The sun god / goddess becomes Mars (Aries) and Venus (Libra) – First Point of Aries and first point of Libra: The equinoxes. The patriarch (sky – an / dingir – Dyeus / Dis Pater – Apollo / Pluto – lingam – yang) and the matriarch (earth – nin / ki – yoni – ying), the sun and the moon. They represent the king (Mars) and the queen (Venus).
In the Near East the king/ queen was represented by the lion (Nergal) – in the rest of Eurasia the lion became a wolf (Mars). However, due to the precession of the equinoxes the constellations where the equinoxes are currently located are Pisces (Jesus) and Virgo (Mary). The Master or Lord of Animals and Mistress of Animals.
In comparative mythology, sky father is a term for a recurring concept of a sky god who is addressed as a “father”, often the father of a pantheon. The concept of “sky father” may also be taken to include Sun gods with similar characteristics. The concept is complementary to an “earth mother”.
A mother goddess is a goddess who represents, or is a personification of nature, motherhood, fertility, creation, destruction or who embodies the bounty of the Earth. When equated with the Earth or the natural world, such goddesses are sometimes referred to as Mother Earth or as the Earth Mother.
In Proto-Indo-European mythology, the wolf was presumably associated with the warrior class, who would “transform into wolves” (or dogs) upon their initiation. In Roman mythology wolves are mainly associated to Mars, god of war and agriculture. Mars represented military power as a way to secure peace, and was a father (pater) of the Roman people.
The Capitoline Wolf nurses Romulus and Remus, sons of Mars and future founders of Rome. In the mythic genealogy and founding myths of Rome, Mars was the father of Romulus and Remus with Rhea Silvia.
His love affair with Venus symbolically reconciled the two different traditions of Rome’s founding; Venus was the divine mother of the hero Aeneas, celebrated as the Trojan refugee who “founded” Rome several generations before Romulus laid out the city walls.
The name of March comes from Martius, the first month of the earliest Roman calendar. It was named after Mars, the Roman god of war, and an ancestor of the Roman people through his sons Romulus and Remus. His month Martius was the beginning of the season for warfare, and the festivals held in his honor during the month were mirrored by others in October, when the season for these activities came to a close.
Martius remained the first month of the Roman calendar year perhaps as late as 153 BC, and several religious observances in the first half of the month were originally new year’s celebrations. Even in late antiquity, Roman mosaics picturing the months sometimes still placed March first.
Aries (meaning “ram”) is the first astrological sign in the zodiac, spanning the first 30 degrees of celestial longitude (0°≤ λ <30°). Under the tropical zodiac, the Sun transits this sign from approximately March 20 to April 21 each year. The symbol of the ram is based on the Chrysomallus, the flying ram that provided the Golden Fleece. The fleece is a symbol of authority and kingship.
The March equinox or Northward equinox is the equinox on the Earth when the subsolar point appears to leave the Southern Hemisphere and cross the celestial equator, heading northward as seen from Earth. The March equinox is known as the vernal equinox in the Northern Hemisphere and as the autumnal equinox in the Southern.
The March equinox on the 20th or 21st marks the astronomical beginning of spring in the Northern Hemisphere and the beginning of autumn in the Southern Hemisphere, where September is the seasonal equivalent of the Northern Hemisphere’s March.
The point where the Sun crosses the celestial equator northwards is called the First Point of Aries. However, due to the precession of the equinoxes, this point is no longer in the constellation Aries, but rather in Pisces. First Point of Aries and first point of Libra: names referring to the astrological signs the sun is entering. Due to the precession of the equinoxes, however, the constellations where the equinoxes are currently located are Pisces and Virgo, respectively.
The Babylonian calendar began with the first full moon after the vernal equinox, the day after the Sumerian goddess Inanna’s return from the underworld (later known as Ishtar), in the Akitu ceremony, with parades through the Ishtar Gate to the Eanna temple, and the ritual re-enactment of the marriage to Tammuz, or Sumerian Dummuzi.
In Germanic mythology, Týr (Old Norse), Tíw (Old English), and Ziu (Old High German) is a god. Stemming from the Proto-Germanic deity *Tīwaz and ultimately from the Proto-Indo-European deity *Dyeus, little information about the god survives beyond Old Norse sources.
Týr is the namesake of the Tiwaz rune, a letter of the runic alphabet corresponding to the Latin letter T. By way of the process of interpretatio germanica, the deity is the namesake of Tuesday (‘Týr’s day’) in Germanic languages, including English. Interpretatio romana, in which Romans interpret other gods as forms of their own, generally renders the god as Mars, the ancient Roman war god, and it is through that lens that most Latin references to the god occur.
Nergal, Nirgal, or Nirgali was a deity worshipped throughout Mesopotamia (Akkad, Assyria, and Babylonia). In Assyro-Babylonian ecclesiastical art the great lion-headed colossi serving as guardians to the temples and palaces seem to symbolise Nergal, just as the bull-headed colossi probably typify Ninurta.
In the late Babylonian astral-theological system Nergal is related to the planet Mars. As a fiery god of destruction and war, Nergal doubtless seemed an appropriate choice for the red planet, and he was equated by the Greeks to the war-god Ares (Latin Mars)—hence the current name of the planet.
Amongst the Hurrians and later Hittites Nergal was known as Aplu, a name derived from the Akkadian Apal Enlil, (Apal being the construct state of Aplu) meaning “the son of Enlil”, a title that was given to the god Nergal, who was linked to Shamash, Babylonian god of the sun. Aplu may be related with Apaliunas who is considered to be the Hittite reflex of *Apeljōn, an early form of the name Apollo.
The ritual initiations in the Wolves’ brotherhood were passed from Dacia to the Germanic tribes through the Celts’ Druids and through the Goths. The old Dacian Wolf-Dragon banner, having a wolf head ending through a dragon tail had two significations: it showed that the bearer is initiate into the wolves’ brotherhood, therefore a brave warrior, and was meant to protect the bearer against the evil forces.
In the stories of the Ulster cycle, the Celtic goddess Morrighan is sometimes shown as a wolf. The connection with the wolf, along with the cow, suggests that in some areas, she may have been linked to fertility and land. Prior to her role as a warrior goddess, she was linked to sovereignty and kingship.
In modern times she is often called a “war goddess” and has also been seen as a manifestation of the earth- and sovereignty-goddess, a term denoting a goddess who, personifying a territory, confers sovereignty upon a king by marrying or having sex with him, chiefly representing the goddess’s role as guardian of the territory and its people.
Sovereignty goddess is a scholarly term, almost exclusively used in Celtic Studies though parallels for the idea have been claimed in other traditions, usually under the label hieros gamos, a sexual ritual that plays out a marriage between a god and a goddess, especially when enacted in a symbolic ritual where human participants represent the deities.
Sacred prostitution was common in the Ancient Near East as a form of “Sacred Marriage” or hieros gamos between the king of a Sumerian city-state and the High Priestess of Inanna, the Sumerian goddess of love, fertility and warfare. Along the Tigris and Euphrates rivers there were many shrines and temples dedicated to Inanna.
The temple of Eanna, meaning “house of heaven” in Uruk was the greatest of these. The temple housed Nadītu, priestesses of the goddess. The high priestess would choose for her bed a young man who represented the shepherd Dumuzid, consort of Inanna, in a hieros gamos celebrated during the annual Duku ceremony, just before Invisible Moon, with the autumn Equinox (Autumnal Zag-mu Festival).
Puruli was a Hattian spring festival, held at Nerik, dedicated to the earth goddess Hannahanna, who is married to a new king. The central ritual of the festival is dedicated to the destruction of the dragon Illuyanka by the storm god Teshub. The corresponding Assyrian festival is the Akitu of the Enuma Elish. Also compared are the Canaanite Poem of Baal and Psalms 93 and 29.
Aya (also called A-a or Aja) in Akkadian mythology was a mother goddess, consort of the sun god Shamash. Aya is Akkadian for “dawn”, and by the Akkadian period she was firmly associated with the rising sun and with sexual love and youth. The Babylonians sometimes referred to her as kallatu (the bride), and as such she was known as the wife of Shamash.
She developed from the Sumerian goddess Sherida, consort of Utu. As the Sumerian pantheon formalized, Utu became the primary sun god, and Sherida was syncretized into a subordinate role as an aspect of the sun alongside other less powerful solar deities and took on the role of Utu’s consort.
Ḫepat, also transcribed, Khepat, was the mother goddess of the Hurrians, known as “the mother of all living”. She is also a Queen of the deities. In the Hurrian language Ḫepa is the most likely pronunciation of the name of the goddess. Adam and Eve, according to the creation myth of the Abrahamic religions, were the first man and woman.
Cybele (Phrygian: Matar Kubileya/Kubeleya “Kubileya/Kubeleya Mother”, perhaps “Mountain Mother”) is an Anatolian mother goddess. She is Phrygia’s only known goddess, and was probably its state deity. Her Phrygian cult was adopted and adapted by Greek colonists of Asia Minor and spread to mainland Greece and its more distant western colonies around the 6th century BC.
She may have a possible precursor in the earliest neolithic at Çatalhöyük in Anatolia, where statues of plump women, sometimes sitting, have been found in excavations dated to the 6th millennium BC and identified by some as a mother goddess. In Rome, Cybele was known as Magna Mater (“Great Mother”).
In Greece, Cybele is associated with mountains, town and city walls, fertile nature, and wild animals, especially lions. Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness, seem to characterize her as mother of the land in its untrammeled natural state, with power to rule, moderate or soften its latent ferocity, and to control its potential threats to a settled, civilized life.
The Master or Lord of Animals and Mistress of Animals
The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East and Egypt. The figure is normally male, but not always, the animals may be realistic or fantastical, and the figure may have animal elements such as horns, or an animal upper body.
Unless he is shown with specific divine attributes, he is typically described as a hero, although what the motif represented to the cultures which created the works probably varies greatly. The motif is so widespread and visually effective that many depictions were probably conceived as decoration with only a vague meaning attached to them. The Master of Animals is the “favorite motif of Achaemenian official seals”, but the figures in these cases should be understood as the king.
The human figure may be standing, found from the 4th millennium BC, or kneeling on one knee, these latter found from the 3rd millennium BC. They are usually shown looking frontally, but in Assyrian pieces typically shown from the side. Sometimes the animals are clearly alive, whether fairly passive and tamed, or still struggling or attacking. In other pieces they may represent dead hunter’s prey.
Other associated representations show a figure controlling or “taming” a single animal, usually to the right of the figure. But the many representations of heroes or kings killing an animal are distinguished from these. In the art of Mesopotamia the motif appears very early, usually with a “naked hero”, for example at Uruk in the Uruk period (c. 4000 to 3100 BC), but was “outmoded in Mesopotamia by the seventh century BC”. In Luristan bronzes the motif is extremely common, and often highly stylized.
In terms of its composition the Master of Animals motif compares with another very common motif in the art of the ancient Near East and Mediterranean, that of two confronted animals flanking and grazing on a Tree of Life.
Although such figures are not all, or even usually, deities, the term can also be a generic name for a number of deities from a variety of cultures with close relationships to the animal kingdom or in part animal form (in cultures where that is not the norm). These figures control animals, usually wild ones, and are responsible for their continued reproduction and availability for hunters.
They sometimes also have female equivalents, the so-called Mistress of the Animals. Potnia Theron (“The Mistress of the Animals”) is a term first used (once) by Homer (Iliad 21. 470) and often used to describe female divinities associated with animals. The word Potnia, meaning mistress or lady, was a Mycenaean Greek word inherited by Classical Greek, with the same meaning, cognate to Sanskrit patnī.
Homer’s mention of potnia theron is thought to refer to Artemis and Walter Burkert describes this mention as “a well established formula”. Inara, in Hittite–Hurrian mythology, was the goddess of the wild animals of the steppe and daughter of the Storm-god Teshub/Tarhunt. She corresponds to the “potnia theron” of Greek mythology, better known as Artemis. Inara’s mother is probably Hebat and her brother is Sarruma.
An Artemis type deity, a ‘Mistress of the Animals’, is often assumed to have existed in prehistorical religion and often referred to as Potnia Theron, with some scholars positing a relationship between Artemis and goddesses depicted in Minoan art and “Potnia Theron has become a generic term for any female associated with animals.”
Artemis is in the ancient Greek religion and myth the goddess of the hunt, the wilderness, wild animals and chastity. She is the daughter of Zeus and Leto, and the twin sister of Apollo. She was the patron and protector of young girls, and was believed to bring disease upon women and relieve them of it. In later Hellenistic times, she even assumed the role of Eileithyia in aiding women during childbirth.
Much like Athena and Hestia, Artemis preferred to remain a maiden and is sworn never to marry. She was one of the most widely venerated of the Ancient Greek deities and her temple at Ephesus was one of the Seven Wonders of the Ancient World. Artemis’ symbols included a bow and arrow, a quiver and hunting knives and the deer and the cypress were sacred to her. The goddess Diana is her Roman equivalent.
Many depictions use a female version of the widespread ancient motif of the male Master of Animals, showing a central figure with a human form grasping two animals, one to each side. The oldest depiction has been discovered in Çatalhöyük. Another example of Potnia theròn is situated in Museo civico archeologico di Monte Rinaldo in Italy: plate illustrates goddess that wears a long dress and holds hands with two panthers.
Many Mesopotamian examples may represent Enkidu, a central figure in the Ancient Mesopotamian Epic of Gilgamesh. They may all have a Stone Age precursor who was probably a hunter’s deity. Many relate to the horned deity of the hunt, another common type, typified by Cernunnos, and a variety of stag, bull, ram and goat gods.
Horned gods are not universal however, and in some cultures bear gods, like Arktos might take the role, or even the more anthropomorphic deities who lead the Wild Hunt. Such figures are also often referred to as ‘Lord of the forest’* or ‘Lord of the mountain’.
Potnia Theron, a phrase used by Homer meaning “Mistress of the Animals” is used for early Greek depictions of goddesses, usually Artemis, holding animals. The Greek god shown as “Master of Animals” is usually Apollo, the god of hunting.
Shiva has the epithet Pashupati meaning the “Lord of cattle”, and these figures may derive from a Proto-Indo-European deity or archetype. Chapter 39 of the Book of Job has been interpreted as an assertion of the God of the Hebrew Bible as Master of Animals.
Confronted animals, or confronted-animal as an adjective, where two animals face each other in a symmetrical pose, is an ancient bilateral motif in art and artifacts studied in archaeology and art history. The “anti-confronted animals” is the opposing motif, with the animals back to back.
In ancient art, confronted-animal motifs often involve the Master of Animals, a central human figure between two confronted animals, often grasping them, and are probably part of a unified socio-cultural motif. A related motif in ancient art is known as the Mistress of Animals.
It is thought that the iconography sometimes has ritual and religious associations; for example, the Lion Gate of Mycenae has a column between the protective, surmounted and confronted lionesses standing with two feet on the ground and two on the same base on which the column rests.
The column is thought to represent a goddess, abstracted to avoid tabooed direct representation. Alternatively, the column has also been interpreted as symbolizing the entrance to the palace. The lions are thus guarding the entrance to the palace and the walled fortification simultaneously. The motif called the Tree of Life, where two confronted animals graze on a shrub or tree, is also very ancient.
Confronted-animal motifs are found extensively in art and in textiles, including rugs, across Eurasia. Examples of confronted animals exist on Cylinder seals from Mesopotamia. Deities, or heroes grasping lionesses, cattle, griffins, or other, imaginary creatures are sometimes found.
Many cylinder seals involving confronted goats surrounding a central Tree of life on a ‘cone’ or ‘mountain’ platform share one common theme. Others may be thought of as deities holding the animals under their control.
Because cylinder seals are numerous and also come from pre-historical periods, back to the fourth or 5th millennium BC, themes are varied. Another Tree of life type of confronted animals cylinder seal has a “hero grasping water buffalo” and a “bull-man grasping lions”, each between the animals; again, the central figure is the “Tree-of-Life” that often is interpreted as representing a goddess.
Confronted snakes are frequent images in many cultures from ancient times to historical periods. Often associated with religious ceremonies and deities, perhaps the most familiar figure known popularly from ancient times is the deity or priestess of Crete depicted holding up two confronted snakes on either side of her.
In ancient Greece, heralds functioning as private messengers or public criers were referred to as kerykes. The keryx has functions in political, military, judicional and religious matters. He was identified by his attribute, the herald’s staff or kerykeion, in Latin caduceus (“herald’s wand, or staff”). The attribute also offered him protection. Kerykeia were often donated to temples by private persons and on state occasions. They are also found in herald’s graves, and identify the profession of the buried person.
Hermes, the messenger of the gods, also carries a kerykeion or a caduceus. The same staff was also borne by heralds in general, for example by Iris, the messenger of Hera. It is a short staff entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was often depicted being carried in the left hand of Mercury, the messenger of the gods, guide of the dead, and protector of merchants, shepherds, gamblers, liars, and thieves.
As a symbolic object, it represents Hermes (or the Roman Mercury), and by extension trades, occupations, or undertakings associated with the god. By extension of its association with Mercury and Hermes, the caduceus is also a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals.
In later Antiquity, the caduceus provided the basis for the astrological symbol representing the planet Mercury. Thus, through its use in astrology, alchemy, and astronomy it has come to denote the planet and elemental metal of the same name. It is said the wand would wake the sleeping and send the awake to sleep. If applied to the dying, their death was gentle; if applied to the dead, they returned to life.
The caduceus is often incorrectly used as a symbol of healthcare organizations and medical practice, particularly in North America, due to confusion with the traditional medical symbol, the Rod of Asclepius, which has only one snake and is never depicted with wings.
The Rod of Asclepius, also known as the Staff of Asclepius, is a serpent-entwined rod wielded by the Greek god Asclepius, a deity associated with healing and medicine. He was one of Apollo’s sons, sharing with Apollo the epithet Paean (“the Healer”). The rod of Asclepius, a snake-entwined staff, remains a symbol of medicine today.
The oldest known imagery of the caduceus have their roots in a Mesopotamian origin with the Sumerian god Ningishzida whose symbol, a staff with two snakes intertwined around it, dates back to 4000 BC. to 3000 BC.
It is suggested that the prototype of Hermes was an “Oriental deity of Babylonian extraction” represented in his earliest form as a snake god. From this perspective, the caduceus was originally representative of Hermes himself, in his early form as the Underworld god Ningishzida, “messenger” of the “Earth Mother”.
The caduceus is mentioned in passing by Walter Burkert as “really the image of copulating snakes taken over from Ancient Near Eastern tradition”. In Egyptian iconography, the Djed pillar is depicted as containing a snake in a frieze of the Dendera Temple complex.
The Homeric hymn to Hermes relates how Hermes offered his lyre fashioned from a tortoise shell as compensation for the cattle he stole from his half brother Apollo. Apollo in return gave Hermes the caduceus as a gesture of friendship. The association with the serpent thus connects Hermes to Apollo, as later the serpent was associated with Asclepius, the “son of Apollo”.
The association of Apollo with the serpent is a continuation of the older Indo-European dragon-slayer motif. Wilhelm Heinrich Roscher pointed out that the serpent as an attribute of both Hermes and Asclepius is a variant of the “pre-historic semi-chthonic serpent hero known at Delphi as Python”, who in classical mythology is slain by Apollo.
Ningishzida (sum: dnin-g̃iš-zid-da) is a Mesopotamian deity of vegetation and the underworld. The death of vegetation is associated with the travel to the underworld of Ningishzida. Thorkild Jacobsen translates Ningishzida as Sumerian for “lord of the good tree”.
In Sumerian mythology, he appears in Adapa’s myth as one of the two guardians of Anu’s celestial palace, alongside Dumuzi. He was sometimes depicted as a serpent with a human head. Ningishzida is sometimes the son of Ninazu and Ningiridda, even though the myth Ningishzida’s journey to the netherworld suggests he is the son of Ereshkigal. Following an inscription found at Lagash, he was the son of Anu, the heavens.
His wife is Azimua and also Geshtinanna, while his sister is Amashilama. In some texts Ningishzida is said to be female, which means “Nin” would then refer to Lady, which is mostly how the word is used by the Sumerians. He or she was one of the ancestors of Gilgamesh.
Ninazu in Sumerian mythology was a god of the underworld, and of healing. He was the son of Enlil and Ninlil or, in alternative traditions, of Ereshkigal and Gugalana. Ninazu was the patron deity of the city of Eshnunna until he was superseded by Tispak.
Ninshubur (also known as Ninshubar, Nincubura or Ninšubur) was the sukkal or second-in-command of the goddess Inanna in Sumerian mythology. Her name means “Queen of the East” in ancient Sumerian. Much like Iris or Hermes in later Greek mythology, Ninshubur served as a messenger to the other gods.
Ninshubur accompanied Inanna as a vassal and friend throughout Inanna’s many exploits. She helped Inanna fight Enki’s demons after Inanna’s theft of the sacred me. Later, when Inanna became trapped in the Underworld, it was Ninshubur who pleaded with Enki for her mistress’s release.
In later Akkadian mythology, Ninshubur was syncretized with the male messenger deity Papsukkal, the messenger god in the Akkadian pantheon. The gender of a sukkal always matches the gender of the deity it serves. Thus, Enki’s sukkal Isimud is male, but Ninshubur is female. In her primary aspect as the sukkal to Inanna, Ninshubur was female, but, when she served as the sukkal to An, he was male.