![]() This figurine, dating to the Neopalatial period (c.1600–1425 BC), is one of three faience female statuettes found in the Temple Repositories at the Minoan palace of Knossos – two stone-lined cists (box-shaped chambers) located near the Throne Room that contained pottery, clay seal impressions and faience objects. ![]() On this journey, Ishtar’s jewelry and clothing are ritually stripped away before she confronts Ereshkigal. In either case it is possible that the relief relates to an aspect of Ishtar’s descent to the Underworld, a myth in which the goddess ventures into the realm of the dead to challenge her sister. ![]() Ereshkigal was queen of the Underworld and ruled with her consort Nergal, a god of war and disease. Ishtar was the goddess of love and of war and was associated with lions such as those beneath the feet – or rather talons – of the Queen of the Night. The same figure occurs repeatedly on votive plaques of the period.Īlthough some have seen the demoness Lilitu (biblical Lilith) in the sculpture, the strongest possibilities for the figure’s identity are Ishtar (Sumerian Inanna) and her sister Ereshkigal. The downward-pointing wings associate her with the Underworld, while the owls and surviving traces of black paint on the background suggest an association with the night. Although it is immediately clear that the woman represented on the baked terracotta votive plaque is a goddess – both her horned cap and the rod and ring thought to symbolize judgment and/or justice are reserved for deities – her exact identity remains uncertain. The lack of attention to the face may indicate that the figurines are looking down, and it has been suggested that they are in an attitude of submission.Īlso known as the Burney Relief after a former owner, the Queen of the Night is one of the most striking and enigmatic pieces of Old Babylonian (c.1900–1600 BC) art. Suggestions include a role as mother goddesses, or symbolic icons of fertility or gender symbolism. The navel and the pubic opening are well defined.Ī ritual function for venus figurines is suggested, although the specific nature of this is unknown. The face is blank, but the head is engraved with wavy lines in a spiral design that probably depicts a hat of woven fibers. ![]() Venuses often lack lower arms and hands, but in this case the hands are shown resting above the breasts. As with other Gravettian venuses the breasts and thighs are extremely exaggerated, and the legs taper downwards, ending a little below the knees. ![]() The figurine depicts a short, rounded female originally colored red. These sites have yielded rich evidence of temporary camps of the Gravettian period (c.28,000–19,000 BC). It is one of three ‘venus’ figurines found on archaeological sites at Willendorf, in lower Austria near Krems. This rare example of a venus carved confidently from hard limestone is an icon of Palaeolithic art. Representing everything from nature and fertility to power, revenge, and beauty, these statues of female deities (each excerpted from Phaidon's 30,000 Years of Art ) are some of the finest examples of ancient art still in existence. In the ancient world, long before the widespread adoption of monotheistic, patriarchal forms of religious worship, goddesses served vital roles in their respective pantheons. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |