Tag Archives: Isis
by Lesley Jackson
Take any book of Ancient Egypt and look for Nephthys in the index, more likely than not it will read ‘see Isis and Nephthys’. Why isn’t Nephthys viewed as a goddess in her own right? She doesn’t appear to have been worshiped on her own and there is no evidence for any cult centre or temples dedicated to her.
At first glance Nephthys can appear as a passive victim and, dare I say, a bit too quiet and uninteresting. Does Nephthys personify the perpetually unappreciated or is she merely a shadow side of her globally recognised, illustrious sister Isis? Certainly she is seldom portrayed on her own and is usually mentioned in the same breath as Isis. They are referred to in terms such as the Twin Sisters and the Two Kites and are depicted as physically identical twins, distinguishable only by their headdress. A longer second glance is required to discern the essence of Nephthys.
by Barbara Barnett
This is a continuation of the article I started in the Autumn edition of Goddess Pages, on “21 Women”, a chapter in ‘Awakening Osiris’ by Normandi Ellis. In the Autumn edition I worked with the first ten of the women, seeking to learn more about them by allocating to each a path on the tree of life and a crystal correspondence. In this second part of the article I will work with the remaining eleven women.
The eleventh woman ‘interrogates a man’s soul’. She is the first of nine women who carry out this task. ‘She pierces a man with the flame of her eye.’ Her name is not known.
by Alex Chaloner
The esoteric philosophy of Helena Blavatsky and Alice A Bailey both advocated the idea of the seven rays. These mysterious rays have been described as “seven great divine Emanations, Aeons or Spirits”1 and “Seven Holy Ones, self-born from the inherent power in the Matrix of Mother Substance.”2 It is said that each ray holds a unique quality which manifests in the universe and throughout all of creation.
Earlier this year my organisation, Goddess Within, produced a ritual performance piece entitled “The Goddess and the Seven Rays”. The aim of the performance was to map the rays to well-documented Goddess archetypes and through their stories come to understand how these ray qualities manifest within human consciousness.
by Mary Frankland
These statues or paintings are usually described by the Roman Catholic authorities as images of the Blessed Virgin Mary depicted with a dark or black skin.
St Bernard of Clairvaux was a great devotee of the Mother of Jesus, and he wrote numerous hymns and sermons which he dedicated to her. He also wrote several sermons on the theme of the Song of Songs in which the Bride sings “I am black but beautiful, O daughters of Jerusalem." It is also possible that several Black Madonnas were originally images of the Goddess.
In his book, Cult of the Black Virgin, Ean Begg notes that in the early 1980s, “a pagan Black Virgin made according to ancient rites was venerated in the course of Druidic ceremonies at St Georges Nigremont.” I hope to present more evidence for the transition of these figures to Christian veneration during the course of this article.
by Rev. Karen Tate, Media Director
Temple of the Goddess
As the Media Director of Temple of the Goddess, I recently accompanied its Foundress and Director, Xia, to a presentation hosted by a cable television network, Charter Media. Charter had put out a call to a diverse range of religious organizations in the city to invite them to participate in a new cable program they were initiating called Faith. As we sat there listening to the intention of Charter, to bring spiritually uplifting messages to the airwaves, from all religious corners of southern California, we realized our dream and vision, years in the making, might soon be a reality. But were we really ready to fully step into the public spotlight?
By Anna McKerrow
by Theresa C. Dintino
Fascinating artifacts depicting beliefs about the Archetype of the Womb are bread ovens created in the shape of a pregnant human uterus, images of female hips as wide, encircling alchemical ovens and temples of worship that contain bread ovens as a focal point.
In the Neolithic Cucuteni culture of Eastern Europe we find profound illustrations of this concept. The Cucuteni culture (circa 4800-3500 BCE) located in areas of Romania, Russia where it is called Tripolye and Ukraine where it is Trypillia, was a pre-patriarchal culture that grew to enormous size and left a wealth of artifacts. Their ceramic pottery and designs are among the most elegant in human prehistory.
The largest Cucuteni village, Tal’noe, south of present day Kiev had up to 20,000 people and 1500 houses on 700 acres. Here, the earliest cultivation of cherry trees is found, as well as other orchards of fruit, and fields of cultivated grains. They raised cattle and pigs and engaged in hunting and fishing. Cucuteni villages were often circular with the tallest buildings positioned at the outer ring for protection from wild animals and a meeting place at the village center.