Marija Gimbutas – Page 3 – Feminism and Religion

Legacy of Carol P. Christ: “Fertility” and the Regeneration of Life

This was originally posted on October 12, 2020

Prehistoric and indigenous religious traditions are often disparagingly mischaracterized as primitive fertility religions, concerned not with higher morality, but rather with the processes of reproduction of humans, animals, and plants. When these religions feature a Great Mother Goddess, it may be assumed that these religions are primarily focused on birthing human babies. Nothing could be farther from the truth.

Indeed, archaeologist Marija Gimbutas discovered that in the symbol systems of Old Europe, the Goddess is only rarely imaged as pregnant or giving birth. Nor is She portrayed solely in human form. Rather, She is portrayed with a bird head, wings, and a plethora of other animal and plant features. If She is a Great Mother Goddess, She is revered as the Source of Life, not simply as a mother of human babies. Gimbutas states that in Old Europe the Goddess was worshiped in as a symbol of the powers of birth, death, and regeneration in all of life. Gimbutas said these societies were matrilineal and probably matrilocal. Recent research into matrilineal and matrilocal egalitarian matriarchies provides insight into the values of prehistoric societies. The Minangkabau of West Sumatra, Indonesia are matrilineal and matrilocal, with family ties being traced through the mother line and land being held communally and in perpetuity by the maternal clan. Though the Minangkabau trace their ancestry through their mothers and grandmothers, it is important to note that, as Peggy Reeves Sanday discusses in Women at the Center, it is not birth or the ability to give birth that is celebrated as the highest value, but rather the nurturing of the weak and the vulnerable.

The Legacy of Carol P. Christ: “MERMAID, GODDESS OF THE SEA”

This was originally posted on November 4, 2013

On the recent Goddess Pilgrimage to Crete, I visited the Historical Museum in Heraklion where I saw a beautiful embroidered silk panel of a mermaid identified only as having come from Koustogerako, a village in western Crete. As it is unlikely that a man in a Cretan village would have been talented in embroidery, in this case “Anonymous” most definitely “was a woman.”

In this thread painting a mermaid surrounded by fish is holding the anchor of a ship in one hand and a fish in the other. In Greece the mermaid is the protectress of sailors. In a well-known legend, a mermaid said to be the sister of Alexander the Great, emerges from the sea in front of a ship during a storm and asks: “Is Alexander the Great still living?” If the sailors answer, “Yes, he lives and reigns,” the ship is saved.

The Legacy of Carol P. Christ: Dance of the Bees: Reading the Language of the Goddess

This blog was originally posted on December 1, 2014

The image from an ancient Cretan bowl (c.1700 BCE) from the Sacred Center of Phaistos pictured here has often been interpreted as an early depiction of Persephone’s descent or rising. But are clues from later Greek mythology pointing in the right direction in this case?

Recently, my colleague Mika Scott posted the Phaistos bowl image on our Goddess Pilgrimage Facebook site in conjunction with the bee pendant from Mallia. This juxtaposition led me to think again about the importance of bees and pollination in agricultural societies and to offer an alternative reading of the symbolism on the bowl.

Carol P. Christ’s Legacy: Great Goddess, Mother Goddess, Creatrix, Source of Life

This post was originally posted on February 5, 2018

The symbol of the Goddess is as old as human history. The most ancient images of the Goddesses from the Paleolithic era are neither pregnant nor holding a child. In Neolithic Old Europe the Goddess was most commonly linked with birds or snakes and only rarely portrayed as mother. Yet we tend to equate the Goddess with the Mother Goddess. I suspect that images of the Virgin Mary with Jesus on her lap and prayers to God as Father have fused in our minds, leading us to think that the Goddess must be a Mother Goddess and primarily a Mother.

In a recent blog, Christy Croft reminded us that in our culture, women’s experiences of mothering and motherhood are not always positive:

[The mother] doesn’t always appear in our stories in simple or easy ways. Some of us mother children we did not or could not grow in our bodies; some of us birth babies who are now mothered by others. Some of us are not mothers at all. Some of us had mothers who could not love us unconditionally, or did not have mothers in our lives, or had mothers who brought us more pain and humiliation than comfort, from whose effects we are still recovering, are still healing.

Carol P. Christ’s Legacy: THE LABRYS: A RIVER OF BIRDS IN MIGRATION

Moderator’s Note: Carol Christ died from cancer in July, 2021. Her work continues through her non-profit foundation, the Ariadne Institute for the Study of Myth and Ritual and the Goddess Pilgrimage to Crete. This blog was originally posted July 29, 2013. You can its original comments here.

“There’s a river of birds in migration, a nation of women with wings.” —Goddess chant, Libana

On the Goddess Pilgrimage to Crete, I explain that many of the names given to “Minoan” (c. 3000-1450 BCE) Cretan artifacts and architecture are products of patriarchal and Eurocentric imaginations, and as such, are misleading. For example the name “Minoan” was given to the culture of Bronze Age Crete in honor of “King Minos,” who was said to have ruled in Crete a few generations before the Trojan War–several hundred years after the end of the culture to which his name was attached. In fact, despite his eagerness to find evidence that King Minos ruled at Knossos, the excavator Sir Arthur Evans finally had to concede that the best he could do was to produce a fresco of a “Prince of the Lilies” which he identifed as the image of the male ruler of the culture he called “Minoan.” Evans’ Prince had white skin, a fact that Evans conveniently overlooked–because according to his own interpretation of “Minoan” iconography, white skin would mark the figure as female. Mark Cameron, who reviewed Evans’ reconstruction of the fresco, suggested that the Prince is more likely to be a young woman who is perhaps leading a bull to take part in the bull-leaping games. He also stated that the “crown” belonged to another fresco altogether.

What’s Your Feminism I.Q.? by Barbara Ardinger

Let’s begin a new year by finding out what we know about feminist history and goddess scholarship. Take this little quiz and find out where you stand as a Feminism/Goddess Scholar. (It’s okay to laugh at some of the choices. Laughing shows you’re paying attention.)

1. Who wrote When God Was a Woman?

a. Ernest Hemingway b. Merlin Stone

c. Sharyn McCrumb d. Isabel Allende

My Encounter with the Venus of Dolní Věstonice by Ivy Helman.

Marija Gimbutas, in her book Language of the Goddess, mentions only one goddess figurine from what was, at the time of her writing, Czechoslovakia (pages 31-32). That figurine comes from Předmosti, in the very eastern part of what is now the Czech Republic. However, there are more, and I would like to introduce you to the one that I encountered during a visit to another part of the Czech Republic several weeks ago.

Meet what Czechs refer to as the Venus of Dolní Věstonice. There is not a lot of information about her, so I have pieced together what I can find. Said to be the oldest known fired terracotta figurine (some 29,000 years old), she was first unearthed in 1925. She was found broken into two pieces at the site of the Stone Age settlement known as Dolní Věstonice, in the southeastern part of the Czech Republic. This settlement, according to Archeo Park Pavlov, was part of the Pavlovian culture, a Stone Age culture local to the area.

Author’s photograph of a replica of the Venus on display at Archeo Park Pavlov.

Avian Friendship by Sara Wright

The other night I had a dream about a strange green hooded figure that was guarding a green gate underground. She wasn’t human; she had a hooked bird’s beak (like many of Marija Gimbutas’s goddess figures). Something about the strange face reminded me of an American Indian. This creature was not friendly but she was not hostile either. Just really intent upon making it clear that you did not pass through the gate without her permission. The word Root kept reverberating out loud in this place… Root Woman? Strange that she was also a bird. Anyway, thinking about bird women prompted the following poem and brief reflection on my relationship with one kind of bird…

Toadwise: A Tale for a Life Lover – Part II by Sara Wright

Read Part I here…

In the Americas I found more recent Indigenous mythology on the Toad as Goddess. Tlaltecuhtli is a Pre–Columbian (1200–1519) goddess belonging to the Mexica. Although Tlaltecuhtli’s name is masculine modern scholars interpret this toad figure as female because she is squatting giving birth. Some see her as crouching under the earth, mouth open waiting to devour the dead. Since the Aztec culture was a warring male dominated Patriarchal one I think it’s perfectly reasonable to assume that the Earth Goddess/Toad was seen as masculine to the Mexica.

In Mesoamerica we find Toad widely represented in art, often with feline or other non-naturalistic attributes, including jaguar claws and fangs. These images can be regarded as versions of Tlaltecuhtli. In contemporary Mexico, as in Guatemala, and throughout South America toads play a role in myth, sorcery, shamanism, and in curing/healing. Continue reading “Toadwise: A Tale for a Life Lover – Part II by Sara Wright”

Toadwise: A Tale for a Life Lover – Part I by Sara Wright

Last night I was thinking about the giant western toad that is living in my garden when I had a peculiar thought: Write a story about the Toad and an Old Woman and call it A Tale for a Life Lover. At this very moment I heard my toad’s rasping guttural cry outside my window. I was so shocked I got up and went out on the porch, hoping to hear the call again, but the toad only spoke once. Afterwards, I wondered if I had imagined it.

When the giant western toad appeared in my yard last week I had been in a state bordering on despair over baffling health issues and the ravages of Climate Change. Maybe it is no longer possible for me to separate the two? After the visitation I sensed that the toad’s abrupt appearance meant something beyond the amazing fact that I had met a giant toad who apparently had been living here all along. Continue reading “Toadwise: A Tale for a Life Lover – Part I by Sara Wright”