► “Athena, Goddess of Knowledge” / “Athena, Art Gown by Resa McConaghy” 🦉.-

► “Athena, Goddess of Knowledge” /

“Athena, Art Gown by Resa McConaghy”🦉:

Athena. Art Gown by Resa McConaghy©2018.

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This is another post on the series of Tarot, featuring Resa McConaghy´s excellent gown “Athena”. 

To recapitulate: in previous posts, I have digged into Tarot: Major and Minor Arcana. Furthermore, in the last post, also written in collaboration with Resa, we´ve analyzed how certain Tarot cards  somehow define “archetypes”, and could, therefore, be related to The Hero´s Journey and Mythology.

In this new post, I´ll present Resa´s majestic gown “Athena”.

Before that, I ´ll introduce some facts and information concerning Athena, the Greek Goddess of Wisdom. 

Then comes Resa´s gown. By then, we´ll see how some symbolic details she has chosen could be associated with Mythology, Tarot and Astrology. 

Finally, aside from Athena and to conclude, I wanted to spotlight some sketches that Resa did, based on Goddess Mnemosyne and Artemis.

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►About Resa McConaghy:

Resa is a Canadian artist, costume designer and author.
She hosts two blogs: Graffiti Lux and Murals and Art Gowns.
You can find her version of this post here. Furthermore, Resa has written a book, “Nine Black Lives”, available on Amazon. Find Resa on Twitter, too!.
(Disclaimer: All gown and sketches photographs were taken by Resa and/or featured on her blog Art Gowns © Resa McConaghy. 2018).

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I. Greek Goddess Athena:

Athens – Pallas Athena Statue at Athens University.

Athena (Roman equivalent: Minerva) was born from Zeus after he experienced an awful headache and she sprang fully grown and in armour from his forehead. She has no mother but one of the most commonly cited stories is that Zeus lay with Metis, the goddess of crafty thought and wisdom, and then swallowed her whole as he feared she will give birth to a child more powerful than him because of a prophecy… But Metis had already conceived.

Athena was the Goddess of Wisdom and knowledge. Besides, she was the Goddess of War, the female counterpart of Ares. Athena’s moral and military superiority to Ares derived in part from the fact that she represented the intellectual and civilized side of war and the virtues of justice and skill, whereas Ares represented mere blood lust. 

Athena symbolizes the feminine content that is oriented toward the masculine and particularly helpful to it. Taken as an inner principle, an aspect of a man’s psyche, she represents the feminine figure of wisdom, “Sophia“. 

In fact, Athena gravitates toward men in power to learn from them, adopting them as mentors and partners on her own climb to success. She will go so far as to defend them against accusations of misogyny. 

Athena didn’t even often acknowledge the existence of her mother, Metis, as she was born from Zeus´ head. 

As for defending men, that’s basically what happened in the myth of Arachne.
Arachne challenged Athena to a weaving contest, then she wove a brilliant tapestry that happened to depict Zeus as a promiscuous adulterer. 
Athena turned Arachne into a spider.

Interestingly, she didn’t punish Arachne for challenging her to the contest, or for doing a great job. She punished Arachne for having depicted Zeus, Athena’s beloved, respected father, in a bad light.

In the same direction, Jean Bolen feels Athena is very much a supporter of the social/political status quo, as evidenced by her vote to acquit Orestes in the murder of his mother Clytemnestra.

Known for protecting civilized life, Athena was the Goddess of the City of Athens. Her most important festival was the Panathenaea, which was celebrated annually at Athens.

She helped Perseus slay the Gorgon Medusa. Athena assisted Jason and the Argonauts build their ship before they set out to capture the golden fleece. She looked after Achilles during the Trojan War, and later aided Odysseus on his journey home.

Athena was also a  patron of the arts and crafts, especially when it came to spinning and weaving. In fact, there is a myth tells that she turned the weaver Arachne into a spider after the mortal woman insulted Athena and the Olympian gods.

Athena was essentially urban and civilized, the antithesis in many respects of Artemis, goddess of wild animals, the hunt, and vegetation.

She was usually portrayed wearing body armour and a helmet and carrying a shield and a lance.

Besides, she was said to be the creator of the olive tree, the greatest blessing of Attica. She was associated with birds, particularly the owl, which became famous as the city’s own symbol, and with the snake. 

Jean Bolen groups Athena among the “Virgin Goddesses,” along with Artemis and Hestia. 

She was also part of the Judgement of Paris, in which she competed with Hera and Aphrodite for the prize of the Golden Apple.

Athena Statue in Front of the Parliament Building, Vienna, Austria

Detail: Athena Statue in Front of the Parliament Building, Vienna, Austria

Bust of the “Velletri Pallas” type, copy after a votive statue of Kresilas in Athens (c. 425 BC).

Marble Greek copy signed “Antiokhos”, a 1st-century BC variant of Phidias’ 5th-century Athena Promachos that stood on the Acropolis.

Bronze statue of the goddess Athena known as “Athena of Piraeus” – Classical period, 4th century B.C.

Mattei Athena at Louvre. Roman copy from the 1st century BC/AD after a Greek original of the 4th century BC, attributed to Cephisodotos or Euphranor.

The Athena Giustiniani, a Roman copy of a Greek statue of Athena. Vatican museum.

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 II. a) Athena, Gown by Resa McConaghy:

This gown is absolutely beautiful!. Athena, as a Graffiti Goddess  is, in my opinion one of Resa´s most original and creative gown. 

Resa included many symbols from Tarot, Astrology and Mythology, which she painted on the fabric.

As the paint had made the satin heavier and altered the drape, she added a petticoat. 

She included a blue spandex bodice and basted pleats into a strip of the satin. She picked out the basting and draped her “armor” over the spandex… And voilà: Such a Masterpiece!…  🌟💫

II. b) Athena, Gown by Resa McConaghy: 

Details and Symbolism:

Many emblematic figures are included in this gown. These symbols, coming from Mythology, Astrology and Tarot are also closely related to Athena. Let´s take a closer look at them…

 

I. Leo♌:

Resa is Leo!. The zodiac sign Leo is indicatese a Lion. While its glyph appears as the head and tail of a Lion, it also represents the Greek letter “lambda,” which is the first letter in the word “Leon,” meaning Lion. 

Leo´s element is fire. The respective date range: July 23 – August 22.

The Tarot card for Leo in Major Arcana is Strength (VIII). This card in the upright position means strength and power. Refusing to get angry, maintaining composure. Caring about others, compassion. Forgiveness. Persuasion, being able to influence.

 

Leo Symbol.

Major Arcana. VIII: Strength.

 •~~~•~~~ •~~~•~~~•~~~•~~~•

II: Libra♎:

Libra was included because is a sign related to Justice, and hence to Athena, as a Goddess of wise counsel and civilization. The sign Libra is represented by the Scales.

They represent the idea of balance and imbalance, and Libra is on a lifelong quest for perfect balance and moderation.

Venus, the planet of love, casts her sensual powers of persuasion and charm on Libra.

The zodiac sign Libra gets its firm mind and morals from the element of Air. Air is the element of intellect and clarity, and Libra leans on these strengths on her quest toward justice and equilibrium. The respective date range for Libra is: September 23 – October 22.

The Tarot card for Libra in Major Arcana is Justice (XI). This card, in the upright position means: Fairness, justice. Honesty and responsibility. Acknowledging the truth and accepting the consequences of your actions.

 •~~~•~~~ •~~~•~~~•~~~•~~~•

Libra Symbol.

Major Arcana. XI. Justice.

III. Scorpio♏:

I am Scorpio. The zodiac sign Scorpio equals the Scorpion, and its glyph depicts the sharp stinger of the Scorpion in its pointed arrow. Much like Scorpio, the Scorpion’s natural weaponry allows it to survive and thrive alone in dark or uncomfortable situations.

The planet Pluto harnesses its powerful and persuasive side as it rules over the zodiac sign Scorpio. The element of Water flows consistently and powerfully through the zodiac sign Scorpio. The date range for Scorpio is: October 23 – November 21.

The Major Arcana card for Scorpio is the Death card (XIII ) This card emphasizes the sign’s connection to the transformative cycle of life. This Tarot card uses death in a figurative sense, representing endings of all forms. Scorpio utilizes this concept of impermanence to continually grow, often killing off the ventures, activities, or relationships in its life that no longer serve them to make room for something new.

Scorpio Symbol.

Major Arcana: XIII: Death.

 •~~~•~~~ •~~~•~~~•~~~•~~~•

IV. Pisces♓:

The symbol for the sign of Pisces reminds us of two scales and balance, features linked with Athena.

The zodiac sign Pisces is embodied by two Fishes, and its glyph represents an image of these Fishes, linked together. They are a representation of Pisces’ ability to exist simultaneously in both a conscious and subconscious world.

Neptune rules over the zodiac sign Pisces. The element of Water flows through Pisces as a wave of devoted empathy and intuition.

The date range for Pisces is:  February 19 – March 20. 

The Major Arcana card for Pisces is the Moon (XVIII). This card, in the upright position suggests illusion, fear, anxiety. It may entail deception and losing direction.

Pisces Symbol.

Major Arcana XVIII: The Moon.

 

  •~~~•~~~ •~~~•~~~•~~~•~~~•

V. Venus/Woman Symbol♀:

Athena as a virgin, warrior Goddess is one of the most powerful Greek Goddesses. That´s why Resa chose this symbol, associated with Femininity with Goddess Venus/Aphrodite. Venus was the Roman equivalent of Aphrodite, the Goddess of Love. The symbol is often considered to represent a bronze mirror with a handle or a distaff.

Woman Symbol.

Woman Symbol.

  •~~~•~~~ •~~~•~~~•~~~•~~~•

VI. Infinity♾: 

Eight (8) is the Number of the perfection, the infinity. In mathematics the symbol of the infinity is represented by a 8 laid down. It presumably evolved from the Etruscan numeral for 1000, which looked like this: CIƆ. There is another theory that he actually derived the infinity symbol from omega (ω), the last letter of the Greek alphabet. 

The ouroboros symbol, showing a snake twisted into a horizontal figure eight (8) and biting its own tail, is also said to be a most plausible basis for the infinity symbol because it is a fitting depiction of endlessness. Worth noting that the snake was one of the mos important symbols associated with Athena. The snake’s well-known ability to shed its skin and emerge, apparently reborn, gave rise to an association with rebirth, hence with Athena. 

Infinity Symbol.

Infinity Symbol.

  •~~~•~~~ •~~~•~~~•~~~•~~~•

VII. Star🌟:

The Star Symbolizes: Inspiration, Imagination, Wonder, Dreams, Pursuits, Magic (, Creative Brilliance, and Divine Guidance. These traits are characteristic of Goddess Athena. In Major Arcana, card XVII is precisely The Star. This card is related to the astrological sign of Aquarius. It entails illumination, guidance and renewal and  suggests nourishment and hope. 

Stars Detail.

Major Arcana. XVII: The Star

 •~~~•~~~ •~~~•~~~•~~~•~~~•

VIII. Queen of Wands and Queen of Swords 👑 🥖 & 👑⚔:

These two Queens could be linked to Athena, as far as determination, strength, rationality and independence are concerned.

⇒Queens of Wands: This card in the upright position means: Exuberance, warmth, vibrancy, determination. Description of the card: The Queen sits upon her throne that is decorated with lions facing opposing direction, a symbol of fire and strength. In her left hand and behind her are sunflowers, symbolising life, fertility, joy and satisfaction. In her right hand is a wand which is beginning to blossom with life. In these positive aspects, the Queen of Wands represents fidelity, warmth, and sustenance. However, at her feet is a black cat, a symbol of the darker, lesser known side of this Queen. Black cats are typically associated with magic and occultism.

 

⇒Queen of Swords: This Minor Arcana card in the upright position means: Quick thinker, organised, perceptive, independent. Description of the card: The Queen of Swords sits high on her throne. In her right hand, she holds a sword pointed to the sky, and her left hand extends as if she has something to offer to others. The sky is clear, representing her clarity of mind as she considers matters of the intellect. The bird above her head symbolises the mind’s ability to soar above daily issues in order to arrive at appropriate solutions.

Queen of Wands and Queen of Swords.

Minor Arcana: Queen of Wands.

Minor Arcana: Queen of Swords.

  •~~~•~~~ •~~~•~~~•~~~•~~~•

IX. Nine of Pentacles 9⃣🔱:

In Tarot, this is a card of Victory, that can not go unnoticed if we think of Athena. This Minor Arcana card in the upright position means: Gratitude, luxury, self-sufficiency, culmination.

Description of the card: The Nine of Pentacles shows a woman walking in the midst of a vineyard. A falcon sits calmly on her left hand. Far in the background is a large house, presumably belonging to the woman herself. There is a general sense of peace, satisfaction, and the fulfilment of a creative venture or personal investment as the result of one’s own efforts.

 

Nine of Pentacles.

Minor Arcana: Nine of Pentacles.

 •~~~•~~~ •~~~•~~~•~~~•~~~•

 

X. Owl🦉:

Athena Held owls as sacred. In Ancient Greece, owls were associated with wisdom, intuition and prophecy. As a spirit animal, the owl guides us to see beyond the veil of deception and illusion; it helps see what’s kept hidden. It is a strong spirit guide for discernment and making decision based solid foundations.

Owl Symbol.

Owl drawing.

  •~~~•~~~ •~~~•~~~•~~~•~~~•

XI. Third Eye👁‍🗨:

The third eye is a mystical and esoteric concept of an invisible eye which provides perception beyond ordinary sigh. The third eye is often associated with religious visions, clairvoyance, the ability to observe auras, premonition, and out-of-body experiences. These traits are clearly related to Goddess Athena. 

In ancient Egypt, the all-seeing eye was known as the Eye of Horus or the Eye of Ra. Through various myths they were symbols of protection, healing and restoration.

According to the hindi tradition, The third eye chakra is the sixth chakra, also known as the eye of Shiva. Located on the forehead, between the eyebrows, it is the center of intuition and foresight. The function of the third eye chakra is driven by the principle of openness and imagination.

Third Eye Symbol.

Third Eye Chakra.

Eye of Horus.

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III. Sketches by Resa McConaghy:

Mnemosyne and Artemis:

Resa really masters drawing!…  Check out these sketches, featured on her blog Art Gowns. Simply stunning!. She used me as a “Muse” to sketch the Goddess Art Gowns we had done posts on. 🤗 

My heartfelt thanks to Resa for the  sketches. And, above, all for being an inspiration, with her inexhaustible talent, intelligence and versatility. ✨

Make sure to follow Resa´s blogs: Graffiti Lux and Murals and Art Gowns.

Art Gowns: http://artgowns.com/ Graffiti Lux and Murals: http://graffitiluxandmurals.com/

Mnemosyne Gown.

Mnemosyne Sketch.

Artemis Gown.

Artemis Sketch.

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Links Post:

https://artgowns.com/2018/05/27/⭐-athena-⭐-graffiti-goddess/

https://artgowns.com/2018/02/28/art-gowns-art/

http://mythraeum.com/the-athena-archetype

https://owlcation.com/humanities/The-Greek-Goddess-Athena

https://greekgodsandgoddesses.net/goddesses/athena/

http://www.spiritanimal.info/owl-spirit-animal/

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►Mythology: “Dogs in Several Myths” 🐕 / “Collaboration with Brenda Davis Harsham” 💫.-

►Mythology: “Dogs in Several Myths”🐕:

“Collaboration with Brenda Davis Harsham💫”

Artemis & Dog. Roman copy of the 1st cent. CE after a Greek original, 4th cent. BCE. Rome, Vatican Museums.

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►Introduction:

The dog is the first domesticated animal, and is symbolically associated with loyalty and vigilance, often acting as guardian and protector. Dogs are portrayed as guides and companions, hence the notion of “man’s best friend.”

Dogs almost always appear in a positive light. Native American legends generally portray the dog as the symbol of friendship and loyalty. The Joshua Athapascans believe that dogs were the first beings made by their creator-figure, Xowala’ci. The Jicarilla Apache, on the other hand, tell the story of God Black Hactcin, who first created a dog and then made man as a companion for the dog.  

In Irish Mythology, dogs were the traditional guardian animals of roads and crossways and are believed to protect and guide lost souls in the Underworld. Irish seers chewed the meat of a dog in a ritual to gain prophetic vision. To be called “hound” was an honorable nickname for a courageous warrior; the name of the god Cuchulain is literally “Hound of Culann” or “Hound of Ulster”.

Cuchulain was named Sétanta when he was born. Sétanta  killed a blacksmith’s Celtic hound in self-defense. When Culann, the blacksmith asked who would now guard his shop the young Sétanta offered to take the dog’s place thus gaining himself the title of Cuchulain, ‘The hound of Culann’. The offer was turned down and “Cuchulainn” (former Sétanta) went on to become one of the greatest warrior legends of that era, and the nickname stuck.

Cartonnage Anubis mask.

In Ancient Egypt, the dog was linked to the dog-jackal god, Anubis, who guided the soul of the deceased to the Hall of Truth where the soul would be judged by the great god Osiris. Anubis was associated with Wepwawet (also called Upuaut), another Egyptian god portrayed with a dog’s head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined.

One of the centers of the cult of Anubis was Cynopolis, or the city of dogs. The Greeks and Romans associated Anubis with Sirius in the sky and with Cerberus in Hades.

Dogs in general were highly valued in Egypt as part of the family and, when a dog would die, the family, if they could afford to, would have the dog mummified with as much care as they would pay for a human member of the family.

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A crouching or “recumbent” statue of Anubis as a black-coated wolf (from the Tomb of Tutankhamun)

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In Greek and Roman mythology, dogs often acted as guardians; the three-headed dog Cerberus, for example, guarded the entrance to the underworld. Many cultures associated dogs with death as well as with protection.

The Ancient Greeks and Romans often chose dogs as pets. They were often seen on Greek and Roman reliefs and ceramics as symbols of fidelity. Cats were not favoured over dogs, on the contrary Ancient Greeks and Romans didn’t keep cats as pets. However, occasionally, dogs appear in negative roles, such as the fighting dogs belonging to Hecate. 

Dogs are also featured in Plato‘s dialogue, “Republic“. In Book II, Socrates claims that the dog is a true philosopher because dogs “distinguish the face of a friend and of an enemy only by the criterion of knowing and not knowing” and concludes that dogs must love learning, because they determine what they like and what they do not based upon knowledge of the truth.

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►Dogs In Greek Mythology:

►Cerberus:

Cerberus watched the Underworld.

Cerberus is reminiscent of a serpent, called a “great worm” in Dante’s “Inferno” and often said to have a mane of serpents, the tail of a serpent, and the claws of a lion. The three heads of the dog look at once into the past, the present, and the future. 

Cerberus was the son of Typhon and Echidna, and fulfilled his duty as “Hound of Hades” as faithfully as possible.

This dog allowed many people to enter, he didn’t let anyone leave.

However, some were able to escape from the Underworld. Orpheus lulled Cerberus to sleep by playing soothing music; Hermes did the same but used water from the river Lethe. The most famous of all, however, was Heracles, who did not use such subtle methods. Driven mad by Hera, Hercules slew his son, daughter, and his wife. Hence he was given Twelve Labors as penance for his acts. The last of these was to capture Cerberus and bring him to the land of the living. Heracles was able to do this by wrestling the dog into submission and dragging him away from Hades.

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Heracles and Cerberus. detail from a Greek amphora. ca. 520-510.B.C

Cerberus & Heracles by Edward Kwong.

Hercules and Cerberus. Hofburg Imperial Palace, Vienna, Austria.

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►Artemis´ and Hecate´s dogs: 

Goddesses Artemis and Hecate, both kept dogs.

The Greeks offered black dogs (and lambs) to her in sacrifice, just as they did to Artemis, for whom they are also sacred.

The myths tells that Pan gave the virgin-huntress Artemis seven dogs “which pulled down very lions when they clutched their throats and haled them still living to the fold” (Callimachus, “Hymn to Artemis”).

Hecate presided over the crossroads, and was protector of entrance ways, households and thresholds. She was always accompanied by Stygian dogs, and her approach was announced by the howling of dogs. (“Then the earth began to bellow, trees to dance, and howling dogs in glimmering light advance, ere Hecate came” Fairclough, H. R. trans. 1916. Virgil, “Aeneid”. Book 6. Cambridge, USA: Harvard University Press).

The triple-figured maiden goddess had three heads: that of a horse, a dog, and a lion. Myths tells us that the Trojan Queen Hecuba leapt into the sea after the fall of Troy and that Hecate took pity on her and transformed her into a black female dog. 

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“Diana ( Artemis) the Huntress”, by Luca Penni (16th Century).

Vase depicting Artemis killing Aktaion. Attic Red Figure. (470 BC).

Hecate statue by Maxine Miller

A goddess, probably Hekate or else Artemis, is depicted with a bow, dog and twin torches

Hecate depicted with three dogs heads. Cartari, Imagini colla sposizione degli dei degli antichi

Artemis-Diana with lunar-crescent | Greco-Roman marble statue | Chiaramonti Museum

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►Laelaps, Zeus´Gift to Europa:

When Zeus was a baby, a dog, known only as the “golden hound” was charged with protecting the future King of Gods. This may have been the same dog Zeus later gave to Europa. Zeus had fallen deeply in love with the beautiful Europa, and, when given the chance, stole her away to the island of Crete. There he tried to seduce her by giving her three gifts: Talos, a giant bronze creature; a javelin that never missed, and Laelaps, a dog that never failed to capture its prey. Europa eventually gave the dog to Minos, King of Crete. After being cured by Procris of a terrible disease, Minos gave her the great dog Laelaps. The dog was soon sent to capture the Teumessian fox, a giant fox that could never be caught. This created a paradox, for the dog always caught its prey, and the fox could not be caught. The chase went on unto Zeus grew weary and confused of the dilemma and simply turned both into stone, frozen forever in the chase and cast them into the stars as the constellations Canis Major (Laelaps) and Canis Minor (the Teumessian fox).

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►The Constellation of the Greater Dog (Alpha Canis Major):

Sirius is is the brightest star in the night sky, with 22 times the luminosity of the sun. It is located in the constellation Alpha Canis Majoris or Greater Dog. Sirius has a smaller companion white dwarf star known as The Pup or Sirius B.

  

Canis Major is usually seen as one of the two hunting dogs of the great hunter Orion (Sirius). The other dog is of course Canis Minor, the Lesser Dog.

 

One version, previously mentioned above,  says that Zeus turned the Laelaps and Teumessian Fox to stone and cast them into the stars as the constellations Canis Major and Canis Minor, respectively.

According the other version, after Orion´s death, Artemis placed Orion faithful’s dog (Sirius) in the sky, at his heel.

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►Argos, Odysseus’ faithful dog:

One of the most moving stories involving dogs in the one concerning Argos, the loyal friend of King Odysseus  from Book 17 of Homer’s “Odyssey” (c. 800 BCE). Odysseus comes home after being away for twenty years and, thanks to help from the goddess Athena, is not recognized by the hostile suitors who are trying to win Odysseus’s wife, Penelope’s hand in marriage. Argos, however, recognizes his master and rises up from where he has been faithfully waiting, wagging his tail in greeting. Odysseus, in disguise, cannot acknowledge the greeting for fear of giving away his true identity in front of the suitors and so ignores his old friend; and shortly after, Argos lays back down and dies.

Argos and Odysseus

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►Other legendary dogs in ancient stories and myths:

Bau: This Sumerian goddess of fertility and healing, patron deity of the ancient Babylonian city of Lagash, is often depicted with the head of a dog.

Fenrir: In  Norse mythology, Fenrir is a monstrous wolf, a son of the god Loki, determined to kill the god Odin.

Set: He (Osiris´brother) is yet another ancient Egyptian canine deity, usually depicted as a broad-shouldered man with an animal’s head.

Xolotl: Often depicted as a man with the head of a dog, but sometimes as a skeleton, Xolotl was the Aztec god of lightning and fire.

Cerbura and Surma: Similarly to Cerberus, Cerbura is the three-headed infernal dog of the Krishna legend. Surma is a terrible beast from Finnish mythology. This huge dog with the tail of a snake, guards the gates of Tuonela, the realm of Death.

Sarama, The Mother of all Dogs & Yama´s dogs: In Hindu Mythology, Sarama is a female canine, who is referred as mother of all the dogs, and who helped God Indra to recover  his stolen divine cows. Yama, the Hindu god of death has four dogs with four eyes guarding his abode.

Fionn’s hounds, Bran and  Sceolán: There are many stories of the Irish Wolfhounds in Mythology. The most famous hounds are, without doubt, Fionn’s two favourites, Bran and Sceolán. They were brother and sister, of human descent, their poor mother, Tuirrean, (Fionn’s aunt) having been turned into a hound whilst she was pregnant by jealous Uchtdealb, woman of the Sidhe, and lover of Tuirrean’s husband. They were said to have been so tall, that their heads reached chest height to a man.

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► Links Post:

http://www.indiandogs.com/nativelegends.htm

https://en.wikipedia.org/wiki/Cultural_depictions_of_the_dog#cite_note-8

http://www.patheos.com/blogs/adamantinemuse/2016/07/hekate-isis-and-the-dog-star-sirius-welcome-to-the-dog-days/

https://www.greekmythology.com/Myths/Creatures/Cerberus/cerberus.html

http://hekatecovenant.com/resources/symbols-of-hekate/dogs/

https://aliisaacstoryteller.com/2014/02/23/the-irish-wolfhound/

http://www.newyorker.com/magazine/2013/09/23/the-death-of-argos

https://www.dogspot.in/the-importance-of-dogs-in-hindu-mythology/

http://www.theoi.com/Khthonios/HekateGoddess.html

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Detail showing Canis Major. Published in Alexander Jamieson´s “Celestial Atlas”, 1822

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💫“Laelaps, Hound of Magic”💫:

Sun-lit fur, storm-wind swift,

star-bright eyes, she

adores the olden air

of Mount Olympus,

dwelling of gods.

She finds scents at Zeus’s hand,

pounding clouds, chasing prey,

She never misses.

 ~~~

Yet Zeus sends her away,

tail drooping, eyes sad,

to serve Europa,

hunting kri-kri,

dodging their wild-goat horns,

nosing out badgers, martens,

hedgehogs and hare, circling Crete

on fleet feet. But dreaming everlong

of Olympus, cast out, cast down.

~~~

She’s bewildered,

passed on, passed over,

given next to King Minos,

then to cross-dressing Procris

and on to Kephalos, the errant husband.

The long-lived hound hunts, chases,

drinks deep, finds new hands and

new scents, until the very last.

 ~~~

The monstrous Teumessian fox

mocks a hundred hounds,

slips the nets of a hundred men,

devours a hundred boys.

Paradox.

 ~~~

The dog

always catches her prey.

The fox

cannot be caught.

 ~~~

Storm-wind hound hurls herself

into the chase, pants,

outpaces Kephalos,

fleeter than a spear,

fleeter than an arrow,

fleet as time itself.

But they never near Olympus.

Always, the hound needs the red-earth

scent of fox in her nose.

Always, the fox slips away.

Lungs burns. Feet bleed, but

never a whisker nearer that bushy tail.

Children grow gray and stooped,

watching them pass.

Hillsides wear away

from their pounding feet.

Deadlocked,

bones like rock,

hills aflame,

snapping, howling.

Bound to chase,

but never to catch.

 ~~~

Until blood-scent reaches

Olympus. Zeus watches,

remembers the velvet nose,

the twilight hunts, the sun-lit fur,

the starry eyes. His tears

fall on them both.

The salty splash

turns dog and fox to

sun-shot marble, mid-pounce.

~~~

Young boys in awe;

young girls in tears.

Never-resting, frozen in

not-escaping, not-capturing,

not-eating, not-drinking, not-sleeping.

~~~

Zeus tosses them

into the stars.

Canis Major.

Canis Minor.

Lighting Olympus,

turning the heavens

with the wind of their pursuit.

~~~

©Copyright 2017 Brenda Davis Harsham.

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►About Brenda Davis Harsham:

Brenda is a wonderful writer and poet, who lives with her family in New England, USA. 

Her poetry and prose were published at the places listed here. Fine art prints by Brenda are available to purchase here. 

Brenda regularly blogs at Friendly Fairy Tales. A blog I highly recommend!. 💌🔺

Make sure to check out her blog and follow her!. You can also find her on Twitter.

 

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Click on the logo to visit Brenda´s blog. Thank you Brenda for your great poem!.

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PS: ►Special Features & Mentions from other Bloggers:

Thanks to dear bloggers from “The Shield of Achilles”, “Graffiti Lux and Murals and “924 Collective” for the special posts!. I am adding them as they were chronologically posted by the authors; and/or discovered by me…  😁 I am adding a brief description and pics for each one of these post at the end. Please check them out!.- 

I. ►Guest Post: “Hephaestus”, at Kathleen Vail´s Blog:

Kathleen´s blog, “The Shield of Achilles” is great. She blogs about Greek Mythology, from a historical, sociological and, above all, scholarship perspective. She also has excellent posts about Homer´s Iliad, Analyzing different subjects, such as the Death of Achilles. This is the Guest post on Hephaestus, featured on Kathleen´s blog.✍️.-

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II ►Featured Post: Graffitis from Resa´s blog. “Argentina – Independence Day”:

Please check out Resa McConaghy´s post on her excellent blog Graffiti Lux and Murals. It is a tribute to Argentina, as we celebrate its 201st independence anniversary. The post includes graffitis from Toronto, Canada and from Caminito, Buenos Aires, Argentina. Resa´s blog is an open invitation to discover Street Art and its contemporary artistic importance. The complete post in Resa´s blog is this one: “Argentina – Independence Day”.🇦🇷 .-

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III ►Tribute to my Blog from 924Collective:

Thanks to 924Collective for the beautiful Tribute. This is a very nice blog, and I recommend it to my readers as it distills Art and Creativity. I am adding one of the images included over there. This is the post I am making reference to: “Aquileana of Argentina”.-🏛️⭐️

“Hephaestus (Guest Post)”. Image from “The Shield of Achilles”.

“Argentina Independence Day”. Image from “Graffiti Lux and Murals”.

“Athena”. Image from “924 Collective”.

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► “Greek Myths and Graffiti Murals”: “Collaboration With Resa McConaghy”:

►“Greek Myths and Graffiti Murals”: “Collaboration With Resa McConaghy”⭐:

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⇒About This Post. Abstract:

The following article is composed of two sections, each one of them including murals from Argentina and Canada, respectively. This post aims to analyze with a with a free, but still judiciously, well-founded criteria how certain mythological greek themes and characters might be recurrent, despite time and even against it.

As Resa and I found some graffitis which seemed to have mythological and even philosophical equivalents we decided we wanted to try to show those connections. Resa´s mural is from the University of Toronto (Toronto, Canada) whilst mine are from The Planetarium (Palermo, Buenos Aires, Argentina). With that being said, we just wanted to say that, after finding many similarities, we are quite pleased with the outcome. Both of, Resa and I believe the convergences are striking. And being so, they broaden and deepen the value of the immortal Ancient Greek Legacy.

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⇒Section I. Murals: The Planetarium:🇦🇷

The Galileo Galilei planetarium, commonly known as Planetario, is located in Parque Tres de Febrero in the Palermo district of Buenos Aires, Argentina. The building was officially opened to the public on April 5, 1968. It consists of a cylindrical framework with independent projectors for the Moon, the Sun and the visible planets (Mercury, Venus, Mars, Jupiter and Saturn) and two spheres in the extremes that project 8,900 stars, constellations and nebulas.

Nowadays the Planetarium is surrounded by a thin sheet metal with many murals on it. We´ll present here some of them, aiming to find mythological  and philosophical corollaries.

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⇒Eros and Psyche… And the Planetarium above them!:

 

This graffiti is quite the finding. It is based on an original painting “The abduction of Psyche” by William-Adolphe Bouguereau (1894). 

The artist included a Planetarium above the couple.

 

According to the greek myth Aphrodite was jealous due to men’s admiration for Psyche, so she asked her son, Eros, to poison men’ souls in order to kill off their desire for Psyche. But Eros fell in love with Psyche. Thus, against his mother´s wishes, he asked the west wind, Zephyr, to waft her to his palace.

They consummated their love that same night. But for that Eros had to make Psyche believe that he was an ugly beast, as the Oracle had told her parents that Psyche would marry an ugly beast whose face she would never be able to see. And apparently she firmly believed so!…

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⇒The Horned goat with human hands:

 

This mural with goat head and human hands might remind us of the constellation Capricornus .

Its name is Latin for “horned goat” or “goat horn” or “having horns like a goat’s”.

This constellation protected by Hestia, represents Pan, the god of the wild and shepherds. The myth tells us that, in order to escape Typhon, Pan cast himself into the river, making the lower part of his body look like a fish, and the rest a goat: Zeus, admiring his shrewdness, put this shape among the constellations .

However, in this mural, we lack of the sea elements… But the resemblance between hands and fins couldn´t go unnoticed, either way.

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⇒The Bull Surrounded by Snakes:

This mural seem to evoke the Great Greek Bull. It could be linked to the Minotaur.

 

According to the respective myth, after Pasiphae (the daughter of Helios, the Sun, by the eldest of the Oceanids Perse) become impregnated by a white bull, she gave birth to a sort of hybrid child, the bull-headed Minotaur.

 

Angered with his wife, Minos imprisoned the minotaur in the labyrinth of Crete in Knossos. Presumably, Minos was one of the three sons from the union of Europa and Zeus; when Zeus was in the form of a bull.

As to snakes, let´s remember the rod of Asclepius, God of Medicine and Apollo´s son. It symbolizes the healing arts by combining the serpent, which in shedding its skin is a symbol of rebirth and fertility. The Asclepius Wand, often confused with the Caduceus wand of Hermes, is the symbol of the medical profession.

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Cultic snake belonging to the god of healing Asclepius.

Statue of Asclepius with snake. 250 BC.

Pasiphae, the Mother of the Minotaur.

Roman Caduceus. 2nd century.

The Minotaur, in Greek Mythology, a monster with the body of a man and the head and tail of a bull.-

“The Passions of Pasiphae, wife of King Minos of Crete, from the Story of Theseus” by Master of the Campana Cassoni (1510).-

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⇒Tiempo- Time:

 

The words on this mural mean: Time.
But what is exactly time. St Augustine of Hippo says in his “Confessions”: “What then is time? If no one asks me, I know what it is. If I wish to explain it to him who asks, I do not know”… Time is such an elusive concept, indeed!.

In Greek mythology, Chronos was the personification of time, not to be confused with Cronus, the Titan and father of Zeus.
The Greeks had two different words for time: Chronos refers to numeric or chronological time, while another word kairos refers to the more qualitative concept of the right or opportune moment. The figure of Chronos was typically portrayed as a wise old man with a long grey beard: Father Time.
Furthermore, the Horae or Hours were the goddesses of the seasons and the natural flow of time, generally portrayed as personifications of nature in its different seasonal aspects, and with the cycle of the seasons themselves symbolically described as the dance of the Horae.

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Detail of an attic vase, depicting the Three Horae (Seasons). Period: Late Archaic (500 BC).

Ouroboros.

“Apollo and the Hours” by Georg Friedrich Kersting (1822).

“Chronos and his child” by Giovanni F. Romanelli, a 17th century depiction of Titan Cronus as “Father Time”.

Father Time and Baby New Year from Frolic & Fun, 1897.

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⇒Number 8. Toward Infinity… and beyond!:

This mural is certainly esoteric. The eyes, placed in circular shape, surround the central number eight (8).

Eight (8) is the Number of the perfection, the infinity. In mathematics the symbol of the infinity is represented by a 8 laid down.

The Pythagoreans believed that number 8 was the symbol of love and friendship, prudence and rational thinking. . It was the Pythagoreans who held that there are in man eight organs of knowledge; sense, fantasy, art, opinion, prudence, science, wisdom, and mind.

The person who actually introduced the infinity symbol was John Wallis, in 1655. This symbol is sometimes called the Lemniscate. It presumably evolved from the Etruscan numeral for 1000, which looked like this: CIƆ. There is another theory that he actually derived the infinity symbol from omega (ω), the last letter of the Greek alphabet. 

Ouroboros.

The ouroboros symbol, showing a a snake twisted into a horizontal figure eight (8) and biting its own tail, is also said to be a most plausible basis for the infinity symbol because it is a fitting depiction of endlessness.

As to the eyes in this mural, we could think of the Eye of Providence Symbol (which appears in the USA dollar bill). It represents the eye of God, the singular divine power that has created the entire universe. The eye is most times enclosed in a triangle. At times, the Eye is also depicted as surrounded by clouds or bursts of light. Both of these images are representative of holiness and divine glory and so, here too, the symbol signifies that the Almighty is keeping a watchful eye on His creation.

The Eye of Providence Symbol.

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⇒Section II. Murals: University of Toronto: 🇨🇦

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The University of Toronto is a public research university in Toronto, Ontario, Canada on the grounds that surround Queen’s Park. It was founded by royal charter in 1827 as King’s College. It comprises twelve colleges, each with substantial autonomy on financial and institutional affairs.

The mural in question is in an underpass that runs from Hart House Circle under Queen’s Park Crescent West to Wellesley Street. Resa came across this mural as she walked under Queen’s Park Crescent. She went by Hart House and exited using the King’s Park Circle. In the slide show below you can see some photographs of the location and buildings. The mural comes soon after!. 

About Resa Mc Conaghy:

Resa is a canadian artist, costume designer and author. 

She hosts two blogs: Graffiti Lux and Murals and Art Gowns.

You can find her version of this post here. Furthermore, Resa has written a book, “Nine Black Lives”, available on Amazon. Find Resa on Twitter, too!.

(Disclaimer: All murals photographs and photographs from University of Toronto were taken by Resa and featured on her blog Graffiti Lux and Murals. © Resa McConaghy. 2017). Please check out Resa´s post regarding this collaboration here.

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⇒Damarchus / Lycanthropeis or Werewolf Man-Wolf:

This graffiti could be linked to the Werewolf Man-wolf, or Lycanthropeis. Meaning, a mythological human with the ability to shapeshift into a wolf, either purposely or after being placed under a curse or affliction.

A few references to men changing into wolves are found in Ancient Greek literature and mythology.

For instance, Herodotus, wrote that the Neuri, a tribe he places to the north-east of Scythia, were all transformed into wolves once every year for several days, and then changed back to their human shape. 

Furthermore, we have the story of Damarchus. He was a victorious Olympic boxer from Parrhasia (Arcadia) who is said to have changed his shape into that of a wolf at the festival of Lycaea, only to become a man again after ten years. The festival of Lycaea involved human sacrifice to Zeus. A young boy was killed and then consumed by one of the participants, in this case by Damarchus, and as a result Zeus would transform the cannibal into a wolf.

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On the Left: A man wearing a wolf-skin. Attic red-figure vase, c. 460 BC. On the Right: Zeus turning Lycaon into a wolf, engraving by Hendrik Goltzius. 16th century.

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⇒The Woman With an Extra Hand:

Following the hindu mythology pattern, according to which goddesses have many hands, we could conclude that having more than two hands is a mark of Divinity. Humans have two arms, so someone with multiple becomes special and out of the league. More hands at times also represents more strength.The multiplicity of hands also emphasizes the power and ability to perform several acts at the same time. 

As to number three, it represents the Holy Trinity. From a philosophical perspective, number  three is symbolic of the reconciliation of opposites, as with Hegel‘s dialectic: “thesis + antithesis = synthesis”.
Besides, it is both a lunar and a solar number.
The moon has three major phases – the two crescents and the full moon, while the sun has three primary points in its existence: the low winter solstice; the high summer solstice, and the two equinoxes of March and September.

⇒The Kholkikos Drakon or Colchian Dragon:

 

The Kholkikos Drakon or (Colchian Dragon) was the ever awake serpent that guarded the Golden Fleece in a grove sacred to Ares in Kolkhis. When the Argonauts came to aquire the Fleece, they had to get past it. There are two theories as towards how they past the Drakon, either Medea put the monster to sleep so Jason could grab the fleece while it slumbered or Jason slew it. There is also a belief that the monster swallowed Jason and then regurgitated him thanks to the power of Medea, so that Jason could then slay the beast. Different cultural traditions have portrayed dragons with reptilian or serpentine traits so that it may seem to resemble cobras, crocodiles or lizards. The word ‘dragon’ traces its origin in the Greek word ‘drakon’ that means a huge serpent or a giant sea fish.

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⇒Apollo (AKA previously Helios) and his Chariot:

Before Artemis became goddess of the moon, the Titaness Selene owned the Moon chariot, which she drove across the sky at night. Soon after, Artemis was the legatee of the carriage. In the same way, Apollo received the Chariot of the Sun, once Helios became identified with him.
Helios (Apollo), the Sun god, drives his chariot across the sky each day while Selene (Artemis) is also said to drive across the heavens. And, while the sun chariot has four horses, Selene´s (Artemis´) usually has two, described as “snow-white” by Ovid. 

As to the horse symbolism, it is often known as a solar symbol. Sometimes, horses are related to the sun, moon, and water. It acts as the mediator between Earth and Heaven. Horse symbolizes power, grace, beauty, nobility, strength, and freedom.

The woman looking at Apollo (former Helios) could be his twin sister, Artemis (Former Selene). Artemis was the Goddess of Hunting and of  Goddess of the Moon. In classical times, Selene was often identified with Artemis, much as her brother, Helios, was identified with Apollo. Both Selene and Artemis were also associated with Hecate, and all three were regarded as Lunar Goddesses, although only Selene was considered a personification of the moon itself.

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►Greek Mythology: “Hephaestus” / “Collaboration with Holly Rene Hunter” 🔥.-

►Greek Mythology: “Hephaestus”  /

“Collaboration with Holly Rene Hunter” 🔥:

“The Fall Of Hephaestus” by C. Van Poelenburg. 17th century.

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Hephaestus (Roman equivalent: Vulcan)  was the Greek god of fire, metal work, blacksmiths and craftsmen.

According to Homer’s  “Iliad”, Hephaestus was born of the union of Zeus and Hera. In another tradition, attested by Hesiod, Hera bore Hephaestus alone.

Hephaestus. Attic Red Figure. 430 – 420 BC.

Hesiod tells us in “Theogony”, that in order to get even with Zeus for solely bringing about the birth of Athena, Hera produced the child Hephaestus all on her own.

Though Hesiod’s version seems to be the one that is most commonly accepted among readers, its content greatly alters our understanding of the birth of Athena. The ancient texts unequivocally state that it was Hephaestus who released the goddess from the head of Zeus by cracking the god’s skull open with an axe.

After Hephaestus was born, Hera was anything but pleased with his appearance, so she threw him off of Mount Olympus and down to earth.

Luckily, baby Hephaestus splashed down into the sea where he was rescued by two daughters of Oceanus; Thetis and Eurynome.

An interesting point is that he was lame. In vase paintings, Hephaestus is usually shown lame and bent over his anvil, hard at work on a metal creation, and sometimes with his feet back-to-front.

Hephaestus Thetis at Kylix, Attica vase figure

He walked with the aid of a stick. In some myths, Hephaestus built himself a “wheeled chair” or chariot with which to move around, thus helping him overcome his lameness while demonstrating his skill to the other gods. The “Iliad”, says that Hephaestus built some bronze human machines in order to move around.

There are two interpretations which describe how Hephaestus lost full use of his legs. The most basic of the two theories simply states that he was born that way and that was the reason why Hera rejected him and chose to toss him into the sea.

Another myth has it that he once tried to protect his mother from Zeus’ advances and as a result, the Ruler of the Gods flung him down from Olympus, which caused his physical disability; he fell on the island of Lemnos where he became a master craftsman.

Archetypal psychology uses mythical and poetic modes of discourse to deepen our understanding of lived experience and behavior. The stories associated with the Greek god Hephaestus are among the earliest representations of disability.

Vulcan. Roman archaic relief from Herculaneum.

Bitter Hephaestus does not intend to stay hidden away in an underground cave forever. Anger toward his mother inspires him to seek revenge.

These “negative” emotions engender the courage that is necessary for the disabled outcast to claim his rightful place in the world.

The archetypal psychologist Murray Stein suggests that loosening the bonds of his mother frees an introverted Hephaestus from his own psychic entrapment and moves him forward in the process of individuation and personal development. Hence, in Hephaestus we find a character who is motivated by his anger to confront a world that has discarded him.

In an archaic story, Hephaestus gained revenge against Hera for rejecting him by making her a magical golden throne, which, when she sat on it, did not allow her to stand up. In another story, Hephaestus sent sandals as gifts to all the gods, but those he sent to his mother were made of immovable and unyielding adamantine. When she tried to walk she fell flat on her face as though her shoes were riveted to the floor. 

Seeing how events were happening, the other gods begged Hephaestus to return to Olympus to let her go, but he refused, saying “I have no mother”. At last, Dionysus fetched him, intoxicated him with wine, and took the subdued smith back to Olympus on the back of a mule accompanied by revelers—a scene that sometimes appears on painted pottery of Attica and of Corinth.

Amphora depicting Hephaistos polishing the shield of Achilles. 480 B.C.

Hephaestus crafted much of the magnificent equipment of the gods. He designed Hermes´ winged helmet and sandals, the Aegis breastplate, Aphrodite‘s famed girdle, Agamemnon’s staff of office, Achilles‘ armor, Heracles‘ bronze clappers, Helios‘ chariot and Eros‘ bow and arrows.

There is a still a very relevant intervention of Hephaestus in a  well-known cosmogonic myth. It tell us that Zeus was angry at Prometheus, the Rebel Titan, for three things: being tricked by the sacrifices, stealing fire for man, and refusing to tell Zeus which of Zeus’s children would dethrone him. 

As punishment for these rebellious acts, Zeus ordered Hephaestus make a woman made of clay named Pandora. Zeus gave her a box and forbade her from opening it. Then he sent her down to earth, where her curiosity led her to open the lid. Out flew sorrow, mischief, and all other misfortunes that plagued humanity. In the famous story of Pandora’s box, we may learn how earthly hardship was born.

According to most versions, Hephaestus’s wife was Aphrodite, who was unfaithful to Hephaestus with a number of gods and mortals, including her brother Ares.

After he learned his wife had an affair with her brother, Ares, he devised a plan with which he humiliated both lovers.

Helios, the Sun God (later replaced by Apollo) was able to see most things during the day, as he drove his sun chariot across the sky. It was one of those days that Helios witnessed Aphrodite taking her lover in her bed, while Hephaestus was absent.

The Sun God easily recognised Ares. So, he told everything to Hephaestus.

Hephaestus decided to take revenge on the lovers. Thus using his wit and his crafting skills he fashioned an unbreakable net and trapped the two lovers while they were in bed. Hephaestus walked back to his bedchamber with a host of other gods to witness the disgraced pair. Only the male Olympians appeared, while the goddesses stayed in Olympus

Poseidon tried to persuade Hephaestus to release the adulterous pair. At first, Hephaestus refused the request, because he wanted to extract the most out of his revenge, but at the end he released his wife and her lover. Ares immediately fled to Thrace, while Aphrodite went to Paphos at the island of Cyprus.

In Renaissance literature, Hephaestus– as master of fire- is identified as the founder of the alchemical arts and its greatest practitioner. He is frequently portrayed as an evil and sinister figure because in turning base metals into gold he is imitating Nature and thus forging the Work of God. Alchemists believed that the story of the binding of Aphrodite and Ares in Hephaestus’ bed was an encoded recipe. Aphrodite represents copper, Ares represents iron and Hephaestus is the fire that is needed to facilitate an alchemical transformation. In the archetypal psychology literature, Aphrodite and Ares, Love and War, are always imagined as an inseparable “psychic conjunction”. As the alchemist-smith in our soul, it is Hephaestus who binds the two lovers together.

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“Hephaestus” by Pompeo Batoni. 18th century.

“Vulcan forging Jupiter’s lighting bolts by Peter Paul Rubens”. 1638.

“Venus in the Forge of Vulcan” by Gaetano Gandolfi. 1775 .

“Venus at Vulcan’s Forge” by Floris Frans (1560-64).

“Hephaestus presents his mighty gifts to Thetis” by Sir James Thornhill. 18th century.

“Hephaestus/Vulcan” by Diego Rodriguez de Silva Velázquez. 1660.

“Forge of Vulcan” by Antoine Wiertz, (19th century).

“Venus and Mars, caught by Vulcan” by Luca Giordano (1760).

“The Marriage Of Aphrodite And Hephaestus” by Johann Georg Platzer. 18th century.

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“Vulcan” by Bertel Thorvaldsen,1861. Thorvaldsens Museum.

►Poem: “Hephaestus”, by Holly Rene Hunter:

Hera, you have cast me from the mount.

Shattering the sphere, salt lime stings my 

skin where I am abandoned to the sea as

less than weeds. 

My cries are the waves  that

flow from  seashell eyes into the

arms of Oceanus.

Aphrodite plucks me up,  a heron

biting my body  and harpooned legs

that break against the sea wall.

I have loosed the crown of  Athena,

split with my ax the fearsome bird of prey.

Impaled, his eyes are those of a  startled deer.

Seized by  fate  I have gathered my medium and

with my broken hands and feet I mold precious metals

into  creations for Gods.

Goblets for Dionysus,

for Aphrodite, the unfaithful,   a copper belt.

A chariot of human form for broken Hephaestus

that I might roam the world unfettered.

For Hera, a golden throne,

where she is bound to dwell forever.

©Holly Rene Hunter. 2017 .-

Holly Rene Hunter.

►About Holly Rene Hunter. 

Holly Dixit: “I am Holly Rene Hunter writing at WordPress under the pseudonym Heartafire. I make my home in Florida.  I began writing as a child, an outlet for a wild imagination, my first poem  published was written at age eight and  included in  the Dade County Public Schools Book of Songs.  I am currently assisting with editing for authors whose first language is other than English.  On a personal note, I am a motorcycle enthusiast who loves to paint and write poetry.  If you are so inclined, you can find a sampling of my poetry at Bookrix.com free of charge or visit  my blog here“.

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Book by Holly Rene Hunter. You can find a sampling of her poetry at Bookrix.com free of charge here: https://aheartafire.wordpress.com/.

Check out Holly´s Blog. https://aheartafire.wordpress.com/.

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►Greek Mythology: “Artemis´ Dual Archetype” / “Collaboration with Resa McConaghy and Mirjana M. Inalman”🌛🏹.-

►Greek Mythology: “Artemis´Dual Archetype” / “Collaboration with Resa McConaghy and Mirjana M. Inalman”🌛🏹. 

“Diana, The Huntress” by Guillaume Seignac. 19th century.

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Artemis (Roman Equivalent: Diana) is often depicted in two ways: as a huntress goddess and as the goddess of the Moon. 

Artemis/Diana by Jean-Antoine Houdon (18th century)

Artemis was the first-born child of Zeus and Leto. Her mother was forbidden by jealous Hera to give birth anywhere on the earth but the floating island of Delos provided her sanctuary. Immediately after her birth, Artemis helped her mother deliver Apollo for which she is sometimes called a goddess of childbirth.

Her twin brother Apollo was similarly the protector of the boy child. Together the two gods were also bringer of sudden death and disease: Artemis targeted women and girls, Apollo men and boys.

Artemis was officially the goddess of the Hunt, but because the Titans had fallen, the Titan Selene‘s position as the Titan of the Moon was turned over to Artemis, and the same happened with Helios to Apollo.

Before Artemis became goddess of the moon, the Titaness Selene owned the Moon chariot, which she drove across the sky at night. When Typhon began his path of destruction to Mount Olympus, Selene rode into battle with the moon chariot. Therefore, soon after, Artemis was the legatee of the carriage. In the same way, Apollo received the Chariot of the Sun, once the sun of Helios became identified with him.

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The Chariot of Artemis. Attic Red Figure. 460 – 440 B.C.

The Chariot of Artemis. Attic Red Figure. 400 BC.

“Helios [Apollo] on His Chariot” (Detail) by Hans Adam Weissenkircher (17th century).

 

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Hence, when Apollo was regarded as identical with the sun or Helios, nothing was more natural than that his sister should be seen as Selene or the moon (the daughter of the Titans Hyperion and Theia, and sister of the sun-god Helios, and Eos, goddess of the dawn). Accordingly the Greek Artemis is, at least in later times, the goddess of the moon. 

Phoebe was one of the many names she was called. The name Phoebe means the “light one” or “bright one”.

One can see this moon goddess as a complete redressing of Artemis in order to make her a more traditional, feminine being. 

The phases of the moon (Triple Goddess Moon) The symbol is also known as Hecate’s Wheel.

Furthermore, in Greek mythology, there are many goddesses associated with the moon. These include Selene, the personification of the moon itself, Artemis, the goddess of the hunt, and Hecate, the goddess of crossroads and witchcraft.

Together Artemis, Selene and Hecate embody the phases of the moon. Many depictions of Selene show her wearing a crescent moon, and one of Hecate’s symbols includes the dark circle of the new moon.

Artemis is one of the goddesses that make up the triple goddess symbol:

•The Maiden -waxing moon- Artemis, represents the huntress on earth

•The Mother -full moon- Selene, represents the moon in the heavens

•The Crone -waning moon- Hecate, represents the underworld

“Diana” by François Lafon (19th century)

Probably the state of the moon was given to Artemis solely to compliment the depiction of her twin brother Apollo, the Sun God, during the time when the blending of the Greek and Roman Pantheon took place. 

Patriarchal societies often dismiss a woman´s individuality and see her as a reflection of her male counterpart.

Therefore, it is entirely possible that the identity of liberated Artemis was altered because of the status of a masculine figure, her own brother at that.

Her mythos is not changed by the addition of stories of a more delicate goddess to warrant her long, modest robes; only her appearance has been changed.

This depiction is in line with  the fact that Artemis is also considered the protectress of Virginity and the girl child up to the age of marriage.

In her two sides, Artemis is mostly seen as the Goddess of Hunt, where she wears a short tunic with her hair into a ponytail, holding a bow and quiver and mostly with her golden stag. When she is the Goddess of the Moon, she wears a long gossamer dress and has her hair held up.

The huntress  depiction presents her as a wild maiden who exists uninhibited by the restraints of conventionality.

The moon goddess rendering, however, shows her clothed in a  more conventional garb, in an attempt to tame and mature her image.

“A Companion of Diana” by Frémin, René 1717. Musée du Louvre, Paris.

In contrast to the primarily social community that made up the Greek Pantheon, Artemis has been depicted throughout mythos as keeping fairly isolated.

Aside from a few attendants, Artemis is rarely described as seeking out or having company.

With a natural preference for the company of other females, the Artemis archetype´s positive relationships with men who do not become lovers at all or who were lovers in the past, can be separated into those who are paternal or fraternal. 

The paternal relationship, implying Zeus´role is one that is particularly rare. The vital factor ensuring the relationship is constructive and positive, as it is given by the paternal´s figure support of her daughter.

“Apollo and Artemis” by Gavin Hamilton.1770.

When Artemis was presented to Zeus for the first time as a small child, the father bequeathed his child whatever she desired.

Artemis selected as her gifts her iconic symbols, realms and attendants, all of which provided the foundation of her mythos. 

Artemis is, moreover, like Apollo, unmarried.

She is a maiden divinity never conquered by love. The priests and priestesses devoted to her service were bound to live pure and chaste, and transgressions of their vows of chastity were severely punished. 

“Jupiter and Callisto” by Jean-Simon Berthelemy. (18th century).

In  line with this interpretation, there is a highly illustrative myth, starring Zeus.

The Ruler of Gods, changing his form to resemble Artemis, managed to seduce Callisto, one of Artemis’ hunting attendants. As a companion of Artemis, she took a vow of chastity.

Zeus appeared to her disguised as Artemis and they had sexual relationships. As a result of this encounter she conceived a son, Arcas.

Artemis is considered one of the virgin goddesses on Mount Olympus besides Athena and Hestia.

Hestia, Athena, and Artemis made an oath on the River Styx to Zeus saying that they would not marry and would stay virgins for eternity.

“Artemis: The Indomitable Spirit in Everywoman” by Jean Bolen. Click for details.

However, Jean Bolen in her book “Artemis: The Indomitable Spirit in Every woman” clarifies that the term “virgin” does not necessarily denotes “chastity”, but rather that a woman governed by the Artemis´archetype is “psychologically virginal”, free and untamed. She may love but she will never give herself over entirely, or her freedom will be at risk.

Jean Bolen contends that for Artemis, sex is something to pursue based on the physical experience rather than any committed emotional expression. 

For Artemis women, the risk of vulnerability often prevents them from forming lasting relationships, particularly romantic ones. Solitude means safety and security, while connections run the risks of diminishing the strength of independence .  

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“Diana and her Nymphs” by Domenichino (1617)

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“Landscape with blind Orion seeking the sun” by Nicolas Poussin (1658).

Artemis ´s love towards Orion, the sole icon of romantic love, ends tragically.

In the myth of Orion, he was also a hunting companion of Artemis  and the only person to have won her heart.

However, he was accidentally killed either by the goddess or by a scorpion which was sent by Gaia.

In many accounts, Apollo directed the scorpion to go after Orion. As he wanted to protect Artemis´chastity vows. 

He placed Orion´s constellation in the skies, along with Scorpio. Thus, at night, when Scorpio comes, Orion simultaneously begins to drop away to the opposite side, forever hightailing it away from the scorpion.

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Statue of Artemis, from Mytilene. Roman copy of a 4th century BC type.

Artemis and her hound (Diana), Vatican Museums.

Bronze Statuette of Artemis, Roman 2nd-3rd century A.D.

Enthroned goddess Artemis between two Attendants – Terracotta statuette, circa 4th c. BC.

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Links Post:

https://goo.gl/Rg9rZx

https://goo.gl/gZcKRP

https://goo.gl/L2uqmx

https://goo.gl/jcvjLF

https://goo.gl/T25ea8

https://goo.gl/0exBWv

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Image based on a Classic white marble statuette of Artemis.

This second part of the post on Artemis consists of a collaboration with Resa McConaghy and Mirjana M. Inalman.
Resa is an artist and costume designer from Canada. 

Mirjana (AKA Oloriel) is a Serbian artist, writer and poet. 

Resa invited us to join us in a project aiming to recreate Artemis´manifold attributes. 

Taking into account the purposes of this project, Resa created a beautiful gown based on Artemis while Mirjana wrote a great poem as a poetic tribute to the goddess .
So, with that being said, let´s move on to the collaboration at issue!. 

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“Artemis by Moonlight”. Artgown by © Resa McConaghy. 2017).-

Resa created a stunning gown. She named it “Artemis by Moonlight”. She chose an abstract animal print and copper satin for the tails.

She painted part of the fabric with iridescent metallic paint. Besides she added satin tubes and braids to adorn the gown. Both the rounded tail and the moon shaped copper amulet mimic Artemis as the Goddess of the Moon. The ending product stands out! 😀

Want to see more?. Please check out Resa´s post “Artemis by Moonlight”, on her blog Art Gowns. 

(Disclaimer: All photographs below were taken by Resa and featured on her blog.”Artemis by Moonlight” . Artgown by © Resa McConaghy. 2017).-

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►About Resa McConaghy:

Resa is a canadian artist, costume designer and author.

She hosts two blogs Graffiti Lux and Murals and Art Gowns.

She has written a book, “Nine Black Lives”, available on Amazon. You can follow Resa on Twitter, too.

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Art Gowns: http://artgowns.com/ Graffiti Lux and Murals: http://graffitiluxandmurals.com/

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©Color me in Cyanide and Cherry, 2017. “Artemis”. Artwork by Mirjana M. Inalman for her own poem. Click on the image to purchase Mirjana´s artwork!.

Mirjana´s poem “Invoking the Huntress” is a beautiful tribute to Goddess Artemis. Mirjana describes Artemis´two sides (Huntress Goddess and Goddess of the Moon) and she does so with verses that are metaphorically powerful and at the same time faithful to Artemis mythos. The different stanzas celebrate the goddess and provide different approaches as well as tell a story, somehow. I commend you to read and savor this great poem by Mirjana M. Inalman! 😀

You can check out this poem and many others by Mirjana on her blog Color me in Cyanide and Cherry.

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Invoking the Huntress

The crescent beckons a heave,

a touch upon your corners,

reveals

a light brewing

not like a thunderstorm, or a torrent,

but a sickle ready to brand you

in red-

you will be

like two eyes among the pines,

as she lowers her hips downwards,

descends her bow to your forehead;

she tramples your heart with her deer,

her name preaches – You can be here, free;

free in the forest of flesh,

a dancing hunter among the cypress.

Appear.

~~~

She will give you the bear – to fold his head before you.

She will give you the wolf – its maw now your sisterhood.

She will give you the boar – the towns named after your sins but dust beneath him.

She will give you the stag – the horns ripping the night itself to drip

over mouths of dirty gold

whispering her hymns.

Her Kingdom atop the arrowhead

more eternal than the sway of day,

may

the wilderness, soft and pure, and nectar

grow out the belly

and may

it not fetter the beasts,

let them run through her chambers of your bones and chest;

let her tame them with a single breath.

~~~

Her name, like a dream of ground

wet with vine, sizzling like fire

over which the prey darkens,

her innocence unlike any altar,

her savagery unlike any temple,

she arrives

and the winds grasp for air;

Ursa major sticking from her untouched hair,

a moonlight promise,

a devotion of flame

made of her vestibule,

silvery debris

her name, Artemis.

Say.

© Mirjana M. Inalman. 2017 .-

 

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►About Mirjana M. Inalman:

Mirjana M. Inalman is a writer and poet, living in Belgrade, Serbia.

She writes poetry and she is actually working on several novels. Besides, she  is a cover designer and likes Photography. She speaks four languages and says she “hopes to experience all forms of art at least once”. Check out Mirjana´s blog: Color me in Cyanide and Cherry. She wrote a book, “Colour Me In Cyanide & Cherries”. You can find the book and buy it here. Furthermore, you can purchase Mirjana´s artwork on Fiverr. Make sure to connect with her on Twitter too!. 

 

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Color me in Cyanide and Cherry: https://olorielmoonshadow.wordpress.com/

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