![]() (TGG: 32.) * Excavation director at Çatal Hüyük, Ian Hodder in a ‘goddess/female deity’ conversation (7-17-2003) with Kathryn Rountree. In the multileveled Neolithic town of Çatal Hüyük, 40 of the 139 compact buildings excavated were shrines that included stunning wall reliefs, animal skulls and renderings, red ochre on human burials (MHE: 97), goddess (female deity) * iconography and images in various postures such as birthing or raised (KA) arms analogous to bull horns/fallopian tubes, wombs with concentric labyrinthine circles, double goddesses (LOG: 171), along with other extensive artifacts including knot tying and spinning. In 1986, Çatal Hüyük included 13 building levels of houses, grains, trade items, temples, pillar cults and statues. Mellaart’s archaeological and ethno–historical finds are unparalleled relative to any other Neolithic site. (Alternate dates are 7500-5700 BCE.) British archaeologist James Mellaart discovered Çatal Hüyük in 1957/58 CE followed by four excavations between 19. Between 7250 to 6150 BCE, 3000 years before the rise of Sumeria, Çatal Hüyük was a significant city–type settlement. Location is an easy hour’s drive from Konya (ancient Iconium). He proposes that the thirteen notches are correlated to the first lunar calendar, as “it is also the number of the days from the birth of the first crescent to just before the days of the mature full moon.” (TROC: 335.) For people who counted moons, this process could have been “a menstrual or pregnancy record, or for a private period of initiation.” (TROC: 91.) For women who lived close to nature and the land, “it is not only coupled in its 28-day period with the cosmic rhythm of the moon, but also in phase with it (onset of menstruation one day before the full moon.)” (SOU: 214-215.)Ĭatal Hüyük, the largest Neolithic site in Asia Minor, is on the Konya plain of Southern Anatolia, present Turkey. These thirteen notches may speak of a calculation or form of recording pregnancy and/or the thirteen phases of the moon as suggested by Alexander Marshack in The Roots of Civilization. In her right hand, she holds a bison or bullhorn * or crescent shaped moon that is engraved or incised with thirteen downward strokes. ![]() Her left-hand rests on a full abdomen that suggests a pregnant womb. ![]() The cave overlooks the Beune River in southern France. The Goddess of Laussel is carved into a limestone slab on a low relief in the Laussel Cave in the Dordogne. The archaic theme of parthenogenesis is found in Homer’s work several times in connection with Hera linking her to the older matrifocal world (LG: 80-81). In patriarchal mythology, Hera becomes the wife of Zeus, although the connection of Zeus with Hera through the sacred marriage is a ‘late and superficial usage.’ Hera is portrayed as Zeus’ troublesome, disagreeable wife in a stormy marriage. In reality she reflects the turbulent native princess, coerced but never really subdued by an alien conqueror (T: 491). In Olympos Hera seems merely the jealous and quarrelsome wife. Zeus drops his real shadow–wife, Dione, at Dodona, in passing from Thessaly to Olympia, and at Olympia Zeus, after the fashion of a conquering chieftain, marries Hera, a daughter of the land. The conquering Northerners pass from Dodona to Thessaly. Her first husband, or rather consort, was Herakles. Hera was indigenous and represents a matrilinear system she reigned alone at Argos, at Samos, her temple at Olympia is distinct from and far earlier than that of Zeus.
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