Chickee - Conversations with the Goddess: SHE: Images of the Divine Feminine

Begin at the Beginning.

Images of deity conveyed spiritual meaning to peoples of the ancient world just as they do for us today. But when we look at these images from the deep past we are likely to feel that their significance is lost. I maintain that contemplation of such images can yield a felt sense of their meaning that is of more than academic interest.

Accumulating archaeological evidence affirms that prehistoric peoples revered a feminine divinity for thousands of years. But since there are no known writings from the prehistoric period, we must try to sense into the meaning of these artifacts. That means we have to rely on our intuition in “reading” their symbolism.

You might be thinking, But, really, why would symbolism of ancient artifacts be of value to us moderns, since ancient people’s symbols would be very different from ours? That’s a legitimate and important question.

Symbolic meaning can be present across historical time periods, as historian of religion Mircea Eliade observed. In other words, we can discover that the essence of a symbol can be relevant to us, even though the symbol goes far back into ancient times. Eliade said that “Images, symbols and myths respond to a need and fill a function,” bringing “to light the deepest aspects of reality which defy any other means of knowledge….”



Let’s begin at the Beginning, with the most ancient female artifact which archaeologists have so far recovered. This artifact is called the Acheulian Mother. Artist Lydia Ruyle wrote about this artifact, a find which inspired her to create what she calls the Goddess Icon Spirit Banner of the Acheulian Ancient Mother (see photo at the end of this post):

"…in the summer of 1981 a grooved scoria pebble that had been deliberately shaped was excavated at the Acheulian site of Berekhat Ram. The site is located in the Golan Heights at Israel, where a nomadic hominid tribe, who predated even the Neanderthal era, had been camping in the area between an astounding 232,000 and 800,000 thousand years ago. The figurine was found between two layers of volcanic ash, the upper one 232,000 and the lower one 800,000 years old.

"A report on the find concluded that the pebble had been deliberately selected and shaped, and went on to say: “The scoria pebble is rounded and partially weathered. Several grooves are discernible on the object. The grooves are considered to be artificial and purposefully human made…and manifest a high degree of manufacture ability. The artifacts were modified with an impressive skill both in terms of technology and values of symmetry and shape. Based on this evidence we assume that the inhabitants of the Acheulian site were both physically and mentally capable of modifying pebbles to achieve a required form. It seems that the occupants of the site selected a pebble that bore some characteristics of a female body. These were enhanced by adding the incised grooves delimiting the head and arms and the vulva.”

Below is a photo of Lydia’s Ruyle’s banner. Notice the symbolism accentuated in Lydia’s image. For example, waves of energy and power emanate from the female figurine. Also notice that the fullness of this image is emphasized, as are the breasts and vulva, though the head is featureless. Arms, legs, and head seem diminished in importance compared to the other features. The cosmetic features of this female doesn’t correspond to any of our criteria for feminine beauty. Yet looking at this image as a symbol, we sense that fertility and generativity, and even prosperity are important attributes.



The red color which Lydia Ruyle has painted on her Acheulian Mother suggests qualities that are elemental and primeval, as does the stone from which the figurine is made. Then too, the color of red ochre is frequently found on artifacts; it is symbolic of blood and the life force. When I look at the figure in this banner I think of lava and the fiery immense power emanating from earth’s living core.

The emphasis on these parts of the body and its fullness occurs in much later artifacts thought by some scholars to be a representation of the Great Mother Goddess revered in Paleolithic times. In the next page of this series we will look at one of the best known artifacts which have been described as representations of the Earth Mother.


What thoughts and feelings does this ancient image of female deity evoke in you, dear BraveHeart readers? Do you wonder whether this really represents an Earth Mother? Are you attracted or repelled by it? You don’t have to be nice in your comments. Remember that variety is the spice of life.


*Images and quotation from UK Goddess Alive! magazine with the kind permission of Lydia Ruyle.

©2010 by Dorothy “Chickee” Atalla, author
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In the highest heaven, in the kingdom of God
Is the Creative Loving Energy of Thought.
Behold ….The Creation of Woman !
~~ Casey ~~


For your enjoyment I'm sharing this poetic thought written by Casey Leasure, from his Color of a Woman's Heart series.


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The Earth Mother of Willendorf,30,000-25,000 B.C., Austria.







The Earth Mother of Willendorf was found at the entrance of a cave in what is now Austria. We can see that she is distinctly female, like her predecessor (featured on page 1 of this series), the Ancient Acheulian Mother, an artifact found between two layers of volcanic ash, the upper one 232,000 and the lower one 800,000 years old.

Like the Acheulian figurine, Willendorf is rounded, with large breasts, accentuated vulva, and featureless head. When I first saw the Earth Mother of Willendorf in Erich Neumann’s book, The Great Mother: An Analysis of the Archetype, my reaction to her was far from positive. If a pre-historic sculptor wanted to represent divinity, why would she/he create the figure of a woman so corpulent, with huge breasts and thin stalk-like arms? I wondered. Willendorf had nothing to do with the ideal of feminine beauty that I knew.

A practical question also crossed my mind: could there possibly have been any really fat women in a prehistoric culture where a lot of physical activity was necessary to survive (no couch potatoes then!)? Was fatness so unusual that it was memorialized in stone?

But Neumann’s compelling analysis of the Great Mother archetype was enough for me to take Willendorf seriously, because he offered an interpretation of many other such artifacts which placed them in context. He showed where and how they resembled each other by defining symbolism common to certain groupings/categories of female figurines.

That Willendorf’s fullness of proportions is symbolic becomes more clear as we gaze longer at her. Even as far away in time as we moderns are, we can sense that fertility, birth, nurturance, and abundance were extremely important to the creator of the figurine and to her/his kinsmen as well. One can sense that they revered Earth for the gifts she gave to humans. The spirituality of prehistoric peoples probably wasn’t divorced from the natural world in which they lived.

Other symbolism in Willendorf becomes apparent upon more reflection on this image. I wrote about this additional layer of symbolism in my book Conversations with the Goddess: Encounter at Petra, Place of Power:

"This Willendorf figure is expressive of the great round of nature as mother…. At the time this figure was made humans experienced direct contact with earth’s primal matrix….

"The angle of the head…is important. Notice that the head is bowed, with a gaze that focuses on the whole body, especially its center. The total posture…expresses the physical and psychic containment and nourishment of the child by the mother before and after its birth. The posture also suggests a whole body awareness…. Thought processes were not as “intellectual” as later humankind’s, since early humanity was more in touch with the kind of intuitive whole body-self awareness which expressed itself through ritual and dance."

I ask you this: do we moderns have that kind of whole body awareness?


What feelings and thoughts – positive or negative -- does this image evoke in you, dear BraveHeart readers? Shoot from the hip, BraveHearts (or is this expression too …well, masculine?!).

©2010 by Chickee Dorothy Atalla, author
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The Earth Mother of Lespugue, 25,000-18,000 B.C., France




Why on earth would this strange looking thing represent the divine feminine? you wonder, just as I did when I first laid eyes on this artifact.

Like the very well-known images of the prehistoric Acheulian Ancient Mother (232,000 - 800,000 years old) and the Earth Mother of Willendorf (30,000-25,000 B.C., Austria), the Earth Mother of Lespugue represents a full-bodied female, with the very same stalk-like arms folded over huge breasts which we see on the Earth Mother of Willendorf artifact. In addition, this Lespugue figurine is a blend of human female and bird. She has a beaked head, wing-like shoulders, and a tailpiece, scored with lines that resemble tail feathers.

This figurine features symbolism of an extremely old bird deity, who is often portrayed on many artifacts with an egg inside her body. We can see that the figure has an egg-shaped belly, haunches, and breasts. To my eyes these globes could have served double duty as a symbol of abundance; besides looking egglike they also suggest a cluster of fruits, such as grapes or berries. The Lespugue artifact is clearly more stylized in appearance than the Earth Mother of Willendorf, who looks more realistically like a human female.

When we look at the artifact from Lespugue, we wonder what kind of consciousness rendered it and we wonder how its creator thought about divinity. Animal epiphanies of deities are known to be a feature of spiritual traditions all over the world, throughout prehistory and ancient history. Consider how Christian symbolism of a dove represents the Holy Spirit even today! Ancient bird symbolism was often represented as birds of prey, water birds or other bird types associated with regeneration.

Bird epiphanies are also known from the Near East, Crete, Egypt, and the regions of Greece. For example, there are predynastic terracotta figurines from Egypt which clearly have a bird-like head, as well as wing-like arms and feathery hands, raised in an epiphany of the divine.



Egyptian bird deity, terra cotta, 4000 BC

The same kind of symbolism we find in the Earth Mother of Lespugue, Earth Mother of Willendorf, and the Acheulian Ancient Mother occurs many times over on prehistoric female figurines. Willendorf and Lespugue are representative of hundreds, if not thousands, of such artifacts found in domestic shrines, votive deposits, and burials.

Does the Earth Mother of Lespugue pique your curiosity, dear BraveHearts?


Note: For additional information about bird artifacts as epiphanies of female deity see online article by Alicia Sherwood, titled “The Bird Goddess – tracing Her story through history, Part 1,” published in Spellcraft issue, #8. (And no, I’m not of neo-pagan persuasion, even though the word “Spellcraft” might suggest so!)

©2010 by Chickee Dorothy Atalla, author
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[b]The Great Goddess of Minoan Crete ~~ Lady of the Wild Things

(This post is half of a page in my blog series because I can put up only two photos in one post. You'll see that the next half is posted after this post. Also you'll notice that the images are in reverse order due to some computer glitch!)i]


Let’s look at representation of deity from Crete when the culture of a people called the Minoans was at its peak. A female deity was central in the spiritual life of these people from circa 3000-1500 BC. Their goddess is frequently portrayed with animal companions, which indicate that she is Lady of the Wild Things. It is a conception of deity which has largely been dismissed in modern times as archaic -- but is it?


Minoan goddess holding snakes, circa 1600 BC from Knossos, Crete

This Minoan female figurine holds snakes and bears a small animal on her head. Today we aren’t used to snake symbolism being associated with deity. The snake got a bad rap in the biblical story of the fall of Adam and Eve, where the serpent is reported to have seduced Eve into eating the apple from the tree of the knowledge of good and evil, but in the ancient world the snake was representative of earth’s wisdom, its regenerative power, a power which was revered because all life depended on it. This figurine is probably one of the many representations of the Lady of the Wild Things which were common and plentiful across the whole ancient world.

img src="Minpotnth[1].jpg"
Minoan seal with Lady of the Wild Things, c.1500 BC

In the photo of a ring seal above, the Minoan goddess as Lady of the Wild Things has two animals flanking her. Association of animals with the Goddess was common all over the ancient world, as you will see in the next half of this blog page.

©Chickee Dorothy Atalla, author
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To all BraveHearts:

Tomorrow, December 16th I'll post the 5th page of my blog series. This time discover the role of the Divine Feminine in ancient Egypt!

Chickee

Goddesses in the Near East ~~ Isis of Egypt, Queen of Heaven, Earth, and the Underworld

Because only two images are permitted per blog post, this page of my series is divided into pages 5a and 5b.


Temple of Isis at Philae, artist’s reconstruction


The mysteries of Isis were celebrated for several thousand years in Egypt. The story of Isis and her husband Osiris were enacted yearly in an annual processional, in which the death of Osiris was publicly mourned and his resurrection was celebrated. Together this divine couple conceived a child named Horus.


Isis as tree with a breast, suckling a pharaoh, Old Kingdom, c. 2650 to 2152 BC.


In this next image we see the goddess Isis as a tree (variously identified as date palm, linden, or sycamore). The tree has an arm which holds out a breast to a man who is the pharaoh, as the uraeus symbol on his head dress shows. Why on earth would a grown man be portrayed being nursed by a tree ?! you might wonder, which is how I reacted when I first saw this extraordinary image.

Remember that we are looking at complex symbolism which ancient people associated with the Divine Feminine. Here Isis is represented as the Lady of Plants, who was an expression of an even older image of deity which preceded Isis by thousands of years. The figure of Isis assimilated this older aspect. Now compare this image with the one shown next on page 5b of this blog series.


©Chickee Dorothy Atalla, author
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Goddesses of the Near East continued~~Isis of Egypt, Queen of Heaven, Earth, and the Underworld



Isis suckling Horus, Ptolemaic period, 332-330 BC.

The mythology behind this image of Isis as mother goddess nursing her child is rich and complex. The symbolism in this particular image was clearly very familiar to the Egyptians because there are many other similar artifacts of Isis as nursing mother seated on a throne. In this particular artifact her child Horus is depicted.


Isis nursing the pharaoh, c. 600 BC.

Similarly, in the image above Isis, seated on a throne, is depicted nursing a man wearing a pharoanic uraeus symbol on his head. This man is the pharaoh, who was perceived to be the embodiment of Horus. The pharaoh was considered to be the son of Isis, and therefore of divine lineage.

The name Isis means “throne,” and Isis is frequently portrayed with a miniature throne on her head, as shown in the beautiful turquoise faience figurine. Seated on the lap of Isis as the royal Throne, the pharaoh receives from her sustenance and power to rule. In other words, power was conferred on him by Isis. This represents a recognition which comes from an older one that the powers of rulership came from the Earth Mother, not from the ruler.

This symbolism goes back in time to at least the Paleolithic age when the Great Mother Goddess, the Earth Mother, was believed to confer her power upon a leader. Beyond Egypt, throughout the pre-historic world, there is an abundance of artifacts portraying a Great Mother seated on her throne. Carved into the mountains of Anatolia are remains of huge female figures seated on thrones.

This idea was also common throughout the Near East, and we’ll see this theme on my next blog series about the myth of Inanna of Sumer and her shepherd king, Dumuzi. Such images as Isis suckling Horus convey all of these meanings with marvelous economy of expression.

*In case you are wondering whether I’ve noticed that pharaohs like Ramses ran amuck dominating their population as “benevolent” rulers, yeah, I have. Unfortunately, the pharaohs, and other rulers like them, had big egos and co-opted the powers of the Great Goddess for their own ends!


©Chickee Dorothy Atalla, author
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Goddesses in the Near East ~~ Inanna of Mesopotamia

Let's turn to goddess artifacts from lands adjacent to Egypt, an area once called Mesopotamia, now called the Near East. Goddesses were continuously revered there for several thousand years (c. 3500-500 BC). The most well-known goddess is Inanna of ancient Sumer. Her life inspired poets of Sumer, who transformed old myths into cycles of impassioned verse, called the Hymn to Inanna.


Inanna as Goddess of the Great Above and the Great Below, Queen of Heaven and Earth, cylinder seal, c. 2334-2154 BC

In this cylinder seal image Inanna is winged, a typical sign of deity, and arrows from her quiver appear above her shoulders because she was Sumer’s protectress and goddess of war. A feline accompanies her, as occurs in images from all over the ancient world (such as images of the Minoan goddess in page 4 of this blog series). The Sumerians evidently didn’t feel any incongruity in revering a deity who was both goddess of war and goddess of love and sensuality.

Inanna also was a fruitful goddess, an attribute dating back to prehistory’s Great Mother goddesses, yet she was never mother of a child. In the artifact below, Inanna is depicted with exaggerated curves symbolizing fertility and fruits of the land. She is shown with her hands holding her breasts, a gesture typical of hundreds of goddess artifacts found throughout the entire ancient world. In her aspect as a goddess who ensures fertility of the land, Inanna shares this characteristic with other Near Eastern goddesses, such as Ishtar and Ashtarte.


Ishtar/Inanna /Ashtarte as the fruitful goddess, c. 2000 BC.

Ecstatic hymns and songs were sung in Inanna’s temples throughout the Near East. They were also sung at the annual sacred marriage rites between the Goddess and the Sumerian king, believed to ensure fertility of the land and to legitimize the king’s rule. There are a number of artifacts which depict a woman and man lying on a bed. They are considered by some scholars to be votives celebrating the annual sacred marriage, or hieros gamos.

Inanna was goddess of the Great Above and the Great Below because she, ruler of earth, descended into the underworld and lived to tell her tale.

If you would like to learn more about Inanna’s life and the Hymn to Inanna, you can read Inanna, Queen of Heaven and Earth: Her Stories and Hymns from Sumer, by professional story-teller Diane Wolkstein and scholar of the Sumerian language, Samuel Noah Kramer. You might be surprised at how vivid and erotic these ancient writings are. You might also recognize a similarity between some of your dark nights of the soul and Inanna’s descent into the underworld.

©Chickee Dorothy Atalla, author
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Have you ever been a Bona Dea woman at any time in your life, like the Greek goddess Demeter, to whom others looked for your generosity of spirit, gifts of nurturance and attention?

Such Greek goddesses as Demeter are images of women that have lived in the human imagination for over three thousand years, says author Jean Bolen. Their very durability tells us that they still have something to say about us.

We can view these ancient beings in two ways:
•as patterns or representations of what women are like
•as representative of inherent patterns or archetypes that can shape the course of a woman’s life



Demeter, Greek Goddess of the Harvest, c. third to second century B.C.

To understand what Demeter's archetypal facets are, let's first look at who this mighty deity was to the ancient Greeks. She is a Greek version of the much older Earth Mother, who invokes fertility, growth and abundance of all living things for the sake of all life.

Demeter is a more familiar figure in our times than some of the other Greek goddesses, perhaps because the image of her cornucopia full of abundance is so common, especially at Thanksgiving time.

She and her daughter Persephone were central figures in the Mysteries at Eleusis for two thousand years. People came from all over the ancient world to be initiated into these mysteries.

Demeter was a maternal figure:

“The maternal archetype was represented on Mount Olympus (where the gods and goddesses lived) by Demeter, whose most important roles were as mother (of Persephone) and as provider of food (as Goddess of Grain) and spiritual sustenance (the Eleusinian Mysteries). Although other goddesses were mothers (Hera and Aphrodite), her daughter [Persephone] was Demeter’s most significant relationship. She was also the most nurturing of the goddesses….

“The mother archetype motivates women to nurture others, to be generous and giving, and to find satisfaction as caretakers and providers.

"A Demeter woman is often a Lady Bountiful, providing whatever she sees is needed – chicken soup, a supportive hug, money to tide a friend over, a standing invitation to 'come home to mother.'

“A Demeter woman often has an aura of the Earth Mother about her. She is solid and dependable. Others describe her as having her 'feet on the ground,' as she goes about doing what needs to be done with a mixture of practicality and warmth. She is usually generous, outer-directed, altruistic, and loyal to individuals and principles, to the point that others may see her as stubborn. She has strong convictions and is difficult to budge when something or someone is important to her….

“The maternal nature of the Demeter woman predisposes her to enter the nurturing or helping professions, such as teaching, social work, or nursing. Helping people to get well or grow is a satisfaction and an underlying motivation when Demeter is present. Women who become psychotherapists, physical therapists, rehabilitation therapists, or pediatricians are often expressing some Demeter inclinations in their occupational choice.”

Since revival of interest in Greek goddesses, modern artists have depicted Demeter in interesting ways. Here is how a photographer images her.


Copyright unknown

Do any of you BraveHearts see the Demeter archetype’s activity at some time in your life, or in some part of your life? Please tell a bit us about your experience.

Quotations from J. S. Bolen, Goddesses in Everywoman: Powerful Archetypes in Women’s Lives

©Chickee Dorothy Atalla, author
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Seize the moment. Remember all those women on the Titanic who waved off the dessert cart.
~~ Erma Bombeck

Dear BraveHearts,

I hope you'll seize the moment tomorrow by looking at my next blog post to discover whether you carry the Greek goddess Artemis archetype.



Have you had moments when you felt a compelling connection with the freedom of wilderness? The Artemis within you might have been active at that moment.

Chickee

Remember those moments when you knew a part of you has always been untamed? Or moments when you felt close connection with earth’s wilderness? Such deep experiences mark a time when the Artemis archetype within you was very active. Author Jean Bolen sees Artemis as “a personification of an independent feminine spirit."


Diana/Artemis, a Roman copy (1st or 2nd century AD) of lost Greek bronze original attributed to sculptor Leochares, circa 325 BC.

Artemis, Greek goddess of the Hunt and the Moon, represents one of the images of women that have lived in the human imagination for over three thousand years. The very durability of such images tells us that they still have something important to say about us.

Artemis is closely related to the ancient Lady of the Wild Things (featured in page 4 of this blog series). In mythic stories she’s described as racing across the mountain with her bow and arrows, exulting in the chase, just like the animals she loves. Artemis was called “the sounding one” (lakadeine), which probably evolved out of her connection with the music of the wild, the spirit of place, the language of wild creatures. As goddess of the moon, Artemis was at home in the night, roaming her wilderness domain by moonlight or torchlight. She inherited her role from the Paleolithic Goddess of the Wild Animals and the Hunt.

The archetype which Artemis represents "enables a woman to seek her own goals on terrain of her own choosing….Artemis as a virgin goddess archetype represents a sense of intactness, a one-in-herselfness, an attitude of ‘I-can-take-care-of-myself’ that allows a woman to function on her own with self-confidence…and enables a woman to feel whole without a man. With it, she can pursue interests and work at what matters to her without needing masculine approval. Her identity and sense of worth is based on who she is and what she does, rather than whether she is married, or to whom.”

Two other fascinating Artemis qualities which show up in modern women are:

•the goal-focused archer: “Goal focus and perseverance despite obstacles or elusiveness of the quarry are Artemis qualities that lead to achievements and accomplishments.”

•the sister: “Artemis was accompanied by a band of nymphs, who traveled with her, exploring and hunting over a wide wilderness terrain. They were unconstrained by domesticity, fashions, or ideas of what women ‘should’ be doing, and were beyond the control of men or of masculine preferences. They were like ‘sisters,’ with Artemis as the ‘Big Sister’ who led them and to whom they could appeal for help. Because Artemis is the archetypal inspiration of the women’s movement, it’s no wonder that it has emphasized the ‘sisterhood’ of women.”



Above are two modern sculptures of Artemis with her animals.

See J. Bolen’s book, Goddesses in Everywoman: Powerful Archetype in Women’s Lives.

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©Chickee Dorothy Atalla, author
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Has the magic of the Aphrodite archetype appeared sometime in your life? Whenever spring arrives do you feel that you are re-awakening to the sensuous side of life? This happens whether you are attracted to, or involved romantically with, another person or not. That’s the touch of Aphrodite!

“Golden” was the most frequent adjective which the Greeks used to describe Aphrodite, Goddess of Love and Beauty. “Golden” meant “beautiful.”She was associated with doves, lovebirds, swans, flowers, sweet fragrances and fruits. She had several lovers among the gods. She had many affairs with mortal men as well.
Aphrodite, Goddess of Love and Beauty, is like Inanna of Sumer in the way emphasis on both of these goddess’s dominant characteristics isn’t on their motherhood, but rather on the power of their sexuality and seductiveness.




Aphrodite of Cnidus, Roman copy of a statue by the famed Greek sculptor Praxiteles, c. fourth century B.C.

Aphrodite powerfully affected both mortal men and mortal women – and not always in their best interests, says author Jean Bolen. She could compel them to follow her wishes, so that they were unable to resist being drawn to whomever Aphrodite willed, and this sometimes put their own lives in jeopardy. An example was Phaedra, whom Aphrodite caused to fall hopelessly in love with her stepson Hippolytus because he refused to honor the rites of the Goddess of Love.

As an archetype Aphrodite governs women’s enjoyment of love and beauty, sexuality and sensuality, Bolen says. Aphrodite “impels women to fulfill both creative and procreative functions.”

When Aphrodite is present as a major archetype in a woman’s personality, she falls in love easily and often, and she has the “it” factor, sex appeal: “She has a personal magnetism that draws others closer into an erotically charged field that enhances sexual awareness. The ‘voltage’ goes up.”

When two people fall in love it’s the Aphrodite archetype that makes them drawn to the other’s beauty. A “golden” magic is in the air. Each feels beautiful, special, and more godlike or goddesslike.


Descriptions of the Aphrodite archetype are from Goddesses in Everywoman: Powerful Archetypes in Women’s Lives, by Jean Shinoda Bolen.

©Chickee Dorothy Atalla, author
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