When the Hawaiian sea goddess Namakaokahai met the mighty sorcerer, Aukelenuiaiku, she was impressed by his warrior spirit. Soon, she married him, showed him all her forms and taught him her magical powers.
Unfortunately, after their marriage, Aukelenuiaiku was seduced by another woman. To add insult to injury, that woman was none other than Namakaokahai’s own younger sister, Pele. It is one of the odd mysteries of life that when a man was unfaithful to his wife, the wife would first blame the other woman. Such was the case with Namakaokahai and Pele. Overcomed with rage, Namakaokahai sent high tides and floods to destroy Pele’s home. Pele fled but could not escape her sister’s wrath.
Pele’s help came in the form of her oldest brother Kamohoali’i, the god of the sharks. He gave her a great canoe to escape. Accompanied by her brother and her favorite sister Hi’iaka, she traveled far from home, over the wide expanse of the seas, sailing on this great canoe eventually to find Hawaii.
Pursued by Namakaokahai, Pele landed first on Kauai. However, every time she thrust her o’o (digging stick) to dig a put for her home, Namakaokahai would flood the pits. Pele moved down the chain of islands until eventually landing on Mauna Loa – the tallest mountain on earth. As even the sea goddess herself could not send the ocean’s waves high enough on Mauna Loa to drown Pele, Pele established her home on its slopes. She pronounced the cliff on nearby Kilauea Mountain as sacred to her eldest brother Kamohoali’i, who saved her life. Kamohoali’i became the keeper of the gourd that held the water of life which gave him the power to revive the dead. Out of respect for Kamohoali’i, to this day Pele never allows clouds of volcanic steam to touch his cliff. Her other brothers who accompanied her on her journey also still appear on the Big Island mountain. Kanehekili appears as thunder, Kapohoikahiola as explosions, Keua’akepo in showers of fire, and Keoahikamakaua in spears of lava that escape from fissures during eruptions.
Pele may not have been on the best of terms with her older sister, but perhaps sometimes it is better to argue with your family instead of being a complete stranger to them. From her new home, Pele engaged in battles with Namakaokahai. To this day, Pele’s eruptions from Hawaii Island’s volcanoes flow thick and hot till they reach the sea — symbolizing the match in strength between the sisters of fire and water.
Originally the early Latin goddess of vegetation, a patroness of vineyards and gardens, Venus became deliberately associated with the Greek Goddess Aphrodite and assumed many of her aspects. The name of Venus then became interchangeable with Aphrodite as most of the tales of these two goddesses are identical. However, like every Roman gods with their Greek counterparts, there were differences. Venus arguably became more popular in ancient Rome, and became more ingrained in the city life. She took on the aspect of a gracious Mother Goddess full of pure love as well as assuming the divine responsibility for domestic bliss and procreation.
Venus was also the ancestress of the Julian family of Rome which included great men such as Julius and Augustus Caesar. Anchises, a prince from Dardania and ally to Troy, was seduced by Venus who disguised herself as a Phrygian princess, only revealing her divine identity nine months later as she presented Anchises with their son Aeneas. Guided by his divine mother, Aeneas was fated to found Rome. Aeneas’ son Ascanius was credited as the ancestor of the founders of Rome, Romulus and Remus along with the Julian family.
In 217 BCE, the Sibyline oracle suggested that if Rome, which at that time was losing the Second Punic War, could persuade Venus Eyrcina (Venus of Eryx) to change her allegiance from the Carthagian Silician allies to the Romans, the war would be won. Rome then laid siege to Eryx, offered the goddess a magnificent temple and took her image back to Rome. It was this foreign image that eventually became Rome’s Venus Genetrix (Venus the Mother).
At the end of the Roman Republic, some Romans laid claim to Venus’ favor and competed for it. Sulla adopted the name Felix (“lucky”) and accredited Venus Felix to his divine favor, Pompey dedicated a temple to Venus Victris (“Venus of Victory”) in 55 BCE and Hadrian dedicated a temple to Venus in 139 CE, making her the protective mother of the Roman state.
Roman theology presents Venus as the yielding, watery female principle which is essential to the generation and balance of life. Balanced by the more active and fiery Vulcan and Mars, Venus absorbs and tempers the male essence, thus uniting the opposites of male and female in mutual affection. She embraces several otherwise quite disparate functions such as military victory, sexual prowess, good fortune and general prosperity.
In April 1, Veneralia was held in honour of Venus Verticordia (“Venus the Changer of Hearts”) and Fortuna Virilis (Virile Good Fortune) whose cult was probably by far the older of the two. Venus Verticordia was invented in 220 BC, in response to advice from a Sibylline oracle during Rome’s Punic Wars when a series of prodigies was taken to signify divine displeasure at sexual offenses among Romans of every category and class, including several men and three Vestal Virgins. Her statue was dedicated by a young woman, chosen as the most pudica (sexually pure) in Rome by a committee of Roman matrons. At first, this statue was probably housed in the temple of Fortuna Virilis, perhaps as divine reinforcement against the perceived moral and religious failings of its cult. Venus Verticordia was given her own temple in 114 BCE. She was meant to persuade Romans of both sexes and every class, whether married or unmarried, to cherish the traditional sexual proprieties and morality known to please the gods and benefit the State. During her rites, her image was taken from her temple to the men’s baths, where it was undressed and washed in warm water by her female attendants, then garlanded with myrtle. Women and men asked Venus Verticordia’s help in affairs of the heart, sex, betrothal and marriage.
In April 23, the ancient Romans celebrated vinalia urbana, a wine festival shared by Venus and Jupiter, the king of the gods himself. While Venus was patron of “profane” wine, for everyday human use. Jupiter was patron of the strongest, purest, sacrificial grade wine, and controlled the weather on which the autumn grape-harvest would depend. At this festival, men and women alike drank the new vintage of ordinary, non-sacral wine in honour of Venus, whose powers had provided humankind with this gift. Upper-class women gathered at Venus’s Capitoline temple, where a libation of the previous year’s vintage, sacred to Jupiter, was poured into a nearby ditch. Common girls (vulgares puellae) and prostitutes gathered at Venus’ temple just outside the Colline gate, where they offered her myrtle, mint, and rushes concealed in rose-bunches and asked her for “beauty and popular favour”, and to be made “charming and witty”.
In August 19, they celebrated another wine festival called vinalia rustica, a rustic Latin festival of wine, vegetable growth and fertility. This was almost certainly Venus’ oldest festival and was associated with her earliest known form, Venus Obsequens. Kitchen and market-gardens, as well as vineyards were dedicated to her.
A festival of Venus Genetrix (September 26) was held under state auspices from 46 BCE at her temple in the Forum of Caesar in fulfillment of a vow by Julius Caesar who claimed her personal favour as his divine patron and ancestral goddess of the Julian clan. Caesar dedicated the temple during his quadruple triumph. At the same time, he was pontifex maximus and Rome’s senior magistrate; the festival is thought to mark the unprecedented promotion of a personal, family cult to one of the Roman state. Caesar’s heir, Augustus, made much of these personal and family associations with Venus as an Imperial deity.
Out of all the millions of myths around the world today, I think we can agree that Greek mythology is arguably the most famous. A significant reason for this is that the ancient Greeks were very media-savvy. The Greek myths that we know today are known primarily from representations on visual media dating from c. 900 BCE to c. 800 BCE onward as well as from written literature.
The ancient Greeks also started what we roughly know now as “product placement.” In this case, the “product” was myths and legends. Mythical narration plays an important role in nearly every genre of ancient Greek literature. They covered their bases so thoroughly and entwined the gods into the mortals’ narratives so well that, although we have of course lost many ancient Greek writings and visual representations, we are still familiar with the gods and heroes as if they were members of our own extended family.
Among the earliest literary sources, and arguably the most famous, are Homer’s two epic poems, the Iliad and the Odyssey. Any reader of Homer would recognize the close relationship between the gods and human destinies. The study of Homer is also one of the oldest topics in scholarship. The earliest preserved comments on Homer concerning his treatment of the gods which is not unlike the religious debates we see today. Hostile critics such as the poet Xenophanes of Calophon denounced Homer’s depictions of the gods as immoral. The allegorist Theagenes of Rhegium defended Homer by arguing that the Homeric poems are allegories and thus never meant to be taken literally. These kinds of debate only served to propel Homer and his work even further. As one American political consultant said, “If you’re not controversial, you’ll never break through the din of all the commentary.” In other words, any publicity is good publicity.
Hesiod, a possible contemporary with Homer, offers in his Theogony (Origin of the Gods) the fullest account of the earliest Greek myths, dealing with the creation of the world; the origin of the gods, Titans and Giants. He also includes elaborate genealogies, folktales, and etiological myths. Hesiod also includes the myths of Prometheus, Pandora and the Five Ages of Man in his Works and Days, a didactic poem about farming.
Both Homer and Hesiod are central to the history of ancient Greece. They received their greatest endorsement from none other than the “father of history,” Herodotus himself, who credits them with giving the Greeks their gods: “For Hesiod and Homer I suppose were four hundred years before my time and not more, and these are they who made a theogony for the Hellenes and gave the titles to the gods and distributed to them honours and arts, and set forth their forms: but the poets who are said to have been before these men were really in my opinion after them. Of these things the first are said by the priestesses of Dodona, and the latter things, those namely which have regard to Hesiod and Homer, by myself.”
Not much is known about the actual life of Hesiod. He started his working life as a young shepherd in the mountains. He says that his father left his home at Aetolian Cyme because his life of sea-trading was unprofitable; “he settled near Helicon in a miserable hamlet, Ascra, which is bad in winter, sultry in the summer, and good at no time.” Hesiod then moved on to be a small peasant on a hard land after his father’s death. While tending his flock on Mt. Helicon, he claims that the Muses appeared to him in a mist. It should be noted that this is a common claim. Two of the easiest way to distinguish oneself from the market these days is to be the first or the best. Leaders in the ancient world liked to distinguish themselves by associating themselves to the deities or ancient heroes. Hesiod, like many other epic poets, claims to have been inspired by the Muses and tells his audience that this happened “while he was shepherding his lambs under holy Helicon”.
The Theogony covers the beginning of the world with Chaos, followed by Gaia, Tartarus, and Eros. It then moves on to Gaia’s creation of Uranus, and their parenting of the Titans, Cyclopes and other giants. He tells us about Cronus’ castration of Uranus and the parenting of Cronus and Rhea of the Olympian gods. Cronus, as we know, ate his divine children as soon as they were born, with only Zeus surviving, who later forced Cronus to throw-up the other Olympians. Hesiod took great care to cover the story of Prometheus and his punishment by Zeus for giving fire to humans and the Titanomcahy, the great battle between the Titans and Olympians which Zeus won, casting the Titans and Typhoeus into Tartarus. He also devoted sections to Zeus and his many wives and the birth of Hercules.
The Works and Days, again, begins with an appeal to the Muses, but then goes on to address Hesiod’s brother, Perses, urging him to put aside their dispute, “Perses, lay these things in your heart, and do not let that Strife who delights in mischief hold your heart back from work…”. Hesiod dedicated Works and Days to his brother, giving him advice on life, farming, sea trade, as well as religious and social expectations. On a personal note, although Works and Days tended to be a little overlooked compared to the Theogony, this work appeals to me more due to its humanity and attempt at making the myths and belief that the brothers would have already known relevant to their day to day human existence.
At the dark of the moon, an ancient goddess walked through the roads of ancient Greece, accompanied by sacred dogs and bearing a blazing torch. Occasionally she stopped to gather offerings left by her devotees where three roads crossed, because she was honored in places where one could look three ways at once. The goddess herself could look three ways because she herself had three heads: head of a snake, a horse and a dog. The dog, according to the Greeks, was the Trojan Queen Hecuba who leapt into the sea after the fall of Troy and was transformed by the goddess.
The mysterious goddess, Hecate, is closely connected to the lunar phases. Although she is not mentioned in the Homeric poems, Hecate is featured in the writings of Hesiod as an august figure, daughter of titans Perses and Asteria, the star-lighted splendour of space, honoured above all by Zeus and the other gods although she was born a titan and was not a part of the Olympian pantheon.
Hecate’s worship traveled south from her original Thracian homeland and continued into classical times, both in the private form of Hecate suppers and in public sacrifices, celebrated by Caberioi (“great ones”) with honey, lambs, dogs and sometimes human slaves. In the Argonautica, Jason placates Hecate in a ritual prescribed by Medea, her priestess: bathed at midnight in a stream of flowing water, and dressed in dark robes, Jason is to dig a round pit and over it cut the throat of an ewe, sacrificing it and then burning it whole on a pyre next to the pit. He is told to sweeten the offering with a libation of honey, then to retreat from the site without looking back, even if he hears the sound of footsteps or barking dogs.
As queen of the night, Hecate was sometimes said to be the moon-Goddess in her dark form, as Artemis was the waxing moon and Selene the full moon. However, she may as well have been also the goddess of the underworld as she ruled the spirits of the dead. As the queen of dead, she ruled the powers of regeneration. Endowed with a triple dominion in earth, sea, and heaven, she sits in the seat of judgment beside kings, crowns whom she will with victory in war and in the games, grants wealth and honour, is patron of riders and mariners, and is generally Kourotrophos (“a Nursing-mother”). This remarkable goddess, whose character seems more complicated than that of an ordinary divinity, and who receives the utmost respect from the Olympian gods, gives us a striking analogy with Sin, the august Moon-god of the Euphrates Valley who was also born from the stars. wise and ancient ruler of the sea, connected with growth.
Sin is represented by the three tens from the natural circumstance that his course was completed in about thirty days. But this is only one aspect of his triplicity as he was also regarded by the Babylonians as having a threefold movement, one in longitude, one in latitude, and one in an orbit. As people considered the real or supposed different movements movements, they see the orb itself and noticed its three phases: Crescent-moon, Half-moon, and Full-moon. In the Argonautica, Hecate Triformis appears as Horse, Dog, and Snake. Sir G. W. Cox (1827 – 1902) connects the Horse with the Full-moon, the Snake with the Waxing-moon, and the Dog with the Waning-moon.
The earliest known monument of Hecate is a small terracotta in Athens, found with a dedication to Hecate, in 6th century style of writing. The goddess is seated on a throne with a chaplet bound round her head, without recognizable attributes and character, and the main historical value of this work is that it proves the single shape to be her earlier form, and her recognition at Athens to be earlier than the Persian invasion in 492 BC.
The 2nd century writer Pausanias says that Hecate was first depicted in triplicate by the sculptor Alcamenes in the Greek Classical period of the late 5th century BCE which was placed before the temple of the Wingless Nike in Athens. Greek anthropomorphic conventions of art resisted representing her with three faces: a votive sculpture from Attica of the 3rd century BCE, shows three single images against a column; round the column of Hecate dance the Charites. Some classical portrayals show her as a triple goddess holding a torch, a key, serpents, daggers and other items.
The three animals also appeared on one of the most venerable relics in England, which is the ivory horn of Ulf now in the vestry of York Minster. A Latin inscription on the horn states that Ulphus, prince of the Western parts of Deira, originally gave it to the church of St. Peter, together with all his lands and revenues. By this horn, the church holds several estates of great value, not far east from the city of York, and which are still called Terrae Ulphi. On this famous horn we find Hecate Triformis and her animas. The horse appears to represent the crescent-moon, the Snake is the emblem of the rays of light from the full-moon, and the dog, which we can only make out its head and neck, represents the half-moon. It is evident that the symbols of this triple moon phase, the horse, snake and the dog would have been familiar to the artist of the horn and to the writer of the Argonautica due to their existence in the antiquity.
The thing about Aphrodite is that she is passionate. Ancient mythology gives us numerous instances where Aphrodite punished those who neglected her worship or resented her power, as well as others in which she favoured and protected those who did homage to her and recognized her sway. As Aphrodite is the goddess of love, we take it for granted that her “passion” will not stray far from her brand. We imagine her passing her passions along her many lovers. Without a lover, she became “jealous” and her passion is used as a reason for her anger and punishments to those who disrespected her. Aphrodite knows what she wants and she expects recognition.
Aphrodite embodies love and passion because she manages to successfully balance the two concepts. In fact, can we argue that in her depictions, Aphrodite is never that much more gorgeous than other goddesses such as Athena, Hera or Artemis? She must have had something extra that made people utterly charmed by her. That something extra was her passion.
We often misunderstand the word “passion” and associate it with love and desire. But passion goes beyond one’s feelings for another person. In fact, passion is anything that arouses enthusiasm. Aphrodite’s charm is her enthusiasm to those which arouses her interest. The reason why “bad boys” or the “manic pixie dream girls” are so popular is usually because they have a variety of other passions apart from their love-interests. One gets the feeling that there are more to them than meets the eye and they are never completely yours.
In a more unromantic sphere, a group of magistrates worshiping Aphrodite called gynaikonomoi (magistrates in charge of women) actually existed at Sparta. This magistracy was first attested at Sparta in an inscription from early first-century CE. In 230 BCE, the Athenian Council dedicated an inscription to Aphrodite Pandemos (Aphrodite who is Common to all the People). Worshipers sought her blessings not for passionate love or a good marriage but for uniting the people of Athens in both personal relationships and the political realm. Other government bodies devoted to Aphrodite included agoranomoi (magistrates in charge of the marketplace), police officials, supervisors and registrars. Among many other names, Aphrodite is also called Nauarchis (guardian of the naval commanders).
Why did all these powerful people worship the seemingly man-hungry goddess? Simple. Because she was not man-hungry (or women-hungry, for that matter). She was life-hungry. She had a wide variety of interests and she was eager to get involved in making life more harmonious for everyone. Her epithets tell us of her involvement in social causes. These involvement is also on-brand for the goddess of love. Aphrodite carved out a role for herself as the keeper of harmony of the groups in doing their business. Import-officers of Samos dedicated offerings to Aphrodite to “maintain their camaraderie and work together.” As if those were not ambitious enough, Orphic Hymn to Aphrodite also praises Aphrodite as ruling over all creations. If Aphrodite was a modern woman, she may well be one of those women who have it all.
Although the role of lions in ancient culture were later mostly confined to being slain with lances and spears, the lioness has been an important symbol to humans for tens of thousands of years and appear as a theme in cultures across Europe, Asia and Africa. The earliest historical records in Egypt present an established religious pantheon that included a lioness as one of the most powerful cultural figures, protecting the people as well as their rulers. The earliest tomb paintings in Ancient Egypt, at Nekhen, c. 3500 BC., include images of lions, including an image of a deity flanked by two lions in an upright posture. The war goddess Sekhmet, depicted as woman with a lioness head, was one of the ancient Egyptian’s major deities. Even before the rise of Skehmet’s popularity, there was already a belief that a sacred lioness was responsible for the annual flooding of the Nile. Although the name sometimes differ from one region to another, a lioness deity was the patron and protector of the people and the land. As the country united, a blending of those deities was assigned to Sekhmet. The image of lions and great goddesses did not stop there. The Babylonian goddess Ishtar has been represented driving a chariot drawn by seven lions. Ishtar’s Sumerian Inanna was frequently depicted standing on the backs of two lionesses and Persian goddess Anahita was sometimes portrayed standing on a lioness.
Archeologists discovered a figurine at Çatal Hüyük, dating back approximately 8,000 years, which depicts the Mother Goddess flanked by two leopards, squatting, while in the process of giving birth. The leopards were replaced by lions centuries later. Cybele was frequently depicted wearing her turreted crown, while she was seated on a throne, with either a lion lying in her lap or with one of them lying on each side of her. She has also been pictured driving a chariot which was drawn by two lions. Her association lions lend more strength to her already formidable image – that her power was so great, that even lions became meek whenever they were in her presence. Later, lions were used in sculpture to provide a sense of majesty and awe, especially on public buildings. Ancient cities would have an abundance of lion sculptures to show strength such as lions at the entrances of cities and sacred sites from Mesopotamian cultures, the Lion Gate of ancient Mycenae in Greece and the gates in the walls of the Hittite city of Bogazkoy, Turkey. “The Lion of Menecrates” is a funerary statue of a crouching lion, found near the cenotaph of Menecrates. Lionesses often flanked the Gorgon, a vestige of the earliest Greek protective deity that often was featured above temples of later eras.
Then, the powerful needs to be conquered. A poem later relates how a eunuch priest of Cybele, sheltering during a snowstorm in a cave, saves himself from a lion’s attack by beating the great kettle-drum which was used in the worship of Cybele and scares it away. This poem was evidently popular enough that ancient writers such as Alcaeus c. 620 – 6th century BC) and Simonides ( c. 556 – 468 BC) paraphrase it with variations and elaborations of their own.
The Dying Lioness, depicting a half-paralyzed lioness pierced with arrows, is a well-known detail from the Lion Hunt of Ashurbanipal, a large set of Assyrian palace relief from about 645–635 BC, depicting dozens of lions being hunted, originally in an Assyrian royal palace in Nineveh (modern day Iraq).
Panopeus, hunter of lions and leopards, dies from the sting of a scorpion; the accident is not impossible, though this may be merely a rhetorical exercise, showing how the boldest man may be overcome by the weakest of animals:
Tis in this tomb strong Panopeus rests, Lion-hunter, piercer of rough panthers’ breasts. On the hills a scorpion from earth issuing Wounded his heel with its death-giving sting. Upon the ground lie his poor darts and spear, Alas ! — the playthings of audacious deer.
Hercules, slayer of the Nemean lion, is frequently hymned and brave men like Leonidas have lions sculptured on their tombs. We also have the well-known lines from Aristophanes comparing Alcibiades to a lion-cub which should not have been reared in the city. A figure of Eros, driving a chariot drawn by lions (the “whip” has been noticeably absent from previous depictions of lions and deities) is noted by Marcus Argentarius:
Upon this seal Love whom none e’er withstands I see, guiding strong lions with his hands; One flaunts o’er them a whip, the other holds The reins ; and grace abundant him enfolds. I fear this bane of men; he who wild beast Can tame won’t pity mortals in the least.
Besides these, there is an anonymous poem praising the Roman Emperor because he emptied Libya of her lions and other prowling monsters, and sent them to Rome to fight in the Circus. In Socrates’ model of the psyche (as described by Plato), the bestial, selfish nature of humanity is described metaphorically as a lion, the “leontomorphic principle”.
One night we were together, you and I, And had unsown Assyria for a lair, Before the walls of Babylon rose in air. How languid hills were heaped along the sky, And white bones marked the wells of alkali, When suddenly down the lion-path a sound . . . The wild man-odor . . . then a crouch, a bound, And the frail Thing fell quivering with a cry!
Your yellow eyes burned beautiful with light: The dead man lying there quieted and white: I roared my triumph over the desert wide, Then stretched out, glad for the sands and satisfied; And through the long, star-stilled Assyrian night, I felt your body breathing by my side.
There are many questions about the Old Culture – a culture even before history was written. Whatever happened to the Great Goddess? When did patriarchy start? How did women become objectified? This book is about the Journey of ancient women with their many glories and challenges. It talks about the gender partitioning which still survived in some cultures today, women as warriors, advisers, goddesses and properties.
Chapters included are: •The Goddess Paradigm •Women Warrior •Dethroning the Queen of Heaven •The Queen in Exile
Written with a Mathematician’s precision and a Historian’s curiosity, Time Maps covers over millennia worth of developments & impacts of civilizations, migrations, leaders and continents. Illuminating concepts of societies, dynasties, heroes, kings and eras through incisive and thorough research, looking at ideas, theories & world views with a sense of wonder and delight.
I am at the moment still pressing on with my side of the research into the goddess culture for the upcoming Time Maps: Matriarchy and the Goddess Culture, and I am at the stage now where we break down and analyse the elements of the Mother Goddess, for example her close association with snakes, fertility, the moon and the sea. Seeing just those four elements alone has already led us to many goddesses all over the world that we can say are “descended” from the Great Goddess herself.
One of those goddesses is the ancient Javanese Sea Goddess Nyai Loro Kidul, or Ratu Kidul. In 2003 an internet search found more than 2600 sites or pages, in more than six languages, referencing Ratu Kidul. This is more than some popular celebrities have, and the number continues to increase, with more sites being added every month. However, one would usually find very little historical information beyond the oral tradition which has been passed down through generations and gets less informative over time.
Ratu Kidul’s qualities and personality fits nicely into the Mother Goddess paradigm – she is both beautiful and terrifying, she represents the three phases of the moon, as well as her close association to the sea (wild and untamable) and the snake (immortal and fertile). Another important aspect of the Ratu Kidul mythology is that it so closely parallels the mythology of the Great Mother Goddesses of ancient times. Via the Indian goddesses Durga and Sri Devi, to the Buddhist goddess Tara, and the Indonesian fertility spirit Dewi Sri, plus other associations with China, Cambodia and Vietnam, Ratu Kidul acquired all of the characteristics of the Mother Goddess, albeit in reduced form.
The island of Java has a population of about 120 million people, and over 90% of them are Muslims. Although Arab and Iranian traders reached Java in the seventh century, Islam only became dominant at the end of the fifteenth century, shortly before Vasco da Gama reached India. Before that the religious culture was a mixture of Hinduism and Buddhism. There were trade links between India and Indonesia around 1400BCE but Hinduism only became dominant in the main islands of Indonesia (Java, Bali, Sumatra and Borneo/Kalimantan) in 78CE, with the introduction of the Saka calendar from India. The earliest forms of Ratu Kidul come from that preHindu period, and over the last two thousand years they have been overlayed and augmented with Hindu and Islamic elements.
The kingdom of Ratu Kidul, the Queen of the South Seas (‘ratu’ = queen, and ‘kidul’ = south), is called Karaton Bale Sokodhomas, and the center of the kingdom is in the Java Trench, which runs parallel to the south coast of Java and is the deepest part of the Indian Ocean (seven kilometers deep). Her palace is there, below the ocean, directly south from Merapi Mountain and the city of Yogyakarta in Central Java, but her influence covers all of Bali, Java and the southern part of Sumatra. In particular the volcano, Krakatoa, lies within her domain.
The beach at Parang Tritis, south of Yogyakarta, is said to face directly towards the queen’s palace, and many people have reported seeing the queen there, usually emerging from the sea. It is forbidden to wear the color green on the beach, since that is the queen’s favorite color – and there are many stories of people who have worn that color being washed away by unexpectedly large waves. Green, by the way, was also the color of the goddess Tara.
The queen rules a kingdom, and a kingdom needs government officials. Nyi Blorong, who is the queen’s daughter, is the minister of foreign affairs and commander of the armed forces. The queen’s armed forces are all spiritual entities such as djins, ghouls, elves, and others, and most of them are female (matriarchy). Nyi Blorong is strongly linked with snakes, and can be considered as a snake goddess. Most of the stories about her show only her terrifying aspect. Indonesian film makers have produced several horror movies with Nyi Blorong as the main character.
In a tradition that goes back at least five hundred years, the Javanese kings are spiritually “married” to Ratu Kidul, and through this marriage link the queen becomes also the protector of the Mataram kingdom and dynasty. (The kingdom is part of the Republic of Indonesia, but it still retains some special privileges.) The kingdom now has two main rulers and two minor rulers, two each in Yogyakarta and Solo. Both of the major rulers are considered to be married to Ratu Kidul.
This tradition of spiritual marriage is not unique. A precisely parallel tradition existed in which the Doges of Venice married a sea goddess to ensure the protection of the city-state. In Java it began with the early kings in Solo, but with the king Paku Buwana X, it changed into something stranger. The story is that Paku Buwana had been with the queen on the top floor of Panggung Sangga Buwana and started to slip on the steep stairs as they were descending. The queen reached out and saved him, crying out in shock, “Oh, … My child!”. Since it was the word of the queen, it had the force of law, so in Solo the ruler is considered as the son and husband of the queen. This is an interesting reversion to one of the most ancient traditions of the Mother Goddess – that of the holy family as represented by Isis, her husband Osiris and her son Horus, who will become Osiris.
Javanese Animism, Islam and Hinduism are not the only sources of elements of the Ratu Kidul mythology. In China, one can still find temples or shrines dedicated to Kuan-Yin, who was once a deity of fishermen, who would call on her to protect them at sea and give them good catches. One of her ancient titles was “Queen of the Southern Ocean”. The meetings of the rulers of Solo and Yogyakarta with the Queen were also paralleled by the meetings of the Khmer kings in the Angkor Thom complex, in Cambodia, with a being described as a snake goddess, who could appear as a beautiful woman.
Hinduism and Buddhism declined after Islam achieved political dominance and the goddesses were forgotten, but Ratu Kidul remained – a descendant of the Great Mother Goddess, still alive and well in a strictly monotheistic Islamic culture. She survived and still very much the queen.
I am developing a little collection of goddess images on Instagram that I update regularly to help me think. Please do come and say hello sometime.
“Time Maps: Matriarchy and the Goddess Culture” is coming soon. Meanwhile, other volumes of “Time Maps” can be found through this link.
What do you, a concubine and an emperor have in common? You are all passionate about something that not many people understand. This makes introducing what you do and getting people interested in what you offer more challenging. Entrepreneurship and promoting your passion is a timeless practice. Mythographer Martini Fisher will take you through the basics of finding your niche, establishing your authority and building your audience the way they have been done for thousands of years.
1. learn from the ancient courtesans about the dangers of being “ordinary” and the necessity of finding your niche.
2. learn from the first Roman Emperor Augustus about using simple visual imagery to establish your brand.
3. learn from worshipers of ancient deities about building your platform, targeting your audience and make them as passionate about your product as you do.
Moving back and forth between the modern day to the ancient times in 30 minutes, you will learn from our elders about how to establish ourselves using our passion and our existing audience.
The live stream can be accessed through Yoohcan on Friday 7 April 2017 at 15.00 CEST.