Lion.Kanzen

the architecture of the engine is old. It doesn't use all the capacity. .

reddish hair is a trend of that time. the source is an online women's magazine so please excuse the way it's written. Quoting: For example, several mummies of Egyptian pharaohs were found to have hair with reddish pigments. Among them was Ramesses II (c. 1303 BC to 1213 BC), often referred to as ‘Ramesses the Great’, who was regarded as the most powerful and celebrated pharaoh of the Egyptian Empire. Oh yes, gingers rule. Around 500BC, redheads were first mentioned in literature by the Greek poet Xenophanes. In his work, he described how back then, people typically created their gods in their own image and therefore the Thracian Gods had blue eyes and red hair. Furthermore, many Thracian graves had the inscription ‘Rufus’, meaning redhead, with Thracian often depicted as having red hair, too. Next, in around 400BC, Herodotus described how the Budni, a large and powerful nation, all had bright red hair and deep blue eyes. And today, when you visit the Acropolis museum in Athens, you will find several statues of ginger women on display. In ancient times, the hair of female statues was mostly painted red, as the Greeks loved the colour red. True, this could be due to the fact that limited paint colours were available back then. However, it is also said that ginger hair was admired in Ancient Greece, because it was associated with honour and courage. For example, Homer’s Iliad describes Menelaus and Achilles, both heroes in Ancient Greece, as redheads. He also mentions Menelaus’ wife, Helen of Troy, in both his Iliad and the Odyssey as having a ginge tinge. Helen of Troy was said to be the daughter of Zeus and Leda and is described in Greek mythology as the most beautiful woman in the world. Furthermore, Aphrodite, the ancient God of love, beauty, sexuality and fertility was said to possess the MC1R gene as well. On the other hand, it is said that the ancient Greeks thought that redheads turned into vampires when they died. Also, with slaves in ancient Greek and Roman times often being imported from northern territories, red wigs were given to actors depicting slaves in Greek and Roman theatre. Still, it is sometimes said that redheaded slaves were more expensive in ancient Rome, as they were often thought to bring good luck. However, the Egyptians believed that redheads were unlucky and should therefore be sacrificed – in this case, buried alive – to the God Osiris to end the bad luck. Contrarily, it is occasionally mentioned that red hair was in fashion in Alexandria during Cleopatra’s time, possibly because Cleopatra was a redhead herself. As you can see, historical information about redheads contains many contradictions and varies greatly across different cultures and countries. Perceptions of redheads possibly fluctuated over time, just like today. Either way, we can safely state that, redheads drew a lot of attention in ancient times, and they probably always will https://gingerparrot.co.uk/the-ancient-history-of-redheads-and-ginger-hair/ Cleopatra, the queen of Egypt, was not from Egypt. She belonged to the Macedonian Greek dynasty, which ruled Egypt from about 323 BCE until 30 BCE. According to classical author Plutarch, Cleopatra though not an Egyptian, learned the Egyptian language for political reasons, also styled herself as one of the most important ancient Egyptian goddesses, Isis. Her nationality is a topic of National Controversy. Despite her being the ruler of Egypt, she was not its National. She belonged to the renowned Plotemaic Dynasty, and her ancestors were Makedonian Greek from the Kingdom of Makedonia located in Northern Greece. It was a trend or, rather, say, a culture in her family that no one would marry anyone out from their dynasty. They would only marry someone belonging to Greek royal families, so her family tree is a single straight line like a ladder. Cleopatra was born to Plotemaios XII Auletes, who had several wives. He has had many children from all of her wives, so it is hard to tell the actual mother of Cleopatra. The actual truth about Cleopatra is still not found with proof, so the fact about her actual mother is also unknown. However, Strabon of Amaseia, a Greek Writer has mentioned that of all the daughters of Ptolemaios XII, only the eldest daughter was legitimate. Her name was Berenike. So, if this statement is true, all other children were illegitimate, including Cleopatra. There are a few speculations about how she looked and mainly about her physical size. Some movies and paintings including the movie Cleopatra ( 1963 ) have been portraying her to be with a well-built physique with a great height. Greek biographer Ploutarchos of Chaironeia writes an incident about how Cleopatra and Julius Caesar met. The story mentioned helps us to know or assume the actual size of Cleopatra. According to that writing, Cleopatra was hiding on a carpet when she first met Julius Caesar in around 47 BC. If this is to be true, we can say that she was not a tall woman but rather a tiny one. Otherwise, she would have fit in a rolled carpet. Her physical appearance, including the color of her hair, is also an issue of debate. Few of the movies have portrayed her with dark black hair with bangs ( Cleopatra- 1963 ). Whereas some portray her hair to be blonde. However, an old statue of her shows her with red, frizzy hair with a melon hairstyle and her signature cloth diadem on her head. Some paintings show her with black color, and some portray her without the diadem; some images are with a very low neckline dress and bare shoulders- which is most probably not acceptable during that period. There are some other portrayals of him, but they show her as a goddess who cannot be taken as the actual portrayal of Cleopatra. The closest depiction could be seen in one of the houses in the Roman City of Herculaneum, which dates to the 1st Century AD. This painting of hers shows a pale skin tone. Since it is one of the oldest depictions of hers, it is considered to be the most relevant one. However, the closest a movie or a show can display the accurate portrayal of Cleopatra in Rome. The role of Cleopatra is done by the English actress Lyndsey Marshal and made by HBO. Unlike other movies and shows, Rome portrays Cleopatra with a large, hooked nose and a comparatively short height of about 5 feet. She is also shown putting her in melon style with a dress similar to the statue of her. Also, her relationship with Mark Antony is portrayed in a realistic manner where they are believed to have fallen in love at first sight. It is rather similar to the story depicted by Shakespeare. Despite many similarities, there are quite a few differences in this show. First, one is the low neckline of the outfit she is shown wearing. They have not used the signature diadem, which symbolized Cleopatra’s position as Queen of Egypt. Lastly, she is also shown wearing a necklace that is never seen in any of her statues or ancient depictions. https://historyten.com/ancient-egypt/what-did-cleopatra-really-look-like/ Scholars identify Cleopatra as having been essentially of Greek ancestry with some Persian and Sogdian Iranian ancestry, based on the fact that her Macedonian Greek family (the Ptolemaic dynasty) had intermarried with the Seleucid dynasty.[8][9][10][11][12][13][14][15] Michael Grant states that Cleopatra probably had not a drop of Egyptian blood and that she "would have described herself as Greek."[16] Duane W. Roller notes that "there is absolutely no evidence" that Cleopatra was racially black African as claimed by what he dismisses as generally not "credible scholarly sources."[17] Cleopatra's official coinage (which she would have approved) and the three portrait busts of her considered authentic by scholars (which match her coins) portray Cleopatra as a Greek woman in style.[18][19][20][21][22] Polo writes that Cleopatra's coinage present her image with certainty and asserts that the sculpted portrait of the "Berlin Cleopatra" head is confirmed as having a similar profile.[19] Roman frescoes in Pompeii and Herculaneum similar to the Vatican and Berlin marble sculptures have been identified as possible portraits of the queen based on comparable facial features and royal iconography. In 2009, a BBC documentary speculated that Cleopatra might have been part North African. This was based largely on the examination of a headless skeleton of a female child in a 20 BCE tomb in Ephesus (modern Turkey), together with the old notes and photographs of the now-missing skull. The remains were hypothesized to be those of Arsinoe IV, half-sister to Cleopatra,[23][24] and conjecture based on discredited processes suggested that the remains belonged to a girl whose "race" may have been "North African". This claim is rejected by scholars, based on the remains being impossible to identify as Arsinoe, the race of the remains being impossible to identify at all, the fact that the remains belonged to a child much younger than Arsinoe when she died, and the fact that Arsinoe and Cleopatra shared the same father Ptolemy XII Auletes but had different mothers.[25][26][27][28] https://en.m.wikipedia.org/wiki/Cleopatra_race_controversy

A mix between both to evade copyright. I suggested the clothes in another post.

Some many fps anomalies.

that's what people say. I would not like to go to Australia. At least the wild part.

Monuments aka SB2 (special building 2)

thanks, now another one that I must include in the post of the people under the the of Han.

Just the one day we were with Stan, and AlexanderMB We revived and created more than 20 aspid shield designs. Much had to be redone, the originals had poor quality and were already old.

I have to redo all those designs.

it is a less "barbaric" version of the nomadic peoples. Much more influenced by Chinese culture, their clothes are less savage more stilized. Even more refined.

https://matrifocus.com/mythology/tanit-of-carthage/ Tanit, with a pill-box crown, the “polos.” She is dressed in a robe in the Greek style. Her jewelry consists of a glass-paste necklace with graduated beads, and gold earrings. Her arms are in what was probably a “blessing” position, and they have some limited movement. A number of other figurines like this came from Ibiza. Terracotta. Half life-size. Fifth-fourth century BCE. Found in the Punic graveyard of Puig des Molins, Ibiza, Spain (The Phoenicians settled in Spain around 650 BCE.) Archaeological Museum, Barcelona. The heyday of the great temple began when the Carthaginians gained control of the Maltese archipelago in the 6th century BCE. Over the next 300 years, the temple, now belonging to Astarte and Tanit, grew in grandeur and wealth until, in 218 BCE, the Carthaginians lost Malta to the Romans. As was their custom, the Romans identified the local goddess with their Juno Caelestis and expanded the sanctuary on a grand scale, with a monumental gateway and magnificent mosaic floors. This rich and flourishing temple complex was certainly the world-famous sanctuary to Juno that Roman orator Cicero accused Caius Verres of pillaging while governor of Sicily and Malta, between 73 and 71 BCE. Despite Verres’s depredations, the temple survived well into our era, still dedicated to Tanit’s Roman counterpart, Juno Caelestis. The great Carthaginian goddess Tanit is definitely still a puzzle. We do know that she was the tutelary or protector goddess of the city of Carthage, originally a Phoenician colony in North Africa (Aubet 2001: 343). However, scholars are still undecided on the spelling and meaning of her name, her origins, her personality and powers, and, most of all, the question of her having been the prime recipient of child sacrifices at Carthage and elsewhere in the Punic (Carthaginian) and Phoenician world.[2] Tanit,” according to this theory, derived from the same root as Tannin, the snaky, dragon-like sea monster of Canaanite myth and the Hebrew Bible (Isaiah 51: 9; Ezekiel 29: 3-5) (Olyan 1988: 53-54 note 63). The first to make this suggestion was F. M. Cross, and he also argued that Tanit began as an epithet of the Canaanite goddess Asherah (1973:32-33; Olyan 1988: 58) Not surprisingly, most scholars treat Tanit as having come from the Phoenician mainland — as a descendant of one or more of the great Canaanite goddesses. Many think she was a Punic version of Astarte (Hardin 1963:87-88), but in some temples the two were clearly separate deities, though related (Ahlström 1986: 312; Betlyon 1985: 53-54). Some argue that her name is a version of Anat (Hvidberg-Hansen 1986: 178; Albright 1968: 42ff.). A few others see her as either originating in North Africa or being a combination of an indigenous North African goddess with one or more of the Phoenician/Canaanite deities (Ben Khader and Soren 1987: 44-45). An older explanation connects Tanit with the Egyptian goddess Neith (Olyan 1988: 54 note 63). https://en.m.wikipedia.org/wiki/Neith The English Egyptologist E. A. Wallis Budge suggested that the Christian biblical account of the flight into Egypt as recorded in the apocryphal gospels was directly influenced by stories about Isis and Horus; Budge argued that the writers of these gospels ascribed to Mary, the mother of Jesus, many peculiarities which, at the time of the rise of Christianity, were perceived as belonging to both Isis and Neith, for example, the parthenogenesis concept shared by both Neith and Mary.[14] However, an ivory plaque solved the problem. The plaque, found in an 8th century BCE temple at Phoenician Sarepta, was dedicated to “Tanit and Astarte.” This constituted the first evidence that Tanit was worshiped in the Phoenician homeland, especially what is now Lebanon (Bordreuil 1987: 81). Before that find, Tanit was thought to be a strictly western and Carthaginian goddess (Aubet 2001: 68). One of Astarte’s titles at ancient Ugarit in Syria and in Phoenicia was Shem Baal (shm b’l) “Name of Baal,” and it is interesting that Pane Baal (pn b’l) “Face [or Presence] of Baal” was a Tanit epithet in Punic inscriptions. It might have indicated that Tanit represented Baal (Hamon) in some way (Seow in Toorn et al. 1999: 322). In addition, in one 5th-century BCE inscription, Astarte was also called Pane Baal (Betlyon 1985: 54). However, Edward Lipiński, who thinks the epithet tnt signifies “She Who Weeps,” suggests that Tanit Pane Baal meant “Pleureuse en face de Baal” — “Weeper in the Presence of Baal” (1995: 2003). Undoubtedly, Tanit and Astarte were closely connected. The details of Tanit’s nature and powers are not really clear. Like Astarte, she had a complex personality (Markoe 2000:130). First and foremost, she was the mother deity of Carthage, protector of the city and provider of fertility. As such she seems to have been a deity of good fortune. Goddess of the heavens, she was often associated with the moon (Benko 2004: 23). Like Asherah, she had maritime connections and was a patron of sailors (Brody 1998: 32-33; Betlyon 1985: 54). There is also some indication that she had a warlike nature, as we would expect of the protector of a city (Ahlström 1986: 311). —same as a Athena, lol— On carvings, Tanit’s presence was often signaled by dolphins or other fish as befitted her patronage of sailors.[5] Fertility symbols also abounded: pomegranates, palm trees, bunches of grapes, grain, leaves, and flowers. Indicators of her celestial connections were the crescent moon and sun. A caduceus entwined with what look like snakes might refer to Tanit as “She of the Snake” or, as one scholar has suggested, it might be a stylized version of Asherah’s sacred tree (Carter 1987: 378). Often, dove-like birds appear (Benko 2004: 24; Moscati 1999: 139). On some stelae an enigmatic open hand might suggest the delivery of a blessing (Azize 2007:196). In addition, Tanit was depicted in winged form in a cult cave on the Spanish island of Ibiza (Lipiński 1995:424-425; Ferrer 1970). Scholars still dispute the conditions under which fetuses, infants, or children were sacrificed to deities. As elsewhere, human sacrifice seems to have been practiced in the Phoenician world in times of crisis (Aubet 2001: 246ff.). However, according to a number of Greek and, later, Christian writers, the Carthaginians regularly sacrificed their children to Baal-Hamon. Later, Tanit also received the grisly offerings. Adding to the gruesome reputation of the Phoenicians, the Hebrew Bible forbade the Israelites from burning their sons and daughters “as an offering to Molech” (2 Kings 23: 10). Such sacrifices took places at sites called “tophets” (Jeremiah 7: 31). A deity named Malik or Malek, probably originally an epithet meaning “king,” existed in the ancient Near East, since the word occurs as a theophoric or “god-bearing” element in names at Ebla, Mari, Ugarit, Phoenicia, and elsewhere (Müller in van der Toorn et al. 1999: 538-542; Lipiński 1995: 227-229; Heider 1985: 401). There is little or no evidence that Malik required human sacrifice. The “Molech” in the Hebrew Bible is likely the same name presented with the vowels of the Hebrew word boshet meaning “shame” (Weinfeld 1972: 149). On the other hand, archaeologists have unearthed sacred enclosures in a number of Carthaginian cities that were extensive cemeteries. They contained the burnt remains of extremely young humans and animals interred in urns and usually marked with stelae, sometimes ornate, sometimes with inscriptions. Many of the inscriptions described the deposit as a molk, now understood as a kind of offering (Weinfeld 1972: 135 ff.). The recipient of molk offerings was originally Baal-Hamon alone and, later, Tanit joined him. Archaeologists began calling the cemeteries “tophets” and interpreting the contents of the urns as burnt sacrifices (Brown 1991: 14; Stager and Wolff 1984: 2). Because so many inscriptions mentioned Tanit, the “tophet” at Carthage became regarded as the “precinct” of the goddess (Aubet 2001: 250). Tanit was then seen as demanding child sacrifice. The cemetery at Carthage was in use from around 700 BCE to 146 BCE. It contained over 20,000 urns holding the cremated bones of young humans and animals, 80% of which were fetuses or neonates (Aubet 2001: 251-252; Schwartz 1993:49). The accepted scholarship agrees with the excavators that the bones are the result of thousands of sacrifices, especially since the inscriptions were mostly votive; that is, they indicated that the depositors owed the deities a return for a favor. An example of such an inscription is: “To our lady, to Tanit . . . and to our lord, to Ba’al Hammon, that which was vowed . . . “ (Stager and Wolff 1984). The interpretation that the vow entailed the infant in the urn may not be correct, but it is generally advanced. The physical anthropologist Jeffrey Schwartz had a different idea about the meaning of the cemetery. He carried out extensive studies of the bones from Carthage’s “tophet.” He pointed out that burials of infants and young children were very rare at Carthage, except in the “tophet,” and that 95% of the burials outside the “tophet” consisted of older children, teenagers, and adults. He concluded that the site was a graveyard for the very young, aborted fetuses, stillborn babies, and newborns who had died of natural causes (1993: 53-56). This explanation makes sense, even in the interpretation of inscriptions. Carthaginian parents would probably have wanted to entrust their dead babies to protective deities, particularly a kindly, motherly goddess, whom they might ask for another child. https://matrifocus.com/mythology/tanit-of-carthage/

there are Sumerian poems that take us back to the queen of heaven Inana. 1-19. When I go, when I go — the mighty queen who ……, who ……; when I, the queen, go to the Abzu, when I, Inana (Inanna), go to the Abzu, when I go to the Abzu, the E-nun, when I go to Eridug (Eridu, Enki‘s patron city) the good, when I go to E-engura, when I go to E-ana (ziggurat residence in Uruk), the temple of Enlil, when I go to ……, when I go to where the great offering bowls stand in the open air, when I go to where the …… pure …… bowls, when I go to where …… is honored, when I go to where Lord Enki is honored, when I go to where Damgalnuna (Ninhursag) …… is honored, when I go to where Asarluḫi (Marduk, Enki‘s son) …… is honored — (Ninurta, his mother Ninhursag, & Inanna in battle dress) When I go into the van of the battle, I go as one who brings forth its brightest light (?). When I follow at the rear of the battle, I go for …… the evil of the ……. 66-69. (Inana speaks:) “Wild bull, face of the Land! I will give life to its man! I will fulfill all its needs (?)! I will make its man produce correct speech in the shrine, …… correct speech in the interior hall of the palace.” 70-77. (The priests (?) speak:) “Oh mistress, let your breasts be your fields your wide fields which pour forth grain! Make water flow from them! Provide it from them for the man! Make water flow and flow from them! Keep providing it from them for the man! …… for the specified man, and I will give you this to drink. I didn't put it in full text. http://www.mesopotamiangods.com/a-sir-namsub-to-inana-inana-g/ http://oracc.museum.upenn.edu/amgg/listofdeities/inanaitar/ Inana have a contradictory nature. Functions Inana/Ištar is by far the most complex of all Mesopotamian deities, displaying contradictory, even paradoxical traits (Harris 1991; see also Bahrani 2000). In Sumerian poetry, she is sometimes portrayed as a coy young girl under patriarchal authority (though at other times as an ambitious goddess seeking to expand her influence, e.g., in the partly fragmentary myth Inana and Enki, ETCSL 1.3.1 and in the myth Inana's Descent to the Netherworld, ETCSL 1.4.1). Her marriage to Dumuzi is arranged without her knowledge, either by her parents or by her brother Utu (Jacobsen 1987: 3). Even when given independent agency, she is mindful of boundaries: rather than lying to her mother and sleeping with Dumuzi, she convinces him to propose to her in the proper fashion (Jacobsen 1987: 10). These actions are in stark contrast with the portrayal of Inana/Ištar as a femme fatale in the Epic of Gilgameš. Taken by the handsome Gilgameš, Inana/Ištar invites him to be her lover. Her advances, however, are rejected by the hero who accusingly recounts a string of past lovers she has cast aside and destroyed (Dalley 2000: 77ff). Inana/Ištar is equally fond of making war as she is of making love: "Battle is a feast to her" Harris 1991: 269). The warlike aspect of the goddess tends to be expressed in politically charged contexts (Leick 1994: 7) in which the goddess is praised in connection with royal power and military might. This is already visible in the Old Akkadian period, when Naram-Sin frequently invokes the "warlike Ištar" (aštar annunītum) in his inscriptions (A. Westenholz 1999: 49) and becomes more prominent in the Neo-Assyrian veneration of Inana/Ištar, whose two most important aspects in this period, namely, Ištar of Nineveh and Ištar of Arbela, were intimately linked to the person of the king (Porter 2004: 42). The warrior aspect of Inana/Ištar, which does not appear before the Old Akkadian period (Selz 2000: 34), emphasizes her masculine characteristics, whereas her sexuality is feminine. Divine Genealogy and Syncretisms The family tree of Inana/Ištar differs according to different traditions. She is variously the daughter of Anu or the daughter of Nanna/Sin and his wife Ningal; and sister of Utu/Šamaš (Abusch 2000: 23); or else the daughter of Enki/Ea. Her sister is Ereškigal. Inana/Ištar does not have a permanent spouse per se, but has an ambivalent relationship with her lover Dumuzi/Tammuz whom she eventually condemns to death. She is also paired with the war god Zababa. In the Assyrian Empire, Ištar of Nineveh and Ištar of Arbela were treated as two distinct goddesses in royal inscriptions and treaties of Assurbanipal. Also during this period Ištar was made the spouse of Aššur and known by the alternative name of Mulliltu in this particular role (Porter 2004: 42). Cult Place(s) The main city of Inana/Ištar is Uruk. As one of the foremost Mesopotamian deities, she had temples in all important cities: Adab, Akkade, Babylon, Badtibira, Girsu, Isin, Kazallu, Kiš, Larsa, Nippur, Sippar, Šuruppak, Umma, Ur (Wilcke 1976-80: 78; see also George 1993 for a comprehensive list). Time Periods Attested Inana is listed in third place after An and Enlil in the Early Dynastic Fara god-lists (Litke 1998). Inana/Ištar remains in the upper crust of the Mesopotamian pantheon through the third, second and the first millennia. She is especially significant as a national Assyrian deity, particularly in the first millennium. Iconography The Iconography of Inana/Ištar is as varied as her characteristics. In early iconography she is represented by a reed bundle/gatepost Frankfort 1939: 15; Szarzyńska 2000: 71, Figs. 4-5), which is also the written form of her name in very early texts (Black and Green 1998: 108). The uppermost register of the famous Uruk Vase shows the goddess in anthropomorphic form, standing before two such gateposts (Black and Green 1998: 150, Fig.122). In human form as the goddess of sexual love, Inana/Ištar is often depicted fully nude. In Syrian iconography, she often reveals herself by holding open a cape. The nude female is an extremely common theme in ancient Near Eastern art, however, and although variously ascribed to the sphere of Inana/Ištar (as acolytes or cult statuettes), they probably do not all represent the goddess herself. A sound indication of divine status is the presence of the horned cap. In her warrior aspect, Inana/Ištar is shown dressed in a flounced robe with weapons coming out of her shoulder, often with at least one other weapon in her hand and sometimes with a beard, to emphasize her masculine side. Her attribute animal as the goddess of war is the lion, on the back of which she often has one foot or fully stands. In praise of her warlike qualities, she is compared to a roaring, fearsome lion (see Inana and Ebih, ETCSL 1.3.2). In her astral aspect, Inana/Ištar is symbolized by the eight-pointed star. The colours red and carnelian, and the cooler blue and lapis lazuli, were also used to symbolise the goddess, perhaps to highlight her female and male aspects respectively (Barret 2007: 27). Name and Spellings Inana/Inanna is the Sumerian name of this goddess. It is most often etymologically interpreted as nin.an.a(k), literally "Lady of the heavens" (Selz 2000: 29). A different interpretation (Jacobsen 1976: 36) translates her name as "Lady of the date clusters." The Semitic name Ištar originally belonged to an independent goddess that was later merged and identified with the Sumerian Inana (Abusch 2000: 23). The meaning of her name is also unclear (for more information see Westenholz 2000: 345). https://www.worldhistory.org/Inanna/ Inanna is the ancient Sumerian goddess of love, sensuality, fertility, procreation, and also of war. She later became identified by the Akkadians and Assyrians as the goddess Ishtar, and further with the Hittite Sauska, the Phoenician Astarte and the Greek Aphrodite, among many others. She was also seen as the bright star of the morning and evening, Venus, and identified with the Roman goddess. Inanna is one of the candidates cited as the subject of the Burney Relief (better known as The Queen of the Night), a terracotta relief dating from the reign of Hammurabi of Babylon (r. 1792-1750 BCE) although her sister Ereshkigal is the goddess most likely depicted. In the famous Sumerian/Babylonian poem The Epic of Gilgamesh (c. 2700 - 1400 BCE) Inanna appears as Ishtar and, in Phoenician mythology, as Astarte. In the Greek myth The Judgment of Paris, but also in other tales of the ancient Greeks, the goddess Aphrodite is traditionally associated with Inanna through her great beauty and sensuality. Inanna is always depicted as a young woman, never as mother or faithful wife, who is fully aware of her feminine power and confronts life boldly without fear of how she will be perceived by others, especially by men. Aspects of the Goddess She is often shown in the company of a lion, denoting courage, and sometimes even riding the lion as a sign of her supremacy over the 'king of beasts'. In her aspect as goddess of war, Inanna is depicted in the armor of a male, in battle dress (statues frequently show her armed with a quiver and bow) and so is also identified with the Greek goddess Athena Nike. She has been further associated with the goddess Demeter as a fertility deity, and with Persephone as a dying-and-reviving god figure, no doubt a carry-over from her original incarnation as a rural goddess of agriculture. Although some writers have claimed otherwise, Inanna was never seen as a Mother Goddess in the way that other deities, such as Ninhursag, were. Dr. Jeremy Black notes: One aspect of [Inanna's personality] is that of a goddess of love and sexual behaviour, but especially connected with extra-marital sex and - in a way which has not been fully researched - with prostitution. Inanna is not a goddess of marriage, nor is she a mother goddess. The so-called Sacred Marriage in which she participates carries no overtones of moral implication for human marriages. (108). The Enduring Goddess Inanna is among the oldest deities whose names are recorded in ancient Sumer. She is listed among the earliest seven divine powers: Anu, Enlil, Enki, Ninhursag, Nanna, Utu, and Inanna. These seven would form the basis for many of the characteristics of the gods who followed. In the case of Inanna, as noted above, she would inspire similar deities in many other cultures. A vastly different personality from that of the traditional Mother Goddess (as exemplified in Ninhursag), Inanna is a brash, independant young woman; impulsive and yet calculating, kind and at the same time careless with other's feelings or property or even their lives. Jeremy Black writes: The fact that in no tradition does Inanna have a permanent male spouse is closely linked to her role as the goddess of sexual love. Even Dumuzi, who is often described as her `lover', has a very ambiguous relationship with her and she is ultimately responsible for his death. (108) Inanna endured, however, because she was so accessible and recognizable. Women and men both could relate to this goddess and it was no coincidence that both sexes served her as priests, temple servants, and sacred prostitutes. Inanna made people want to serve her because of who she was, not what she had to offer, and her devotees remained faithful to her long after worship in her temples had ceased. She was closely associated with the morning and evening star and, even the present day, she continues to be - even if few remember her name.

Syncretism and Sacred Prostitution ,lol. the belief in the mother goddess and the goddess of sex is from Spain to the Arabian peninsula and Mesopotamia. The only thing that would have to be investigated would be rites, even the iconography is the same. There is quite a bit of modern Neonoaganism.

I have found more than 16 symbols in just 10 files and there are even more in just one file.

those yaketerina mods are very odd.

B the iconography of all these goddesses is the same. https://en.wikipedia.org/wiki/Mother_goddess https://en.wikipedia.org/wiki/Asherah https://en.wikipedia.org/wiki/Inanna

https://www.ancient.eu/related/3-5285/44/ indeed not confirmed. https://es.wikipedia.org/wiki/Necrópolis_de_los_Rabs (Spanish only) https://www.worldhistory.org/Carthaginian_Religion/

some experiments I did.

progress.

among my files I found this.

@Stan` Did anyone save this?