World tree


The world tree is a motif present in several religions and mythologies, particularly Indo-European, Siberian, and Native American religions. The world tree is represented as a colossal tree which supports the heavens, thereby connecting the heavens, the terrestrial world, and, through its roots, the underworld. It may also be strongly connected to the motif of the tree of life, but it is the source of wisdom of the ages.
Specific world trees include Égig érő fa in Hungarian mythology, Ağaç Ana in Turkic mythology, Kenac' Car in Armenian mythology, Modun in Mongol mythology, Yggdrasil in Norse mythology, Irminsul in Germanic mythology, the oak in Slavic, Finnish and Baltic, Jianmu in Chinese mythology, and in Hindu mythology the Ashvattha.

General description

Diffusion

Scholarship states that many Eurasian mythologies share the motif of the "world tree", "cosmic tree", or "Eagle and Serpent Tree". More specifically, it shows up in "Haitian, Finnish, Lithuanian, Hungarian, Indian, Chinese, Japanese, Norse, Siberian and northern Asian Shamanic folklore".

Tripartite division of the world

The World Tree is often identified with the Tree of Life, and also fulfills the role of an axis mundi, that is, a centre or axis of the world. It is also located at the center of the world and represents order and harmony of the cosmos. According to Loreta Senkute, each part of the tree corresponds to one of the three spheres of the world and is also associated with a classical element.
Its branches are said to reach the skies and its roots to connect the human or earthly world with an underworld or subterranean realm. Because of this, the tree was worshipped as a mediator between Heavens and Earth. On the treetops are located the luminaries and heavenly bodies, along with an eagle's nest; several species of birds perch among its branches; humans and animals of every kind live under its branches, and near the root is the dwelling place of snakes and every sort of reptiles.

Motifs

The imagery of the World Tree is sometimes associated with conferring immortality, either by a fruit that grows on it or by a springsource located nearby. As George Lechler also pointed out, in some descriptions this "water of life" may also flow from the roots of the tree.

Zoological imagery

According to Vladimir Toporov, animal species are commonly distributed along the parts of the tree: between its roots, figure "chthonic animals", such as snakes and frogs, but he also mentions aquatic animals such as otters, beavers, and fishes, as well as dragons; the middle part of the tree is reserved for hoofed animals such as deer or elk, and on the topmost part perches the "principal" bird, or a pair of birds sat on either side of the tree crown.
A bird perches atop its foliage, "often.... a winged mythical creature" that represents a heavenly realm. The eagle seems to be the most frequent bird, fulfilling the role of a creator or weather deity. Its antipode is a snake or serpentine creature that crawls between the tree roots, being a "symbol of the underworld".

Similar motifs

The World Tree has also been compared to a World Pillar that appears in other traditions and functions as separator between the earth and the skies, upholding the latter. Another representation akin to the World Tree is a separate World Mountain. However, in some stories, the world tree is located atop the world mountain, in a combination of both motifs.
A conflict between a serpentine creature and a giant bird occurs in Eurasian mythologies: a hero kills the serpent that menaces a nest of little birds, and their mother repays the favor – a motif comparativist Julien d'Huy dates to the Paleolithic. A parallel story is attested in the traditions of the indigenous peoples of the Americas, where the thunderbird is slotted into the role of the giant bird whose nest is menaced by a "snake-like water monster".

Relation to shamanism

Romanian historian of religion, Mircea Eliade, in his monumental work Shamanism: Archaic Techniques of Ecstasy, suggested that the world tree was an important element in shamanistic worldview. Also, according to him, "the giant bird... hatches shamans in the branches of the World Tree". Likewise, Roald Knutsen indicates the presence of the motif in Altaic shamanism. Representations of the world tree are reported to be portrayed in drums used in Siberian shamanistic practices.
Some species of birds are revered as mediators between worlds and also connected to the imagery of the world tree. Another line of scholarship points to a "recurring theme" of the owl as the mediator to the upper realm, and its counterpart, the snake, as the mediator to the lower regions of the cosmos.
Researcher Kristen Pearson mentions Northern Eurasian and Central Asian traditions wherein the World Tree is also associated with the horse and with deer antlers.

Possible origins

Mircea Eliade proposed that the typical imagery of the world tree "is presumably of Oriental origin". Likewise, Roald Knutsen indicates a possible origin of the motif in Central Asia and later diffusion into other regions and cultures.

In specific cultures

Indigenous American cultures

  • Among Indigenous Mesoamerican cultures, the concept of "world trees" is a prevalent motif in Mesoamerican cosmologies and iconography. The Temple of the Cross Complex at Palenque contains one of the most studied examples of the world tree in architectural motifs of all Mayan ruins. World trees embodied the four cardinal directions, which represented also the fourfold nature of a central world tree, a symbolic axis mundi connecting the planes of the Underworld and the sky with that of the terrestrial world.
  • Depictions of world trees, both in their directional and central aspects, are found in the art and traditions of cultures such as the Maya, Aztec, Izapan, Mixtec, Olmec, and others, dating to at least the Mid/Late Formative periods of Mesoamerican chronology. Among the Maya, the central world tree was conceived as, or represented by, a ceiba tree, called yax imix che by the Book of Chilam Balam of Chumayel. The trunk of the tree could also be represented by an upright caiman, whose skin evokes the tree's spiny trunk. These depictions could also show birds perched atop the trees.
  • A similarly named tree, yax cheel cab, was reported by 17th-century priest Andrés de Avendaño to have been worshipped by the Itzá Maya. However, scholarship suggests that this worship derives from some form of cultural interaction between "pre-Hispanic iconography and practices" and European traditions brought by the Hispanic colonization.
  • Directional world trees are also associated with the four Yearbearers in Mesoamerican calendars, and the directional colors and deities. Mesoamerican codices which have this association outlined include the Dresden, Borgia and Fejérváry-Mayer codices. It is supposed that Mesoamerican sites and ceremonial centers frequently had actual trees planted at each of the four cardinal directions, representing the quadripartite concept.
  • World trees are frequently depicted with birds in their branches, and their roots extending into earth or water.
  • The central world tree has also been interpreted as a representation of the band of the Milky Way.
  • Izapa Stela 5 contains a possible representation of a world tree.
A common theme in most indigenous cultures of the Americas is a concept of directionality, with the vertical dimension often being represented by a world tree. Some scholars have argued that the religious importance of the horizontal and vertical dimensions in many animist cultures may derive from the human body and the position it occupies in the world as it perceives the surrounding living world. Many Indigenous cultures of the Americas have similar cosmologies regarding the directionality and the world tree, however the type of tree representing the world tree depends on the surrounding environment. For many Indigenous American peoples located in more temperate regions for example, it is the spruce rather than the ceiba that is the world tree; however the idea of cosmic directions combined with a concept of a tree uniting the directional planes is similar.

Greek mythology

Like in many other Indo-European cultures, one tree species was considered the World Tree in some cosmogonical accounts.

Oak tree

The sacred tree of Zeus is the oak, and the one at Dodona was said by later tradition to have its roots furrow so deep as to reach the confines of Tartarus.
In a different cosmogonic account presented by Pherecydes of Syros, male deity Zas marries female divinity Chthonie, and from their marriage sprouts an oak tree. This oak tree connects the heavens above and its roots grew into the Earth, to reach the depths of Tartarus. This oak tree is considered by scholarship to symbolize a cosmic tree, uniting three spheres: underworld, terrestrial and celestial.

Other trees

Besides the oak, several other sacred trees existed in Greek mythology. For instance, the olive, named Moriai, was the world tree and associated with the Olympian goddess Athena.
In a separate Greek myth the Hesperides live beneath an apple tree with golden apples that was given to the highest Olympian goddess Hera by the primal Mother goddess Gaia at Hera's marriage to Zeus. The tree stands in the Garden of the Hesperides and is guarded by Ladon, a dragon. Heracles defeats Ladon and snatches the golden apples.
In the epic quest for the Golden Fleece of Argonautica, the object of the quest is found in the realm of Colchis, hanging on a tree guarded by a never-sleeping dragon. In a version of the story provided by Pseudo-Apollodorus in Bibliotheca, the Golden Fleece was affixed by King Aeetes to an oak tree in a grove dedicated to war god Ares. This information is repeated in Valerius Flaccus's Argonautica. In the same passage of Valerius Flaccus' work, King Aeetes prays to Ares for a sign and suddenly a "serpent gliding from the Caucasus mountains" appears and coils around the grove as to protect it.