held an overriding role and were always respected, though they were never worshiped per se.

Normally, these shields were veiled by a second cover to show proper respect, to protect the powerful “medicine” from wasteful exposure (lest it lose its potency), and to hide the designs from uninitiated eyes.

On this shield the Moon was personified as an Above Person (one of the Above Ones) overseeing the activities of all creatures on earth, and most particularly Arapoosh, to whom he had appeared in the vision. This appearance established a close relationship between them that would endure for the balance of the man’s life. It also created a responsibility toward the spirit being that was not to be taken lightly. Among all Native Americans there is a strong spiritual bond between Sky Beings and mankind, which in many tribes surpasses even the kinship felt for those creatures that reside on the earth and in the underworld, and that includes the Water People.

The history of this shield has fortunately been preserved. Although Lewis and Clark met Chief Arapoosh–who was known to them by his English name, Rotten Belly (or Sour Belly)–during their expedition of 1804-1806, the shield was first described in detail by Jim Beckwourth, a legendary mountain man who saw it about 1830. He recounted the belief of the Crow in the medicinal powers of the designs. According to Beckwourth, it was brought out in times of trouble or just before a war party was to depart for battle. Arapoosh, the major tribal war chief, would ceremoniously roll the shield (as in bowling) down the row of lodges. When it fell over, if the designs were skyward, success was assured; but if it came to a stop facedown, the war party would be abandoned. While most people painted their own shields, often a holy man would be requested to make medicine objects, to increase their power. But since Arapoosh was also a medicine man, it may well be that he painted this shield himself.

Vision Quest

What is a vision quest? In any social group, certain symbols come to serve as points of orientation around which the culture develops. The axis mundi, or cosmic center, can be a geographical site, such as a sacred mountain. It can also be an artifact, such as a pole that is carried from place to place but represents at all times the center of the world. Essential is the experience of being connected to the archetypal realm, the numinous source of being and value.

Among nomadic tribes in North America, the vision has served a comparable function. Direct inner experience of the gods has been cultivated and has come to serve as an orientating and sanctifying force for both the Native American and his community. The interpretation of visions and the techniques for integrating the vision into the life of the person and the group are highly developed among these peoples.

The vision quest can take place at any time, but it is usually undertaken first by a young Native American male as a rite of puberty. Often the boy will be separated from the group, left in a womblike hole in the ground, and surrounded by sacred things (a rattle, a blanket). Without food and sleep, he awaits the appearance of spirits. If he has a vision, it will serve to define his identity and role in the tribe from then on.

The vision quest is a model for any inner journey:

“The individual undertakes his inner quest, without any show of heroic strength and achieves it, not as a triumph, but as a submission to powers higher than himself. He accomplishes nothing by guile, which would be merely another form of heroic trial of strength. He is essentially a suppliant, not a man of power. He can count only upon his own intrinsic human worth and is of necessity his own teacher. He may be allowed to see the object of the heroic quest but not to possess it, or he may possess it briefly before losing it again, or he may derive spiritual insight from it as a talisman which comes and goes” (Henderson, 141).

Axis Mundi

The axis mundi (also cosmic axis, world axis, world pillar, columna cerului, center of the world), in religion or mythology, is the world center and/or the connection between Heaven and Earth. As the celestial pole and geographic pole, it expresses a point of connection between sky and earth where the four compass directions meet. At this point travel and correspondence is made between higher and lower realms. Communication from lower realms may ascend to higher ones and blessings from higher realms may descend to lower ones and be disseminated to all. The spot functions as the omphalos (navel), the world’s point of beginning.

Because the axis mundi is an idea that unites a number of concrete images, no contradiction exists in regarding multiple spots as “the center of the world”. The symbol can operate in a number of locales at once.

The human body can express the symbol of world axis. Some of the more abstract Tree of Life representations, such as the Sefirot in Kabbalism and in the Chakra system recognized by Hinduism and Buddhism, merge with the concept of the human body as a pillar between heaven and earth. Disciplines such as Yoga and Tai Chi begin from the premise of the human body as axis mundi. The Buddha represents a world centre in human form. Large statues of a meditating figure unite the human figure with the symbolism of temple and tower. Astrology in all its forms assumes a connection between human health and affairs and the orientation of these with celestial bodies. World religions regard the body itself as a temple and prayer as a column uniting earth to heaven. The ancient Colossus of Rhodes combined the role of human figure with those of portal and skyscraper. The image of a human being suspended on a tree or a cross locates the figure at the axis where heaven and earth meet. The Renaissance image known as the Vitruvian Man represented a symbolic and mathematical exploration of the human form as world axis.

A common shamanic concept, and a universally told story, is that of the healer traversing the axis mundi to bring back knowledge from the other world.

It is the essence of the journey described in The Divine Comedy by Dante Alighieri. The epic poem relates its hero’s descent and ascent through a series of spiral structures that take him from through the core of the earth, from the depths of Hell to celestial Paradise.

Anyone or anything suspended on the axis between heaven and earth becomes a repository of potential knowledge. A special status accrues to the thing suspended: a serpent, a victim of crucifixion or hanging, a rod, a fruit, mistletoe. Derivations of this idea find form in the Rod of Asclepius, an emblem of the medical profession, and in the caduceus, an emblem of correspondence and commercial professions. The staff in these emblems represents the axis mundi while the serpents act as guardians of, or guides to, knowledge.

Olmec Twins & Jaguar

Olmec Twins & Jaguar

Three of the sculptures at El Azuzul shown in situ, as they were discovered.

Olmec Twins & Jaguar – At El Azuzul another important monumental sculpture was found, a pair of twin males facing a Jaguar. This scene offers powerful image of duality and shamanic transformation as indicated by the postures of the twins.

The first pair of statues, described as “some of the greatest masterpieces of Olmec art”, are nearly identical seated human figures. When discovered the two statues were facing east, one behind the other. Some researchers have suggested that these “twins” are forerunners of the Maya Hero Twins from the Popul Vuh, although their headdresses have led others to describe them as priests. The twin’s headdresses have been mutilated, probably to erase identifying insignia.

Olmec Twins & Jaguar

Olmec Twins & Jaguar from the back

These photographs of the three sculptures at El Azuzul shown in situ, are as they were discovered. Researchers believe that these sculptures had not been moved since Olmec times.

This is a sculptural representation of two young Olmec rulers, twins, paying homage to a feline-jaguar deity.

Each twin, like the figure in San Martín Pajapan Monument 1, is grasping a ceremonial bar with his right hand under the bar and his left over, caught in the act of raising what has been described as an axis mundi or Mesoamerican world tree.

Facing these two humans was a feline-like statue, generally identified as a jaguar. Slightly larger than the humans it faced, the feline is roughly 1.2 meters high. A 1.6 meter version of this feline was found a few meters away, to the northeast. The jaguars show evidence of having been re-carved from earlier monuments.

Olmec TwinsThe humans are similar to other Olmec sculpture, in particular San Martin Pajapan Monument 1, where a young lord also attempts to lift a ceremonial bar. Despite its “tantalizing hints of [a] lost mythic cycle”, it is not known with any clarity what this four statue tableau illustrates.

Chandra the Lunar Deity

Chandra (Sanskrit चन्द्र lit. “shining”) is a lunar deity in Hinduism. Chandra is also identified with the Vedic Lunar deity Soma (lit. “juice”). The Soma name refers particularly to the juice of sap in the plants and thus makes the Moon the lord of plants and vegetation. On the inner level on consciousness, Chandra is the reflective light of the mind, and Soma is the sacred nectar of higher states of awareness. Chandra is also the word in Sanskrit, Hindi and other Indian languages for moon and means ‘shining’.

Originally a feminine deity, representing the goddess or the female archetype in general, Chandra has been depicted in a male form in many sculptures and images as a symptom of patriarchal dominance in the the Hindu society. The name Chandra and Soma are still common names for girls in India.

Chandra is described as young, beautiful, fair; two-armed and having in it’s hands a club and a lotus. Chandra rides on a chariot across the sky every night, pulled by ten white horses or an antelope. She is connected with dew, and as such, is representative of fertility which draws back to it’s origins as the mother goddess of the universe.

The Hindu god Shiva, ‘lord of the universe’, has a crescent moon (Chandra) as an adornment on his head, representing his eternal union with the goddess Shakti within, thus allowing him to maintain the supreme state. This representation of Chandra is also associated with it’s form as the divine nectar (Soma.)

In Vedic astrology Chandra represents the subconscious mind, emotions, intuition, higher perception, sensitivity, softness, imagination, queen and mother. Traditionally, the mother goddess in pre-Vedic religion was always associated with the worship of the moon.

On the elemental level, Chandra represents the water, and the infinite flow which binds and seperates all existence. Chandra is the aspect of the psyche that allows us to feel, perceive, and understand the world in a subtle and gentle way.