#Assyrian deity

[thepastisalreadywritten]

[blueiscoool]

Ancient Assyrian Deity Statue Uncovered in Iraq

In a recent announcement from the The Iraqi State Board of Antiquities and Heritage (SBAH), archaeologists have successfully unearthed a remarkable ancient Assyrian deity statue known as a “lamassu” in Kursbad, Iraq.

A lamassu is a special Assyrian guardian deity, usually portrayed as a mix of human, bird, and either cow or lion features. These unique beings typically have a human-like head, a body resembling that of a bull or lion, and bird-like wings.

Guardian Lamassu sculptures in Assyria

In ancient Assyria, they often crafted pairs of lamassu sculptures and placed them at the entrances of palaces. These imposing figures faced both the streets and the inner courtyards.

What’s unique about these sculptures is that they were carved in high relief. When you look at them head-on, they seem still, but from the side, they appear to be in motion.

While we often see winged figures in the low-relief decorations inside rooms, lamassu were not commonly found as large figures in these spaces. However, they occasionally appeared in narrative reliefs. In these depictions, they seemed to take on the role of protectors for the Assyrians.

Ancient Assyrian deity statue in Iraq was discovered and then reburied

This discovery took place during their excavations at the 6th gate, situated in the western part of the ancient city of Khursbad.

Khursbad was originally built as a brand-new capital city by the Assyrian king Sargon II. He started this ambitious project shortly after he became king in 721 BC.

However, after Sargon II’s reign, his son and successor, Sennacherib, decided to shift the capital to Nineveh. This move left the construction of Khursbad unfinished, making it a fascinating historical puzzle.

As per the press release, the statue was originally discovered in 1992, when a team of Iraqi archaeologists stumbled upon the Assyrian deity statue. After the initial discovery of the lamassu, its head was unfortunately stolen in 1995. However, it was later recovered and is now safely preserved in the Iraqi Museum.

The main body of the Assyrian deity, was reburied to protect the statue and the surrounding architectural remains, a decision that likely saved it from destruction by ISIS, which systematically looted and destroyed the remains of Khursbad.

Collaboration between Iraqi and French archaeologists

In a remarkable collaborative effort between Iraqi and French archaeologists, Professor Dr. Ahmed Fakak Al-Badrani has spearheaded a mission that recently re-excavated the lamassu. This event marks the first time in thirty years that this ancient wonder has been unveiled to the world.

As stated by Dr. Layth Majid Hussein, the Chairman of the General Body for Archaeology and Heritage, the team is presently evaluating the condition of the lamassu to chart their forthcoming actions.

By Nisha Zahid.

[blueheartbookclub]

"Enchanting Echoes of Mesopotamia: Unveiling Mystical Realms in Myths & Legends of Babylonia & Assyria"

Lewis Spence's "Myths & Legends of Babylonia & Assyria" transcends time, beckoning readers into the rich tapestry of ancient Mesopotamian cultures with the enchanting grace of Evelyn Paul's illustrations. Spence, a luminary in mythological studies, skillfully navigates the complexities of Babylonian and Assyrian mythologies, breathing life into forgotten gods, heroes, and cosmic sagas. The book is a mesmerizing journey through the Euphrates and Tigris valleys, where the divine and mortal coalesce in tales of creation, epic battles, and profound wisdom.

Spence's narrative prowess shines as he unravels the intricate threads of these myths, exploring the divine pantheon with scholarly precision and a storyteller's finesse. Each page is adorned with Evelyn Paul's evocative illustrations, transporting readers to the mystical landscapes of ancient cities and sacred temples. The synergy between text and art elevates the reading experience, making the myths palpable and the legends vivid.

(Image from the book: Assur-nazir-pal attended by a Winged Mythological Being.—Bas-relief from the north-western palace at Nimrûd.—Photo W. A. Mansell and Co.)

From the creation epic Enuma Elish to the heroic exploits of Gilgamesh, Spence masterfully distills the essence of each myth, offering readers a gateway to understanding the spiritual and cultural tapestry of ancient Mesopotamia. The book becomes not just a collection of stories but a portal to another era, where gods walked among mortals, and the cosmos held secrets waiting to be unveiled.

In "Myths & Legends of Babylonia & Assyria," Spence beckons readers to delve into the heart of Mesopotamian cosmology, where chaos and order dance in eternal rhythms. This captivating exploration of ancient lore is a testament to Spence's dedication to preserving the spiritual heritage of civilizations long past. As the myths unfold, readers are left with a profound sense of awe and a renewed appreciation for the enduring power of storytelling across the ages.

Lewis Spence's "Myths & Legends of Babylonia & Assyria" is available in Amazon in paperback 15.99$ and hardcover 23.99$ editions.

Number of pages: 396

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[sag-dab-sar]

Deity Dagan

Originally a god of West Semitic speakers from the Levant, but worshipped widely throughout the Near East, including Mesopotamia.

Deity of grain, as well as its cultivation and storage. Indeed, the common word for "grain" in Ugaritic and Hebrew is dagan. According to one Sumerian tradition and to the much later Philo of Byblos, Dagan invented the plow. In the north, he was sometimes identified with Adad. Thus, he may have had some of the characteristics of a storm god. In one tradition his wife was Ishara, in another Salas, usually wife of Adad. Salas was originally a goddess of the Hurrians. Dagan also had netherworld connections. According to an Assyrian composition, he was a judge of the dead in the lower world, serving with Nergal and Misa-ru(m), the god of justice. A tradition going back at least to the fourth century BCE identified Dagan as a fish god, but it is almost certainly incorrect, presumably having been based upon a false etymology that interpreted the element "Dag" in Dagan as deriving from the Hebrew word dag "fish."

The earliest mentions of him come from texts that indicate that, in Early Dynastic times, Dagan was worshipped at Ebla. Dagan was taken into the Sumerian pantheon quite early as a minor god in the circle of Enlil at Nip-pur. Kings of the Old Akkadian peri-od, including Sargon and Narām-Sin, credited much of their success as conquerors to Dagan. Sargon recorded that he "prostrated (himself in prayer before Dagan in Tutul [sic]" (Oppen-heim, ANET: 268). At the same time, he gave to the god a large area of the country he had just conquered, including Mari, Ebla, and larmuti in western Syria. A number of letters from the Mari archives, dated mainly to the reign of Zimri-Lim, record that Dagãn was a source of divine revela-tion. The letters reported prophetic dreams, a number of which came from Dagan, conveyed by his prophets and ecstatics. In his law code, Hammu-rapi credits Dagan with helping him subdue settlements along the Euphrates.

The Assyrian king Samsi-Adad I commissioned a temple for him at Terqa, upstream from Mari, where funeral rites for the Mari Dynasty took place.

In the Old Babylonian period, kings of the Amorites erected temples for Dagan at Isin and Ur. In the Anzû(m) myth, Dagan was favorably coupled with Anu(m). At Ugarit Dagan was closely associated with, if not equated to, the supreme god El/I(u). Although he is mentioned in the mythic compositions of Ugarit as the father of the storm god Ba'lu/ Had(d)ad, Dagan plays only a very minor role. His popularity is indicated by his importance in offering and god lists, one of which places him third, after the two chief gods and before the active and powerful god Ba'lu/ Had(d)ad. Dagan is attested in Ugaritic theophoric names. In Ugaritic texts the god is often referred to as "Dagan of Tuttul." It might also be the case that one of the two major temples of the city of Ugarit was dedicated to him, and he might there have been identified with the chief god I(u) / El.

Festivals for Dagãn took place at Ter-ga and Tuttul, both of which were cult centers of the god. He was certainly worshipped at Ebla and also at Mari.

At Mari, in Old Babylonian times, he appears as fourth deity on a god list; that is, he was very important. He was venerated also at Emar. There a "Sacred Marriage" ritual between Dagan and the goddess Nin-kur was celebrated.

At the same city, a festival was held in honor of "Dagan-Lord-of-the-Cattle," at which the herds of cattle and prob. ably sheep were blessed.

According to the Hebrew Bible, Dagan was the national god of the Philistines. I Samuel:5-6 tells of the capture of the Ark of the Covenant by the Philistines. It was customary in the Ancient Near East for the conquerors to carry off the deity statues of the conquered to mark the surrender not only of the people, but also of their deities.

So the Philistines took the Ark, the symbol of the god of the Israelites, into the temple of Dagan at Ashdod. Since the Israelites had no statues of their deity, the much revered Ark was an obvious substitute. In this way, the Philistines marked the submission of the Israelite god to Dagan. However, on the next day, the people of Ashdod found the statue of Dagan lying face down in front of the Ark. The following day the same thing happened except that the head and hands of Dagan's statue lay broken on the temple threshold. This biblical account seems to be an etiology for a practice of the priests of the temple of Dagan at Ashdod, for it states that for this reason it is the custom of the priests of Dagan not to tread on the threshold as they enter the temple of Dagan. The best-known of the biblical stories that mention Dagan is in Judges 16, the tale of Samson and Delilah. After Delilah arranged for the Philistines of Gaza to capture Samson, they blinded him, shackled him, and made him a slave at a mill. During a festival to Dagan, the Philistines took Samson to be exhibited in Dagan's temple, where thou sands of Philistines had gathered for the celebrations. After praying to the Israelite god, the now long haired Samson got back his old strength. By pushing against two central pillars, he brought the temple crashing down on himself and on more Philistines than he had killed in his whole lifetime of killing Philistines.

— From a Handbook to Ancient Near Eastern Gods & Goddesses by Frayne & Stuckey page 67-69

[nogetron]

Inanna, the ancient Mesopotamian goddess of war, fertility, beauty, and love. Born from the moon god Nanna, Inanna is young and unruly, constantly trespassing onto other god’s domains. However she’s incredibly strong as the other gods feared her mere presence. Inanna held many lovers, however it is known that she doesn’t treat them with the highest respect, sometimes she’s even accused of abusing them. Despite this when her lover Dumuzid had been murdered she personally travelled to the underworld and brought him back to the world of the living. Her most prevalent role came in the epic of Gilgamesh, wherein Gilgamesh rejected Inanna’s proposition for him to become her new consort. Angered by his decision Inanna sent the bull of heaven to attack Gilgamesh. Gilgamesh however was able to kill the bull, but not without losing his closest companion Enkidu.

Inanna is the first of the many names given to the goddess, the name Ishtar was given to her later on by the Assyrians and the Babylonians. Despite her being a goddess of love and being called the queen of heaven, she was never once depicted by her worshipers as a mother goddess, scant few sources even mention her being a mother at all. Her origin traces back to the Semitic goddesses Astarte and Anat, with Inanna’s war and fertility traits most likely being derived from them. Inanna was also conflated with the Arabian Al-lat, an ancient Arabian mother goddess. Her worship was incredibly popular, as she held more titles and stories dedicated to her than any other god in Mesopotamia, she’s even mention in the Bible. Her cult was also very sexually inclusive, as those outside the binary norm found solace in her worship.

Redesign

[blueheartbooks]

"Enchanting Echoes of Mesopotamia: Unveiling Mystical Realms in Myths & Legends of Babylonia & Assyria"

Lewis Spence's "Myths & Legends of Babylonia & Assyria" transcends time, beckoning readers into the rich tapestry of ancient Mesopotamian cultures with the enchanting grace of Evelyn Paul's illustrations. Spence, a luminary in mythological studies, skillfully navigates the complexities of Babylonian and Assyrian mythologies, breathing life into forgotten gods, heroes, and cosmic sagas. The book is a mesmerizing journey through the Euphrates and Tigris valleys, where the divine and mortal coalesce in tales of creation, epic battles, and profound wisdom.

Spence's narrative prowess shines as he unravels the intricate threads of these myths, exploring the divine pantheon with scholarly precision and a storyteller's finesse. Each page is adorned with Evelyn Paul's evocative illustrations, transporting readers to the mystical landscapes of ancient cities and sacred temples. The synergy between text and art elevates the reading experience, making the myths palpable and the legends vivid.

(Image from the book: Assur-nazir-pal attended by a Winged Mythological Being.—Bas-relief from the north-western palace at Nimrûd.—Photo W. A. Mansell and Co.)

From the creation epic Enuma Elish to the heroic exploits of Gilgamesh, Spence masterfully distills the essence of each myth, offering readers a gateway to understanding the spiritual and cultural tapestry of ancient Mesopotamia. The book becomes not just a collection of stories but a portal to another era, where gods walked among mortals, and the cosmos held secrets waiting to be unveiled.

In "Myths & Legends of Babylonia & Assyria," Spence beckons readers to delve into the heart of Mesopotamian cosmology, where chaos and order dance in eternal rhythms. This captivating exploration of ancient lore is a testament to Spence's dedication to preserving the spiritual heritage of civilizations long past. As the myths unfold, readers are left with a profound sense of awe and a renewed appreciation for the enduring power of storytelling across the ages.

Lewis Spence's "Myths & Legends of Babylonia & Assyria" is available in Amazon in paperback 15.99$ and hardcover 23.99$ editions.

Number of pages: 396

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[xtruss]

The ghostly profiles of ancient gods emerge from a ca. 3,000-year-old rock carving in Turkey. Police tracked looters to the subterranean complex, likely built during a time when the Assyrian Empire was expanding in the region in the 8th century B.C. Photograph By Y. Koyuncu and M. Önal , Aantiquity Publications Ltd

Secret Tunnel Reveals Procession of Ancient Gods

Assyrian Deities of Thunder and the Moon were Revealed by Archaeologists in an Underground Chamber Originally Discovered by Looters.

— By Tom Metcalfe | May 10, 2022

The Divine Procession ls led by Hadad, Mesopotamian God of Storms (Far Right, Clutching a Trio of Lightning Bolts); the Moon God Sîn; the Sun God Šamaš; and Atargatis, the Region’s Goddess of Fertility, all Identified using local Aramaic Inscriptions. Photograph and Drawing By M. Önal, Based On Laser Scan By Cevher Mimarlik, Aantiquity Publications Ltd

Archaeologists have discovered rare ancient carvings of Assyrian gods in an underground complex in southeastern Turkey—an unprecedented find that may point to the use of “soft politics” in a frontier region of the world’s most powerful empire almost 3,000 years ago.

The carved scene depicts at least six gods, including Hadad, the Mesopotamian god of storms; the moon god Sîn; the sun god Šamaš; and Atargatis, the region’s goddess of fertility. It is described in an article published in the journal Antiquity.

The nature of the discovery is also unusual: police found the subterranean complex in 2017, after following a secret passage to it from a modern two-story house in the village of Başbük, about 30 miles from the city of Şanlıurfa.

Article co-author and philologist Selim Ferruh Adalı of the Social Sciences University of Ankara says it seems the complex was first unearthed when the house was being built several years earlier. But the discovery wasn’t reported to authorities, as Turkey’s law requires; instead, looters crafted a tunnel from the house to the underground passages. The looters were eventually caught, and they do not appear to have damaged the carvings.

Mehmet Önal, the article’s lead author and head of archaeology at Harran University in Şanlıurfa, first saw the underground carvings by the flickering light of a lamp.

“I felt as if I was in a ritual,” he recalls. “When I was confronted by the very expressive eyes and majestic, serious face of the storm god Hadad, I felt a slight tremor in my body.”

Imperial Style, Local symbolism

The subterranean complex consists of hundreds of feet of passages, staircases, and galleries hewn from the bedrock. Both the complex and the carvings seem unfinished, and the researchers speculate construction unexpectedly stopped, likely early in the 8th century B.C.

An inscription beside the carvings shows a partial name, which the researchers think reads “Mukīn-abūa.” He may have been the Mukīn-abūa listed in Assyrian records around 2,700 years ago as governor of the provincial capital of Tušhan, about 90 miles to the east of modern Başbük.

If the reading is correct, Adalı suggests, it could be that Mukīn-abūa had ordered the subterranean complex built and the carvings made, only to have work cease when he was no longer governor.

The ancient gods are depicted in procession across a 12-foot-wide panel of rock wall. Six faces can be seen, and four of the gods are identifiable—the storm god Hadad, for example, is carrying a trio of thunderbolts. Each delicately carved portrait, the largest of which is over three feet in height, shows the head and upper body of a god with lines of the image highlighted in black paint, possibly as a guide as the artists cut more stone away to show the figures in relief.

Adalı notes that although some features of the gods are distinctly Assyrian—such as their rigid poses, and the particular style of their hair and beards—many details of the carvings show strong influences from the local Aramaic culture. Arameans had lived in the region for centuries before they fell under the rule of the rapidly expanding Assyrian Empire in the ninth century, coming under the control of kings who lived far to the east in northern Mesopotamia.

Adalı also notes that the inscriptions beside the carvings are written in Aramaic and give the Aramaic names of the gods, rather than their Assyrian names. “It’s primarily Aramaic symbolism that we find, melded with Assyrian style,” he says, adding that the deliberate mix may have been an attempt by the distant Assyrian rulers to integrate with local leaders, rather than rule by force.

Archaeologist Davide Nadali of Rome’s Sapienza University agrees that the unique artistic mix of Assyrian and Aramaic features in the carvings sheds interesting political light on the relationship between the powerful empire and one of its key territories.

“The inscriptions in Aramaic emphasize the intention to have a dialogue with local communities, [while] the use of Assyrian figurative style shows the need to interact with the Assyrian political power,” he says in an email.

[whencyclopedia]

Urartu Religion

The religion of the Urartu civilization, which flourished principally in ancient Armenia from the 9th to 6th century BCE, was a unique mix of indigenous, Hurrian and Mesopotamian gods and symbolism. The pantheon was headed by the trinity of Haldi, Teisheba, and Shivini, who were the principal beneficiaries of sacrifices and temples built in their honour. Inscriptions, dedications and representations in art are all a testimony to the importance of religion in Urartu culture and especially to warfare.

The Urartu Pantheon

The gods of the Urartu religion were many, but they are handily listed in a 9th-century BCE inscription discovered in a niche in the mountains near the capital Tushpa (Van). The list, inscribed in duplicate, mentions 79 gods and the various sacrifices which should be made to each. The large number of deities may be explained by the fact that the Urartu religion adopted gods and practices from the Hurrians and other Mesopotamian cultures, which were mixed with indigenous Urartian gods. In addition, a feature of Urartu territorial expansion was the assimilation of local gods into the official pantheon of the conquerors. Many of these local gods were totems and represented such important elements or prominent natural features as water, earth, the sun, mountains, caves and trees. Still other deities were related to ancient animalistic beliefs.

The three most important Urartu gods were Haldi (Khaldi), god of war and the supreme deity, Teisheba, the god of storms and thunder who was likely based on the Hurrian god Teshub, and Shivini, the Sun god, who was often represented as a kneeling man holding a winged solar disk, and therefore likely inspired by the Egyptian god of the same association, Ra. Haldi's consort was Arubani (or Bagmashtu in the eastern part of Urartu, notably at Musasir/Ardini), the most important female goddess; Teisheba's consort was Huba (aka Khuba), and Shivini's was Tushpuea (aka Tushpues). The close cultural relations between Urartu and Assyria are again illustrated by the Urartian application of the Assyrian ideograms for the gods Adad and Shamsh to their own gods Teisheba and Shivani respectively.

Other important gods include Sielardi, the moon goddess, Epaninaue, the land goddess, Dsvininaue, a sea or water goddess, Babaninaue, the goddess of mountains, and Sardi, the star goddess. Most towns were given their own local god or goddess who was often named after the settlement, e.g. “the god of the town of Kumanu”. The most famous examples of such naming conventions were the capital Tushpa named after Tushpuea and the important city of Teishebaini, founded and named after Teisheba by king Rusa II (r. c. 685-645 BCE).

Continue reading...

[gemsofgreece]

Folklore ask! Any stories on how the Greek mermaids got to be named after gorgons instead of any other countless sea or water spirits in myth? Does it have to do with princess Thessalonike?

I think this is actually a very complex story involving literature, oral tradition, the perception of creatures, women, historical figures and the meaning we apply to symbols according to our circumstances. This is a long story so there is going to be a Read More cut below.

First of all, Modern Greek has two words for the mermaid; γοργόνα (ghorghóna) and σειρήνα (sirína), so as you see both gorgons and sirens were conflated with the image of the mermaids at some point. In fact, the sirens did that first. I write "ghorghóna" in Latin characters to stress the change of the pronunciation of γ to a voiced velar fricative ever since late antiquity but otherwise the word is the exact same.)

Ancient Greek Mythology did not have a mermaid creature in the way we imagine it since the Middle Ages but the Ancient Greeks were aware of an ancient Assyrian deity who was imagined like that. This was goddess Atargatis who was known in Greek as Derceto. Greeks identified Atargatis / Derceto as the same with a mermaid goddess worshipped in Askhelon, somewhere in the north of modern-day Syria, according to Diodorus (1st century BC) but also Ctesias (5th century BC). The Roman Lucian confirmed this perception in the 2nd century AD. It is believed that to some degree this worship was known to Greece, especially during and after the Hellenistic period. For example, there has been a scripture found in Pella, Macedonia (<- coincidence?) dating to 206 AD in which the veneration of an Assyrian water deity is described.

The early Sirens of the Greek mythology (since 7th century BC) were depicted as creatures with the bodies of birds and the faces of women, who would seduce sailors with their beautiful music and singing. However, from the Classic period onwards there is scarce art depicting them with a fish body instead, maybe due to an Assyrian influence or maybe because the Sirens were creatures associated with the water mostly. They lived at the shore waiting for ships to pass and they were children either of River God Achelous or the Titan Oceanus or of Phorcys, son of Pontus (Sea).

A critical moment for the establishment of the siren as a mermaid in European minds might have been the book Physiologicus, written in Greek around the 2nd century in Alexandria. The book was a predecessor of bestiaries and was connecting various beasts (mostly actual animals but also a few mythological creatures) with the Christian doctrine by associating them with some trademark moral qualities they supposedly had. Physiologicus became very impactful and was translated to Latin, Armenian, Ethiopic, Syriac and later to Slavic, Old German and other European languages. I wasn't able to find what exactly was said about the Siren in the original Physiologicus, however the 10th century German copy Bern Physiologicus described the siren as half-woman, half-fish. Also, from the 7th century onwards western European books assert that the sirens are "sea girls" and are described as "having scaly fish tails". I did find a tiny image of a Greek manuscript of the Physiologicus and it has this drawing of the sirens, who indeed look a lot more like merpeople than half-birds:

Again, Physiologicus was very influential and the rest of the Early Christian tradition also explored the theme of the sirens extensively through the lens of morality. Early Christian documents discourage people to believe in the literal existence of sirens (fair enough) but they also shape their meaning into an allegory for prostitutes or any vile lustful women who are a danger for the moral male. In this context, the fish form gains more and more ground as well as alternative imaginings of the sirens as half-snakes or half-dragons. It should be noted that there are even imaginings in which the Siren has simultaneously fish and bird traits. The scaly look though, the picture of the siren ascending from the dark abyss instead of a feathery flying singer was more effective for the description of a destructive, dangerous feminine being. It is in the Byzantine period and respectively in the Middle Ages in West Europe when mermaids really become popular. In spite of all that, the bird version was not obsolete. The 10th century Byzantine encyclopedia Suda describes the sirens as half-birds.

Pages from Suda.

Let's go to the Gorgons now. The Gorgons were daughters of Phorcys, son of Pontus (Sea), much like the Sirens according to one version of their myth. They are too part of the general sea mythological sphere. They lived either beyond the edges or in Oceanus, in a hardly accessible rocky island. Their bodies were imagined as centaurs or wasps as early as in the 8th - 7th centuries BC but after that point they were imagined as humanoid, however sometimes they have snakes in their waist too or a scaly appearance or even wings, like we see happening with Sirens. All original accounts agree to a terrible old-looking repuslive face crowned with snakes. So does their name; Γοργώ (Gorgó) means "terrible looking, fearsome, terrifying". Despite that and before Ovid's popularisation of the Roman version of a victimized Medusa, the Greek Pindar already described Medusa as an incredibly beautiful woman in the 5th century BC. Pindar's take was influential and after this point ancient Greek art depicts a fairer Medusa. One can argue that Medusa typically looks scary but beautiful in pop culture ever since. In other words, as time passed there was some convergence in the way Gorgons and Sirens were imagined; the duality of being beautiful yet terrible and vile, sea creatures, feminine attributes, eventually a scaly look.

Let's make a pause now to talk a bit about Thessalonike and her tragic story. Thessalonike was Alexander the Great's half-sister, so named by her father Philip after an (undefined) victory against the Thessalians. Her mother Nicesipolis died when she was a baby and Philip died when she was a child so she was raised by Olympias. I would like to stress that there was a signficant age gap between Thessalonike and Alexander and there should not have been a lot of interaction between them. After Alexander's death, Olympias had still not married Thessalonike to anyone, favouring her own daughter first. Cassander, one of the diadochi, killed Olympias and Alexander's son and successor and married Thessalonike probably forcefully in order to get a better claim for becoming the King of Macedon. Cassander then named a new city he founded on the site of Ancient Therma after his wife. Thessalonike seemed to have influence over her three sons, especially after Cassander died, however when the first born Philip died, the second son Antipater murdered his mother, most likely because she favoured her third son Alexander to at least share the throne with Antipater while she was also serving as regent. I mostly wrote all this to make a point that the last person who was impactful in Thessalonike's life was Alexander the Great.

Around 338 AD there was an Alexander Romance attributed to Pseudo-Callisthenes. This book was supposedly recounting the life and adventures of Alexander the Great, however it was highly fantastical and inaccurate and became what you would call a liberal historical novel of sorts. This is where the origins of the legend of Thessalonike were. (What if there is some connection to the surviving veneration of the Assyrian mermaid goddess in Macedonia, just a century earlier?) Alexander Romance was a huge success getting translating into 25 languages in pre-modern times and reaching as far as Malaysia and Mali. This is certainly what greatly assisted Alexander to become a legend and hero even amongst foreign nations, gaining even their own local national traits. The original Greek version was so loved amongst the Byzantine Greeks that it got multiple revised editions, including some in which it was recasted in poetic Medieval Greek vernacular. It was one of these copies that the Latin diplomat Leo the Archpriest found in Constantinople in the 10th century and translated it into Latin, which made the Romance very popular in the west too.

Okay, we talked about the duality that the sirens and the gorgons had attained at this point as well as the survival of the interest around them due to the Christian theology. In Byzantine Greek the meaning of the word gorgo (terrible, fearsome) was still fully understood. In fact, in Byzantine Greek there was the word γοργόνη (ghorghóni) which addressed a horrible woman. It is also reported in the local dialect of Amorgos island. It is thus most likely that the shift of Thessalonike as "a gorgon therefore a mermaid" happened at that time and perhaps especially in the copies in the Medieval Greek vernacular and it was due to all this mix of influences.

You see, Thessalonike is not described as just any mermaid or even just like a plain man-eating siren. She appears to have two forms or two personalities in her. She swims in the seas waiting to find a ship and ask the sailors whether Alexander is still alive. In this state she is beautiful and calm and pleasant in her manners, which resembles the romantic view of a mermaid or the initial seductive state of a siren. If the sailors confirm that Alexander lives and rules and conquers the world, she remains this way and sends good winds to help the ship travel to its destination quickly and safely. But when the unsuspecting sailors say "But, Lady, Alexander died long ago!" then she changes and becomes what the Byzantine Greeks would call "ghorghóni". Her power is way more immense than to just grab a dude and eat him. She becomes huge and terrible and with the power of her tail she causes enormous storm waves which break and sink the ship and kill all the sailors. For this reason she was probably engraved in people's perception as a terrible Gorgon.

Here's the thing though: γοργώ (ghorghó) sounds an awful lot like another Greek word, γρήγορος (ghríghoros) which means "quick, fast". Those two are both ancient but etymologically unrelated. The fall of the Byzantine Empire and the annexation of the Greek lands by the Ottomans led to significant changes for the worse in the number of Greek people who had easy access to education and particularly education in relation to their heritage beyond this of the religion. Only select few that kept their riches or Greeks who then fled to the west had easy access to these things. In short, with more limited access to older forms of Greek or old Greek literature eventually γοργός (ghorghós) changed into a variant of γρήγορος (ghríghoros) = fast and its actual meaning of fearsome, terrible was forgotten. In these circumstances, the word γοργόνα (ghorghóna) which was used to address Thessalonike was now perhaps perceived as meaning something in the likes of "swift, agile and lithe" and it became associated with the positive mermaid form of hers. Eventually, the word γοργόνα was established as a generic term for the mermaid just like σειρήνα.

This happened because the legend of Thessalonike as a mermaid as well as the entirety of the Alexander Romance remained popular in the Ottoman period. The Byzantine copies were still circulating in the Greek population and in 1680 a Modern Greek version was printed with the name Φυλλάδα του Μεγαλέξανδρου (loosely translated to "Papers about Alexander the Great"). The book was written in the colloquial Demotic vernacular and it could be read by everyone (who knew how to read). This is how these stories spread and became oral tradition and folk tales. The romantisation of Alexander's character and by extension Alexander himself became a point of reference for their historical origins for both the Byzantine and the Modern Greeks.

The modern book from 1680 (yeah that's modern)

The true reason Thessalonike's legend remained so popular was not due to Thessalonike herself. Thessalonike was a minor historical figure for the most part and her interaction with Alexander was minimal. Some historians believe it was her son Alexander she was grieving for in the original legend but then he was confused with his much more famous uncle. I downright disagree. I believe the reason Pseudo-Callisthenes or the unknown authors and / or all these revisions imagined Thessalonike as the one grieving and wreaking havoc for Alexander was because of her being the name-giver to the city of Thessaloniki which by the ending of the Roman period and the beginning of the Byzantine period became very prosperous and gained a lot of power. Thessaloniki was so loved by Byzantine Greeks that it was considered as the Συμβασιλεύουσα (symvasilévusa) = co-ruler city of Constantinople. Thessaloniki remains the most loved city for the Modern Greeks too. After the unification of Macedonia and its largest city Thessaloniki to the already independent from the Ottomans south and central Greece, Thessaloniki became the "Συμπρωτεύουσα" (symprotévusa), the co-capital to Athens. It is also called Capital or Nymph / Bride of the North. Greeks damn sure love that city. This was a folk legend which connected the ever loved Greek city to a distant past.

Furthermore, the legend explores a theme that resonates deeply in the hearts of the Greeks across millenias. The allure and the danger of being a sailor, of travelling in the seas. The Greeks have always been seafarers. Losing loved ones to seas far away is a very common theme of Greek folk songs. The folk felt represented in this legend with the ghorghona representing the unpredictability of the sea. But this is also how Greeks developed an understanding for this dual creature, beautiful yet ruthless, yet also melancholic and temperamental. The ghorghona became a familiar concept, representing their loved sea and their loved city and their loved symbol of old glories (Alexander). Inevitably, she was "forgiven" of her fearsome qualities and the ghorghona became the beautiful mermaid of the Greek seas that you have to know how to talk to and earn her favor.

The ghorghona became a loved symbol of Greek folklore and she is featured in numerous modern Greek poems, artworks, short stories etc

Modern art by the prolific cartoonist and painter Bost (Chrysanthos Mentis Bostantzoglou, 1918 - 1995). All the national symbols are here: the Ghorghona as the beautiful mermaid, the sea, Alexander, the White Tower of Thessaloniki and the flags.

"The ghorghóna as the captains of old told her story." Modern Greek folk artwork. Look how she eventually becomes a postive emblem of Greece.

Due to the tight connection of the sense of ethnic identity with the Greek Orthodox Christianity for Byzantine and Modern - frequently occupied - Greeks, the popularisation of the ghorghona the mermaid was reflected in the Greek Orthodoxy as well .

Detail from a wooden templum in the Church of Saint Dionysius in Zakynthos (Zante) island.

Detail from the Chruch of the Great Archangels, Tsagarada, Mount Pelion. This templum was probably completed in 1749.

And because this was not enough of a "how to make an Evangelical mad" I guess, you know how saints in Orthodoxy are venerated and they are often imagined as patrons of certain groups of people or certain qualities??? Well...

may I introduce you to Virgin Mary the Ghorghona?

...who also became a novel?

Clearly, this is Mary imagined as Patron Saint of the sailors and those who travel in the seas.

In conclusion, there is not an exact moment in history that suddenly turned the gorgons into mermaids, however I tried to explain how in the long course of time there were many linguistic, cultural and religious points which ever so slowly contributed into changing the perception of the gorgon from an ancient, murderous, fearsome creature to a positive, beautiful (yet at times very dangerous) symbol of ethnic identity.

Sources:

Mermaid - Wikipedia

Atargatis - Wikipedia

Siren (mythology) - Wikipedia

The siren: a medieval identity crisis – Mittelalter

Physiologus - Wikipedia

Gorgons - Wikipedia

Thessalonike of Macedon - Wikipedia

Alexander Romance - Wikipedia

Η Γοργόνα Θεσσαλονίκη | Parallaxi Magazine

Φυλλάδα του Μεγαλέξανδρου - Βικιπαίδεια

Ο συμβολισμός της γοργόνας στη λαϊκή παράδοση της Ελλάδας μέσα από τη ποίηση και το τραγούδι

«Ζει ο βασιλιάς Αλέξανδρος;» Η γοργόνα και ο Μέγας Αλέξανδρος – ΧΩΡΑ ΤΟΥ ΑΧΩΡΗΤΟΥ

Ζει ο βασιλιάς Αλέξανδρος;

[talonabraxas]

Anu 𒀭 “Skyfather and Lord of Firmament, or the Great Above.” Talon Abraxas

Anu (also known as An) is an early Mesopotamian sky god who was later viewed as the Father of the Gods and ruler of the heavens, a position which then passed to his son Enlil. He is the son of the couple Anshar and Kishar (heaven and earth, respectively), the second-born of the primordial couple Apsu and Tiamat.

He was originally a Sumerian sky deity known as An (meaning 'sky') first referenced in writing during the Early Dynastic Period (2900-2334 BCE) who was adopted by the Akkadians c. 2375 BCE as Anu ('heaven') the all-powerful. Sargon the Great of Akkad (r. 2334-2279 BCE) mentions Anu and Inanna in his inscriptions as legitimizing his rule or helping him in his conquests as he established the Akkadian Empire and maintained order.

Anu is most often represented in iconography simply by a crown or crown on a throne symbolizing his status as King of the Gods, an honor and responsibility later conferred upon Enlil, Marduk (son of Enki/Ea, the god of wisdom), and Assur of the Assyrians, all of whom were believed to have been elevated by Anu and blessed by him. His consort is Antu (also known as Uras, goddess of the earth), and among their many children are the Annunaki, the gods of the earth and judges of the dead, and Nisaba, the Sumerian goddess of writing and accounts. He is also given as the husband of his sister Ki (earth) by whom his son Enlil is born.

Although Anu is not featured prominently in many myths, he is often mentioned as a background figure. This is because, as veneration of the god progressed, he became more and more remote. Initially a sky god and one of the many younger gods born of Apsu and Tiamat, Anu gradually became the lord of the heavens above the sky and the god who ordered and maintained all aspects of existence.

Along with Enlil and Enki, Anu formed a triad which governed the heavens, earth, and underworld (in one version) or, in another, heaven, the sky, and the earth. He was also listed among the oldest gods of the Seven Divine Powers: Anu, Enki, Enlil, Inanna, Nanna, Ninhursag, and Utu-Shamash.

Even though he is rarely a main character in a myth, when he does appear, he plays an important role, even when that role might seem minor. He is referenced in some of the best-known myths from Mesopotamia including Gilgamesh, Enkidu, and the Netherworld, The Epic of Gilgamesh, the Myth of Adapa, and the Enuma Elish.

[a-queer-seminarian]

Gaza's Gethsemane

Today is Maundy Thursday, when Christians remember Jesus’s Last Supper, his final meal with his closest friends before his arrest and execution by the Roman Empire.

Meanwhile, right now, in Jesus’ own homeland, millions suffer starvation and terror, displacement and death under Western-funded Israeli colonialism and continued military assault. Israel blocks food from reaching them, leaving Palestinians in fear that any "supper" they can scrounge up might be their last.

After their meal, Jesus led his friends into the Garden of Gethsemane, where he prayed in anguish, fearing all he was about to endure: criminalization, torture, and a painful public death.

Jesus begs his friends to “stay awake” as he wrestles — just to be present, to make him feel a little less alone. How do we respond to Jesus’ plea by “staying awake” to Palestine’s current agony?

"Cry" (2016) by Mohammed Almadhoun.

That question also leads me to ponder another: how does God join Palestinians in their agony? Where is God in their suffering?

Palestinian Christian Mitri Raheb seeks to answer this question of where God is in his 2015 book Faith in the Face of Empire.

Raheb looks at the history of the Palestinian region, from ancient times to today, as a long chain of different empires — from the Assyrians to the Romans, Ottomans to Western-funded modern Israel.

He says that this long history of occupation is what gave Palestinians the ability to notice God where those in power do not: among the powerless. It is this revelation, Raheb declares, that has empowered Palestinians — Jewish, Christian, and Muslim — to survive and resist Empire again and again.

Raheb writes about how in ancient times, the divine was made

“...visible and omnipresent in the empire with shrines and temples that represented not only his glory but also that of the empire. God’s omnipotence and that of the empire were almost interchangeable. He was a victorious God, a fitting deity for a victorious empire. At the other end of the spectrum there was the God of the people of Palestine, whose tiny territory resembled a corridor in Middle Eastern geography. ...This God was a loser. He lost almost all wars, and his people were forced to pay the price of those defeats. In short, this God did not appear to be up to the challenge of the various empires. His people in Palestine were forced to hear the mocking voices of their neighbors who taunted them, 'Where is your God?' (Ps 42: 3, 10). The revelation the people of Palestine received was the ability to spot God where no one else was able to see him. When his people were driven as slaves into Babylon, they witnessed him accompanying them. When his capital, Jerusalem, was destroyed and his temple plundered, they saw him there. When his people were defeated, he was also present. The salient feature of this God was that he didn’t run away when his people faced their destiny but remained with them, showing solidarity and choosing to share their destiny. Consequently and ultimately, Jesus revealed this God on the cross, in a situation of terrible agony and pain, when he was brutally crushed by the empire and hung like a rebellious freedom fighter. The people of Palestine could then say with great certainty [that their God] ‘in every respect has been tested as we are’ (Heb 4:15). For the people of Palestine this meant that defeat in the face of the empire was not an ultimate defeat. It meant that after the country was devastated by the Babylonians, when everything seemed to be lost, a new beginning was possible. Even when the dwelling place of God was destroyed, God survived that destruction, developing in response a dwelling that was indestructible. And when Jesus cried on the cross, “My God, my God, why have you forsaken me?” (Mk 15:34), that soul-rending plea was just the prelude to the resurrection…”

It is this revelation that God sides against empire, Raheb continues, that keeps the Palestinian spirit alive through horrible oppression. Though the world may call such faith foolish — how can you believe God is with you and that God will have the final say, when all evidence points to your abandonment and defeat? — it is wisdom to the oppressed. Raheb describes how this wisdom feeds Palestinian resistance, over and over across the millennia:

The art of survival and starting anew is a highly developed form of expression in Palestine, and one I see daily. People’s lives, businesses, and education are interrupted by wars and the aftermath of wars over and over again, and yet I witness people refusing to give up, taking a deep breath, and beginning again. Logically, it is foolish, and yet there is deep wisdom in such a course of action. I’m often asked by visitors how I can keep going. Everything seems to be lost, the land “settled” by Israel, the wall suffocating Palestinian land and spirit, the world silent, and hope almost gone.”

Raheb's answer to them is that God’s presence in and among the suffering, and God’s promised resurrection, of renewal in the face of all terror and death, is what keeps him and his people going.

As we enter into these final days of Lent, I pray for hearts and minds opened to witnessing God’s solidarity with and resurrection for Palestinians suffering imperial brutality. I pray that the Palestinians will survive as they always have — “afflicted in every way, but not crushed; perplexed, but not driven to despair; persecuted, but not forsaken; struck down, but not destroyed” (2 Cor 4:8–9).

[seafoamaphrodite]

Inanna

Inanna is the Mesopotamian goddess of fertility, love, power, and sensuality.

Inanna’s worship can be traced back to Sumer as early as 4000 BC

traditional worship to this deity included sacred prostitution, sexual rites, and an emphasis on the arts

often know as Ishtar (by the Assyrians) or Astarte (by the Phoenicians)

Inanna is often seen as the origin of Aphrodite’s cults in Cyprus and Cythera. the goddess also shares similarities with Isis, the Egyptian goddess of magic and femininity

Associations

star of Inanna (also known as the star of Ishtar or the eight-pointed star)

lions

roses

doves

weapons (particularly whips, reeds, and hooks)

ps… this is my first time researching Inanna-Ishtar and im eager to learn! let me know if i got anything wrong or if there’s anything else i should know!

🗡️🕊️🩸

[rainbowolfe]

Shamura's Name

When you look up a name's meaning, and can only find one source that gives it one, I take with a grain of salt. And I don't think "the Parentz dot com" is a particularly reliable source. So Shamura meaning diamond? I reject that. Wholly.

There's Shammuramat, the name of an ancient Assyrian queen, but we don't actually know its etymology. It's assumed it means something close to "high heaven", based on a similar ancient language. Based on how Tiamat is thought to mean "one who embodies the sea", Shammuramat is likely in the same vein. "One who embodies"... something.

With no real way of finding the meaning of just "Shammura" in Assyrian, I took a different route.

Anura, Darkwood, even Anchordeep to an extent, have very literal names. So let's assume Silk Cradle does too.

We have six places that we consider the "cradles of civilization": Mesopotamia, Ancient Egypt, Ancient India, Ancient China, Caral-Supe, and Olmec. They're considered the starting points of civilization as we know it.

And one of these cradles also happens to be the birthplace of silk. Ancient China. Silk Cradle is likely just a clever reference to that.

If we consider Silk Cradle to be Shamura's place of origin, then Shamura's name is most likely either Chinese or Japanese.

Now, I'm not as familiar with Chinese, so someone might have to correct me on this, but there is no "ra" in Chinese. The closest would be "re" but I was having trouble finding a fitting character for it.

However, I do know Japanese! "Mura" appears commonly in Japanese names as both a prefix and a suffix. It means village. Its use in names generally translates to [from the] "X" Village. For example, Nakamura means "Middle Village" and Yamamura means "Mountain Village".

"Sha" has many meanings, but the most relevant one is most likely in reference to Shinto Shrines. Specifically a type of Tudigong, the title granted to the local earth (or soil) deity. The literal translation would be "Lord of the Land" or "Lord of the Earth".

Tudigongs are at the top of the divine pyramid, save for Houtu, the overlord herself. Below them are the Sheji, the Shan Shen, the City Gods, and the Landlord Gods in the order.

So "Shamura" would translate to [from the] Earth Deity's village.

Which leaves only one question. Who was the Lord of the Earth about 3000 years ago?

Ala.

Ala is the deity of the Earth, Fertility, and Morality. She is considered to be the ground itself, so to disrespect the earth is to disrespect her. She rules over the underworld and casts judgment on humans. And she seems to play a similar role in-game based on her Relic descriptions.

Her symbol is the crescent moon. She's also represented by pythons. And not only is the crescent moon the shape on Shamura's Crown...

It's also the symbol used for the Seal of the Bishops, the relic that freezes time.

But that's just an observation.

A SERIES of observations.

[yamayuandadu]

What do you mean by an ishtar type goddess

I’ve picked this term up from Gary Beckman’s late 1990s articles Ištar of Nineveh Reconsidered and The Goddess Pirinkir and Her Ritual from Hattusa (CTH 644). In both of them he makes a point that across the “cuneiform world” (so, in modern terms roughly from the middle of Turkey to the west of Iran) multiple deities could be designated by the same logogram - IŠTAR, to be specific - and that this broadly reflects all of them having certain shared features , and indicates the existence of a category encompassing all of them in the imagination of ancient theologians. At the same time, he stresses that each of such deities will also have unique features which become evident when enough sources become available. He demonstrated it on examples like Shaushka, Pinikir and the Kizzuwatnean “goddess of the night” (the correct reading of her own name remains unknown). As far as I know Beckman was more or less the first to advance views like that equally successfully, but other studies using a similar methodology soon followed. For example Barbara Nevling Porter has managed to prove in the early 2000s that it is safe to say there are multiple fully distinct goddesses named Ishtar in Neo-Assyrian sources, and that they could even be portrayed interacting with each other (see her Ishtar of Nineveh and Her Collaborator, Ishtar of Arbela, in the Reign of Assurbanipal for more details).

These views are fairly mainstream today, though popular understanding very clearly lags behind. Tonia Sharlach in her excellent Ox of One’s Own. Royal Wives and Religion at the Court of the Third Dynasty of Ur (a fantastic book even if you’re not very interested in Mesopotamia) calls the names Inanna and Ishtar “umbrella terms” (p. 269). Spencer L. Allen dedicated an entire monograph to the phenomenon of one name often designating multiple functionally fully separate deities, The Splintered Divine. A Study of Ištar, Baal, and Yahweh. Divine Names and Divine Multiplicity in the Ancient Near East. There are numerous other examples, but these are what I’d consider the best introduction. The classification of (some) deities as exemplars of bigger “types” is not limited to Ishtar(s) and is overall fairly standard in Assyriology, see ex. the discussion here, pp. 298-299. The precedents for this sort of systematization are quite common in primary sources. We know that the scribes employed by the Ur III court essentially saw Ninisina as a “type” since despite the two being distinct, Gula could be referred to as “Ninisina of Umma” by them. God lists will sometimes have entries like “Enlil of Subartu” or “the Kassite Adad” and so on. “Type” is just the term I’m used to because Beckman was my introduction to this idea but I’ve also seen phrases like  “Nergal figure”, “lesser Nergal” etc. employed by Frans Wiggermann, for instance.

[thescarlettbitch]

Mesopotamian Pantheon Explained

Hello! My name is Red, I am a devotee of the Mesopotamian Goddess Inanna, and it makes me sad to see that not a lot of people know about her, let alone the rest of her pantheon, so I thought I'd make a post about everyone, or at least, everyone I can. I've made a masterpost about her, and I really enjoyed it, as it gave me an "excuse" to learn about her, and this is the same. In this post I will be naming the gods and their domains and their relations with each other. If prompted, I would love to do a deep dive on every deity in this pantheon I can. Unfortunately, there are over a thousand deities across all Mesopotamian cultures, so this is by no means a complete list or anything similar.

So, first, what is Mesopotamia? Mesopotamia means "land between the rivers", the Tigris and Euphrates Rivers, and it is the term to define the whole region and the various cultures that lived there. This includes Sumer, Akkadia, and Babylon. Despite culture being different, they shared similarities in written language, religion, and attitude towards women. The gods may have had different names at different points, but they were the same deity to all, often referred to interchangeably. This region gave birth to about 50 firsts of man.

But, on to the Gods!

The first thing to know about the Pantheon and how people worked with them, is that mortals believed them to be coworkers with the deities, and that they worked together to maintain order. Due to differences in cultures, each civilization viewed the deities differently, so Marduk might have been king of the Gods in Babylon, Enlil was king of the Gods in Sumer. The heavenly Gods were referred to as Igigi, and occasionally Anunnaki, though in some sources Anunnaki was the older or "major" Gods, and the Igigi were the lower ranking Gods.

We are going to start with the Seven Divine Powers, the oldest Sumerian deities.

Anu - sky god

Enki - god of wisdom

Enlil - lord of the air, sumerian king of the Gods.

Inanna - goddess of love, fertility, and war, queen of the heavens

Nanna - goddess of the moon

Ninhursag - mother goddess

Utu/Shamash - god of the sun

Other popular deities include

Assur/Ashur - supreme god of the Assyrians

Ereshkigal - goddess of the underworld

Gula - goddess of health and healing

Marduk - babylonian king of the gods

Nabu - god of writing

Nanshe - goddess of social justice

Nergal - god of war

Ninkasi - goddess of beer and brewing

Nisaba - goddess of agriculture, turned to writing and accounts

Dumuzid/Tammuz - god of shepherds

Enkimdu - god of farmers, seen as the personification of the irrigation system

Geshtinanna - goddess of scribal arts and dream interpretation (theorized)

Bau - mother goddess, healing

Ishkur - god of storms and rain

Ištaran - god of divine justice

Nanaya - goddess of love

Nanshe - goddess of divination

Ninazu - associated with the underworld, though his role is disputed

Ninlil - wife of Enlil, thought to be "artificially created" as Enlil's equal

Ninshubur - god(dess) attendant of Inanna (in some sources she is masculine, and others feminine)

Zababa - war god

Alammush - god attendant of Nanna

Sherida - goddess of dawn

Apsu - primeval freshwater

Tiamat - primeval sea

Creation-

The Mesopotamians had many different tellings of the creation of the world, most likely due to the cultural differences. Atra-Hasis, Eridu Genesis, and Enuma Elish are the most common, as we have physical copies of them today. They, among other sources, depict a different family tree, but with key similarities.

Atra-Hasis: Anu, Enlil, and Enki cast lots to determine who rules what. Anu the sky, Enlil the earth, and Enki the sea. Enlil assigned minor gods to farm, but after many years the minor divines refused. Enki suggested to make humans to do the labor. Mother goddess Mami fashions humans out of clay, flesh, and blood of a slain god, and all the gods spit on the clay. After ten months, humans emerged from a specifically made womb. After many years, humans have overpopulated, so Enlil sends famine and drought every 1200 years. Enlil decides to destroy humanity by flood. Enki goes to hero Atra-Hasis and tells him of the plan, instructing him to demolish his house and build a boat. He does, and he brings his family and his animals and seals the door. When the flood comes it stays for seven days and even the gods are afraid. It ends and Enlil is furious with Enki for breaking the vow of silence but eventually the two agree to find other means of controlling the human population.

Eridu Genesis: the beginning of this has been lost to time. The surviving portion starts with Nintur, the goddess who birthed humanity, where she calls for them to he sedentary and civilized. Then more is missing. It resumes with humanity still being nomadic and barbaric. Nintur is stilling planning to provide kingship to the mortals. Then cities emerge, are named, and become distributional economies. Humans begin to annoy the gods, Enlil was unable to sleep, and made the brash decision to destroy humanity with a flood. Enki tells Ziusudra, a human, and tells him to build a boat to save himself and one couple of every animal. Ziusudra does as he is told and the flood comes. Humanity survives, but the rest is lost to time.

Enuma Elish: at the beginning, Apsu and Tiamet existed, co-mingled. From them came Lahmu and Lahamu. Then Anshar and Kishar, and from Anshar came the god Anu and from Anu came Nudimmumd/Ea. These new gods made noise that annoyed Apsu, who called to Mummu to speak with Tiamat, who proposed to destroy them, but Tiamat was reluctant. Mummu advised Apsu to destroy them. The new gods were worried, but Ea crafted a spell to lull Apsu to sleep. Mummu couldn't wake him. Ea took the halo from Apsu and wore it, slew Apsu and chained Mummu, living in Apsu with his wife, Damkina. Together, in Apsu, they created Marduk. Other gods made fun of Tiamat for not doing anything as Apsu was killed. Tiamat made monsters to fight the gods, eleven chimeric monsters with weapons, lead by her new consort Kingu, and gave him the tablets of destinies. Ea heard of the plan and went to his grandfather Anshar, who proposed Marduk as their champion. Marduk said he would win against Tiamat but that he would need to be king of the Gods if he did so. The others were wary but eventually relented. Marduk was given a throne and many supplies to fight Tiamat. He won and split her body in two, fashioning the sky from one half, places for Anu, Enlil, and Ea in it. He made likenesses of the gods in the stars, and from that he made the days of the year. He made night and day and the moon, he made storms and wind and rain, and gave the tablet of destinies to Anu. Marduk told Ea that he was going to use his blood to create man to serve the Gods, but Ea said that another should be chosen as sacrifice. Kingu was chosen, so man was made using his blood.

So... where do these other gods fit into the family tree?

Great question.

An and Ki had Enlil and Enki.

Enlil and Ninlil had Nanna, Nergal, Ninazu, and Enbilulu.

Enlil and Ninhursag had Ninurta.

Nanna and Ningal (in some sources) had Ereshkigal, Inanna, and Utu. In other sources, Enlil, An, or Enki were their parents.

Ereshkigal and Anu had Nungal.

Ereshkigal and Gugalanna had Ninazu. In other sources, Enlil and Ninlil, or Nanna were his parents.

Utu and Aya had Mamu, Kittum, Ishum, and Sisig.

Enki and Duttur had Dumuzid and Geshtinanna.

Either Sin, Urash, or Anu, and Inanna, had Nanaya.

Dumuzid and Inanna were married, but bore no children together.

Thank you for reading this major info-dump and lmk if you guys want any specifics or deep dives on someone! <3

[esoteric-chaos]

Lughnasadh Masterpost - Spoonie Witch Friendly

Lughnasadh, this holiday typically lands on August 1st in the Northern Hemisphere (February 1st in the Southern Hemisphere). 

Lughnasadh celebrates the arrival of the late summer season and the abundance of the first harvest.

Usually it a harvest of grain and corn, but in other areas it’s a fruit and vegetables for harvest. You’ll see the days begin to shorten from here.

This is a holiday that is more easy to feel disconnect from as most aren’t out there Stardew Valley style on their grandfathers farm. We either have a small garden of our own or everything is store bought. Or those who are gluten intolerant they also may find it harder to connect.

Celebrating and honoring the harvest is important. Even if we are not personally gardening we are offering thanks for natures prosperity in keeping us fed and healthy with each bountiful harvest.

But after this correspondence list I will give you a list of ideas of how everyone can celebrate.

Correspondences

Colours

Yellow

Orange

Gold

Green

Light Brown

Dark Purple

Tan

Herbal

Rosemary

Cinnamon

Mint

Basil

Garlic

Flowers

Sunflowers

Marigolds

Hydrangeas

Daisy

Dahlia

Zinnias

Yarrow

Roses

Honeysuckle

Oaktree

Apple tree

Edibles

(Anything within season)

Wheat, grains, bread

Corn

Apples

Berries

Peaches

Pears

Squash & zucchini

Tomatoes

Mead

Animals

Calves

Crow 

Pig 

Rooster

Salmon

Eagle

Lion

Squirrel

Stag

Lamb/ Sheep

Crystals

Citrine

Quartz

Amber

Malachite

Carnelian

Aventurine

Garnet

Tiger’s Eye

Metals

Symbols

The Sun

Wine & mead

Pentagram

Sunflowers

Corn

Wheat

Berries

Spiritual meanings & intentions

Prosperity

Success 

Gathering, harvesting

Giving, donating, sharing, charity

Thankful & grateful

Ancestors & heritage

Offerings

Blessings

The folk

Health

Career

Scents

Rose

Apple

Lavender

Cinnamon

Mint

Frankincense

Sandalwood

Coconut

Patchouli

Gods / Goddesses / Spirits

Demeter – (Greek)

Ceres – (Roman)

Isis – (Egyptian)

Luna – (Roman)

Dana – (Celtic)

Tailtiu – (Celtic) 

Cerridwen – (Celtic)

Parvati (Hindu)

Pomona (Roman)

Lugh – (Celtic)

Taranis – (Celtic)

Adonis (Assyrian/Greek)

Attis (Phrygian)

Mercury (Roman)

Osiris (Egyptian)

And many other harvest Gods/Goddesses

Need some suggestions to celebrate? I got you covered.

High energy celebrations

Abundance rituals

Visit a harvest festival

Harvest your garden

Bake bread

Baking pastries

Make jam or preserves 

Visit a farmer’s market

Create a large meal for the folk

Deity offerings

Create a money bowl (try rice in it just trust me)

Low energy celebrations

Healing bath ritual

Light a candle in honor

Prayer to Gods/Goddesses

Journal

Eat some fresh vegetables 

No spoons celebrations

Create a digital manifestation board (Try Pinterest) 

Eating fall themed pastries

Drinking apple juice or cider

Thank the harvest when you are able to fuel your body for taking care of you

Remember that it’s okay if you cant do much while you are unwell. That you come first and you simply existing is a blessing.

How you celebrate the holiday does not matter. You can choose to do any activity that feels right. These are only suggestions and remember that you're enough no matter what.