The power of symbols

Mythic symbols, like the one invoked by Mick Jagger in the iconic Rolling Stones logo, carry powerful meanings that speak universally

When Mick Jagger invoked Kali on his recent trip to India, as the inspiration for the iconic Rolling Stones logo, he did not just remind everyone of the huge influence the East and its iconography have had on an entire generation of musicians (read Grateful Dead), but also struck a high note for the power of mythic imagery. A book from his brother with the image of Kali had Jagger hooked and led to the making of what is now an instantly recognisable logo — a lolling tongue framed by ruby red lips — one that has effortlessly bridged cultural and geographical barriers.

This is not the first time that an ancient symbol has been used to convey a modern ethic, nor is it rare for the world of art and commerce to dip into the richly layered world of mythic imagery. From Medusa’s snake-like locks to the coiled serpent that Vishnu rests upon, to the potent symbolism of gestures and sacrality of mazes and labyrinths — the timeless past is a sprinkle of breadcrumbs everywhere.

Just as Rolling Stones turned to Indian mythology, luxury retail brand Versace looked closer home to Medusa, the Greek Gorgon with snakes for hair and eyes that could turn everyone to stone. Medusa was cursed by Athena, who turned her into a fearsome monstrosity and engineered her death at the hands of the hero Perseus. Medusa’s head adorned the shields of Greek gods and kings, as a symbol of their power. Gianni Versace, the eponymous founder of the label, reportedly drew upon his childhood memories of Greek mythology and the story that none could turn away from Medusa’s gaze for his logo.

The universal appeal of mythical symbols comes from the wonder and awe they evoke, according to Joseph Campbell (The way of the animal powers: Historical Atlas of World Mythology). These symbols and their meanings also adapt easily, and their meanings have evolved over time.

The mythical symbolism around mazes and labyrinths follows an interesting trajectory. In Greek myths, the labyrinth is an ambiguous space that is used to cage monsters. The story of Theseus and the minotaur, for instance, invokes the labyrinth as a trap. The minotaur was born out of a union between the Cretan queen Pasiphae and the sacred bull of Poseidon. It was hidden away inside a labyrinth built by the master craftsman of the gods, Daedalus. No one could enter or leave the labyrinth —the monster was trapped inside and all those who were sent in, ended up as food for the beast. Only Theseus managed to crack his way in, kill the minotaur and walk out alive. He did that with help from the princess, Ariadne, who handed him a ball of yarn that he unspooled as he walked in. The labyrinth reveals itself differently to heroes and ordinary people in the Greek world.

In the Persian world, the labyrinth is wrapped up in a different set of ideas — as a walled garden, for instance. The first such garden was built by Cyrus the Great sometime in 6th C BCE and the word for such gardens is “pari-daiz1i”. This is also the root of the word paradise. According to Unesco, the idea of paradise as a perfect garden stands as a metaphor for the divine order and the unification and protection of the faithful through Islam.

In the Indian context, the labyrinth is the chakravyuha of the Mahabharata that reveals itself only to those who possess the requisite knowledge. It adds an additional layer of complexity, in that the way to enter the labyrinth is not the same as its exit. The labyrinth has been used in various forms by brands in the auto, fashion and consulting businesses; it is also part of the architectural heritage of several cultures. Ancient cities, such as Banaras, are built like mazes, meant to confound invaders and undesirable elements. The same principle is evident in the maze-like underground tunnels of Gaza that have been variously labelled as havens of terrorism by its enemies, but hailed as the only recourse for an oppressed people by its users.

Like the labyrinth, Kali and her tongue have found multiple uses too. It is a symbol of insatiable hunger, according to the stories in the Devi Mahatmya, where Kali is summoned by Durga to behead the demons and suck their blood dry. Another story ties the tongue to a morality tale, about how the goddess bit her tongue when she found herself astride Shiva in the middle of the carnage. She is mortified by what she has done and it is this moment that the image captures. The oldest association between the Kali as a goddess and the lolling tongue is probably from the Mundaka Upanishad (an ancient text that is part of the Atharva Veda) where Kali is identified as one of the tongues of Agni, the fire god.

Mythic symbols are laden with meaning; they are malleable and powerful and they speak to a wide audience. Unfortunately, however, their power has been mostly misused, by religious zealots and political opportunists.