Mother Goddess and India. Emancipated women's societies: a view from time immemorial (about the leading role of women in the development of human civilizations and the existence of states and peoples governed by women). Great Mother Goddess (White Goddess) - Earth before the Flood:
It is difficult to imagine a culture in whose mythology special attention was not paid to such a deity as the goddess of fertility. She was identified everywhere with the planet Venus, and Friday was considered her day. A number of researchers believe that this cult dates back to the Paleolithic and is identified with the image of a “woman-mother”.
Goddess of fertility and agriculture
With the development of agriculture, the cult of the fertility goddess only began to strengthen, as did the matriarchal rule in human communities. Over time, this era passed, but the image of the deity in cultures remained persistent. There is a clear connection between the different hypostases of the fertility goddess, including in myths. Thus, maternal deities not only give life to everything, but also take it away, which is why they have a chthonic character.
Roman goddess of fertility
In the ancient Roman pantheon of deities, the goddess of fertility Ceres has long occupied a special place. There is a lot of information about the reverent attitude of the plebeians towards her. A priest was chosen from the peasant class to give her honor. There was also an annual festival named after the goddess, which was held in April - Cerealia. It is known that for eight days in April, the plebeians held meals and treated each other so that the Roman goddess of fertility was pleased.
Ceres, according to ancient myths, brings spring to earth. This is associated with the legend of the abduction of Proserpina, which is an analogue of the ancient Greek tales of Demeter and Persephone. While searching for her daughter, the goddess was forced to descend into the underworld, which is why the world around her began to fade. Since then, she spends six months with Proserpina in the Pluto kingdom. So, when leaving, she takes all the warmth with her, and when returning, she brings it back.
Goddess of fertility among the Slavs
No matter how many pre-Christian Slavic peoples there were and no matter how disunited they were, they were always united by the goddess of fertility Makosh. According to some hypotheses, she is the image of the Mother of the Raw Earth, who not only gave life to all things, but also determined the fate of her creations. Two other deities helped her in this - Dolya and Nedolya. Together, these deities, through their yarn, predetermined the existence of each person, like the ancient Roman Parks or the ancient Greek Moira.
It remains noteworthy that this goddess of fertility was also valued by Prince Vladimir, the baptist of Rus', who ordered the destruction of all idols. This is evidence of the obvious exclusivity in the worldview of the ancient Slavs. Among other things, she was revered as the patroness of motherhood, any national economy and the land.
Greek goddess of fertility
Hellas, like other parts of the world, had its own “Great Mother,” the myths about which were reflected in the Romans’ idea of the world. The goddess of fertility and agriculture in Ancient Greece, Demeter, was one of the most revered celestials of Olympus. This is evidenced by the many epithets that her name acquired:
- Anthea;
- Achaea;
- Europe;
- Fury;
- Ennea;
- Erinyes;
- Gerkinna;
- Chthonia.
However, a more appropriate epithet, which the goddess of fertility Demeter had, is “Sieve,” which translated from ancient Greek means “Giver of Bread.” He successfully emphasizes her patronage over agriculture, because, according to the myth of the abduction of Persephone, she taught Triptolemus, the son of the Eleusinian king, to plow the land, in gratitude for the hospitality shown to her. He forever remained the goddess's favorite, becoming the inventor of the plow and the spreader of sedentary culture.
Egyptian goddess of fertility
There has hardly ever been a more revered goddess along the banks of the Nile than Isis. Her cult was so widespread that she began to absorb the traits and properties of other deities. Thus, the goddess of fertility in Egypt was also an example of femininity, motherhood and fidelity. Due to the fact that Isis was the mother of Horus, the god of royalty, she was considered the patroness and ancestor of the pharaohs.
The most common story about the nobility of Isis is the myth about her and her husband, the chthonic god who taught people agriculture. According to this legend, the king of the underworld was killed by Seth. When Isis learned of the death of her husband, she went in search of his severed body along with Anubis. Having found the remains of Osiris, they created the first mummy. With the help of ancient magic, the goddess of fertility resurrected her husband. Since then, Isis has been depicted with beautiful wings, symbolizing protection.
Phoenician goddess of fertility
In the ancient “land of purple,” Astarte had special significance for people. The Phoenicians everywhere glorified their goddess, which is why the Greeks even believed that the entire nation was dedicated to her. However, they, like the Romans, for some time considered her the goddess of love, identifying her with Venus or Aphrodite. This is due to the fact that the goddess of fertility in Phenicia absorbed new functions and titles over the centuries. She was revered as the goddess of the moon, state power, family and even war, and her cult spread throughout the Mediterranean coast.
Indian goddess of fertility
Saraswati is the goddess of the Hindu pantheon, who is revered as the patroness of the hearth, prosperity and fertility. She is considered a river goddess because her name means “she who flows.” The attributes of the goddess are:
- modest white robe;
- white rosary;
- Veda;
- vana – Indian musical instrument;
- bowl of sacred water;
- White Swan.
She can also be called by people as “Mahadevi” - “Great Mother”. The goddess of fertility in India is reverently revered in our era. Saraswati is the wife of Brahma, one of the Trimurti gods who created the Universe, which is why she occupies a special place in the pantheon. Mahadevi is also the patron of learning, wisdom, eloquence and art.
African goddess of fertility
In the vast expanses of Africa, totemism and religious fetishism were widespread, but individual tribes and groups of tribes could have formed pantheons of gods. Thus, the Ashanti, living on the territory of modern Ghana, for centuries revered Asaoe Afua, the wife of the supreme god Nyame. However, there is a remarkable fact - over time, ideas about her changed over time in such a way that her cult gave birth to two opposing deities: Asaoe Afua - the goddess of earth and fertility, and Asaoe Ya, symbolizing infertility and death.
Mayan goddess of fertility
Ish-Chel, or “Lady Rainbow,” was revered by women. The Mayan goddess of fertility and motherhood was initially depicted as a woman with a rabbit sitting on her lap, but later her image changed - artists began to represent her as an old woman with the eyes and fangs of a jaguar, snakes in her hair. According to legend, the snake goddess was the lover of Kinich-Ahau, the sun god, and the wife of Itzamna. Ish-Chel is also known as the patroness of witchcraft, the moon and women's creativity. It is known that the Mayans called it Ish-Kanleom.
Goddess of fertility in Japan
In the Land of the Rising Sun, one of the most revered goddesses to this day is Inari. More than a third of all Shinto shrines are dedicated to her, and she is also revered in Buddhism. Initially, she could be depicted as a beautiful maiden, a bearded old man, or an androgen depending on the geographical area, but over time, due to her association with the harvest and well-being, she came to be revered as a goddess of female fertility. Inari is the patron of warriors, actors, industrialists and prostitutes.
Akkadian goddess of fertility
In Akkadian mythology, the central female deity was Ishtar. In addition to fertility, she personified carnal love and war, and was also the patroness of prostitutes, homosexuals and hetaeras. The goddess of fertility in Akkadian myths was of great importance, but not as many stories about her have survived intact and intact to our time as we would like.
The central myth associated with Ishtar in Akkad was the legend of her and Gilgamesh. According to the story, the goddess of earthly fertility offered him her love, but was refused, since she destroyed all her lovers. Ishtar, angry at the failure, sent a great monster - the heavenly bull - to the city of Gilgamesh, Uruk. The second most important myth among the Akkadians was the myth of her descent, but researchers claim its Sumerian origin.
Sumerian fertility goddess
Inanna is one of the most revered deities among the Sumerians. It corresponds to the Akkadian Ishtar and the Phoenician Astarte. Her character, according to sources, was quite similar to that of a human. Inanna was distinguished by cunning, fickleness and lack of generosity. Her cult was eventually able to supplant the cult of Anu in Uruk. The Sumerian goddess of fertility also personified love, justice, and victory over the enemy.
The main myth about her was the legend of her descent into the underworld, which in some places may resemble the story of Proserpina and Persephone. For unknown reasons, Ishtar was forced to leave, parting with her attributes along the way. Having reached Ereshkigal, the chthonic queen killed her. However, the demons persuaded her to resurrect Ishtar, but in order for the goddess of fertility to be freed, someone had to take her place. So, since then, Dumuzi spends every six months in the underground kingdom. When he returns to his wife, spring has arrived.
Having become familiar with the fertility goddesses of various cultures, it is impossible not to notice a number of patterns and common features. Some people believe that this is proof of their existence, others explain it by the common origin of people and migrations. Who to believe is a personal matter for everyone, but the cult of the Mother of God is forever reflected in human civilization.
MythDemeter (Ceres among the Romans) is the goddess of fertility and agriculture, the daughter of Kronos and Rhea, one of the most revered Olympian deities. She was depicted as a beautiful woman with golden hair, dressed in blue robes, or (mostly in sculptures) as a venerable, imposing woman seated on a throne.
Part of Demeter's name meter means "mother". She was worshiped as a mother goddess, especially as the mother of grain and the mother of the girl Persephone.
Demeter's life began as darkly as Hera's. She was the second child of Rhea and Kronos - and the second he swallowed. Demeter became the fourth royal consort of Zeus (Jupiter), who was also her brother. The union of Zeus and Demeter produced an only child, their daughter Persephone, with whom Demeter was associated in myth and cult.
The story of Demeter and Persephone, beautifully told in Homer's Hymn to Demeter, centers around Demeter's reaction to Persephone's abduction by Demeter's brother Hades, lord of the underworld.
Persephone was picking flowers with her friends in the meadow. When she picked a flower, the earth suddenly opened up in front of her and Hades appeared from its depths on horses black as night in a golden chariot. He grabbed Persephone, lifted her onto a chariot and in the blink of an eye disappeared into the bowels of the earth. Persephone struggled and screamed, calling on Zeus for help, but help did not come.
Demeter heard Persephone's cry and rushed to find her. In her frantic desire to find her child, she did not stop to eat, sleep or bathe.
Finally, Demeter met Hecate, the goddess of the dark moon and crossroads, who invited her to go together to Helios, the sun god. Helios told them that Hades kidnapped Persephone and took her to the underworld, where she became his bride against her will. In addition, he said that the abduction of Persephone was carried out by the will of Zeus. He advised Demeter to stop shedding tears and accept what had happened.
Demeter rejected this advice. Now she felt not only grief, she felt betrayed and insulted by Zeus. Having left Olympus, she turned into an old woman and wandered, unrecognized, all over the world.
Demeter grieved for her kidnapped daughter, refusing to act. As a result, the growth and birth of all living things stopped. The famine threatened to destroy the human race and thereby deprive the Olympian gods of worship and sacrifice.
Each of the Olympians came to Demeter, bringing gifts and giving honor. And the angry Demeter let everyone know that she would not set foot on Olympus and would not allow plants to grow until Persephone was returned to her.
Eventually Zeus gave in. He sent Hermes, the messenger of the gods, to Hades, ordering him to bring Persephone back. Hermes rushed to the underworld and found Hades.
Hearing that she was free and could return, Persephone was delighted and prepared to go with Hermes. But first Hades gave her a few pomegranate seeds, which she ate.
Seeing Hermes and Persephone, Demeter rushed to her daughter and embraced her. Demeter then worriedly asked if her daughter had eaten anything in the underworld. If Persephone had not eaten, she would have been returned to her forever. But since she swallowed the pomegranate seeds, she will now spend two-thirds of the year with Demeter and one-third in the underworld with Hades.
After reuniting with her daughter, Demeter returned flowering and fertility to the earth. She then established the cult of the Eleusinian Mysteries. These were awe-inspiring cultic ceremonies, and the initiates were forbidden to reveal their secret. During these mysteries, people received knowledge of how to live in joy and die without fear.
Archetype
Motherhood
Demeter represented the mother archetype on Olympus. Her most important roles were those of mother (daughter - Persephone), one who nourishes (goddess of fertility), and giver of spiritual food (Eleusinian Mysteries).
Demeter is, of course, the mother figure, principle and script. She personifies the maternal instinct, the desire to give birth to a child, the joy of becoming pregnant, the pleasure of feeding, caring for and raising children.
A woman with a strong Demeter archetype passionately desires to be a mother, and having become one, she discovers this role for herself as self-realization, as implementation myself. When Demeter represents the most powerful archetype in a woman's soul, being a mother is the most important role and function of her life. The image of mother and child, most often represented in Western art by the Madonna and Child, corresponds to the deep inner idea that drives a woman.[
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The mother archetype encourages a woman to nurture and nourish others, to be generous and generous, and to find satisfaction as the family's breadwinner, caring for the family and home.
It is also about providing physical, psychological or spiritual food to other people, not even necessarily relatives. If Demeter is the most powerful goddess in a woman’s soul, then being a mother, “nanny” or “nurse” becomes the meaning of her life.
Feeding others gives the Demeter woman extraordinary satisfaction. She finds it very enjoyable to nurse her children and enjoys serving hearty meals to family or guests. If they enjoy her food, she, like a good mother (and not like Athena the gourmet cook), is warmed by warm feelings. If she works in an office, she enjoys making coffee for others.
Spiritual Parenting
Unlike Athena, who trained great strategists and generals, Demeter trained agricultural kings and raised cultural heroes. She also gave people the Eleusinian mysteries. All free people who did not shed human blood could participate in them.
Many famous women - religious teachers - had the properties of Demeter and were perceived by their followers as a maternal image. Such were, for example, the Nobel Peace Prize laureate Mother Teresa and the spiritual mentor of the Aurobindo Ashram in India, whom they addressed simply as “Mother.”[
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Generosity
Demeter was the most generous goddess of the ancient Greeks. This “joy of giving” can be found in many women. Some quite naturally feed, groom and nurture other people on a physical level, others provide emotional and psychological support, and still others provide people with some kind of spiritual nourishment. In this they share the ideal maternal scenario. First, the mother takes care of the physiological needs of the baby: she feeds, waters, dresses and puts on shoes. She supports the grown-up child on an emotional and psychological level: she can give practical advice, reassure and reassure, praise and guide. And adult children value the spiritual wisdom of their mother, which they can always rely on in difficult times. This ideal is difficult to achieve in real life. But from time to time we meet women on our way who play the role of Demeter for us in one particular case or another. Or we carry out such a mission ourselves.
Family priority
For a woman who is “ruled” by Demeter, family is more important than home. Home for her is, first of all, “a place where the family gathers.” This distinguishes her from women who follow the path of the goddess of the hearth - Hestia. The peaceful fire of Hestia can burn regardless of the number of family members and their immediate needs for care and guardianship. For Demeter, the family itself is more important, and space is never a hindrance. So mothers easily come to a city on the other side of the country (or even the Earth) and feel at home if their children are there. Without a family, life has no meaning for her. However, grandchildren or wards can replace natural children.
Maternal strength
Tradition assigns the mother the role of guardian of the moral law that determines the unity of the family team: “The whole world in the family comes from the mother.” The mother had the main responsibility for the moral qualities and destinies of the children, which is even more evident today. The mother often appears as the personification of the Law, the violation of which leads to terrible, irreparable consequences. Sometimes mothers themselves feel like this, trying to instill this feeling in their children.
An important component of the “motherhood” complex is blocking aggression, violence, and conflict behavior. Traditionally in Rus', a mother’s aggressiveness was considered dangerous for her children even in the womb, as well as after birth. The responsibilities of the mother of the family included, first of all, blocking violent forms of behavior.
However, the mother's task is to protect and protect her children. When it comes to danger for them (even imaginary), the mother herself becomes a threat to others and at the same time does not shy away from verbal or even physical aggression. The maternal role for such a woman will become an “archetypal shield” with which she will hide both from the judgments of those around her and from herself. And then any arguments against, doubts and reproaches of conscience will be discarded.
Women like Demeter become invincible when it comes to the well-being of their children. Many special education classes for children with disabilities exist only because of the desire of Demeter mothers to give their children everything they need. Perseverance, patience, perseverance are the properties of Demeter, which can ultimately influence a powerful man or social institution.
Depression, anger and destructiveness
We remember part of the myth of the abduction of Kore, when mother Demeter sat in her temple and refused to support life on earth. This led to famine and the gradual death of all living things. Real women can fall into a similar state, plunging into severe depression and not even emerging from their melancholy for years. This is a terrible time for their family, and the children are going through it very hard. As a result, the child's childhood may be colored by the feeling that his mother does not accept him, and this turns into distrust of the world as a whole. Such a mother is called a “dead mother.” Physically she is present in the family, but in her soul she is too far from it and is not able to give her child a feeling of love and support.
Far more common than these extreme forms of refusal is the Demeter mother's refusal to acknowledge and approve of the increasingly less dependent from them. Although maternal depression is not as obvious in these circumstances, withholding approval (which the child needs for self-esteem) is also associated with depression. She experiences her child's growing independence as an emotional loss. She feels less needed, rejected, and as a result may become depressed.
When the Demeter archetype has significant power and a woman is unable to exercise it, she risks falling into chronic depression caused by “feelings of empty nest and emptiness.” A woman who longs to have a child may become infertile, the child may die or leave the home. Her job as a nanny may end, or she may lose her clients or students. In this case, the Demeter woman tends to sink into depression rather than feel anger or actively fight for what is meaningful to her (a common reaction of the Hera woman). She grieves, feeling that life is empty and meaningless.
Demeter Woman
The Demeter woman is first and foremost a mother. In her close relationships, she feeds, educates and supports, helps and gives. She provides others with what she sees them need - chicken soup, an appreciative hug, money, helping a friend overcome difficulties, constantly inviting her to "come home like a mother."
The aura of Mother Earth is often felt around the Demeter woman. It is solid and reliable. People describe her as having "ground under her feet"; she does what needs to be done with warmth and practicality. She is usually generous, outward-looking, altruistic, and devoted to people and principles, to the point that she may be perceived as stubborn and unyielding. She has strong opinions and is difficult to budge when something important or someone important to her is involved.
Childhood and parents
Some little girls look like developing Demeters - "little mothers" cradling baby dolls. Little Demeter also enjoys holding real babies; at nine or ten she may be eager to nurse her siblings.
The goddess Demeter continues the lineage of fertility goddesses, like her mother and grandmother. She was the daughter of Rhea and the granddaughter of Gaia - goddesses of the earth. She also has other correspondences with her mother and grandmother. All three goddesses suffered from harm caused by their husbands to their children. Gaia's husband imprisoned her children in her body when they were born. Rhea's husband swallowed her newborn children. And Demeter’s husband allowed their daughter to be captured in the underworld. All three biological fathers showed a lack of parental feelings.
Real life corresponds to the myth of Demeter in cases where women-mothers marry men who lack parental feelings. In this situation, the Demeter daughter grows up, not connected with her father, but closely associating herself with her mother. The maternal qualities of a Demeter daughter may result in her reversing roles with her immature or inept parents. When she is old enough, she may look after her parents or become a caretaker for her younger siblings.
In contrast, if young Demeter has a loving and approving father, she will grow up feeling his support for her desire to be a good mother herself. She perceives men positively and her expectations towards her husband will be positive. The archetype's tendency toward the victim position will not be reinforced by childhood experiences.
Adolescence and youth
At puberty, the archetypal maternal urge receives hormonal support and her own child becomes a biological possibility. At this time, some Demeter girls begin to experience a strong desire to become pregnant. If other aspects of her life are not filled, then the young "Demeter" who becomes sexually involved and becomes pregnant may joyfully accept the child.
Many "Demeters" marry early. In working class families, a girl is often encouraged to get married immediately after leaving school. This encouragement may correspond to the Demeter girl's own inclination to have a family rather than an education or a job.
If a young Demeter woman does not get married and start a family, she will go to work or go to college. In college, she will likely take courses that will prepare her for a career in helping others. As a rule, the Demeter woman is not ambitious, not inclined to intellectual work, and does not strive for excellent grades, although she can do well in her studies if she has the ability and interest in the disciplines taught. The status that is so important for the Hera woman is not significant for Demeter. She often chooses friends without caring at all about their role in society.
Job
The maternal nature of the Demeter woman predisposes her to choose activities related to nurturing or helping. She is drawn to “traditionally female” professions such as teacher, educator, and medical worker. When the Demeter archetype is present, helping others grow or feel good becomes a core motivator and brings satisfaction. Women who become therapists, psychotherapists, and pediatricians often reflect a certain Demeter inclination in their choices. Many women who work in kindergartens, nurseries, primary schools, and orphanages also bring their inclinations to work.
Some Demeter women become key figures in organizations that feed off their maternal energy. Typically, in such a situation, the Demeter woman makes a great impression on others. She can imagine and then found an organization and personally lead it to rapid success.
Relationships with women: friendship or rivalry
Demeter women do not compete with other women for men or achievements. Envy or jealousy of other women concerns children. A childless Demeter woman feels inferior to women of her age who have become mothers. If she is infertile, she may feel bitter and bitter at the ease with which others get pregnant, especially if they have abortions. In later life, if her grown children live far away or are emotionally distant, she will be jealous of the mother who sees the children often. At this stage of life, jealousy can also surface due to grandchildren.
Demeter women have mixed feelings about the women's movement. Many Demeter women are angry with feminists because they devalue the role of motherhood. On the other hand, Demeter women strongly support many women's initiatives, such as protecting children from violence, providing shelters for abused women.
Demeter women usually form strong friendships with other Demeter women. Many of these friendships began when they were new mothers together. Sometimes they rely more on their girlfriends than on their husbands, both for emotional support and real help.
Within families where all women are Demeter, mothers and daughters can remain close from generation to generation. Such families have a pronounced matriarchal structure.
Relationships with men:
The Demeter woman attracts men who feel attracted to maternal women. Among them there may be a typical “mama's boy”, whom Demeter will appreciate for his individuality and misunderstanding by others, she will sincerely admire and care for him, and he will devotedly love her, as children love their mothers. Demeter’s partner can also be a man who, as a child, dreamed of marrying his own mother, and now has found in his Demeter wife someone who will be caring, warm, responsive, monitor his diet, buy him clothes and keep them in order, refer him to a doctor, when he needs it, arrange his social life. But Demeter can also connect her life with a sociophage - a person incapable of love, devotion and remorse, capable only of consuming and exhausting (both moral and material) a loved one.
Of all the men who are attracted to Demeter's qualities, only the mature and generous man is the "family type man." Such a man has a strong desire to have a family, and he sees in the Demeter woman a partner who shares his dream. This type of man is a "good daddy" to his children, but he also looks out for her. If she finds it difficult to refuse people seeking to benefit from her beautiful Demeter nature, he will help her be on her guard. A family-type man helps her realize herself through the birth of children. For the first three types of men, the idea of having a child is threatening, and they may insist on an abortion if she becomes pregnant. This demand will lead her to a maternal crisis: she will either abandon the man for whom she played the role of mother, or she will abandon motherhood. This choice will make her feel like a mother who must make the impossible choice of sacrificing one of her children.
There is an opinion that a Demeter woman is interested in sex only as an opportunity, a way to have a child. And that many Demeter women have their own little secret - they get much more pleasure from breastfeeding a baby than from sex with a man.
I said earlier that I do not consider sensuality to be the prerogative of the Aphrodite archetype. In my opinion, sensuality is a feature of a woman’s physics. She can certainly be awakened in herself in the most obvious way - through the awakening of Aphrodite with the help of various feminine things - self-care, lace lingerie, perfume, behavior that awakens in men the desire to help and take care. That being said, I believe that EVERY woman has her own unique form of sensuality. In Demeter it is earthy, unadorned, “animal” and deep.
In ancient cults, in order for the earth to bear fruit, a husband and wife at a certain time made love on freshly plowed land, conceiving a child at that moment and thereby performing a ritual of agricultural magic. This action seems to me to be the personification of the Demeter archetype, while it is certainly sensual and charged with enormous sexual, life-creative energy.
Today it is customary to separate the process of conceiving a child and his birth, when the first is seen as deeply attractive, while the second, although joyful, is painful. Now I don’t want to raise a wave of discussion about whether the process of childbirth can be enjoyable, be something more than an injury that you want to quickly forget, and why silicone breasts are an object of desire, and breastfeeding breasts are indecent. I only mean that people have long known that birth is a process no less sensual than the one that precedes it. And each of us, regardless of the archetype, has our own sensual energy seething.
Children
The Demeter woman feels a deep need to be a biological mother. She wants to give birth and raise her own child. She is capable of being a loving foster mother, an attentive teacher, but if she cannot have children, her deep passionate desire is not fulfilled, and she may feel failed.
All Demeter women perceive themselves as good mothers who have the interests of their children in the foreground. However, from the point of view of their impact on children, Demeter women can be both flawless, loving and terrible possessive, suppressive mothers.
Some Demeter mothers are always afraid that something bad might happen to their child. Therefore, they limit their children's independence and prevent them from forming close relationships with others. Due to the intention of always protecting her child, the Demeter mother can establish excessive control over him.
Another negative model of maternal behavior in Demeter women is a mother who cannot say “no” to her children. She sees herself as selfless, generous, a providing mother, a giver and a giver. This Demeter mother wants her children to have everything they want. If it is far beyond what she can give them, she will either make sacrifices to provide what she wants or feel constantly guilty.
Average age
Middle age is an important time for Demeter women. If such a woman does not have a child, she is constantly preoccupied with thoughts that biological time is running out for the possibility of becoming pregnant. If there are problems with conception or pregnancy, they visit fertility specialists. They may be considering adoption. And unmarried women intend to become single mothers.
In middle age, a woman - the founding mother of an organization - may face a crisis situation when the organization becomes so strong and wealthy that someone wants to seize its position and power.
However, the Demeter woman is able to rethink her life, realizing that even a late child will not fill the emptiness inside forever, in this case, she can take care of herself, continue her education or start a new business. But this requires strength and courage.
Old age
In old age, Demeter women often fall into one of two categories. Many find that this time is a reward for them. They are the active, active women they always have been, who have learned life's lessons and are valued by others for their worldly wisdom and generosity. Children, grandchildren, clients, students, patients - all these people, including more than one generation, love and respect such a woman. She is like the goddess Demeter - who gave her gifts to the human race and is very revered.
The opposite fate befalls the Demeter woman, who considers herself victim. Usually the source of her unhappiness is the disappointments and unfulfilled expectations of middle age. Now, identified with the deceived, grieving, angry Demeter, sitting in her temple and not allowing anything to grow, such a woman in her declining years does nothing, but the older she gets, the more bitter she becomes.
Psychological problems
s
A woman who identifies with Demeter acts like a generous maternal goddess with limitless ability to give
. She can't say no
, if someone needs her attention and help.
The Demeter woman's excessive, excessive mothering ability may not be her best trait: she wants her child to need her and worries when he is not under her control. She will be encourage addiction
and keep the child "tied to your skirt." She does the same in other close relationships. For example, she may be nurturing a "dependent child" when she is nurturing the "poor little boy" in her lover or caring for the "troubled child" in her friend.
Demeter woman, unable to say no, becomes overworked and then exhausted and apathetic or resentful, resentful and angry. If she feels that she is being exploited, she usually does not express it directly, displaying in defending her interests the same lack of assertiveness that led her to say “yes” when she should have said “no.” Instead of expressing her anger or insisting that things change, the Demeter woman is likely to ignore her feelings or sensations as ungenerous and work even harder.
When she tries to suppress her true feelings, and they somehow come out, she begins to show passive-aggressive behavior.
When a Demeter woman loses a close relationship in which she played the role of a mother figure, not only is the relationship and loved one lost, but also her role as a mother, which gave her a sense of strength, self-worth and meaning. She is left with an empty nest and a feeling of emptiness.
The reaction of women who have dedicated their lives to their children to their leaving their mother is described by the term "empty nest depression" Demeter women can react in a similar way to the end of a love affair. The same reaction is possible for such a woman in the case when she “nurtured” some project for years, but it failed or was brought to completion by other people. Such organizational difficulties leave her feeling “robbed” and rejected.
Photo materials taken from the resource pinterest.com
Jean Shinoda Bolen "Goddesses in every woman: New psychology of women. Archetypes of goddesses" Sofia publishing house, 2007
Galina Borisovna Bednenko “Greek goddesses. Archetypes of femininity." - Series: Library of psychology and psychotherapy of the independent company “Class”, 2005
and also get acquainted with the new electronic edition of the book
Greek gods and goddesses as role archetypes: New electronic edition. - M.: Spinners, 2013
by the address http://halina.livejournal.com/1849206.html
* Reflections in italics are mine
czarstvo-diva.livejournal.com 2013
The mother goddess is the main female deity in many cultures around the world. Her image can be traced back to the Paleolithic Venuses and images of female symbolism (circle, triangle, rhombus). It is believed that in the prehistoric period, when procreation and survival are the main tasks of man, the cult of the mother goddess or earth goddess appears. Its main function was the reproduction of all living things, ensuring crops and livestock growth. Found prehistoric images of women are often attributed to this goddess. The so-called Paleolithic “Venuses” have wide hips, large breasts, and prominent genitals. Other parts of the body, on the other hand, are often neglected or absent altogether, especially the arms and legs. The heads are also usually relatively small in size and lack detail. This indicates that the main female function at that time was childbearing. goddess mother religious
Often the Mother Goddess is associated with the earth; she is the fullest embodiment of the feminine creative principle. Like the goddesses of later religions, whose image goes back to the prehistoric image of the Mother Goddess, in different cultures she is also associated with caves (which are perceived as the womb of the goddess), the water element, vegetation, astral objects, which indicates the universal nature of the cult of this deity . The mother gives life, so her most important attribute is fertility. But in ancient mythology, the Mother Goddess not only gave life, but also took it away. Hence, she is often the goddess of the underworld. Everything comes out of the womb of the Mother Goddess and everything returns to her.
In the Neolithic era, ideas about the feminine as the source of all things were transformed under the influence of changing living conditions, but did not lose their original concept. In Neolithic art, the Mother Goddess was sometimes depicted holding a child or as a woman giving birth. The female deity was often represented in the form of three images: a young goddess, a mother goddess and a soothsayer goddess (the three-faced moon goddess, the goddess Astarte). These images contained ideas about the cycle of life.
The image of the Mother Goddess is a “projection” of the mature stage of a woman’s life, in contrast to the other two - the images of the young Virgin and the old Ancestress. This cult survived into historical times in the collective image of the Great Mother of the Middle East and the Greco-Roman world. Its religious continuity is clearly visible in the images of such famous goddesses as Isis, Nut and Maat in Egypt; Ishtar, Astarte and Lilith of the Fertile Crescent region; Demeter, Kore and Hera in Greece; Atargatis, Ceres and Cybele in Rome. It is worth noting that the symbolism of these goddesses is extremely similar despite the differences in the cultural regions where these cults were located.
The Mother Goddess does not have a spouse of equal size; she can give birth to him, take him as a husband and then destroy him (ancient Greek Gaia and Uranus). Another option is that she swallows her child and becomes pregnant from this (Egyptian Nut). In a later period, when gods rather than goddesses took the leading place in religion, the cult of the Mother Goddess often acquired an orgiastic character.
If we examine the image of the Mother Goddess in more detail, we can highlight the most striking deities that personify her: the goddess Ishtar (Inanna), Isis, Demeter. All three deities have similar functions and symbolism.
All three goddesses represent the ideal of femininity and motherhood. However, they are capable of both giving life and taking it away. For example: the myth of Demeter and Persephone. After Persephone was abducted by Hades, the inconsolable Demeter refused to give birth to life and everything on earth began to see and die. Once the goddess is angered, she turns from a caring mother and wife into a warrior (the goddess Ishtar in the myth of the underworld) or a monster (the goddess Sekhmet).
Christian ideas were also influenced by the ancient cult of the Mother Goddess. For example, the image of the Virgin Mary is extremely similar to the image of the Greek Selene or Diana. In late Roman mythology, the moon goddess was depicted as a young girl standing on a crescent moon holding a white cross in her hands, surrounded by twelve stars. Today, the Virgin Mary is depicted in a similar way. She also stands on a crescent, sometimes with a cross, always surrounded by twelve stars around a halo.
Such a mixture of traditions and a large number of common features in the mythologies of various peoples suggests the existence of a single ideal of femininity and motherhood. Here one cannot help but recall the concept of archetypes by K.G. Cabin boy. Jung says that humanity has universal, primordial innate mental structures that make up the content of the collective unconscious, recognizable in our experience and manifested, as a rule, in the images and motifs of dreams. The same structures underlie the universal symbolism of myths and fairy tales.
It is possible that this theory is the explanation for such a deep and ancient cult as the cult of the Mother Goddess. Even in our time, we can find many similarities between the ideal of a modern woman and the image of an ancient goddess. Feminine and independent, capable of independently taking care of her offspring, providing herself with a decent existence, warlike and maternally caring when she needs it.
In the modern world, many women strive for a similar ideal, become heads of huge companies, try to combine family and career, relegating traditional family values to the background.
Of course, this image is not the only one that is found in modern culture or ancient cults and religions. However, it is one of the most significant, brightest and ancient. The mystical ideal of the Mother Goddess, contradictory, shrouded in mystery and mysticism, very accurately reflects the dual nature of a real woman, her inconstancy, desire for independence and desire to give birth to life.
Until now, scientists do not know the reason for the heating of the earth’s interior, but in fact everything is very simple. The only eternal and indestructible energy on earth is the energy of human love - the energy of Alive, which is the main energy of the One living universe...! Someone calls it ether :)) But no matter what you call it, in fact it is the energy of love, which is produced by all living and intelligent beings of the universe.Apocalypse is the destruction of the old, weak electric field and the simultaneous birth of a new, strong electric field. The non-potential electric charge of the odd spin tube can reach the surface of the planet in three directions. Currently, one of the three exits, Balu, is shown on the map; the Earth's electric field spreads from it. There are also two exits - spare (sleeping), but actively manifesting themselves on the surface of the planet. Beneath Hawaii lies a dormant outlet, mythologically called Ilu. Scientists know that in the depths of the Earth there is a certain “hot spot” near Hawaii. The bottom of the Pacific Ocean shifts towards Asia and goes under the continent, but the hot spot is motionless and constantly “burns” the ocean bottom, gives birth to new underwater volcanoes, volcanic cones grow and rise above the ocean. The hot spot is one of three exits of the electric field to the surface of the planet; another dormant exit is located in the Atlantic Ocean. During the apocalypse, the old, weak output is destroyed, becomes dormant and, at the same time, a new one wakes up and becomes active.
Satanic forces of attraction - the forces of the black priests of Amon, male power - destruction, drag everyone into Hell - the kingdom of Darkness, built and preserve the structure of the globe. Satanic forces - the forces of gravity - hold the Earth in the solar system in the Earth's orbit, determine the optimal shape of orbital motion, give rise to centripetal acceleration and maintain a stable speed of rotation of the planet around its own axis.
This video can be attributed to the description of the catastrophe - the destruction of the Civilization of the Great Mother of the World - the Goddess of the entire Unified Universe. In "The Revelation of John the Theologian" there is a detailed description of what, how, in what way. The Heavenly Host took full responsibility for the destruction inflicted on the Planet, Civilization and people. Chaos set in, hunger, crying and lamentations of the people. Then the religions of Christianity, Islam, Judaism, Buddhism were introduced, where there is NO PLACE FOR WOMAN (Mary is not indicated as a Goddess, she is an earthly woman).
About vile betrayal and WAR. And what followed. And this, it seems, is the same GLOBAL PLANETARY WAR, after which we see ruins all over the World.
WE READ:
Here is a mind that has wisdom. Seven heads are seven mountains, on which the wife sits, and seven kings, of which five have fallen, one is, and the other has not yet come, and when he comes, he will not be long.
And the beast that was and is not is the eighth, and from among the seven, and will go to destruction. And the ten horns that you saw are ten kings, who have not yet received the kingdom, but will take power with the beast as kings for one hour. ‼
They have one mind and will transfer their strength and power to the beast.‼ They will make war with the Lamb‼ and the Lamb will defeat them‼; for He is the Lord of lords and the King of kings, and those who are with Him are called and chosen and faithful‼. And he said to me: The waters which you saw, where the harlot sits, are people and peoples and nations and languages. And the ten horns which you saw on the beast, these will hate the harlot, and will destroy her and make her naked, and they will eat her flesh‼, and burn her in fire‼; because God put it on their hearts to do the will of Him, to do one will, and to give their kingdom to the beast, until the words of God are fulfilled. But the woman whom you saw is a great city reigning over the earthly kings.
The Universe is the Ocean. This is a very popular topic right now. If we take the ancient Myths of Creation from different peoples, there was an Ocean everywhere, and Water everywhere.
Even the Babylonian Blood Lady is described as “Sitting on the WATERS OF MANY.” (see "Revelations of John the Theologian"). Look under the cut:
Chapters 17 and 18 of the Revelation of John the Theologian are dedicated to the Whore of Babylon. I still tremble when reading these lines. Of course, I know many interpretations of the image of the harlot, both solid and made up, but I prefer my own feeling to them. For me, Babylon is a civilization with its vices and abominations. “...for your merchants were the nobles of the earth, and by your magic all nations were deceived. And in it was found the blood of prophets and saints and all those killed on earth.” How true this is!
Whore of Babylon. Miniature from the “Bamberg Apocalypse,” published in 1000. The book, which belonged to Emperor Otto III, is made in the best traditions of the Ottonian Renaissance.
And he led me in spirit into the desert; and I saw a woman sitting on a scarlet beast, full of names of blasphemy, having seven heads and ten horns. And the woman was arrayed in purple and scarlet, adorned with gold, precious stones and pearls, and holding a golden cup in her hand, filled with abominations and uncleanness. her fornication; and on her forehead was written the name: mystery, Babylon the great, mother of harlots and abominations of the earth. I saw that the woman was drunk with the blood of the saints and the blood of the witnesses of Jesus, and seeing her, I marveled with great astonishment. And the Angel said to me: Why are you marveling? I will tell you the secret of this woman and of the beast who bears her, having seven heads and ten horns. The beast which you saw was and is not, and will come out of the abyss and go to destruction; and those who dwell on the earth, whose names were not written in the book of life from the beginning of the world, will be surprised, seeing that the beast was, and is not, and will appear. Here is the mind that has wisdom. The seven heads are seven mountains on which the woman sits, and seven kings, of which five have fallen, one is, and the other has not yet come, and when he comes, he will not be long. And the beast that was and is not, is the eighth, and from among the seven, and will go to destruction. And the ten horns that you saw are ten kings who have not yet received the kingdom, but will take power with the beast as kings for one hour. They have the same thoughts and will transfer their power and authority to the beast. They will make war with the Lamb, and the Lamb will overcome them; for He is the Lord of lords and the King of kings, and those who are with Him are the called and the chosen and the faithful. And he says to me: The waters which you saw, where the harlot sits, are men and nations and nations and languages. And the ten horns which you saw on the beast, these will hate the harlot, and will devastate her, and will strip her naked, and will eat her flesh. and they will burn her with fire; because God put it on their hearts to do His will, to do one will, and to give their kingdom to the beast until the words of God are fulfilled. The woman whom you saw is a great city, reigning over the kings of the earth. After this I saw another angel descending from heaven and having great power; the earth was illuminated by his glory. And he cried mightily, with a loud voice, saying, Babylon the great is fallen, is fallen, and is become a habitation of demons, and a refuge for every unclean spirit, and a refuge for every unclean and loathsome bird; for she made all nations drunk with the furious wine of her fornication, and the kings of the earth committed adultery with her, and the merchants of the earth became rich from her great luxury. As much as she was famous and luxurious, give her so many torments and sorrows. For she says in her heart: “I sit as a queen, I am not a widow and I will not see sorrow!” Therefore, in one day plagues will come upon her, death and mourning and famine, and she will be burned with fire, because the Lord God is strong, who judges her. And the kings of the earth, who committed fornication and lived luxuriously with her, will mourn and mourn for her, when they see the smoke from the fire her, standing at a distance for fear of her torment and saying: Woe, woe to you, the great city Babylon, the strong city! for in one hour your judgment has come.
And one of the seven angels who had the seven bowls came and spoke to me and said to me: Come, I will show you the judgment of the great harlot who sits on many waters; The kings of the earth committed fornication with her, and those who dwell on the earth were drunk with the wine of her fornication. The Whore of Babylon is a collective image of all the wombs of the Clan of St. John's Demons, from which these creatures were born and whose vulvas form the basis of all fictitious religions for the herd of chimeras. Like this, for example, the uterus of monkey-headed chimeras:
And the Swan - Mother Swa - is a water-floating bird. And Ducks. There are many ducks everywhere: in myths, legends, in archaeological, local history, and ethnographic museums. In the Urals, a huge GEOglyph of the Ducks was found (filled with the Chusovaya River), visible only on maps, but we saw the geoglyph in the head itself (more precisely, in the beak).
Venus emerged from the Sea.
The Finno-Ugric epic "Kalevala", the Pelasgic Myth of Creation, again the Bible. Everywhere there is WATER, OCEAN. In Russian conspiracies - Sea-Ocean. Symbols of waves in architecture and art are not a symbol of the FLOOD, they are a Symbol of the World Ocean.
Therefore shells, therefore waves, therefore PEARLS EVERYWHERE - Eggs, Germs, Embryos.
Again, we all emerge from WATER (during childbirth, the WATER breaks first). We are all from Water. There is WATER around us, the Earth is a fruit in a BUBBLE, floating in the Waters of the World Universal Ocean.
It's not for nothing that they say "Spaceships". Why SHIPS? Not airplanes or spaceships, but SHIPS.
KOKOSHNIK. The word Ro-KOKO and KOKO-shnik are similar. SHELLS both here and here?
And we inherited these Kokoshniki Shells from the Etruscans, long before RoCoco and KOKoshniki.
Not only pearls are a symbol of the Goddess, but also SHELLS.
The birth of Venus is the birth of the Planet, the World, the Goddess Venus. The sun.
Egg and Pearl. Sink. Birth of Venus.
THE SUN IS A GIANT EGG! Similarity is everywhere and in everything. Everything in the Unified Universe is created in its likeness. Everything that is above is also below!
Take a look. An egg and a sperm, next to it Pictures where the Sun and a couple of large objects that “stuck” to it. Our Sun is the Great Mother, the originator of Life.
The sharp end is forced penetration, IVF - artificial insemination. The sperm implants into the egg.
In the comments on my blog there is a link to the video from which the screenshot of the photo was taken.
What can BEADS mean? Eggs, embryos, new lives. That's why Virgos and Women wore them so that there would be many children.
This woman definitely had a lot of children, how many pearls she wears. :)) Her Forms also speak about this - Prenatal, healthy, plump (in the sense of filled). And not these dried-out hybrid female animals that now walk on the catwalks as an example of unisex. It is not clear to what gender they can be classified, but their very essence is reptilians. Their shapes do not fit into the golden ratio.
Round Stonehenge. Same Lono. OFF. Completely DESTROYED!
The shape of this StoneHenge in Sweden is nothing like the same WOMB! ..
What do you think of VIKING BURIALS? The Vikings shout: "MOM, give birth to me back!"
http://themetapicture.com/viking-burial-mounds-in-den..
THE COCARD OF THE NEW FORM OF THE RUSSIAN ARMY is still afraid of the sadistic males who are destroying the life of the Great Mother Goddess who created this world! They symbolize respect to her in every possible way:
Eye of Sauron.
Look at how persistently the division of people into the living and the dead continues in many fairy tales. The wedding of Koshchei the Immortal with Vasilisa the Beautiful. Koschey the Immortal is clearly not a person, the fairy tale tells us about this. And if you explore other myths, remember the tale of the Copper, Tin, and Silver kingdoms, where human maidens were married to snakes. A three-headed snake, a five-headed snake, and so on. Again, marriages of a human being with a non-human being.” Not human beings - these are the black priests: 22 Hierophants with their army of beast demons and clones - synthetic robots. The personification of male sadism, as the destroyers of life and love throughout the entire universe, as cruelty, perversity and greed. Wasting away over gold - this is about them.
The main difference between descendants and mixed marriages of people with gods or other creatures is precisely the ability to change appearance. Was this related to the ability to move through parallel worlds? And what does it mean - the distant kingdom, the thirtieth state, where strange creatures live? “This is the passage of nine worlds in Navi, nine worlds in the Explicit World and nine worlds in Prav. This is a kind of reincarnation, the path that any consciousness makes, incarnating from life to life in different worlds. The thirtieth, three by ten, is already Zamirye, that is, this is the knowledge of a completely different task, a different experience. This means that the distant kingdom, the thirtieth state is an exit beyond the solar system.”
The records of contemporaries - authors of ancient civilizations - have been preserved. They wrote that far in the north, beyond the Riphean Mountains, lay a great country - Hyperborea. The legend about this wonderful country runs like a red thread through our narrative. “But not only the Greeks, but also the Arabs wrote that there is a country in the far north, and it is inhabited by luminous Gods... We can say that these are all echoes of old times and old legends. They said that there was something earlier, or took for Hyperborea what was left of it.”
There is at least one unique historical document whose authenticity is indisputable. Map drawn up in the sixteenth century by the Flemish Gerhard Mercator. This astronomer and geographer was one of the outstanding scientists of the Middle Ages. The scientist had access to closed libraries and relied on the most accurate ancient maps compiled long before him. At the North Pole he depicted a land that is not on the world map today. It is signed - Hyperborea. “In place of the Arctic Ocean, a certain land was depicted in the form of sometimes three, sometimes four islands, which are separated either by large rivers or straits, with a central round lake in the middle, on which Mount Meru was supposedly located - the World Mountain. Again, the correspondence is the World Tree, the same triangular pyramidal tree, which with its top rests against the heavenly stake.” The symbol of the World Tree, which allows one to descend and ascend to the upper and lower Worlds, could be the destroyed BABYLON PILLAR (namely a PILLAR, not a Tower, how they confuse us). This was the Babylonian Pillar of Creation. A kind of ladder that allows you to get to Heaven and overthrow the Heavenly Warriors who have settled there. This is precisely why he was CREATED. Moreover, in the literal sense. I read somewhere that having built the Pillar high up, almost to Heaven, people shot arrows at the “so-called Heavenly Warriors” and they returned bloodied, which means that they are ❗MORTAL‼
You say there are no forests on Earth? There is no World Tree‼ As the AsGarda website tells us, it’s a Masonic website, all the materials of which are fake and false!
If the Cross is a symbol of the World Tree, along which the Spirits of the ancestors can ascend and descend into our World. What does the lower oblique crossbar do in the Orthodox cross? Didn't you guess? Let's sing a song about the Christmas tree, which was born in the forest, grew up and...." The horse is carrying wood, and in the logs ❗THE MAN❗ HE CUT DOWN OUR❗THREE ❗to the very root. "⚡⚡⚡ And again symbols of male sadistic consciousness , consciousness of the destroyer.
Clear? Our Tree, it was cut down.‼‼‼ The connection between ancestors and descendants is broken. ‼‼‼That’s why it’s so easy for us to be controlled, manipulated, and destroyed by creatures. ‼‼‼
We urgently need to get rid of CROSSES. We need to restore our Tree, our CONNECTION.
And this is Runa Nautiz. Let's read the meaning briefly: constraint, necessity, pain, want, lack, inhibition, impossibility of advancement, labor, difficulties, acceptance of limitations.‼‼‼
Nautiz is a Saturnian rune.
Now let's see how the Christian transition from the World Tree and Pillars to CROSSES took place. No one would immediately abandon the pillars, domins, and the World Tree. But gradually the sadistic priests succeeded.
Read and think: from here https://rgdn.info/mirovoe_derevo
“As we know, the ancient cross is a symbol of man, also a symbol of the World Tree. And the tombstone cross was placed as a symbol of the Tree of Life, rebirth❗. As a pointer and assistant to the soul of the deceased❗. The World Tree is inextricably linked with man. Our Genes-Genius-Kin. They were cut down by creatures. All the superpowers of luminous living people were blocked precisely because they cut off the connection of the living with the One! And it was carried out through the Tree of Life.
The connection of the cross with the tree of paradise is reflected in the Ethiopian work known as “The Thirteen Sufferings of the Cross.” “There is a forested country called Litostera. There they cut down eight trees and made of them a cross seven cubits and one span long, three cubits and one span wide. The first four trees were fig trees, the fifth was olive, the sixth was wild olive, the seventh was wheat, the eighth was reeds.” The story goes on to say that the fig tree was carried by an eagle from paradise and then thrown into the Jordan, where it floated against the current, thereby revealing its miraculous properties.
A characteristic detail attracts attention: the tree of the cross here is made up of many plants of different species. It can only be understood in the sense that it represents fertility incarnate, and is therefore seen as a symbol of inexhaustible vital energy, eternal renewal and rebirth. And fertility is one of the important mythological signs of the world tree. Another characteristic of it, as we remember, is that it connects different worlds. This is also reflected in Christian mythology. For example, in the apocryphal “Acts of the Apostle Andrew” in the glorification of the cross it is said: “You reach out to heaven and speak about the Highest Word. You spread out to the right and left and drive out the dark forces and gather the scattered. You are strengthened in the earth and connect the earthly with the heavenly...‼‼‼‼(*** REMEMBER HERE, we’ll come back later) . O cross, planted in the earth and bearing fruit in heaven.
It should be added to the above that images of the cross in the form of a blooming, evergreen tree❗ enjoyed enormous popularity in the Middle Ages.❗ An ancient and universal mythological image, which has already changed its appearance several times, has become one of the favorite symbols of the world religion - Christianity."
***Jesus used to be often depicted crucified on the Tree‼‼‼ And only later on the CROSS. All this is an attempt by the black priests and their satanic servants in the Russian Orthodox Church to hide the true truth, how sadists destroyed the world of the Mother of the World, the Great Goddess who created this life on earth .
Climbing up and descending down is possible only through the Tree of Life. This is a way of transition from the world of Reveal to the world of Rule and Down: to the world of Navi-pekel worlds. There used to be a lot of such tree icons on the Internet, but now I only found these. Also Yeshua - God of the Family in a dress. Someone deleted everything so that the Truth would not be revealed. So Yeshua was a woman? Did the Mother of the World herself come to earth to save her children? And her buttocks, at the direction of the priests, were made into a man?
https://www.youtube.com/watch?v=wAtjTt_HZyc&t=414s
Attis, collecting CONES, will help us understand what they mean and what they symbolize.
And they symbolize the FRUITS OF THE TREE OF LIFE. In the second picture, Attis is standing next to a PINE WITH CONES; he was turned into a PINE by Cybele after being killed by the tusks of a boar. The name At-Tis itself contains the name of another coniferous tree, Tis. This is a coniferous tree with incredible properties, though without cones, with berries, but, apparently, the Tree of Life could also have berries (we’ll see it among the Sumerians). Read about Tis here, very interesting. http://www.liveinternet.ru/users/1575676/post55009114/ “Yew is the Tree of Death and Deathlessness,” that is, also the Tree of Life.
Again I will return to the black priests and their atrocities. What did they do with the hands of the Russian Orthodox Church? They placed cut crosses (an oblique lower crossbar of previously unclear meaning) on all the Sources/Wells (these are not graves). Wells, Keys are CHANNELS OF COMMUNICATION with the Spirit of Water, with the souls of the Ancestors. And the Cross originally symbolized the Tree of Life / World Tree, along which the Souls of the departed / Souls of Ancestors could descend and ascend.
The water in such SOURCES and WELLS is no longer LIVING, but informationally and magically changed. You can't drink this kind of water. You will become a little goat.
Please note that nowhere abroad there are crosses near such places, only in Rus'. The creatures are so afraid of our ANCESTORS. And our CONNECTION with them. They are afraid of our revelation as the God-man. They cut us off from our roots and Family, from the Spirits of earth and water! And the water suffers and gets sick from this, becomes poisonous and harmful to health! Take a look at this:
Worship of the Spirits of Water at Wells, Sacred SPRINGS. (now everything is the same, only the meaning has been forgotten).
A good selection of material with all links and photos.
http://www.wedma.fantasy-online.ru/wedma.instruments/ ..
Brigid's Well in Ireland
Well of Demeter at Eleusis. Still the same form. Well. But in Russia it’s the other way around. They only closed them with crosses and cut them off from exchange and worship!
Africa. Mami Wata - Mistress of Water (here it’s a little more insidious and bloodthirsty).
http://polit.ru/article/2016/08/21/ps_wata/
They draw like Eurynome and Ophion (the images are close).
In the film The Mists of Avalon (2001), based on the book by M. Z. Bradley, the High Priestess controls the elements. Causes rain, lights fire, dispels fog. There is one moment when she communicates with the Mother of the World, the Great Goddess, through a well.
Before the dumping of hybrid creatures into the pekel worlds, the temperature of the interior differed from the average annual temperature of the earth's surface by only a few degrees! The theory of a big universal explosion is untenable! Souls arrive on earth through the central sun, i.e. they can warm up to temperatures in the sun! “And the sons of the kingdom of Satan will be thrown into utter darkness; there will be weeping and gnashing of teeth!”
Listen to the screams from the depths of the Kola Superdeep well - these screams of millions of chimeras, this is where the inferno is located. Navi worlds, worlds where there is no life. An underworld filled with fire and suffering. This is the world into which the fallen angels were thrown, into the underworld. They will go there very soon with all their satanic army of sadists, perverts and murderers.
Erich Neumann
Great Mother
Chapter Nine
Primordial Goddess
Beginning with Stone Age sculptures depicting the Great Mother as a goddess, the Archetypal Feminine suddenly bursts into the human world in all its crushing integrity and perfection. Apart from cave paintings, these figurines of the Great Goddess are the earliest cult works and works of art known to us.
The appearance of these figurines in the territory from Siberia to the Pyrenees seems to suggest the presence of a single “worldview”, at the center of which stood the Great Goddess. The homogeneity of this Stone Age culture does not depend on the origin of the figurines and in no way depends on whether primitive migrations spread this image from the center to the periphery, or whether this plastic material appeared simultaneously in different places.
(Ill. 1-2) The first four reproductions fully represent this widespread type of the Great Mother of the Stone Age. Their cult significance is undeniable. They emphasize the dominance of the matriarchal, regardless of the extent to which male, that is, hunting, power over women was widespread in this era.
For our further research, therefore, it remains unimportant whether male, female, or - as we believe - both groups were the psychic carriers of the archetype. The archetype of the Great Mother Goddess can take shape in a patriarchal society, just as, conversely, God the Father can appear in a matriarchal society. In a similar way, in an individual man (for example, a neurotic man with a dominant mother archetype), the characteristics of the matriarchal world can be found more easily than in a healthy woman.
Our description of the archetypal world is indicative in this sense. It is based on both male and female psychology of groups and individuals. Gender and sociological structure can vary the basic archetypal constellation, but cannot change it in essence.
Of all the Stone Age sculptures known to us, fifty-five are female and only five are male. The male figures of the youths are atypical and poorly executed, so it is safe to say that they had no significance for the cult. This is consistent with the secondary character of male divinity, which appeared in religion only later, receiving its divine status from the mother, the Goddess.
In the Primordial Mother figurines we find two radically different physical types: one is stocky and squatting; others (not illustrated by our material) are slender and asthenic. This difference is immediately apparent when we compare the figurine from Gagarino, on the Don River in Russia, with the so-called Venus of Willendorf and a figurine resembling it, also found in Gagarino.
Often attention is paid to the lack of correspondence between the skeletal remains and the presented images of the Great Mother. It follows that the different types of Mother Goddess had symbolic meanings which we must try to understand.
(Ill. 1b,c , 2.) The presented figurines were found in France, at the entrance to caves dedicated to a magical hunting cult; it is quite clear that the Goddess is at the center of the group life that was in full swing in these caves.
Given the emphasis on the impersonal and transpersonal, these figurines of the Great Mother Goddess are the original types of the female elemental type. In all of them, the symbolism of a round vessel predominates. The belly and breasts, often gigantic, are the central regions of the female vessel, the “sole reality.” In these figures, both the subhuman and superhuman fecundity of the Feminine finds expression. The head is not visible, it is inclined towards the middle of the body; the arms are only outlined and also emphasize the middle of the body. Giant hips and lower back taper to slender legs; the legs were broken off, but there is no doubt that they were frail, and were in no way intended to support a gigantic vessel body. In the magnificent Lespuge figure, whose breasts, belly, thighs and triangular genital area form a single group, this symbolic fullness of the elemental type is even more obvious than in the naturalistic and therefore less symbolic Venus of Willendorf. ( Ill. 1a)
The shapeless figurines of the Great Mother are a vivid manifestation of the pregnant goddess of fertility, who throughout the world was considered the goddess of pregnancy and childbirth and who, being a cult object not only among women, but also among men, represents an archetypal symbol of fertility and shelter, protection and nutrition of the elemental type.
It is true that there is a wide gap between the ideas of the Great Mother in the Stone Age and in the Near East; but the discoveries at Tel Hallaf showed that the corresponding female figurines were created before the fourth millennium BC. “The latter are almost entirely plastic images of naked, painted women with barely outlined heads, but with enlarged breasts, abdomen, buttocks and genital area, in accordance with Aurignacian custom.” The many animal figurines among these images show that this figure of the Great Goddess of Birth is the mother of all living things, both animals and humans.
These figures reveal the static nature of the elementary character by the fusion of the arms, active elements of action and movement, with the torso or vessel, as well as the frequent imperfection of the head, which remains small and blind, only an appendage for the emphasized torso. Another characteristic of these figures is the disproportionate width and fullness of the buttocks.
It would be a mistake to look for the cause of this steatopygia in some racial characteristics. This quality of the Great Primordial Mother is extremely common and is found in areas where there is no doubt about a specific African or Hottentot type. Here again the psychological interpretation takes us further and deeper.
It is often emphasized that archetypal figures cannot be attributed to the “sexual taste” of men. There is no doubt that the relationship between “taste” and figure is exactly the opposite and much more complex. In reality, male sexuality is influenced by the archetypal figure of the Feminine, operating in the unconscious. Where the obese, shapeless woman is unrestrainedly revered as a sexual object, we can infer the unconscious dominance of the mother archetype in the male psyche.
The sexual aspect on the buttocks comes from fertility rites that aim to magically multiply animals. In the Paleolithic era, as among primitive people today, there were fertility rituals in which animals meeting with coitus from behind played a central role. So in these rites we are not dealing with a personal sexual component in a person, but with impersonal symbolic behavior, which can be understood in this light. To a much greater extent than is generally recognized today, the sexual inclinations of individuals depend on unconscious archetypal images that first determined the spirit and behavior of groups, and later the behavior of mentally ill individuals with atavistic fixations. There are strong reasons to believe that matriarchal or patriarchal dominance to the unconscious worldview also determines the positions of the partners in sexual intercourse. Whether, for example, the woman lies below like the earth and the man, like the sky, is above depends on the archetypal conditions of a given culture. The operation of such an archetypal phenomenon and its influence on sexual behavior can still be observed not only in the neuroses, perversions and psychoses of modern man, but also in his normal and ordinary sexual behavior.
Steatopygia, that is, emphasizing the buttocks, can be interpreted symbolically in the art of early cultures. The Great Mother is often depicted sitting on the ground. The "seated" type, in which the buttocks form the antithesis of the legs, a symbol of free movement on the earth, represents a close connection with the earth, which can still be seen in the symbolism of language. The symbolic nature of sitting is still evident from words such as sizten, "sit"; besitzen, "possess"; Besitdergreifen, "to seize possession"; And bessessein, "to be possessed." In a similar way, Sitz, "place" and Wohnsilz, the "home" or "place" of a tribe indicates the area from which it came or where ansassig, "settled". In ritual and custom, to sit on something means to “master” it.
Heaviness and corpulence force the Great Mother to assume a sitting posture in which she, like a hill or mountain, belongs to the earth of which she is a part and which she embodies. Even if she stands, her center of gravity pulls her back towards the earth, which in its completeness and immobility is the “place” of the human race. The seated Great Mother in the original form of the "enthroned Goddess" is also the throne itself.
As mother and earthly woman, the Great Mother is the pure and simple "throne", and, characteristically, the maternal qualities of a woman lie not only in her womb, but also in her broad hips when she sits, and also in the palm of her hand, on which, a newborn child sits as if enthroned. To be taken into her palm, like to be taken to her breast, symbolically expresses the adoption by the Feminine of both the child and the man. It is no coincidence that the greatest Mother Goddess in the early cults was called Isis, the “place”, the “throne”, the symbol of which she bears on her head; and the king who "possesses" the earth, the Mother Goddess, does so by literally sitting on her.
The enthroned Mother Goddess lives in the sacred symbol of the throne. The king gains power by “ascending the throne”, and thus takes his place in the palm of the Great Goddess, the earth - he becomes her son. In widespread throne cults, the throne itself, which was originally divinity itself, was revered as “the seat of the divine.”
The original throne was a mountain, connecting the symbols of earth, cave, heap and height; the mountain was a motionless, sedentary symbol, visibly reigning over the earth. At first it was Mother Mountain, a numinous deity; later it became the seat and throne of the visible or invisible numen; still later, an “empty throne” onto which the deity “descends.” The mountainous place as the throne of the Great Goddess, the Mountain Woman, is a late stage of development; her most beautiful representation is probably the well-known Cretan seal, showing the Mother Goddess standing on a mountain while young men worship her ( Rice. 62).
The symbolism of the female deity as a hill and a mountain dates back to a later time in the East, when hierosgamos between heaven and earth began to be held on the top of a mountain or tower, symbolizing it, as in Babylon and other places. Here the male god of the sky, clouds, lightning, thunder and rain descends and unites with the Earth Goddess, who is a mountain or has a “seat” on the earth. And the priestess representing the Goddess also receives the god in the chapel on the top of the mountain.
Later, the throne becomes a sacred symbol of the Great Mother, who has retreated into the shadows, and it is on this throne that the king sits. In our patriarchal age, the term "possessing" a woman is used for sexual intercourse in which the man, on top, believes - for reasons that defy rational understanding - that he has possessed her. But the term itself still shows the original, pregenital form of possession, in which a man acquires land from a woman, being accepted into the palm of her hand as a son. Down to the present day, the throne, having appeared in matriarchal symbolism, has played a significant role. As Hocart points out: "...we speak of a king ascending the throne, meaning that he inherits the kingdom." Our view of the maternal origin of the throne is further confirmed by the Indian coronation rituals: "The king should sit on a throne which represents the womb."
Rice. 1 "Island figurine"
Limestone, near Sparta, ca.XV (?) century BC.
The prestige of the throne or chair is also emphasized by its contrast to the sitting or reclining position used by early man. The memory of the human form of the maternally accepting chair has been preserved in modern times in such terms as the “arms,” “legs,” and “back” of the chair. ( Ill. 5) The fact that the original images of the mother-throne, the throne as mother, the “reigned” child still live in the depths of the modern psyche is shown by one of Henry Moore’s sculptures, containing all these elements.
(Ill. 7a) Female figurines with exaggerated butts have also been found in Peru and the Balkans. The so-called "island figurine" from Greece ( rice. 1) combines these physical characteristics with a tattoo. ( Ill. 24) Similar figurines have also been found on the Greek islands, and primitive Stone Age figurines from Romania and Thrace come from the same psychic layer ( rice. 2; Ill. 6). All of these figurines belong to similar archetypal forms, which are distributed from Syria, Crete and Mesopotamia to India ( rice. 3; Ill. 3-11; Ill. 15).
Rice. 2. Clay figurines
Romania, prehistoric period
Rice. 3 Cretan woman
Fresco, Greece, late Hellenistic period
Along with these images, which emphasize the back of the body, there are other, nude figurines of goddesses, in which the genital triangle is especially emphasized. They are distributed from predynastic Egypt through Syria, Mesopotamia, Iran and Asia Minor to Troy, Crete and southern Europe ( Ill. 6, 8, 9, 10-14; Ill. 16, 17, 23).
This group is superimposed on another, which is again dominated by the genital triangle, but is characterized as "holding the breasts" ( Ill. 8, 9, 10, 12a, 13, 20); the character of fertility and sexuality is emphasized, so to speak. In subsequent sculptures of the Indian Great Mother (whose wide, rounded hips characterize the dominant type in all Indian sculpture), the genital area is usually covered; but the covering, which appears from the most ancient times and is repeated even in later Indian idols, still emphasizes this zone.
As ancient seals show, the nude Great Mother with her genital area emphasized was also known in India as the goddess of sexuality and fertility.
The meaning of these images of the Great Primordial Goddess is by no means limited to emphasizing individual parts of the body. Or rather, the breasts, buttocks, and genital triangle carry important symbolic accents, but we should not forget about the figure as a whole and the way in which these areas are integrated with it. What we have called the "multivalence of the archetype" is most evident in these early figurines, from which it was only in the process of development that distinct types of goddesses with their different and contradictory emphases on zones and symbols were differentiated.
Thus, in the early period we are confronted with a unity of strikingly conflicting archetypal characteristics. Indeed, many of the figurines, with their enlarged genitals and breasts, symbols of birth and nourishment, reveal only elementary character; but we also find others in which the emphasis on the character of the vessel, as well as the abdomen, genitals and buttocks, is combined with separately emphasized breasts ( Ill. 1s, 6). Here the contradiction in the Feminine itself is manifested in the paradoxical formal contrast between top and bottom. The lower, child-bearing and maternal aspect is combined with the almost incompatiblely contradictory virginal, pre-feminine aspect above. This is a contradiction ( Ill. 1s) is clearly manifested at a very early stage already in Lespuge’s “Venus”. The upper part of her body has a “spiritualized” quality, quite different from the distinctly “feminine” one below. The refined upper part and the virginal head are curved over a lush body, bursting with the elemental fullness of motherhood, thus only by purely stylistic means emphasizing the contrast between the static elementary type of the mother and the dynamic transformative type of the young woman.
It is not worth mentioning that this work expresses the unconscious layer of the artist’s personality, and not a conscious artistic solution to the problem of form. However, in the connection between the fat belly and the incorporeally flexible upper body, which from the side looks like a leaf, the image of the divine archetype reveals the typical relationship of the elemental type with the “bottom”, and the transformative type with the “top”.
(Ill. 16) Accordingly, in the images of snake-headed goddesses we find an exaggeratedly flexible figure with a clearly emphasized genital area, holding a child; exceptional flexibility is presumably due to the serpentine nature of these women.
These examples show how difficult it is to distinguish between "carnal" style ( Ill. 17), which can be suspected of sociological origin, and “artistic” style. The upper half of the Lespuge goddess is directed toward the “artistic” and abstract, as opposed to the “carnal” and materialistic lower half. The opposition between the elementary type and the transformative one, which lies at the basis of our research, is the starting point of the psychological structure. This combination of opposites is typical of the early period, which we will designate as uroboric, since ouroboros is a symbol of the unity of opposites in the mental situation of generation. ( Ill. 6) We find a similar combination of opposites in the figurine of the Thracian goddess.
One of the means by which early man could express the numinous grandeur and archetypal uniqueness of the Feminine was by expressively “exaggerating” the form, by emphasizing the elemental character. Here the bodily sense plays a decisive role. The individual who created these works and the group who worshiped them were no doubt fascinated and attracted by the substantial, exuberant fullness and massive warmth emanating from such a figurine. (This justifies the use of the term "carnal" in relation to such works.) Attraction is identical with the unconscious emphasis on infantility, in which case the goddess becomes a suitable image for an elementary type of containment.
These figures are contrasted with “abstract” images, in which we discern an emphasis on the transformative type. The earliest example of this kind is probably the carving of a female figure from the Bridge ( Rice. 4). While the elemental type contributes to sculpture, the abstract expressions of the transformative type lead to ornamental images, closely related to tattooing and body painting, the purpose of which is to transform and spiritualize the body.
Rice. 4 Woman
Carved on ivory, Predmost, Czechoslovakia, Late Paleolithic
The main purpose of drawing on the body is not “ornamentation”, but dynamic transformation. Drawing gives strength to a living or dead object, charges it with mana; and in the primitive phase the red coloring, which has been shown to be given to many prehistoric goddesses and other plastic works, had the same meaning.
The transformative meaning of tattooing is also demonstrated by its use as a sign of initiation. Likewise, the painted vessel was originally sacred. It was distinguished from secular vessels by its ornamentation, consisting of such fundamental and significant symbols as the spiral, cross, circle and wave.
(Ill. 6) The Thracian figurine of a seated goddess is one of a group of Neolithic pottery that has been discovered in an area stretching from western Russia to the Balkans and central Europe. They originated in a matriarchal oriented cultural environment, most likely belonging to the Aegean culture and its predecessors. The character of this figure is so primitive that, regardless of its historical dating, we must attribute it to a very early psychological stratum.
It owes some of its extraordinary qualities to the contradictions it contains. The shape of the vessel emphasizes the bodily elemental type, while the frequent ornamentation tends to disembodiment; the body is literally covered with the symbol. Small, barely visible breasts reinforce the - unconscious - tendency to transcend the elemental and the physical. Here the element of abstraction that the symbolic transformative type of the Feminine brings with it is almost obvious: the belly is not protruded as a sign of fertility and fullness; rather, the genital triangle, highlighted for this reason, bears the symbol of a spiral, one end of which is curved upward and the other downward.
This brings us to the most important content of this abstracting tendency. The goddess thus represented is never merely a goddess of fertility, but is at the same time a goddess of death and the dead. She is Mother Earth, the Mother of Life, ruling over everything that rises and is born from her, and over everything that sinks back into her. Therefore, this Thracian goddess, found in a grave, has an ascending and descending spiral on her stomach, showing that she is the ruler not only of life, but also of death.
"Abstraction" is a symbolic term for the minimization of a material element; an abstract image is a symbolic expression of the conflict between the corporeal and the incorporeal, as well as the transformation leading from the corporeal to the incorporeal.
The incorporeal factor operates here in a dynamic that is in some respects opposed to material reality. But in its otherness, in its distance from reality, it can also appear as an abstract, quintessential extract of this reality. This spiritual, psychic element, which in the primitive phase combines the symbolic, mental, transpersonal and conceptual, proves to be an effective force in the tendency towards abstraction.
Here it is immaterial, whether this spiritual and psychic factor is experienced as something preceding or following the corporeal world. The “spiritual” soul, which animates the living and leaves the dead, belongs both to the realm of the extra-mundane and pre-mundane, and to the realm of the incorporeal and pre-corporeal.
In so-called primitive and archaic art, especially in masks, we find an abundance of abstract motifs which have a "spiritual" character in this primitive sense. The coexistence of naturalistic elements and abstract, imaginary elements in the same work of art shows that we are dealing with a significant tendency of unconscious representation, and not with a “style” depending on external determinants.
(Ill. 18, 19) If we compare the two Benin heads in our illustrations, one, despite the stylization, is surprisingly realistic; while the other, representing a spirit, is covered with a network of symbols producing the disembodiing effect of tattooing. Despite the plastic nature of the symbols, the tendency towards abstraction is obvious.
The “abstracting” image does not strive, like realistic forms of sculpture, to express the numinous through the expressive exaggeration of real features, it expresses it in an imaginative and completely different vision. Here we, undoubtedly, are faced with the same contradiction as in the psychology of modern man, namely, with the confrontation between the extroverted and introverted approaches of consciousness. Of course, it would be a mistake to locate the corresponding typological structure in an artist or a group. We merely note that such antithetical mental approaches and modes of representation have existed from the very beginning, and that they not only determine the varied forms of various objects, but can also influence the way in which the same figure is depicted.
The opposition between the carnal and the imaginary is repeated in the distinction between the organic and the geometric or abstract in art. But to call geometric art “callous” and “denying life” would be in some sense incorrect. Focusing on the “spiritual” dynamics, i.e. dynamics that moves nature, but not limited it is not hostile to life, although often objectless. The similarity of the spirit, independent of life, with spirits and the dead would be a misinterpretation, but for early man the world of spirits, the dead and ancestors, although numinous, is not callous and life-denying. Interaction with these forces is at the center of human cults and rituals precisely because, when faithfully reflected in religion, art and festivals, they deepen and strengthen life.
Rice. 5 Rock carvings and idols
Spain, Neolithic. Row 1: rock paintings of shortened human figures. Row 2: Stone idols. Row 3-6: rock paintings of shortened human figures compared with similar images from painted pebbles from southern France.
The Great Mother fills the universe and the earth with fertility and abundance, she can be characterized in a naturalistic, “carnal” form, while her aspect as ruler over spirits and the dead emphasizes the extra-natural, extra-real and “spiritual” in her. The carnal fullness of the world is the object of an extroverted approach, while the abstract nature of the spiritual world is objectified by introversion. (We are, of course, simplifying here by equating extraversion with child-like feeling, and introversion with intuition.) To summarize, the extroverted approach emphasizes the experience of the world and its objective reality, while for introversion the emphasis is on the mental impact that the objective world has on a person . The “abstract” pictorial approach is completely focused on the internal process, the experience of the psyche, spirit and spirits. Consequently, the adequate expression of this inner reality consists in aversion from the external world, which may take the form of the abstract, symbolic, strange, grotesque or "fantastic". (It is self-evident that this reality is made visible in projection, and that this projection takes the form of abstraction, and so on.)
Rice. 6 Hermaphroditic Idol
Clay, Yugoslavia, Bronze Age
Rice. 7 Cylindrical “idol with eyes”
Limestone, Neolithic (three sides)
Rice. 8 "Idols with Eyes"
Engraving on cow bones, Spain, Neolithic
The object of an "abstract" image is something "numinous and completely different." ( Ill. 32) And it is not always possible to distinguish the schematization leading from the physical to the “sign”, on the one hand, from the abstract-numinous image of the figure, on the other. ( Ill. 5) For example, in the early Paleolithic Spanish cave paintings and idols collected by Obermayer, the geometrization of figures is not only shortening and simplification, it also produces a concentration of symbol.
Rice. 9 Goddesses of Death
Reliefs in limestone grottoes, France, Neolithic
(Ill. 6) Numinous "grotesque" includes hermaphrodite figures whose uroboric nature embraces opposites. The very primitive example given here is extremely expressive. The so-called idols with eyes belong to the same category. ( Ill. 7-8) While it is formally correct to speak of a “disintegrating facial image,” such an approach completely misses the central intention of these amazingly numinous and creative works. It is similarly missed when it is said that the Aegean prototype of female divinity is “reduced” to the eye region and “schematized.”
(Ill. 20) The possibility that these works, often found in graves, represent a primitive "goddess of death" supports our thesis about the connection between creative abstraction and funerary rites. So the meaning of “reduction” and “schematization” is not formal; they symbolize a “reduction” to the spiritual essence of the world of the dead and spirits - as opposed to the full-scale nature of female life.
Rice. 10 Seated and standing figurines of goddesses
From Amorgos, Naxos and Crete, pre-Mycenaean period
(Ill. 21) An artistic abstract form of the Cypriot fertility goddess of the second half of the second millennium BC, like many later Neolithic cave mothers from France, depicts the goddess of the dead ( Rice. 9; Ill. 22), earth and fertility, and once again point to the connection between the numinous-figurative and the world of spirits and the dead. The numinous effect of abstractive form is also evident in late pre-Mycenaean stone sculpture. ( Ill. 10).
Along with these abstract bodily forms we find, particularly in pre-dynastic Egypt (i.e., at the dawn of human history), figurines that closely resemble the Primordial Mother in physical type. A seated sculpture of an Egyptian “maid” with exaggeratedly wide hips ( Ill. 26) is just one of a whole group of similar works. In contrast, the standing women belong to a group of works representing a "goddess with raised arms" ( Ill. 26). These figurines with enlarged buttocks have been misinterpreted as African slaves.
Regarding one of them, Bristel wrote: “Leather decorated with numerous zigzags, chevrons and animal designs. Legs and arms are missing (probably initially). Scharf believes that these figures dance, and as such are the earliest known attempts to represent the human figure in some activity."
Rice. 11 Image on stone
Algeria, Paleolithic
It is quite possible to interpret these figures as praying. The priestess identified with the Great Mother, like the women who worshiped her, may well be doing the same. But this tells us nothing about the real meaning of this widespread gesture, which is characteristic of the archetypal Feminine.
The “some activity” of the raised hands is undoubtedly of a religious nature, whether we consider it prayer. invocation or magical enchantment. In any case, the primary “magical meaning” of this pose, which was later preserved as a prayer one. And it should be remembered that the original magical intention to move and influence higher powers has been preserved in almost all prayers.
Rice. 12 Image on the vase: women with raised hands
Egypt, perhapsIV millennium BC
The figure of the goddess with her arms raised can be found almost wherever the archetypal figure of the Feminine appears. We find it in the "abbreviations" of the Stone Age. The image of a male hunter on a Paleolithic stone, magically bound, genitals to genitals, with a female figurine with raised arms, no doubt expresses the magical function of the Feminine. In all likelihood, the design on a very early Egyptian vessel also depicts hunting magic. ( Rice. 12) Here the female figures again have wide hips and accentuated buttocks. Moreover, they are much larger than the men standing next to them, and this, as we know, expresses the “greatness” of either God, or, later, the Great Person, the king.
Our interpretation of these figurines is confirmed by the remark of Max Raphael: “The clay figurine of a woman with raised arms, which played a role in the cult of the dead already in the Amrat culture, cannot be considered a depiction of a dancer, since in the drawing on a vase from the Brooklyn Museum (New York) there are two men supporting raised hands holding the woman directly by the armpits to enhance the effectiveness of the pose and prolong it.” Some of Raphael's interpretations may seem a little speculative, but he certainly succeeded in proving that these figures depict the Great Mother. We find an exact correspondence to the holding of hands (see above) in the Bible, where the hands of Moses brought victory to the Jews over the Amalekites.
Rice. 13. Egyptian symbol ka.
There are two possible interpretations of this hand position, and both ultimately come down to the same thing. One interpretation emphasizes the magical nature of the posture adopted by priests and priestesses of the Great Goddess or by supplicants who wished to establish contact with her. According to another interpretation, this is the pose of “epiphany,” the moment when the divine appears. Both interpretations are based on good arguments.
(Rice. 12) The pose of the Great Women with their arms raised and men next to them on the Egyptian vessel is obviously a pose of petition, and it is likely that women were supposed to adopt this magically effective internal and external pose at the beginning or during the entire male enterprise, such as hunting or battles. We find traces of this idea in the numerous taboos by which women must observe that while men hunt or fight, their success depends on the magical efficacy of the Feminine.
Often the priestesses of the Great Mother resembled her in physical makeup, this was considered necessary in order to “represent” her properly. ( Ill. 56)This is evident not only in the figurines of high Cretan culture, but also in examples from Malta. The sleeping woman from Malta shows that the ideal of a fat body with slender legs has persisted for thousands of years. ( Ill. 3)
Rice. 14 The Cretan goddess before her believers.
Palace, Knossos, II thousand.
The frontal position of the figure almost always indicates numinity, which either “reveals” or simply symbolizes the object of worship. One of the most successful examples of this kind is the image of the Cretan goddess standing before her believers. ( Rice. 14) This goddess with raised hands, holding double-edged axes, is known to us from other images. Here she descended to the ground, as indicated by the wavy lines in the background.
We observed the identity between the goddess and the priestesses who represented her. A similar identity prevailed between the posture of the divine epiphany and that of the worshiper of the divine, so that the worshiped goddess and the worshiper assumed the same posture. For this reason, we often cannot be sure whether we are dealing with an image of the Goddess, her priestess or a devotee.
Raised hands as a posture for prayer are not unique to Egypt, but are widespread in other places as well. Often the angular position of the hands does not mean worship, but divine epiphany, ( Frontispiece) as shown in the image of the Cretan goddess; ( Rice. 14) a primitive goddess figurine from a sanctuary at Gournia is also found in this pose, as are many other figurines from Mycenae, Troy, Cyprus and Greece. ( Ill. 27b, 27a). On the vessel from Troy and the Hallstatt vessel there are handles, ( Ill. 27a) made in the form of outstretched arms, clearly have a sacred meaning. Based on this feature, Persson argues that the figurines depicted the epiphany of the Cretan Great Goddess. And in India the Great Goddess takes the same pose.
This gesture of epiphany suits the Great Mother when she stands on the earth, as in Egypt; when she descends from heaven, as in Crete; and when she rises from the ground. ( Ill. 26, 154-55; Rice. 14)
(Ill. 24b, 136) The pre-Greek Goddess, whose lower part is undifferentiated, like a bell or platform, reminds us of Gaia, Mother Earth, whose womb coincides with the earth, the lower territory of fertility. ( Ill. 28a,b) The same is true for Indian "busts" of the Great Mother, the lower part of the body of which is in the ground. ( Rice. 15) We find the same archetype almost two thousand years later in an image showing the earth feeding monsters, although here, too, knowledge of the ancient figure of Gaia is not at all a hindrance. ( Ill. 29)
(Ill. 30a) Drawings of psychotics show that the archetype of the Great Mother with raised hands still lives in the unconscious of modern man. This is an archaic goddess figure with an archetypal head decoration; the figure has obvious steatopygia and wide hips; the genital area is surrounded by small black dancing demons; the face is clearly tattooed. She stands under the dark blue night sky; Under her feet there is a greenish-yellow something (the moon?).
Rice. 15 Women's figurines
Clay, Balochistan, prehistoric period (three views)
The abstract, artistic type of Mother Goddess can also be found in the drawings of modern children. ( Ill. thirtyb) The great figure of the maternal archetype, appearing in the unconscious of the child, was perceived as a drawing of a “ship”. Later we will talk about the unconscious connection between the ship and the mother archetype; in this drawing, like the psychotic, the expression of the Great Mother is very emphasized by the strangely raised hands.
Thus, the Primordial Goddess, combining the elemental and transformative types in one, is the “eternal presence”; wherever features of an elementary or transformative type appear, its archaic image is also constellated anew, regardless of time and space.
1 A. Venus of Willendorf
Limestone, Austria
1 B . Venus of Menton
Soapstone, Austria
1 S. Lespuzhskaya Venus
Ivory, France
2 Venus of Laussel
Relief on stone, France, Paleolithic
3 Sleeping woman
Clay, Malta, Neolithic
4 Isis with the king
Temple of SetiI, Abydos,XIX dynasty
5 Madonna and Child
Sculpture by Henry Moore, 1943
Clay, Thrace, Neolithic
7 A.
Women's figurines
Terracotta, Peru, before Columbus
B. Picture of a psychotic
Germany,XX century
Clay, Cyprus, approx. 2500 BC
Fragments of figurines of the goddess Beltis
Stone, Susa,VII century BC.
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Goddesses
Terracotta, Mesopotamia, ca.XXIV century BC.
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