Once upon a time… 5000 years ago a civilization completely controlled by women who worshiped the Goddess Ishtar (or Inanna), the Mesopotamian predecessor of our divine goddess Venus, developed on the land between the Tigris and Euphrates rivers in the Middle East.
Our archaeologists sisters are clear about it: the Goddess Ishtar, or Inanna, comes from a baubo (figure of the vulva) possibly of Indian origin, due to the turban that appears on her head, and was the precedent of our Goddess Venus and the Goddess Hathor of Egypt as we can see in this icon that represents her as a nude female figure. In both hands it holds the female symbol that would later evolve into the “Ankh ☥” in Egypt and the Venus symbol ♀ in Greece and Rome. On its head it wears the famous dulband دلبنت or sacred turban of Indian origin (as we have already mentioned) used to symbolize a divine connection with the stars, and thus certify the divine meaning of the icon: it is a goddess beyond a simple stone figure. The expression on its face shows us determination, security and strength of character, typically feminine features. Bracelets, necklaces, and noble metal ornaments appear on the figure’s wrists, as well as on his neck and chest, with them it is intended to symbolize the fact that women must control and decide on the material goods of the community, and (as representative of the goddess Ishtar) only women have the right to possess goods and wealth.
The wings that appear on the icon’s back teach us the intuitive power that women naturally have. Like any bird from above, the woman can see everything and nothing can be hidden from her because her feminine intuition always discovers any secret or lie. Then we are struck by the good definition and depth of the navel, our sisters believe that it symbolizes the passage of matriarchy through time and from generation to generation: from mothers to daughters and from grandmothers to granddaughters, since the navel represents the sacred union with our mother and, therefore, with her wisdom and teaching. The belly gives way to the mons pubis, which together with the mark of the vulva and the groin form a balanced and symmetrical set. According to the sisters historians, this symbolizes the balance of matriarchy, the power of women is based on wisdom and female intelligence that manages to create a balance between nature and humanity, so that man accepts his condition of being inferior and his obligation moral and natural to submit to women as beings of semi-divine condition. To the side and side of the figure of the Goddess Ishtar, two owls appear as a symbol of wisdom and intelligence, they represent the suitability of female decisions. It does not matter what decision a woman can make, because whatever she decides (either the left or the right) will be the right thing to do, since women are wise and intelligent by nature.
To finish we see that the figure of the Goddess Ishtar has owl claws, instead of feet, and these are nailed on the back of two lions that look directly at the observer. In Mesopotamia, lions (completely useless animals) symbolized men, the fact that, in the icon, these animals are immobilized by the claws of the Goddess Ishtar sends us a clear message: “Women must always subjugate man without rest, no matter what type of man he is: docile or rebellious (2 lions), females should not give him a moment of rest, not a second of freedom “.
The gaze of the lions, fixed on the observer, wants to emphasize the importance of this message and appeals directly to the male: “Listen, man, you are looking at me: your destiny is to be subdued by the woman, be constantly dominated by her, and accept her natural superiority “.
To conclude, we see how the figure has three claws on each leg plus a spur (or appendix) on the calf (below the knee) adding we see eight small limbs as the star of Venus has eight points, a further proof of that Ishtar is the predecessor of our holy Goddess Venus.
Queen Semiramis was the most famous woman in the entire history of Mesopotamia, founder of the city of Babylon, whose legendary origin shows us the character of the sovereign and at the same time teaches us how to subdue man: according to legend, Semiramis led a nomadic matriarchal community when, together with her sisters explorers, she discovered a village on the banks of the Euphrates River (32°32′30″N 44°25′54″E). The queen immediately realized the suitability of the place to build the capital of her empire, but there was a problem: the town was a deeply patriarchal community in which men had enslaved women, so Semiramis and her sisters had to subdue the town to reverse the situation. Disguising themselves as merchants, they infiltrated the villagers and made contact with local women, teaching them the virtues of matriarchal power and the advantages of subjugating men. After a week all the women of the town together with the sisters of Semiramis, heading her the revolt, stood in front of the male power invading the palace of the patriarch, King Ninus, when he saw how the situation was, he had no choice but to kneel in front of Semiramis and kiss her feet as a symbol of submission. Automatically all the men in the village did the same and in this way Semiramis subdued the men and freed the women without the need to use weapons or violence. The artist sisters reflected in paintings the deed of the queen representing her next to the walls of Babylon, on horseback, with her breasts in the air and hunting a lion (symbol of masculine power and patriarchy) with a bow and arrow.
Once in power, Semiramis devoted all his efforts to founding the most modern city of the time, in which he made history by building spectacular and magnificent works such as the famous Hanging Gardens of Babylon, one of the seven wonders of the ancient world, engineering works like the tunnel under the Euphrates River. In addition to the great Babylon, Semiramis was responsible for erecting dozens of cities throughout her extensive matriarchal empire, extending it even as far as Ethiopia and India. The sovereign established the cult of the goddess Ishtar, as a spiritual guide for women who lived happily and joyfully in that feminine paradise. It is said that the girls and women played music, laughed and danced freely in very light dresses and often showing their feminine attributes and their bodies with total freedom, pride and happiness as shown in the pictorical works of that time. In addition, women also appear walking lions tied with a leash to represent the submission of men. During all her life Semiramis became famous, in addition to performing the most spectacular and wonderful works of the ancient world, for defending her matriarchal reign with all her forces, taking up the sword and putting her own life at risk, without thinking twice, always that it was necessary. Her courage, character and feminine strength made her famous all around the East and very soon Queen Semiramis was feared by all the patriarchal communities of Asia.
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Painting, music, dance … Mesopotamian women were famous for mastering all the arts thanks to the policies of cultural development that the matriarchal reign of Semiramis implemented throughout the empire. It was very common to see groups of women dancing, playing instruments while laughing and enjoying themselves with total freedom. The female body was considered a treasure, a magnificent gift from the holy goddess Ishtar. That is why women taught it naturally and without complexes. From a very young age, girls learned to love themselves, to have self-confidence and to be protagonists of their own lives, as well as to care for and value their female body as something very precious, valuable and important, their mothers and grandmothers took care of it.
All matriarchal goddesses (including the divine Venus) come from the Goddess Ishtar (or Inanna). With the passage of time, the way in which it was represented changed, for example some matriarchal cultures changed the shape of the sacred turban and eliminated important elements such as wings, owls or lions that appeared prostrate at their feet. The endemic evolution of each matriarchal community brought out multiple representations of the sacred goddess. Our sisters believe that the disappearance of the lions was due to the complete submission of men to feminine power, as the masculine character disappeared completely, women stopped considering men as a threat and decided to stop representing lions prostrate to the feet of the goddess and with the claws of this nailed in the back. In addition to the lions, the disappearance of the owls and wings gave way to figures in which the goddesses explicitly enhance their breasts, and the female hips appear visibly accentuated. Surely the woman understood, over the centuries and as a result of the full extension of matriarchy as the dominant social form all around the world, that her power was not in heaven but in her own female body, themselves, through the simple fact of being born women, they were already powerful enough to achieve any goal and any feat. In spite of all these changes, some communities maintained the divine connection with the stars, some icons of goddesses appear with a ball (symbolizing the planet Venus) in the left hand and a quarter of a waning moon on their head. What did not change over the years was the habit of representing goddesses wearing noble metal jewelry and precious stones. It is a sample of the importance of women continuing to possess material wealth and absolute power in the communities.
Attention: Our sisters restorers of art have been able to restore the two paintings and the bronze figure that our sisters archaeologists found on the banks of the Euphrates River, very close to the site of the city of Babylon. In the first painting we can see how four young women worship the Goddess Ishtar in her later representation. The young women worship the goddess with the traditional ritual, barely dressed in a fine thong. In the other painting we see the Goddess Ishtar symbolized, holding two lions tied with a leash, in front of an altar located on the Moon. The altar appears crowned with the eight-pointed star (star of Venus), which makes us think that this symbol (the star of Venus) already appears in force at that time as part of the matriarchal iconography. Finally, the bronze figure represents a female figure, not divine, with outstretched arms to which it has attached enormous wings. The sisters think that this artistic work pretends to represent the enormous power of the Mesopotamian empire and the greatness of the matriarchal reign of Semiramis, the all-powerful sovereign.
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