Summer Solstice :: Deity of the Sabbat :: Ishtar
The Babylonian Ishtar is a later form of the Sumerian Inanna and is a composite of many goddesses whose attributes and
characteristics she acquired as her cult spread through the ancient world. In various places, she was known under different
names, her parentage may change to suit the mythology of the area and selected attributes may be more pronounce than other
in accordance with the needs of the people. Universally, Ishtar is a strong-willed, aggressive, sexual, dynamic, feminine
goddess who is among the most powerful deities of a pantheon. She is regarded as a mother goddess comparable to the great
Isis of Egypt.
The cities of Babylon, Nineveh, Uruk and Erbil were Ishtar’s primary cult centers and her worship survived uprising and conquest through a three thousand year period. An Akkadian figurine from the Agade Period (c 2400 BCE) depicts Ishtar in an advanced state of undress, hands clasped over her breasts, illustrating the Descent of the Goddess, perhaps the most well known of the myths involving Ishtar. Both Sumerian and Babylonian versions of the tale survive on clay tables to explain the reason for the seasons and to illustrate the mystical journey of the goddess as she encounters the mysteries of life, death and rebirth.
The Sumerian tale, involving Inanna and her lover Dumuzi, is longer and more detailed and makes clear that Dumuzi, the shepherd god of vegetation must die and be reborn annually. The six months that Dumuzi spends in the Underworld are the barren months in the Upperworld, while the goddess mourns the loss of her lover even though it was she who sent him there. When the tale opens, Inanna descends into the Underworld, either to attend the funerary rites of her sister’s husband or to confront her sister and usurp her throne as Queen of the Underworld (depending on the version). Ereshkigal afflicts her sister with disease and hangs her corpse on a stick. Eventually, Inanna is restored to life and freed but she must find an individual to take her place in the Underworld. When she returns to the Upperworld with a retinue of demons hungry for a replacement she finds that Dumuzi has not been grieving for his lost love at all. Enraged, she orders the demons to take him in her place. After a time, a compromise is reached between Erishkigal and Inanna that allows Dumuzi to spend half of the year with each of them.
The Akkadian story, a version of which has been uncovered at the palace library of Nineveh, is one third the length of the earlier Sumerian tale and involved Ishtar and her brother/lover Tammuz, the god of vegetation. Ishtar descends to the realm of Ereshkigal and is again imprisoned and freed, but in this version, she does not have a choice as to who will be her replacement. At the end of the myth, directions are given for the enactment of funerary rites for Tammuz. The rites of Ishtar and Tammuz, known as the Taklimtu, took place in the month of Dumuzi (Tammuz), our June/July. During the ritual at Ninevah, a statue of the god was taken down, bathed, anointed with oils and prepared for the “funeral” when the vegetation god would descend into the Underworld and the fields would lay barren under the scorching summer sun.
The Myth of the Descent demonstrates Ishtar’s connection with the fertility of the earth and all its creatures and the
sexual aspect of her person is linked to the fecundity of nature as well. She is reputed to have had legions of lovers and
rites of sacred prostitution were enacted among her priestesses. Each New Year’s Day, a ritual marriage between the king
of every Sumerian city state and the goddess confirmed the worldly power structure and ensured the goddess’s blessing in
the new year. During the ritual, the text of which is seductive and intimate, the king assumed divine status and took the
role of Ishtar’s lover. As go the passions of the goddess, so goes the fertility of all of nature.
But Ishtar is also a celestial warrior, riding into battle, armed and ready to vanquish souls to the Underworld. The planet Venus, as the evening star represents Ishtar as a battle goddess. In this aspect, she is the daughter of Sin, the moon god and sister of Shamash, a solar deity who is listed among her lovers. Reliefs show the goddess with wings and a weapon case at her shoulder, carrying a bow. She may be accompanied by a lion, her emblem and sacred animal, or she may be depicted riding in a chariot drawn by seven lions.
At Uruk, thought to be the earthly home of the goddess, Ishtar is worshipped as a goddess of love, gentility and desire. Her father is Anu, the sky god and divine ruler of the worlds and her mother is Anat, the other goddess and Lady of Heaven. Ereshkigal, Queen of the Underworld is her sister and Tammuz is her brother and lover. Ishtar is referred to as the Star of Heaven and is associated with the planet Venus as a morning star as well as an evening star. The eight pointed star is a symbol of the goddess and doves may be counted among her sacred animals. In art, she may appear as a beautiful woman, dripping with jewelry, her hair done in an elaborate style with a crescent crown on her head.
After almost two thousand years of quiet, hidden reverence, Ishtar and Inanna are returned as archetypal mother goddesses whose rites and worship speak to many modern pagans. The Myth of the Descent is being read at Circles around the world, images of the goddesses grace altars again, their names are invoked for aid and comfort and they are honored as they once were, as goddesses of fertility, motherhood, childbirth, sensuality and sexuality, strength and courage, war, storms and the pursuit.
Ishtar's Many Names
Absusu, Abtagigi(She Who Sends Messages of Desire), Agasaya, Ashtart, Ashtoreth, Athar, Aya, Belti, The Bride, Dilbar (the war provoking Evening Star), Gamlat, Gumshea, Hanata, Inanna, Innini, Kilili (Queen of Harlots), Minu-anni, Nin-kar-zi-da, Nin-khar-sagga, Nin-si-anna, Ninkarrak, Ninkasi, Ninlil, Nintu, Queen of Heaven, Sharis, Shaushka, Shimti, Tamar, The Shrieker, Zanaru (Lady of the Islands), Zib (Evening Star that stimulates desire)
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