She corresponds to the "potnia theron" of Greek mythology, better known as Artemis. Inara's mother is probably Hebat and her brother is Sarruma.
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Pithos decorated with goddess identified with Potnia Theron by Greek authors Some pithoi were used for rituals and even for burial. The decor of those pithoi differed significantly from ones used for transportation and storage in warehouses. Decorations would have been used to match the intended use. Pithoi designed for marine transportation were generally not decorated.
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As Artemis Orthia (Greek Ὀρθία) and was common to the four villages originally constituting Sparta: Limnai, in which it is situated, Pitana, Kynosoura and Mesoa. As Agrotera, she was especially associated as the patron goddess of hunters. In Athens Artemis was often associated with the local Aeginian goddess, Aphaea. As Potnia Theron, she was the patron of wild animals; Homer used this title.
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In Classical Greek mythology, Taygete (; , , ) was a nymph, one of the Pleiades according to the Bibliotheca (3.10.1) and a companion of Artemis, in her archaic role as potnia theron, "Mistress of the animals", with its likely roots in prehistory. Mount Taygetos in Laconia, dedicated to the goddess, was her haunt. As he mastered each of the local nymphs one by one, Olympic Zeus pursued Taygete, who invoked her protectress Artemis.
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135; Potnia Theron (Πότνια Θηρῶν) can sometimes be found as a title in ancient sources, but is sometimes a scholarly inference drawn from iconography. with her mastery of the natural world expressed by the lions that flank her, sit in her lap or draw her chariot. She was readily assimilated to the Minoan-Greek earth-mother Rhea, "Mother of the gods", whose raucous, ecstatic rites she may have acquired. As an exemplar of devoted motherhood, she was partly assimilated to the grain- goddess Demeter, whose torchlight procession recalled her search for her lost daughter, Persephone.
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Some of them, such as Pan and the Silenoi, survived into the classical age. The two great Arcadian goddesses, Demeter and Despoina (later Persephone), were closely related to the springs and the animals, and especially, to the goddess Artemis (Potnia Theron: "The mistress of the animals"), who was the first nymph.M.Nilsson (1967) Die Geschichte der Griechische Religion Vol I, pp. 479-480 On a marble relief at Lycosura is the veil of Despoina, on which human figures are represented with the heads of different animals, obviously, in a ritual dance.
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A relief of Epona, flanked by two pairs of horses, from Roman Macedonia. Sculptures of Epona fall into five types, as distinguished by Benoît: riding, standing or seated before a horse, standing or seated between two horses, a tamer of horses in the manner of potnia theron and the symbolic mare and foal. In the Equestrian type, common in Gaul, she is depicted sitting side-saddle on a horse or (rarely) lying on one; in the Imperial type (more common outside Gaul) she sits on a throne flanked by two or more horses or foals.Nantonos, 2004.
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Praxitelean bronze head of a goddess wearing a lunate crown, found at Issa (Vis, Croatia). The oldest representations of Artemis in Greek Archaic art portray her as Potnia Theron ("Queen of the Beasts"): a winged goddess holding a stag and lioness in her hands, or sometimes a lioness and a lion. This winged Artemis lingered in ex-votos as Artemis Orthia, with a sanctuary close by Sparta. In Greek classical art she is usually portrayed as a maiden huntress, young, tall and slim, clothed in a girl's short skirt,Homer portrayed Artemis as girlish in the Iliad.
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Electrum coin from Ephesus, 625-600 BC. Stag grazing right, ΦΑΝΕΟΣ ΕΜΙ ΣΗΜΑ (retrograde, “I am the badge of Phanes”). No further certain information exists as to the identity of the Phanes named on these coins. One possibility is that Phanes was a wealthy merchant, another that the coins bearing the name are to be associated with Apollo-Phanes and, due to the Deer, with Artemis (twin sister of the god of light Apollo-Phaneos). Although only seven Phanes type coins were discovered, it is also notable that 20% of all early electrum coins also have the Lion (symbol of Artemis-Potnia Theron) and the sun burst (symbol of Apollo- Phaneos).
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According to Walter Burkert, both Hera and Demeter have many characteristic attributes of Pre-Greek Great Goddesses."The goddesses of Greek polytheism, so different and complementary"; Greek mythology scholar Walter Burkert has observed, in Homo Necans (1972) 1983:79f, "are nonetheless, consistently similar at an earlier stage, with one or the other simply becoming dominant in a sanctuary or city. Each is the Great Goddess presiding over a male society; each is depicted in her attire as Potnia Theron "Mistress of the Beasts", and Mistress of the Sacrifice, even Hera and Demeter." In the same vein, British scholar Charles Francis Keary suggests that Hera had some sort of "Earth Goddess" worship in ancient times,Keary, Charles Francis.
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The goddess was frequently portrayed on Cretan coinage, either as herself or as Diktynna, the goddess of Mount Dikte, Zeus' birthplace. As Diktynna, she was depicted as a winged goddess with a human face, standing atop her ancient mountain, grasping an animal in each hand, in the guise of Potnia Theron, the mistress of animals. By Hellenistic and Roman times, Britomartis was given a genealogical setting that cast her into a Classical context: > Britomartis, who is also called Dictynna, the myths relate, was born at > Caeno in Crete of Zeus and Carmê, the daughter of Eubulus who was the son of > Demeter; she invented the nets (dictya) which are used in hunting.Diodorus > Siculus, 5.76.3.
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Some modern sources, such as James Mellaart, Marija Gimbutas, and Barbara Walker, claim that Gaia as Mother Earth is a later form of a pre-Indo-European Great Mother, venerated in Neolithic times. Her existence is a speculation and controversial in the academic community. Some modern mythographers, including Karl Kerenyi, Carl A. P. Ruck, and Danny Staples, interpret the goddesses Demeter the "mother," Persephone the "daughter", and Hecate the "crone," as aspects of a former great goddess identified by some as Rhea or as Gaia herself. In Crete, a goddess was worshiped as Potnia Theron (the "Mistress of the Animals") or simply Potnia ("Mistress"), speculated as Rhea or Gaia; the title was later applied in Greek texts to Artemis.
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One game was not known as the writing that explained it could not be properly deciphered at the time of discovery. The cult addressed a xoanon (archaic wooden effigy) of malevolent reputation, for it was reputedly from Tauride, whence it was stolen by Orestes and Iphigenia, according to Euripides. Orientalizing carved ivory images found at the site show the winged goddess grasping an animal or bird in either hand in the manner of the Potnia Theron; half-finished ivories from the site show that their facture was local (Rose in Dawkins 1929:400). Pausanias describes the subsequent origin of the diamastigosis (ritual flagellation): > I will give other evidence that the Orthia in Lacedaemon is the wooden image > from the foreigners.
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The inscription engraved on one side says: "Euthycartides the Naxian made me and dedicated me". There is a set of large lion statues which are originals; of those reproduced outside on the Delos site. There is a Corinthian alabastron, which is a small, perfumed oil container with an artistic depiction of Potnia Theron, the lady of the beasts and protectress of hunting, among two swans. It was discovered in the Heraion along with similar Corinthian vases dating to the end of the 7th century BC. The Delos Archaeological Museum also has an archaic statue of a woman, found in the Sanctuary of Apollo dated to 580 BC. The statue represents a young woman standing, dressed in a tight peplos decorated in front with an incised vertical double meander.
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Werfel—who had married her mother in 1929 and no longer needed to be called by the euphemism "Onkel"—being well-versed in comparative religion, did not fail to notice the Potnia Theron-like associations as well as the attributes of a Christian saint such as St. Francis of Assisi. Manon, who had been baptized a Protestant, converted to Catholicism in 1932 and came under the influence of her mother's admirer, Fr. Johannes Hollnsteiner. It was during this time that Elias Canetti saw her and, like the composer Ernst Krenek and others in Alma's circle, wrote about his impressions of Manon in his memoirs. Canetti suggests Alma looked upon Manon as just another trophy, on a par with her three husbands and many possessions: > Hardly a moment later a gazelle came tripping into the room, a light-footed, > brown-haired creature disguised as a young girl, untouched by the splendor > into which she had been summoned, younger in her innocence than her probable > sixteen years.
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