A P H RO D I T E ’ S A N C E S T O R S

■ ■ ■ ■ ■

Diana K. McDonald
Jacqueline Karageorghis

A N C I E N T N E A R E A S T E R N G O D D E S S E S O F L OV E

Great light, heavenly lioness, always speaking words of assent! Inana, great light, lioness of heaven
— H Y M N T O I N A N A A S N I N E G A L A (I N A N A D)

phrodite, the “Heavenly One,” was the femme fatale of Mount

A Olympus. She was irresistibly beautiful, powerful, capricious,

tempestuous, and famous for the unhappy fates of her various
lovers. As such, she was a perfect subject for the arts. The European
tradition of the nude female in art began in the mid-fourth century B.C.
with Praxiteles’s famed Aphrodite of Knidos (see fig. , p. ). This sculp-
ture, which broke from the Western custom of depicting female forms
draped, in reality reflected a long tradition in the ancient Near East of god-
desses who were forthright in their sexuality. Indeed, Aphrodite’s alluring
and dangerous qualities arose from her many predecessors in the ancient
Near East. Beginning in the late th millennium .., the Sumerians, who
inhabited Mesopotamia (“the land between two rivers” to the Greeks; pres-
ent-day Iraq), built temples to Inana, “Lady of Heaven,” a complex goddess
of love and nature. She was called Ishtar in the Semitic tongue of the
Akkadians, the succeeding occupants of Mesopotamia (beginning about
 ..), who endowed her with a more aggressive character, and in the
following millennia she was worshipped as a goddess of sex and war.
This powerful Mesopotamian goddess, often referred to today by
the dual name Inana/Ishtar, was associated with attributes and symbols—
including nudity, the morning and evening star, the lion, birds, and objects
of war—that later appear in the imagery of Aphrodite and other Near
Eastern goddesses. In particular, Ishtar’s lion companion provides the key to
her complex nature.2
Aphrodite came to Greece by way of Cyprus, but her manifestation
was heavily influenced by the goddesses to the east. In addition to the
Sumerian Inana and the later Akkadian Ishtar, Ishara, a goddess of sex in the
“Mother Goddess” figurine Figurine of a nude female holding her
Near Eastern, Anatolian breasts
Neolithic period, about Near Eastern, Levantine, from
– .. Tell Judeidah (Syria)
Terracotta Early Bronze Age, – B.C.
.  cm (13⁄16 in.) Bronze with silver
(cat. no. ) .  cm (7⁄16 in.)
(cat. no. )

Semitic tradition, perhaps a bridal version of Ishtar, may also have con-
tributed to Aphrodite’s persona.3 She also appears to have been influenced
by a number of goddesses from the Levant, notably Astarte, a West Semitic
version of Ishtar, who is often depicted nude, standing on lions or horses.
Astarte and other Syrian goddesses, including Qudsu or Quedeshef, spread
to Egypt and became popular during the New Kingdom (– B.C.).
These goddesses were depicted frontally nude, in association with lions,
horses, snakes, and other animals; Qudsu is shown standing on the back of
a lion in an Egyptian stele of the Nineteenth Dynasty (– B.C.).4 In
Egypt, the indigenous goddess Hathor ruled over the realms of love, sex,
motherhood, music, and funerary ritual, and was often shown in the guise
of a heavenly cow, an epithet also applied to Inana in Sumerian literature:
“You are a great cow among the gods of heaven and earth.”5

 
 In the ancient Eastern Mediterranean, images asso- Statuette of a nude female holding
her breasts
ciated with these goddesses, or votives to them, often took Near Eastern, Central Anatolian
the form of clay and stone figurines, terracotta plaques, Early Hittite, about  ..
Copper
seals, metal figurines, and ivory, gold, or bronze plaques. . . cm ( in.)
Examples range from the tiny Anatolian Neolithic sixth-mil- (cat. no. )

lennium-.. figurine of a rotund seated woman (cat. no. , Sistrum

Egyptian
p. ) to slimmer, more lissome frontal nudes. These include Late period, Dynasty –,
a Syrian early Bronze Age woman crossing her arms and – ..
Bronze
clasping her breasts (cat. no. , p. ), excavated at Tell . . cm ( ½ in.)
Judeidah with her male mate, and a later Anatolian copper (cat. no. )

lady cupping her breasts (cat. no. ). From Egypt, a musical
instrument, a rattle called a sistrum (cat. no. ), depicts
Hathor’s face with her characteristic bovine ears. The
Egyptian mother goddess Isis, crowned with horns and a
disk, was frequently represented with her infant son Horus
in her lap—imagery that is often echoed in Cypriot mother/
child figurines (cat. no. , p. ; cat. no. , p. ).
A terracotta plaque (cat. no. , p. ) exemplifies
the weaving together of symbols pertaining to sexuality and
goddesses from different cultural traditions across the
Mediterranean. A nude, frontally facing woman, evoking
images of Astarte and wearing a short Egyptian wig, stands
in a niche between two Egyptian columns borne by lions
with open mouths. Atop the columns are heads of Bes, the
Egyptian bow-legged dwarf deity with lion traits who is
associated with sexuality, childbirth, and the protection of
home and hearth. The lions associated with the nude female
figure recall the Mesopotamian lions of Ishtar, and seem to
be guarding her. These symbols clearly resonated with peo-
ples throughout the ancient Mediterranean world, calling to
mind Claude Lévi-Strauss’s contention that imported ideas
take root only if the importing culture needs them.6
Both Aphrodite and Inana/Ishtar share associations
with the evening and morning star (the planet Venus), a
focus on sexual love, and links with war and strife.
Characterized by fierce tempers, aggressive sexuality, deep
jealousies, and rages, neither is considered a good wife or
mother. Although both are connected to some degree with
the fertility of the land, they are more concerned with the
arousal of sexual desire in the human and animal world than with marriage Model shrine with nude goddess
Eastern Mediterranean
and childbirth; they deal with the “before” rather than the “after.” A closer th–rd century ..
look at Inana/Ishtar elucidates the parallels with Aphrodite. Terracotta
.  cm ( ¼ in.)
Inana/Ishtar, queen of heaven and earth, is well known from (cat. no. )
ancient literature and features prominently in both the Babylonian Epic of
Gilgamesh and the Sumerian myth “Inana’s Descent into the Underworld.” She
is described as a heavenly divinity associated with the morning and evening
star in literature such as an Old Babylonian prayer to “Ishtar as Venus,” where
she is characterized as a “moon lioness.”7 Sumerian and Akkadian literature,
unlike Greek, possesses a wealth of love songs, incantations, and erotic poet-
ry that evoke Inana’s powers, most notably in the services of love. Much of
this power derives from Inana’s extraordinary beauty and allure, localized in
her sexual attributes. She is a goddess of potency and of the possibility of
sexual union in both humans and animals. Inana/Ishtar entices her lovers
with her charms but does not bear children or form lasting unions. She is
accordingly described in unflattering terms as vain and jealous. Moreover,
her lovers, including the mortal vegetation god Dumuzi, frequently meet
with untimely death, humiliation, or misfortune. War is proverbially
described as “the playground of Ishtar,” and she is portrayed as bloodthirsty
and violent.8 Nevertheless, her sexual charms, or kuzbu (“allure” in
Akkadian), are considerable and remain manifest even when she is shown
armed, winged, and ready for battle.
Inana’s power stimulates male desire and results in the fertility of
the land and its creatures, which comes to a halt when she descends into the
Underworld. She seems to be associated primarily with sexuality outside of
conventional marriage, as is the case in Gilgamesh and other literary texts. But
she is also linked with the Mesopotamian Sacred Marriage ceremony, which
was enacted by the Mesopotamian ruler and the priestess of Inana and con-
sisted of the union of Inana with the “Wild Bull” Dumuzi. The ceremony
ensured fertile soils and provided a form of divine legitimacy to the king
who performed it. Inana is dressed and bejeweled for this rite, a theme
echoed by the dressing of Aphrodite in Cyprus and reflected in the artis-
tic emphasis on these goddesses’ necklaces and bracelets (cat. no. , p. ).9
Myths allude to Inana’s nudity and to sacrifice. In the saga of her
descent into the Underworld, she is required to relinquish one of her gar-
ments at each of the seven gates, leaving her naked. Her sister Ereshkigal,
queen of the Underworld, is unwilling to release Inana from her deathly
domain, unless Inana finds a replacement.10 Inana chooses her mortal lover
Dumuzi, and demons fetch him to take her place and hence to die. This


 “substitution sacrifice” motif harks back to agrarian views of herd ani-
mals, which were said to feel relief at the sacrifice of one of their num-
ber.11 The myth bears similarities to Aphrodite’s relationship with Adonis,
who, like Dumuzi, is a vegetation god and who dies as a result of loving
the goddess.
Some see Inana/Ishtar as representing the civilizing influences of
society, in part because her actions help define the boundaries of human
social behavior. Sex itself was viewed in Mesopotamia as a civilizing act; in
The Epic of Gilgamesh, the harlot Shamhat civilizes and humanizes the man-
beast Enkidu, Gilgamesh’s companion, by having sex with him. In the
same epic and other texts, however, Ishtar also acts outside the realms of
what most societies consider acceptable behavior, perhaps because she is a
goddess and transcends such limits.12 This unusual comportment helps
explain the choice of the lion as her symbol and companion—more than
a means of identification, the animal represents her very character and
actions (fig. ; cat. no. , p. ).
Lion behavior was well chronicled by Mesopotamians, and the
animal’s potency is acknowledged and admired in texts and incantations
for sexual potency.13 Lions are known to copulate as many as forty times a
day. The female takes the initiative, teasing the male who is attempting to
become the head of a pride of related females. The lioness is able to sup-
press her fertility until she has selected the best male; thus, her lustiness
serves a purpose. Ishtar, with her many lovers, mirrors the behavior of the
insatiable and powerful lioness, who controls the fate of the lion and his
reproductive success. In the Sumerian myth “The Courtship of Inana and
Dumuzi,” the pair makes love fifty times in one night, after which Dumuzi
The sexual power, beauty, capriciousness, and bellicosity of Fig. 
assumes kingship.14 Ultimately, however, Inana/Ishtar turns her lovers into Relief with striding lion
beasts or kills them.15 Death and destruction usually follow in her wake. Inana/Ishtar and other ancient Near Eastern goddesses presage Aphrodite’s Near Eastern
Neo-Babylonian period,
She symbolizes not only the civilizing and uplifting aspects of female multifaceted character. Although Aphrodite lacks the lioness of the Near ‒ B.C.
power but also the chaos that ensues from the forces of sex and desire. Eastern goddesses as symbol and metaphor, she reflects a similar emphasis Glazed bricks
.  cm (5⁄16 in.)
Inana/Ishtar is in many respects the perfect anthropomorphiza- on sexuality, multiple partners, female power through naked allure, and the
tion of the lioness: she is aggressive and bloodthirsty, an efficient huntress incitement to violence or war, often in the wake of love. Aphrodite, how-
who has a seemingly insatiable sexual appetite; as kingmaker, she controls ever, is tamer, less powerful and bloodthirsty. She represents a domesticat-
the choice of males and can suppress her capacity for motherhood; she is ed version of Inana/Ishtar and her sisters. The responsibility of all these
ill-tempered, mercurial, and seductive. These leonine qualities apply not goddesses is to arouse desire and to maintain the sexual activity of humans
only to Inana/Ishtar but to other goddesses as well, such as Ishara, Astarte, and animals. In doing this, they ultimately give joy, meaning, and fertility
Anat, and Qudsu. to the world.
— D. K . M .

 
Statuette of Isis and Horus Figurine of Aphrodite seated and
Egyptian wearing a high polos
Late Period, about ‒ .. Cypriot
Bronze Cypro-Classical period,
. . cm (8 1⁄16 in.) th century ..
(cat. no. ) Terracotta
.  cm (⅛ in.)
Necklace counterpoise (menat) (cat. no. )
Egyptian, from Semna, Sudan
New Kingdom, Dynasty ,
– ..
Bronze
. . cm ( 7⁄16 in.)
(cat. no. )


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I N T RO D U C T I O N
. Varro On Agriculture ; Pliny Natural History .;
Paulus in Naevius frag.  a–c, translation in E. H.
Warmington, ed. and trans., Remains of Old Latin,
vol. , Loeb Classical Library (Cambridge, Mass.:
Harvard University Press, ), .
. “Nestor’s Cup,” Pithekoussai Tomb , Museo
di Lacco Ameno, Ischia, Italy, inv. no. .
. Plato Symposium c, trans., with introduction
and notes, Alex Nehamas and Paul Woodruff
(Indianapolis, Ind.: Hackett Publishing, ), .
. Nigel Spivey, Understanding Greek Sculpture: Ancient
Meanings, Modern Readings (New York: Thames and
Hudson, ), .
. Pliny Natural History ..–.
. Lucian Erotes (or, “Affairs of the Heart”) –.
. For the official biography of Warren, see
Osbert Burdett and E. H. Goddard, Edward Perry
Warren:The Biography of a Connoisseur (London:
Christophers, ), and for more recent accounts,
see David Sox, Bachelors of Art: Edward Perry Warren and
the Lewes House Brotherhood (London: Fourth Estate,
), and Dyfri Williams, The Warren Cup
(London: British Museum Press, ), –.
. Whitney Davis, “Homoerotic Art Collection
from  to ,” Art History  (), .
A P H RO D I T E ’ S A N C E S TO R S
Ancient Near Eastern Goddesses of Love
. Jeremy A. Black, Graham Cunningham, Esther
Flückiger-Hawker, Eleanor Robson, and Gábor
Zólyomi, “A Hymn to Inana as Ninegala (Inana
D),” The Electronic Text Corpus of Sumerian Literature
(Oxford: The ETCSL Project, Faculty of Oriental
Studies, University of Oxford, –), lines
–, http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi
?text=t...# (accessed September , ).
. In this case, it is more appropriate to refer to
Ishtar alone, as the lion was mainly associated
with that goddess and much less so with her ear-
lier incarnation, Inana.
. Stephanie Budin, The Origin of Aphrodite
(Bethesda, Md.: CDL Press, ), ff.
. Diane Bolger and Nancy Serwint, eds.,

NOTES
■ ■ ■ ■ ■
Engendering Aphrodite, vol.  (Boston: American
Schools of Oriental Research, ), ff.; see
, fig. , for Qudsu stele.
. Jeremy A. Black, Graham Cunningham, Esther
Flückiger-Hawker, Eleanor Robson, and Gábor
Zólyomi, “A Hymn to Inana (Inana C):
Translation,” The Electronic Text Corpus of Sumerian
Literature (Oxford: The ETCSL Project, Faculty
of Oriental Studies, University of Oxford,
–), lines –, http://www-etcsl
.orient.ox.ac.uk/section/tr.htm (accessed
September , ). This is a composite text
translation, from tablets inscribed in cuneiform
and dating to the late third or early second mil-
lennium .. but reflecting an earlier literary and
oral tradition.
. Claude Lévi-Strauss, Structural Anthropology (New
York: Basic Books, ), ff.; Wendy Doniger,
“The Land East of the Asterisk,” London Review of
Books, April , , –, http://www.lrb
.co.uk/v/n/wendy-doniger/the-land-east-
of-the-asterisk.
. “A Literary Prayer to Ishtar as Venus,” in A. R.
George, Babylonian Literary Texts in the Schoyen Collection,
Cornell University Studies in Assyriology and
Sumerology Vol.  (Bethesda, Md.: CDL Press,
), –.
. Jeremy Black and Anthony Green, Gods, Demons
and Symbols of Ancient Mesopotamia (Austin: University
of Texas Press, ), –.
. Charles Penglase, Greek Myths and Mesopotamia:
Parallels and Influence in the Homeric Hymns and Hesiod
(New York: Routledge, ), ff.
. For a striking example of the nude goddess
who has been identified as Inana/Ishtar or
Ereshkigal, see the Queen of the Night relief,
British Museum, London, --, .
. Walter Burkert, The Creation of the Sacred
(Cambridge, Mass.: Harvard University Press,
), –.
. Irene Winter, “Sex, Rhetoric, and the Public
Monument,” in Sexuality in Ancient Art, ed. Natalie
Boymel Kampen (Cambridge: Cambridge
University Press, ), .
. The Assyrian king Adad-Nirari II, for example,
proclaims: “I am a lion and I am a (potent) male”;
ibid., . Another Assyrian king, Assurnasirpal II,
also proclaims himself “a lion, and … virile,”
and a sexual incantation recommends, “Let a
lion get an erection along with you”; Chikako E.
Watanabe, Animal Symbolism in Mesopotamia, Wiener
Offene Orientalistik Vol.  (Vienna: Institut für
Orientalistik der Universitat Wien, ), ,
–.
. Bolger and Serwint, Engendering Aphrodite, .
. Zainab Bahrani, Women of Babylon: Gender and
Representation in Mesopotamia (New York: Routledge,
), .
The Cypriot Origin of Aphrodite
. Hesiod Theogony –; translation in Hesiod,
Theogony; and,Works and Days, trans. and with an
introduction by Catherine Schlegel and Henry
Weinfeld (Ann Arbor: University of Michigan
Press, ), lines –, .
. Edgar Peltenburg, “The Beginnings of Religion
in Cyprus,” in Early Society in Cyprus, ed. Edgar
Peltenburg (Edinburgh: Edinburgh University
Press, ), .
. Tacitus Histories ...
. Herodotus History ...
. Pausanias Description of Greece ..–.
. Homer Odyssey .–.
. Martin Metzger, Kamid el-Lôz 7. Die Spätbronze-
zeitlichen Tempelanlagen. Stratigraphie, Architektur und
Installation Vol. 1, Kamid el-Lôz, Saarbrücker Beiträge
zur Altertumskunde, Band  (Bonn: Dr. Rudolf
Habelt, ).
. About the Cypriot Aphrodite in general, see
Jacqueline Karageorghis, Kypris: The Aphrodite of Cyprus
(Nicosia, Cyprus: A. G. Leventis Foundation, ).
G R E E K C U LT S O F A P H RO D I T E
. A more extensive treatment of the material in
this essay is available in our respective works,
Vinciane Pirenne-Delforge, L’Aphrodite grecque:
Contribution à l’étude de ses cultes et de sa personnalité dans le
pantheéon archaïque et classique, Kernos supplement 
(Athens and Liège: Centre International d’Etude