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The Return of the Black Madonna (Continued) Rev. Dr. Matthew Fox © 2006 Matthew Fox 12. The Black Madonna calls us to reinvent education and art. The goddess also ruled at the university—she was “Queen of the sciences” and “mistress of all the arts and sciences” who was “afraid of none of them, and did nothing, ever, to stunt any of them.”[29] All learning was to culminate in her. She was about wisdom not just knowledge. The renaissance that the Madonna represented was both religious and educational. Often the headdress of Isis depicts the full moon between curved horns and has the shape of the musical instrument that the Egyptians played in her honor called the sistrum. Plutarch stated that the purpose of the sistrum which is a kind of rattle was that “all things in existence need to be shaken, or rattled about…to be agitated when they grow drowsy and torpid.” [30] The Black Madonna shakes things up. Is this not an archetype for our times? Is she not a forebearer of a renaissance, one who comes to give new birth to a civilization, a birth based on a new sense of spirituality and cosmology and learning—a learning that reawakens us to our place in the universe? How will work in the world become wise as opposed to exploitive without wisdom? How will the human soul move from knowledge to wisdom without the kind of effort the goddess can bring? Without a balance of male/female, heart/head, body/spirit truly happening at all levels of education from childhood to professional degrees? How will a renaissance happen if education is left behind? What role will art play when the artist too lets go of the internalized oppression of the modern era and recommits himself/herself to serving the community and to serving the larger community of ecological sustainability? [31] These are some of the questions raised by the return of the Black Madonna in our time. They beg for response. They beg for listening ears and attentive institutions. They beg for self criticism of nation-states, governments, corporations, academia, religion, law, professions of all kinds which are called to something new (and very ancient): a new relationship between earth and humans. One of mutuality, not mastering. One of joy and wonder, not boredom. One that honors all our relations. For this to come about some rattling of our modern cages and mindsets is in order. The Black Madonna provides such a shake-up. Still. After all these centuries. FOOTNOTES [1] See, for example, China Galland, Longing for Darkness: Tara and the Black Madonna (New York: Viking, 1990). [2] See M. D. Chenu, Nature, Man and Society in the Twelfth Century (Chicago: Univ. of Chicago Press, 1957), chapter one. [3] Matthew Fox, Meditations with Meister Eckhart (Santa Fe: Bear & Co., 1982), 42. [4] Andrew Harvey, The Return of the Mother (Berkeley, Frog, Ltd. 1995), 371. [5] Ibid. [6] Fox, Meditations with Meister Eckhart, 43. [7] See Eulalio R. Baltazar, The Dark Center: A Process Theology of Blackness (New York: Paulist, 1973). [8] See Brian Swimme and Thomas Berry, The Universe Story (San Francisco: HarperSanFrancisco, 1992) and Brian Swimme, The Hidden Heart of the Cosmos (Maryknoll, NY: Orbis Books, 1996). [9] For a fuller development of the charkas see Matthew Fox, Sins of the Spirit, Blessings of the Flesh (New York: Harmony, 1999), 94-116; 167-327. [10] Harvey, 371. [11] Cf. Suzi Gablik, The Reenchantment of Art (New York: Thames and Hudson, 1991). [12] Fox, Meditations with Meister Eckhart, 42. [13] John Boswell, Christianity, Tolerance and Homosexuality (Chicago: Univ. of Chicago Press, 1980). [14] Harvey, The Return of the Mother, 372f. [15] Sue Woodruff, Meditations with Mechtild of Magdeburg (Sante Fe, Bear & Co., 1982), 60f., 64f. [16] Ibid., 68. [17] Ibid., 69. [18] Fox, Meditations with Meister Eckhart, 103. [19] Matthew Fox, Passion For Creation: The Earth-Honoring Spirituality of Meister Eckhart (Rochester, Vt.: Inner Traditions, 2000), 442. [20] R. P. Blackmur, Henry Adams (New York: Harcourt Brace Jovanovich, 1980), 203. [21] Ibid. [22] Ibid., 204. [23] Ibid., 203. [24] Eloise McKinney-Johnson, “Egypt’s Isis: The Original Black Madonna” Journal of African Civilizations, April, 1984, 66. [25] Chenu, Nature, Man and Society in the Twelfth Century, 19. [26] See McKinney-Johnson, 71. [27] Ibid., 67. [28] Ibid., 68. [29] Blackmur, Henry Adams, 206. [30] See McKinney-Johnson, 71. [31] See Gablik, The Reenchantment of Art. |
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