"Imagine a multidimensional spider's web in the early morning covered with dew drops. And every dew drop contains the reflection of all the other dew drops. And, in each reflected dew drop, the reflections of all the other dew drops in that reflection. And so ad infinitum. That is the Buddhist conception of the universe in an image." –Alan Watts

In Vermeer's Hat (2007), a history book written by Timothy Brook, the author uses the metaphor:

Buddhism uses a similar image to describe the interconnectedness of all phenomena. It is called Indra's Net. When Indra fashioned the world, he made it as a web, and at every knot in the web is tied a pearl. Everything that exists, or has ever existed, every idea that can be thought about, every datum that is true—every dharma, in the language of Indian philosophy—is a pearl in Indra's net. Not only is every pearl tied to every other pearl by virtue of the web on which they hang, but on the surface of every pearl is reflected every other jewel on the net. Everything that exists in Indra's web implies all else that exists.

Indra is a Vedic deity in Hinduism, a guardian deity in Buddhism, and the king of first heaven called Saudharmakalpa in Jainism. His mythologies and powers are similar, though not identical to those of the Indo-European deities such as Zeus, Jupiter, Perun, Thor, and Odin (Wotan).


I love to mingle myth/folklore with spiritual elements and science in a story. I don't focus heavily on these areas but behind each concept is a deeper connection to ancient beliefs, although told in a realistic manner.

The Sindria are similar to the Fates/Norns, and control destinies/souls via a web called 'Siathia' - invisible threads creating a web (net) throughout the universe and exists within all living things. Karma is called Vororbla.

In Greek mythology, the Moirai—often known in English as the Fates—were the white-robed incarnations of destiny.
The Norns (Old Norse: norn, plural: nornir) in Norse mythology are female beings who rule the destiny of gods and men. The three most important of the Norns, come out from a hall standing at the Well of Urðr or Well of Fate.

In the book, I mention 'The Well of Souls' ~ in the heart of Calageata, where the Sindria dwell.

The origin of the name norn is uncertain, it may derive from a word meaning "to twine" and which would refer to their twining the thread of fate.

Bek-Pedersen suggests that the word norn has relation to the Swedish dialect word norna (nyrna), a verb that means "secretly communicate". This relates to the perception of norns as shadowy, background figures who only really ever reveal their fateful secrets to men as their fates come to pass.

Weavers of a tapestry on a loom, with the tapestry dictating the destinies of men. The primary instances include:

*Moirai, the Fates of Greek mythology who control the Threads of Fate
*Parcae, the Fates of Roman mythology
*Sudice (mythology), the Fates of Slavic mythology
*Norns, the Fates of Norse mythology and related to other female deities in Germanic paganism
*Matres, the Fates of the Ancient Celtic and Germanic culture.

Weaving begins with spinning. In Scandinavia, the stars of Orion's belt are known as Friggjar rockr, "Frigg’s distaff".

Textiles have also been associated in several cultures with spiders in mythology.

In pre-Dynastic Egypt, nt (Neith) was already the goddess of weaving (and a mighty aid in war as well). She protected the Red Crown of Lower Egypt before the two kingdoms were merged, and in Dynastic times she was known as the most ancient one, to whom the other gods went for wisdom.

Ariadne, the wife of the god Dionysus in Minoan Crete,possessed the spun thread that led Theseus to the center of the labyrinth and safely out again.

Among the Olympians, the weaver goddess is Athena, who, despite her role, was bested by her acolyte Arachne, who was turned later into a weaving spider.

In Homer's legend of the Odyssey, Penelope the faithful wife of Odysseus was a weaver, weaving her design for a shroud by day, but unravelling it again at night, to keep her suitors from claiming her during the long years while Odysseus was away; Penelope's weaving is sometimes compared to that of the two weaving enchantresses in the Odyssey, Circe and Calypso.

Homer dwells upon the supernatural quality of the weaving in the robes of goddesses.

Jacob Grimm reported the superstition "if, while riding a horse overland, a man should come upon a woman spinning, then that is a very bad sign; he should turn around and take another way." (Deutsche Mythologie 1835, v3.135)

The goddess Brigantia, due to her identification with the Roman Minerva, may have also been considered, along with her other traits, to be a weaving deity.

Weavers had a repertory of tales: in the 15th century Jean d'Arras, a Northern French storyteller (trouvere), assembled a collection of stories entitled Les Évangiles des Quenouilles ("Spinners' Tales"). Its frame story is that these are narrated among a group of ladies at their spinning.

In Baltic myth, Saule is the life-affirming sun goddess, whose numinous presence is signed by a wheel or a rosette. She spins the sunbeams. The Baltic connection between the sun and spinning is as old as spindles of the sun-stone, amber, that have been uncovered in burial mounds. Baltic legends as told have absorbed many images from Christianity and Greek myth that are not easy to disentangle.

The Finnish epic, the Kalevala, has many references to spinning and weaving goddesses.

"When Adam delved and Eve span..." runs the rhyme; though the tradition that Eve span is unattested in Genesis, it was deeply engrained in the medieval Christian vision of Eve. In an illumination from the 13th-century Hunterian Psalter (illustration. left) Eve is shown with distaff and spindle.

In later European folklore, weaving retained its connection with magic. Mother Goose, traditional teller of fairy tales, is often associated with spinning.

The Three Spinners is aided by three mysterious old women. In The Six Swans, the heroine spins and weaves starwort in order to free her brothers from a shapeshifting curse. Spindle, Shuttle, and Needle are enchanted and bring the prince to marry the poor heroine. Sleeping Beauty, in all her forms, pricks her finger on a spindle, and the curse falls on her.

In Alfred Tennyson's poem "The Lady of Shalott", her woven representations of the world have protected and entrapped Elaine of Astolat, whose first encounter with reality outside proves mortal.

In Inca mythology, Mama Ocllo first taught women the art of spinning thread.

In Tang Dynasty China, the goddess weaver floated down on a shaft of moonlight with her two attendants. She showed the upright court official Guo Han in his garden that a goddess's robe is seamless, for it is woven without the use of needle and thread, entirely on the loom. The phrase "a goddess's robe is seamless" passed into an idiom to express perfect workmanship.

The Goddess Weaver, daughter of the Celestial Queen Mother and Jade Emperor, wove the stars and their light, known as "the Silver River" (what Westerners call "The Milky Way Galaxy"), for heaven and earth. She was identified with the star Westerners know as Vega. In a 4,000-year-old legend, she came down from the Celestial Court and fell in love with the mortal Buffalo Boy (or Cowherd), (associated with the star Altair). The Celestial Queen Mother was jealous and separated the lovers, but the Goddess Weaver stopped weaving the Silver River, which threatened heaven and earth with darkness. The lovers were separated, but are able to meet once a year, on the seventh day of the seventh moon.

The Japanese folktale Tsuru no Ongaeshi features a weaving theme.