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Sheela Na Gig, entrance to another world between the legs

Sheela -Na-Gig of Kilpeck, England

Personaje emblematic in many Christian Building, the Sheela Na Gig representaba a woman who opened its para piernas show an entrance to another world through her vagina. Interestingly, most of these figures are found in Christian churches, but its meaning and origin remains hidden, and there is little doubt about its origin, which is linked to Celtic cosmological world.

Etymology:

Sheela-Na-Gig of Poitiers, France

Sheela Na Gig The name was first used in the nineteenth century in academic and religious. We do not know for sure the meaning is believed to be a na gCíoch Sighlo Anglicization of something like "old buxom" or Síle Giob ina, which would mean "Sheila on her hunkers". Dineen

Experts and also give alternative etymological Síle na gCíoċ (also referring to breasts), but there are no sources to prove it because only the oldest figures show disproportionately large breasts, and as time passed given less important iconography.

Interestingly, we have found a slightly older uses of the name, all reference to traditional Irish dance, but seem to have little to do with this figure.

Sheela-Na-Gig Dunama in County Limerick (Ireland)

Even Margaret Murray in her essay, "Fertility Figures "concedes that the etymology of the figure is not clear (the author refuses the meaning folk often attributed to the name," the woman of the castle "because he is no reason to be) and suggests that probably was a fixed expression so cultural.

Another curious fact is the use of the word "gig" or "Gigha" used in the northern territories of the British Isles: the word was a slang term referring to female genitalia. So what was a name motivated by any meaning or was a random choice? They are often called "idols" to these figures, no more, and it appears that the name has little to do with their uses and origins.

Anyway, we know that not all Sheelas were Irish, although that is the territory where they have found so far the most, so apply a name of Gaelic origin of all these idols would be a bit risky But just as there is no meaning given to these figures, there is a name that identifies them all, so personally I will take the most popular Irish name.

hypothesis about its origin:

Sheela-Na-Gig d'Ozillac Fontaines, France

many theories have been written about the arrival of these figures in the British Isles and Ireland. Could be summarized: "That
were brought from France and Spain in the eleventh century.
"That first came to England and then expanded into Ireland, the site where more Sheela Na Gigs in Europe.
-What are Anglo-Norman, and therefore are mainly in the territory.

Meaning:

Sheela-Na-Gig Kiltinan Castle, Ireland

• survivors remains of a pagan goddess: The thesis accepted by most media experts. In this work, the line started by authors such as Murray or Anne Ross, which often equates to Sheela-Na-Gig with goddess-witch as the Cailleach. Others, far from giving a dark, warrior, identified with a Mother Goddess, a Matron in true Gallic style. His position also has something to do with Gaelic mythology goddess in the sense of legitimizing the mandate of a king. As Rigantona between the Welsh or Britons, or the goddess Medb in Ireland, Sheela could represent goddesses such that any man who would be king he should join as a symbol of commitment and physical union of the ruling with the territory and earth . Quoting Margaret Murray: "The meaning of these figures is still opaque, but I tend to see in them ancestral worship remains too rooted in the people to be destroyed by Christianity, and whose symbols have survived even in sacred spaces of the New Religion. "

Anyway, we must recognize that there is no incontrovertible evidence on the nature this pagan figure, and often is reduced to a symbol imported from the medieval French culture.

Sheela-Na-Gig Rahara, Ireland.

• A figure of Fertility: This theory directly from the previous drink. In this case, the stones would be (as a cause or result) considered magical and fertility enhancer. But this theory could not represent all Sheelas there, as often as women are starving, without breast, and sometimes represented with huge breasts and exuberance. Even in some examples have been found traces of tattoos or marks on the face, which could keep them away from this theory. Still, there are authors who support this theory, as Dineen and other experts, who consider the Sheela Na Gig as a "stone fetish responsible for providing fertility" introduced by the Normans.

Sheela-Na-Gig in the Haute Vienne, France.

• against lust Notice: This theory considers Sheelas moralizing and frightening examples used to protect the souls of the faithful against the sins of the flesh. Just as the frescoes in the chapels, such relief would serve as an illustration of sins and sinners.

Unfortunately
• Protection: Finally, this theory is based on the finding Sheelas in castles and sites that have nothing to do with the church, and suggested it would have little to do with a religious purpose. Thus, it is suggested that figures would drive away the evil eye, a theory supported by the folk beliefs that state that evil spirits fled when he saw a woman's sex. As Molly Mullin said: "According to Publications of the Royal Irish Academy between 1840 and 1860, the Sheelas were described as fetishes, or objects to keep off the evil eye, (...) which does not refer in any way to fertility. "He added," The Sheelas were used as protection against evil forces. Only since the thirties began to be connected with the concept of 'fertility'. "

Other uses and meanings:

Sheela-Na-Gig in Oxford

• Healing of all those women's diseases, mainly related to the uterus and breast. (Godwin)
• Other authors compare with goddesses Sheelas consort of horned gods such as Cernunnos. McKay, citing Macalister, a Scottish folk renombradísimo author says that Sheelas could be "goddesses associated with Cernunnos (...) They are not cannibals and ferocious, and often correponderían with the giants of Gaelic legends."

Despite the uncertainty surrounding its use and meaning, the truth is that, as stated, "when they meet, they automatically become lucky stones," which indicates the great influence that reach have on the collective unconscious. As data on the attitude of Christianity to those reliefs not be surprising that they often have attacked and tried to disguise in many ways, but the people always over protecting. Edith Guest, who wrote about Ballyvourney Sheelas of Ireland, said that people spoke openly about the powers of Sheelas, and that despite "the pastor of the attack a couple of times, people protected them." In fact, it is known that in Dunmanway, Ireland, is reminiscent Sheelas pagan so clear that they hid and buried by order of the local parish churches and Lemanaghan Lusk.

Sources:
-http: / / www.sheelanagig.org/
-http: / / www.irelands-sheelanagigs.org/
-Sheila-na-gigs and Christain Saints Author(s): J. P. Godwin Source: Folklore, Vol. 80, No. 3 (Autumn, 1969), pp. 222-223 Published by: Taylor & Francis, Ltd. on behalf of Folklore Enterprises, Ltd.
-206. Irish 'Sheela-na-gigs.' Author(s): D. H. Gordon Source: Man, Vol. 34 (Nov., 1934), p. 184
-Fertility Figures Author(s): Margaret A. Murray Source: Man, Vol. 29 (Aug., 1929), pp. 133-134 Published by: Royal Anthropological Institute of Great Britain and Ireland
-Representations of History, Irish Feminism, and the Politics of Difference Author(s): Molly Mullin Source: Feminist Studies, Vol. 17, No. 1 (Spring, 1991), pp. 29-50
-The Deer-Cult and the Deer-Goddess Cult of the Ancient Caledonians Author(s): J. G. McKay Source: Folklore, Vol. 43, No. 2 (Jun. 30, 1932), pp. 144-174
-Ballyvourney and Its Sheela-na-gig Author(s): Edith M. Guest Source: Folklore, Vol. 48, No. 4 (Dec., 1937), pp. 374-384