drawing is my hobby and sometimes I share the results

Sasuke Uchiha: AB

Sakura Haruno: O

Sarada Uchiha: O (Naruto Gaiden databook)

But isn’t it impossible for an AB parent to have an O child? That would mean Sarada can’t be Sasuke’s daughter… Did the author mess up, or could Orochimaru have been involved (like he did with Shin)? Maybe he even created an embryo by altering Sakura’s or Karin’s genetics with a small DNA pairing from Sasuke, then implanted it in Sakura… (just my guess).

Poor Sasuke, I never knew this!

He deserves someone better...

It is cause its actually not possible for an AB parent to have an O child since O blood type is recessive. So either the author made a mistake or the blood type was given with a secret to her birth in mind.

Shikamarus blood type: AB

Temaris blood type: O

Shikadais blood type: AB

Their child could only be an A or a B, not an AB.

If anyone is curious: it is possible for a child with AB or O blood types to be born to AB+O pair. Like with people who have Cis-AB mutation that’s actually the most highest reported in Japanese and Korean men out of any other nationality, in which A and B antigens are inherited and passed on together simultaneously. In another case, Bombay syndrome, a child can have either A or B antigens in their genotype but its bloodtype will manifest (and be mis-typed) as O because of antigen production damage. O child can also be born to AB parent if the parent has mosaic Chimerism, which causes a person to have two sets of DNA(one from their absorbed unborn twin), either of which they can pass on(Sasuke’s hypothetical absorbed twin could have Mikoto’s hypothetical O gene—Since AO variant of A blood type is more common than AA—And that O could be passed on to Sarada).

Shiva is one of the most revered and complex deities in Hinduism, embodying both the destructive and regenerative aspects of the cosmos. He is also the patron god of music, dance, and rhythm, and his attributes include the damaru, a small drum that symbolizes creation and sound. The damaru is a dual-sided instrument, consisting of two resonating chambers connected by a thin neck, and producing a distinctive sound when shaken or struck. The damaru is often depicted in the iconography of Shiva, as he holds it in one of his hands, or as he plays it during his cosmic dance of Nataraja, the lord of dance. The damaru is not only a musical instrument, but also a sacred object and a spiritual tool, as it represents and expresses the essence and energy of Shiva, and his role in the creation and destruction of the universe. The damaru is also a symbol of the sound of “OM”, the primordial vibration that pervades and sustains all existence, and the source of all mantras, sacred utterances that invoke and appease the divine. The damaru is also a symbol of the duality and unity of the universe, as it has two sides that produce different sounds, but that are connected and integrated by the same neck, and that create a harmonious and rhythmic sound when played together. The damaru is not only a symbol, but also a practice, as it is used in various rituals and ceremonies that involve drumming, chanting, and dancing, as a way of connecting and communicating with Shiva, and of attaining spiritual experiences and states of consciousness. Drumming is a universal and ancient form of human expression and communication, and it is found in various spiritual traditions and cultures worldwide, as a way of invoking and interacting with spiritual forces, ancestors, and deities, and of facilitating healing, trance, and ecstasy. Drumming is also a powerful and profound psychological phenomenon, as it affects and influences the human brain and body, cognition and emotion, and behavior and interaction, in various ways and levels.

The Historical and Symbolic Context of Damaru

Shiva is one of the most prominent and complex deities in Hindu history, as he represents and embodies both the destructive and regenerative aspects of the cosmos. He is also known as Mahadeva, the great god, and as Rudra, the fierce god, and he has various forms and manifestations, such as Bhairava, the terrifying god, and Nataraja, the lord of dance. He is also known as the god of music, dance, and rhythm, and he is associated with various musical instruments, such as the flute, the lute, and the drum. The damaru is one of the most important and distinctive musical instruments of Shiva, as it symbolizes and expresses his role in the creation and destruction of the universe, and his association with sound and rhythm. The damaru is a small drum, consisting of two resonating chambers made of wood, metal, or clay, and covered with animal skin, such as goat, deer, or tiger. The two chambers are connected by a thin neck, and have a string or cord attached to them, with beads or pellets at the ends. The damaru produces a distinctive sound when shaken or struck, as the beads or pellets hit the skin of the chambers, creating a vibration and a resonance. The damaru is often depicted in the iconography of Shiva, as he holds it in one of his hands, usually the upper right hand, or as he plays it during his cosmic dance of Nataraja, the lord of dance. The damaru is also often accompanied by other symbols and attributes of Shiva, such as the trident, the snake, the crescent moon, and the river Ganga, which represent his power, wisdom, grace, and compassion. The damaru is also often associated with the sound of “OM”, the primordial vibration that pervades and sustains all existence, and the source of all mantras, sacred utterances that invoke and appease the divine. The damaru is also often associated with the duality and unity of the universe, as it has two sides that produce different sounds, but that are connected and integrated by the same neck, and that create a harmonious and rhythmic sound when played together. The damaru is not only a musical instrument, but also a sacred object and a spiritual tool, as it represents and expresses the essence and energy of Shiva, and his role in the creation and destruction of the universe. The damaru is also a symbol of the sound of Om, the primordial vibration that pervades and sustains all existence, and the source of all mantras, sacred utterances that invoke and appease the divine. The damaru is also a symbol of the duality and unity of the universe, as it has two sides that produce different sounds, but that are connected and integrated by the same neck, and that create a harmonious and rhythmic sound when played together. The damaru is also a practice, as it is used in various rituals and ceremonies that involve drumming, chanting, and dancing, as a way of connecting and communicating with Shiva, and of attaining spiritual experiences and states of consciousness. The damaru is used by various sects and groups of Hinduism, such as the Shaivites, the devotees of Shiva, the Naths, the ascetics and yogis, and the Aghoris, the extreme and taboo-breaking renunciants. The damaru is also used by various indigenous and shamanic traditions and cultures worldwide, such as the Native Americans, the Africans, and the Tibetans, who share a common reverence and respect for the drum as a sacred and powerful instrument. The damaru is used in various ways and contexts, depending on the purpose and intention of the ritual or ceremony, and the tradition and culture of the participants. The damaru can be used as a solo or a group instrument, as a lead or a support instrument, and as a rhythmic or a melodic instrument. The damaru can be used to invoke and interact with Shiva, or with other deities and spirits, such as Ganesha, the elephant-headed god of success and wisdom, or Bhairava, the fierce and terrifying manifestation of Shiva. The damaru can also be used to communicate and connect with ancestors, nature, and oneself, as well as with other participants and observers. The damaru can also be used to facilitate healing, trance, and ecstasy, as well as to express and celebrate joy, gratitude, and devotion. The damaru is a rich and complex symbol and practice, that reflects and expresses the essence and energy of Shiva, the god of music, dance, and rhythm, and his role in the creation and destruction of the universe. The damaru is also a universal and ancient form of human expression and communication, that is found in various spiritual traditions and cultures worldwide, and that serves as a gateway to spiritual experiences and states of consciousness. Exploring Infinity, Kalpa, and Shiv Damru Through Psychological Lens The profound concepts of Infinity, Kalpa, and Shiv Damru through the lens of psychology, and unveiling the intricate relationship and its potential psychological implications. Infinity: The Endless Mindset In psychology, the concept of Infinity aligns with the idea of limitless potential and boundless thinking. It mirrors the expansive nature of the human mind, capable of transcending perceived limits in various aspects like numbers, space, time, and consciousness. The association with Brahman, the supreme reality, resonates with the psychological pursuit of self-discovery and the exploration of the depths of one’s consciousness. The constant quest for understanding and expanding our mental horizons can be seen as a psychological journey towards an infinite mindset. Kalpa: Cycles of Psychological Transformation From a psychological perspective, Kalpa can be likened to the cyclical nature of personal growth and transformation. Just as the Hindu trinity experiences cycles of creation and destruction, individuals undergo phases of psychological development and renewal. The duration of a Kalpa, equivalent to 4.32 billion human years, metaphorically reflects the lifelong process of self-discovery and the continual evolution of the psyche. The concept of manvantaras, ruled by different aspects of humanity, can be seen as the varied stages of life, each contributing to the overall growth and development of an individual. Shiv Damru: Psychological Symbolism of Creation and Destruction The Shiv Damru, as a psychological symbol, represents the interplay between creation and destruction within the human psyche. The act of Shiva creating the universe through the sound of the drum can be interpreted as the creative forces within the mind, giving birth to thoughts, ideas, and emotions. Conversely, the idea that Shiva will destroy the universe by playing the drum again symbolizes the psychological process of letting go, deconstructing outdated beliefs, and paving the way for personal transformation. The dual nature of the drum, producing different sounds yet connected in harmony, mirrors the psychological balance between opposing forces within the mind – a delicate dance of duality and unity. Psychological Interpretation of Relationships: Representation through Drum Ends: Each end of the Shiv Damru, representing the kalpas of Shiva, Vishnu, and Brahma, can be seen as symbolic of the psychological aspects within an individual. The upper end, signifying Shiva’s kalpa of destruction and transformation, may align with the capacity for change and personal growth. The lower end, representing Brahma’s kalpa of creation, reflects the creative and manifesting aspects of the mind. The middle section, symbolizing Vishnu’s kalpa of preservation, corresponds to the psychological ability to maintain balance and stability. The neck of the drum, representing pralaya or dissolution, can be associated with periods of psychological rest, reflection, and absorption. Unrepresented Fourth Kalpa – Shakti’s Influence: The absence of the fourth kalpa in the Shiv Damru, which represents Shakti, could signify the often overlooked feminine aspects of psychology. Shakti, as the power and energy of the universe, embodies the dynamic forces within the human psyche. Exploring and integrating these feminine qualities can contribute to a holistic understanding of one’s psychological landscape. Psychological Infinity through Drum Beats: The Shiv Damru, with its four kalpas, symbolizes the psychological journey towards an infinite mindset. The diverse sounds and rhythms produced by the drum represent the infinite potential and diversity within the human mind. The harmonious and rhythmic sound created by the interconnected sides of the drum mirrors the psychological pursuit of unity and harmony in thoughts, emotions, and experiences. Understanding the relationship between Infinity, Kalpa, and Shiv Damru from a psychological perspective unveils a rich tapestry of metaphorical elements, reflecting the complex dynamics of the human mind. This exploration suggests that these ancient concepts offer insightful parallels to the ongoing psychological processes of growth, transformation, and the pursuit of an infinite mindset.

Photo by Nicole Avagliano on Pexels.com Transactional Analysis and Drumming Dynamics Transactional analysis is a theory of human personality and communication, developed by Eric Berne in the 1950s, that focuses on the concepts of ego states, transactions, and life scripts. Ego states are the different aspects of the self that are activated in different situations and interactions. Berne identified three main ego states: Parent, Adult, and Child. The Parent ego state is the internalized representation of the authority figures and norms that one has learned from childhood. The Adult ego state is the rational and objective part of the self that deals with reality and problem-solving. The Child ego state is the emotional and spontaneous part of the self that expresses the needs, feelings, and impulses that one has experienced from childhood. Transactions are the exchanges of verbal and non-verbal messages between two or more people, based on their ego states. Berne classified transactions into three types: complementary, crossed, and ulterior. Complementary transactions are those in which the ego states of the sender and the receiver match, such as Parent-Parent, Adult-Adult, or Child-Child. These transactions are harmonious and effective, as they result in clear communication and mutual understanding. Crossed transactions are those in which the ego states of the sender and the receiver do not match, such as Parent-Child, Adult-Parent, or Child-Adult. These transactions are conflictual and ineffective, as they result in misunderstanding and frustration. Ulterior transactions are those in which the ego states of the sender and the receiver are not apparent, but hidden, such as Parent-Child with an Adult message, or Adult-Adult with a Child message. These transactions are manipulative and deceptive, as they result in confusion and mistrust. Life scripts are the unconscious patterns of behavior and beliefs that one develops from childhood, based on the messages and experiences that one has received from the environment. Life scripts shape one’s identity, expectations, and choices, and influence one’s transactions with others. Berne identified four main types of life scripts: winner, loser, banal, and tragic. Winner scripts are those that lead to success and happiness, as they are based on positive messages and experiences that foster self-confidence and self-esteem. Loser scripts are those that lead to failure and misery, as they are based on negative messages and experiences that foster self-doubt and self-pity. Banal scripts are those that lead to mediocrity and boredom, as they are based on neutral messages and experiences that foster conformity and complacency. Tragic scripts are those that lead to disaster and death, as they are based on extreme messages and experiences that foster rebellion and risk-taking. We can apply transactional analysis to analyze the dynamics of sacred drumming rituals, and how they affect the ego states, transactions, and life scripts of the participants. Sacred drumming rituals are collective and interactive events, that involve the participation and communication of various people, such as the drummers, the chanters, the dancers, and the observers. Sacred drumming rituals also involve the use of various elements and forces, such as the drums, the chants, the movements, and the rhythms, that create and influence the flow of energy and information among the participants. Sacred drumming rituals induce shifts in ego states, from the Parent and Adult to the Free Child, unlocking creativity, intuition, and spiritual insight. The Parent ego state is the internalized representation of the authority figures and norms that one has learned from childhood, such as the religious leaders, the moral codes, and the ritual rules. The Parent ego state is activated and expressed in sacred drumming rituals, as the participants follow and respect the guidance and instructions of the ritual leaders, the ethical and spiritual values of the tradition, and the established and expected procedures and protocols of the ritual. The Parent ego state is also challenged and transcended in sacred drumming rituals, as the participants break and overcome the limitations and restrictions of the conventional and mundane aspects of life, and as they seek and attain the ultimate and divine aspects of life. The Adult ego state is the rational and objective part of the self that deals with reality and problem-solving, such as the logical reasoning, the factual knowledge, and the practical skills. The Adult ego state is activated and expressed in sacred drumming rituals, as the participants use and apply their cognitive and technical abilities to perform and coordinate the drumming, chanting, and dancing, and to understand and interpret the meaning and significance of the ritual. The Adult ego state is also challenged and transcended in sacred drumming rituals, as the participants alter and expand their perception and cognition of reality, and as they access and explore higher levels of awareness and insight. The Free Child ego state is the emotional and spontaneous part of the self that expresses the needs, feelings, and impulses that one has experienced from childhood, such as the curiosity, the joy, and the wonder. The Free Child ego state is activated and expressed in sacred drumming rituals, as the participants unleash and satisfy their creative and intuitive urges to play and experiment with the drums, chants, and movements, and to experience and share their emotions and sensations with others. The Free Child ego state is also challenged and transcended in sacred drumming rituals, as the participants encounter and integrate the opposites and contradictions of life, such as the pain and pleasure, the fear and love, and the duality and unity. Sacred drumming rituals also affect the transactions and life scripts of the participants, as they influence and shape their communication and interaction with others, and their behavior and choices in life. Sacred drumming rituals can result in complementary, crossed, or ulterior transactions, depending on the ego states of the participants, and the messages and responses that they exchange. Sacred drumming rituals can also result in winner, loser, banal, or tragic life scripts, depending on the messages and experiences that the participants receive and internalize from the ritual, and the expectations and outcomes that they develop and achieve in life.