[T]he ethnographic record shows that the vital labor women provide in foraging and horticultural economies does not usually give them social power comparable to men's…[D]iscrimination can be relatively minor, as it is among the Mbuti and San of Africa, where men are slightly more likely to participate in collective decision-making, but
there are also many glaring examples of male authority, dominance, and disproportionate prestige in foraging societies. Even in societies that lack class systems or political leadership, one can find fathers giving away their daughters, husbands beating their wives or having legitimate control over them sexually, men raping women without penalty, and men claiming a monopoly on the most significant forms of ritual power. [Bonvillain, Women and Men, 21, 29; Begler, "Sex, Status, and Authority," 585; Marjorie Shostak, quoted in Marvin Harris, "The Evolution of Human Gender Hierarchies: A Trial Formulation," in Miller, ed., Sex and Gender Hierarchies, 59; Turnbull, "Mbuti Womanhood," in Dahlberg, ed., Woman the Gatherer, 207, 210; Janssen-Jurreit, Sexism, 89. For general statements on male dominance in foraging societies, see Ronald Cohen, quoted in Leacock, "Women's Status," 258; Rosaldo, "Use and Abuse," 411-12.
Some feminist anthropologists and feminist matriarchalists, most notably Eleanor Leacock, have argued that none of these examples can be trusted to reflect what prehistory was like because the groups under observation had all already come under the unhealthy influence of the West. Before ethnographers had a chance to see them in their undefiled state, they had been missionized and colonized, or even been the victims of full-out imperialist conquest.
This argument fails on several grounds. First, some ethnographers have shown that Western contact has improved women's status in some cultures… Second, it is quite clear that male domination and/or violence against women predated Western contact in some cultures… And finally, the argument fails not only on empirical grounds, but on theoretical ones, since it is unclear how we might discriminate between "products of the colonial experience" and those that "bespeak a persisting tradition"… Without a preexisting theory to decide exactly what effect Western contact would necessarily have on gender relations -- or direct evidence of precontact life -- it is arbitrary to assign certain patterns (i.e., male dominance) to colonial influence and others (i.e., relative sexual equality) to aboriginal life.] …
[W]hatever women's work is, however valuable -- even crucial -- it may be to the local economy,
there is simply no correlation between the type, value, or quantity of women's work and women's social status…Who provided the labor that made the economic engine of the antebellum South run? Enslaved Africans. Did social power, authority, and respect accrue to them as a result? Hardly… those who hold power make others work for them. Economically speaking, the quickest index to social power would seem to be who is working least, not who is working most.
The fact that women work harder in horticultural societies should, if anything, arouse our suspicion that these cultures are dominated by men…
[M]en's work -- whatever it is -- tends to be more valued than that of women in foraging and horticultural societies… Men also tend to win greater prestige even when they engage in work identical to women's. For example, among the Trobriand Islanders, both men and women cultivate yams, but only men's yams are used as an object of exchange. In other words, while the content of men's work can vary, it seems to carry with it a characteristically male level of prestige… the vision feminist matriarchalists paint of hard-working women standing as the economic pillars of their communities, respected as tribal mothers by all, is not very plausible in light of what we know of contemporary foraging and horticultural societies…Women, especially in horticultural societies, often own land. In these societies, however, this is rarely a significant category of wealth. Land is quickly exhausted, and new land must be cleared. Thus the sense in which we tend to think of land -- as valuable, transferrable property -- has little to do with how most horticulturalists think of it: as a temporarily useful commodity, "owned" -- for whatever it's worth, which isn't much -- by those who cultivate it…
Among the Mundurucu of the Amazonian jungle, the principal horticultural product, farinha, is entirely under women's control; moreover, men give all the game they kill to women, who then decide to whom it will be distributed. And yet this is a group with gender relations that no feminist in her right mind could either envy or endure: women are expected to keep their eyes lowered and their mouths covered when in the company of men; they cannot venture outside the village alone without consenting -- in effect -- to being raped; decisions affecting the community are made in the men's house with no women present; men hold the monopoly on religious ritual, and any invasion of their domain is punished by gang rape (as are other infractions); and the dominant ideology is that women must be subordinate. [Rape and forced sex are so common among the Mundurucu that Mundurucu males joke "we tame our women with the banana" (Murphy, "Social Structure and Sex Antagonism," 95). Martin King Whyte undertook a cross-cultural investigation of relationships between women's control over the products of their labor and women's status in other spheres, and found them "generally very weak" (Status of Women, 145).]
In feminist matriarchal myth it is said that women enhanced their already high status in prehistoric times even further by inventing agriculture in the first place, extending their knowledge of plants to the deliberate cultivation of them. [Until very recently, it was quite common for cultural anthropologists and archaeologists, like feminist matriarchalists, to defend or at least proclaim the theory that women invented agriculture (see, for example, Durant, Story of Civilization, 8, 34; Haaland and Haaland, "Levels of Meaning," 299). Given that there is no evidence for this theory and no way to verify it, one has to assume that these scholars were mouthing the theory mainly to throw women a bone, especially after all of the major evolutionary advances of the human race had been handed over to "man the hunter."
The irony is that once women were accorded this leading role in agriculture, the Neolithic revolution began to be viewed as the proverbial fall from paradise rather than as the great switching point between a primitive, apelike existence and "civilization." This is a particularly sharp irony since one of the best things about foraging societies, according to many commentators, was the relative equality it offered to women. Thus women are now blamed for creating the conditions of their own oppression.]
There is no way to prove that women invented agriculture, and as speculative arguments go, this one is relatively weak. Men in foraging societies gather too -- in order to feed themselves when on long hunting expeditions, if not on a more regular basis -- so it seems likely that men had as much opportunity to familiarize themselves with plant life cycles as women did… More likely, the sexes worked together to introduce and perfect this technology. Indeed, agriculture has never been the preserve of women to the extent that hunting has been the preserve of men…In terms of raw measures of skeletal health, the change to agriculture was sometimes beneficial for women and sometimes not…
With the increased population density made possible by intensive agriculture came greater levels of social stratification. Unlike "egalitarian" societies, divided on lines of age and sex, these "complex" societies could be divided along class lines too: aristocrats and slaves, royalty and commoners, natives and foreigners, and so on… Women of the upper classes may have access to economic and political power that would have been unimaginable to men in simpler societies; on the other hand, women of the lower classes may be subordinated more completely than they ever could have been in "egalitarian" societies…
[T}here is no reliable connection between forms of subsistence and women's status. If there is one broad pattern regarding women's status, it is that it is lower than men's, whatever the prevailing economy or women's specific place in it. Within this generalization, however, there is a staggering amount of variation, from vague nuances of differential personal autonomy or authority to unmistakable sexual slavery. If ethnographic reports are any indication, then women's status prehistorically was variable, not uniform; in some places it was probably very good, while in other places it was probably horrific.
[War and Peace]Feminist matriarchalists also claim that prehistoric human societies were peaceful, a claim that is doubtful on both ethnographic and archaeological grounds. Warfare is common in ethnographic contexts at all levels of technological sophistication. And violent death -- probably not the result of accident -- is archaeologically attested for many prehistoric populations dating to the purported matriarchal era… Brian Hayden reports on mass graves from the European Neolithic containing as many as seven hundred skeletons, some with arrowheads embedded in their bones. Some archaeologists have even theorized that certain skeletal features from Minoan Crete indicate human sacrifice…
Gimbutas repeatedly insists that "no weapons except implements for hunting are found among [the] grave goods" in Old European burials; at times she goes further to say that "there were no weapons produced at all" by Old Europeans, or at least no "lethal weapons."… maces are present among Neolithic grave goods from Catalhoyuk to the Balkans, which, according to archaeologist David Anthony, are specialized "anti-personnel" weapons, of little use in hunting or splitting wood, but very effective at bashing in the skulls of other human beings… metallurgic technologies did not exist in most of the times and places feminist matriarchalists deem matriarchal. This raises the possibility that Old Europeans and other putatively matriarchal peoples had forms of weaponry and other technologies of warfare that have not survived in the material record. The Nantucket Whaling Museum in Massachusetts has an exhibition of weapons of war from the South Pacific, clearly identified as such by the people who brought them back to the United States. They are mostly enormous wooden clubs which would rot away in the earth long before we could dig them up. Some are inlaid with rows of sharks' teeth to better inflict injury. Such a weapon could well end up hundreds of years later as nothing more than a handful of sharks' teeth, which the unwitting archaeologist might interpret as jewelry or as a means of exchange…
Feminist matriarchalists often claim that Neolithic villages in Europe had no defensive fortifications. For example, Gimbutas argues that the "occasional V-shaped ditches and retaining walls" surrounding Old European villages were "structurally necessary." But other archaeologists, looking at the same or additional evidence, are quite certain that many of these settlements were designed to fend off attack from outside. David Anthony reports the use of deep ditches in Neolithic Europe, "backed by multiple lines of palisade walls with elaborate gate-like constructions," and dismisses the argument that they were "peaceful flood-control devices." Indeed, some of these ditches are filled with mass graves…Defensive fortifications would not have been necessary for groups that conducted their warfare on other people's territory…
The Mayas, whose cities were completely unfortified, were long thought to be "an unusually gentle, peaceful people living in a relatively benign theocracy." But as the Mayan writing system began to be deciphered and as new excavations were undertaken, a different picture emerged. Archaeologists found depictions of severed heads and bound captives and unearthed dismembered skeletons of sacrificial victims under public buildings. As archaeologist Arthur Demarest concludes on the basis of this new evidence, "the Maya were one of the most violent state-level societies in the New World."…[Prehistoric Art and Architecture]In theory, prehistoric art is similarly a window onto the subjective experiences of our ancestors, one not provided by the amount of strontium in their fossilized bones or the varying shapes of their flint blades.
What we lack for prehistory, however, is a trained observer, an insider who could translate prehistoric art for us. We effortlessly and accurately read most of the images we stumble across in everyday life, but we may forget how much we had to learn to attain this interpretive mastery.
Years of enculturation lie behind our ability to decipher the visual images we encounter. When images are divorced from most other markers of culture (such as language and behavior), as they are for prehistoric societies, accurate interpretation becomes extremely difficult.
If we know anything about artistic conventions, it is that they are conventions, and as such they may have only an oblique link to "real life." Some things rarely experienced are frequently imaged, and vice versa.
As Andre Leroi-Gourhan has noted, European heraldry is full of lions and eagles, though in the ordinary run of their lives, Europeans were vastly more likely to encounter cows and pigs; likewise, if women's magazines were my sole record of American culture, I might conclude that there were no fat people in twenty-first-century America. Cultures may neglect to represent all kinds of quotidian realities for a variety of reasons: they may consider these realities too banal to be worth portraying in art; they may wish to deny certain unpleasant realities about their lives and cultures; or they may think some matters too special or sacred to commit to a visual symbol. And even things that are routinely represented are open to misinterpretation by observers who lack the relevant knowledge to read it correctly. Carl Jung tells the story of a man who returned to India after a visit to England and told his friends that the English worshipped animals, because he had seen eagles, lions, and oxen portrayed in churches…
Patricia Reis, author of Through the Goddess, remembers stumbling across pictures of Paleolithic Venus figurines in an art book at a university library. As she recalls, "My body became electrified ... These objects held a haunting mystery filled with sacredness." It is hard to believe that any reaction that comes with such force and conviction could be simply mistaken, at least for the person experiencing it (strength of passion being notoriously easy to confuse with acuity of insight)…
The tendency among archaeologists today is to feel that, if anything, prehistoric art is less illuminating and more open to misinterpretation than other forms of prehistoric material evidence, particularly when it comes to the sensitive issues of gender and religion: Feminist matriarchalists, in contrast, believe they have a method which provides consistent, reliable, and indeed rather obvious interpretations of prehistoric art. To resist these interpretations, they often suggest, requires a willful blindness…
[Reading Symbols][F]eminist matriarchalists make liberal use of the assumption that a relatively stable set of cross-cultural meanings are attached to femaleness, and in turn to the symbols thought to represent it. This symbolic approach to prehistoric art allows feminist matriarchalists to accomplish two important tasks: first, they are able to extract broad, clear meanings from long-dead societies; and second, they
have a warrant not only to construe female anthropomorphic figurines -- the prime suspects for "goddesses" in prehistoric art -- but also everything from wavy lines to crosses as "a kind of universal female symbolism." [It is unquestionably Carl Jung, whose view of symbols has been absorbed by many feminist matriarchalists, who most influenced this method of deriving information from symbols. Gimbutas's first book on goddess symbology, The Gods and Goddesses if Old Europe [1974], explicitly drew upon the work of Erich Neumann, one of Jung's disciples.]
This symbolic code leads feminist matriarchalists to speak as though there were no relevant differences between the essential focus of religion in Siberia in 27,000 BCE and Crete in 1500 BCE. They usually treat all of prehistoric Europe and the Near East as if it were a single cultural complex, viewing cultural variations as an epiphany of the multiplicity of the goddess rather than as evidence of distinctive religious beliefs or systems of social organization.
This is a very long time and a very large area for a single religion to dominate… the cultures from which feminist matriarchalists draw their symbolic examples of goddess religion do not overlap either chronologically or geographically…
There is a dramatic difference, for example, between "the figurine and clay-rich archaeological record of Neolithic Southeast Europe" and the several millennia during which the British Neolithic apparently failed to produce a single female figurine. [The lack of anthropomorphic art from prehistoric Britain and northwest Europe that might support the thesis of goddess religion has long been a thorn in the side of matriarchalists, so much so that someone apparently decided to remedy the situation with a forgery placed in a Neolithic flint mine in Norfolk in 1939. This "Grimes Graves Goddess" was immediately greeted as proof that Britons, like their prehistoric contemporaries, worshipped a great mother goddess.]Some symbols are chosen for their supposed analogy to portions of the female anatomy: the chalice, as a container, is said to stand for the womb; the mouth of a cave for the goddess's vagina. Others, such as lions, are determined to be goddess symbols because they are repeatedly (or sometimes only once) seen partnered with female figures in prehistoric art.
The list of symbols that are supposed to make us suspect "that a matristic consciousness was operative in a culture if they are found in that people's relics" is alarmingly long:bears; phalli; zigzags; lions; women; spirals; bulls; eggs; parallel lines; bison; trees; meanders; deer; lush vegetation; tri-lines; horses; pomegranates; Xs; goats; apples; Vs; pigs; the moon; hooks; dogs; the sun; crosses; hedgehogs; stones; chevrons; birds (hawks, owls); shells; swastikas; snakes; caves; lozenges; toads; storehouses; halved lozenges; turtles; pillars; hooked lozenges; fish; labyrinths; ovals; bees; wells; triangles; butterflies; cauldrons; circles; snails; chalices; dots; eyes; nets; hands; rings
This proliferation of purported goddess symbols makes it possible to find evidence of goddess worship in virtually every scrap of prehistoric art. Even the simplest of signs can shout "goddess." Gimbutas, for example, relishes the fact that the stamp seals of Old Europe are "almost all ... engraved with either straight lines, wavy lines or zigzags," which she interprets as a water and rain symbolism attributable to goddess religion. Reaching even farther, Rachel Pollack claims that "the oldest carefully marked object," an ox rib found in France dating to 200,000 to 300,000 BCE, about six inches long and incised with "a pair of curved parallel lines" (visible under a microscope), is "precisely that image" that appears repeatedly in "later Goddess art"…
Rachel Pollack notes that there are goddess images "that are almost universal, such as the cross or the spiral," but she never points out the obvious: that these are very simple images to draw.
They may mean nothing -- prehistoric doodles -- or they may mean very different things in different cultures. Even more importantly, symbols may have no analogical link at all to that which they are supposed to symbolize, just as the numeral 7 means seven, though there is nothing in the shape of the numeral itself to suggest the number seven. In some cases, we cannot even be sure what the symbols we find in prehistoric art are supposed to be (if anything), let alone what meanings they may carry…[Paleolithic Cave Art]Feminist matriarchalists are comparatively uninterested in the animal representations in Paleolithic cave art, and even in the engraved female figures. What draws their attention instead are the schematic designs, which they interpret as "vulva symbols." Feminist matriarchalists are not the first to advance this theory. In 1910, the Abbe Breuil, a French priest who began interpreting Paleolithic art at the age of fourteen, was asked to comment on the meaning of some engraved marks on two limestone blocks recovered from the site of Abri Blanchard in southern France. He immediately labeled them "pudendum muliebre." Indeed, an early observer, L. Didon, describes Breuil as having "recognized vulvas without hesitation," operating "with the completely unique skill in deciphering prehistoric mysteries characteristic of him." Most archaeologists in the twentieth century followed Breuil's lead,
finding vulvas everywhere in Paleolithic art…."squared vulva," "bell-shaped vulva," "broken, double vulva," and "atypical vulva." Vulvas have even been discovered in a single straight line ("an isolated vulvar cleft")…While Leroi-Gourhan admits that many of these symbols are "extremely stylized," he nevertheless insists that most of the wide signs "are quite realistic depictions of the female sexual organ" …
These wide signs turn up in some odd places -- for example, in the wounds on animals and in the guts spilling from a disemboweled bison -- but Leroi-Gourhan does not hesitate to identify them everywhere as vulvas…
Feminist matriarchalists have enthusiastically embraced the interpretive scheme that sees the walls of Paleolithic caves plastered with disembodied vulvas. For feminist matriarchalists, "the vulva is preeminently a symbol of birth, representing beginnings, fertility, the gateway to life itself," and its presence in cave art indicates that Paleolithic peoples valued birth, death, and rebirth…
For feminist matriarchalist purposes, Paleolithic vulva images must not be pornographic, for then they are by definition objectifying and oppressive to women. But they must be sexual, for sex is good in matriarchalist terms… [Marija Gimbutas, interestingly, is an exception to this rule. She freely claims that though prehistoric art is full of disembodied vulvas and naked women graphically displaying their genitals, it is not "about" sex. Sounding quite puritanical, Gimbutas happily gives up the sex-is-good rule of feminist matriarchal myth in deference to saving prehistoric art for a chaste religious form of goddess worship.] The solution to this conundrum is typically to assert the sexuality of Paleolithic images, but to insist that they are completely unlike pornography. "In fact," says Riane Eisler, "the contrast between these two kinds of sexual images is so striking they almost seem to come from different planets."… When high school boys spray paint vulvas on her front steps, novelist Barbara Kingsolver is confident that "their thoughts were oh so far from God," but when confronted with the same images from prehistoric Europe, she knows them to be an expression of "awe" for "female power." How do we know that the caves of Paleolithic Europe were not more like Barbara Kingsolver's front steps?...Sarah Milledge Nelson says that many of them look more like molar teeth than anything else…
[Decoding Anthropomorphic Art][i]t is important to recognize that many of the figurines that feminist matriarchalists declare to be representations of the goddess are not obviously divine, female, or, in some instances, even human. For example, Marija Gimbutas titles a figure from Starcevo "an early loom-weight in the form of the Goddess" ... This object has no arms, legs, or neck, and only dashes for eyes, a hole for a mouth, and a pinched nose: its face could belong to either gender or to a wide range of nonhuman animals. Similarly, Buffie Johnson discusses an "amulet of the buttocks silhouette" recovered from Paleolithic Germany ... Though this 1-3/4 inch sculpture has no head and no arms,
Johnson asserts that wherever "an arc and a straight line" combine to form a "P shape," one is viewing the "exaggerated egg-shaped buttocks" of the goddess…
Even more questionable than the assignment of humanity to abstract line drawings or sculptures is the classification of virtually all anthropomorphic images as female…There are also
prehistoric images that appear to purposefully combine male and female sexual characteristics, including Neolithic figurines said to have a "tall, phallic neck and head," which are described by feminist matriarchalists as "phallic goddesses."… As Gimbutas explains, these images "do not represent a fusion of two sexes but rather an enhancement of the female with the mysterious life force inherent in the phallus." Impressively then, even what one might think to be the most obvious signifier of maleness -- the penis -- is assimilated to femaleness in some feminist matriarchalists' interpretation of prehistoric anthropomorphic images…In spite of its striking resemblance to a phallus, feminist matriarchalists label the Dolni vestonice baton an "abstract female with breasts," "shaft with breasts," or "ivory rod with breasts," and describe it as a "portable shrine," an image of "nurturance reduced to its stylized essence"…
Feminist matriarchalists also routinely take note of the existence of "breast pendants" or "breast beads" from Paleolithic Europe. Gimbutas describes these as an "abstract rendering of the female principle," composed solely of "two breasts at the base of a conical neck." This has long been the standard archaeological reading of these images, but archaeologist Alice Kehoe points out that the back of the pendant "exhibits a carefully carved projection through which is a hole," which Kehoe suspects "was designed for a suspension string."
When hung on a string the "breast pendant" seems instead "to be an erect human penis and testicles"…[A] "seated figure" from Late Neolithic Cyprus viewed from the back appears strikingly phallic. But the top view could be read as a vulva, and from the front or side, it resembles a seated figure with bent knees and tiny feet. Its sexual ambiguity could be an intentional statement of its artist, or, quite plausibly, it may be an artificial penis, equipped with a convenient handle…
Feminist matriarchalists would object to this interpretation not so much because they find a prehistoric image of a phallus difficult to incorporate into their picture of goddess-oriented prehistory (we have seen that this is not the case), but because a dildo is not immediately apprehended as a sacred object. And
for feminist matriarchalists, everything in prehistoric art -- and indeed all of prehistoric life -- is sacred, practically by definition….Gimbutas… seems to view every cup as a ritual vessel for pouring libations to the goddess…[F]rom the island of Madagascar, ethnographers tried for years to decipher the deep symbolic meaning of the low reliefs of geometrical patterns which the Zafimaniry people carve into the wooden shutters and posts of their homes. When asked, informants proved refractory, insisting that "they were pictures of nothing," that they were merely making "the wood beautiful."…
[Paleolithic Venus Figurines]From the time they were first discovered, Paleolithic Venuses were classified as "fertility fetishes" or "goddess figurines." This basic interpretation of Paleolithic Venuses -- that they are religious in character and concerned with fertility -- has been remarkably persistent among archaeologists, though it has been losing ground over the past few decades as feminist archaeologists have critiqued it…
The most conspicuous problem with regarding the Paleolithic Venuses as symbols of fertility is that they rarely show signs of pregnancy, childbirth, or lactation …Gimbutas refers routinely to the goddess's "regenerative buttocks," as though buttocks were somehow actively involved in pregnancy and childbirth.The fatness of the Paleolithic Venuses has been long commented upon… Some speculate that it is a reflection of "the community's concern about hunger"; others say that the Venuses are merely straightforward depictions of the women of the time, who happened to be fat. Still others suggest that the Venus is a "Pleistocene pinup or centerfold girl."…
Just what the Paleolithic Venuses signified to those who created them is an irresolvable question…[Neolithic and Cross-Cultural Figurines]Though agricultural societies have an active, understandable concern for the fertility of their land and sometimes invoke goddesses in this regard,
we have no record of a group that assigns the sole power for agricultural fertility to females or goddesses. Indeed, the goddesses at the head of fertility cults in classical times -- such as Ceres and Proserpina in Rome -- were believed to bestow human rather than agricultural fertility…[A]mong the Choco of Colombia, shamans will surround their patient with anthropomorphic figurines (sometimes as many as twenty of them) who represent the shaman's spirit-helpers. Since new figurines must be made for every curing ritual and old ones are disposed of unceremoniously, such a theory, if it were true for the Neolithic, would explain why so many figurines are found in garbage middens. It would also explain the continuum between rough, unfinished pieces and more polished ones, since, among the Choco, figurines will be made very quickly in an emergency, while they will be constructed far more carefully in the case of a lingering illness when time is not such an issue.
Female figurines have also been assigned protective or magical functions in some cultures. Among the Seneca around the time of European contact, female figurines were buried with children, apparently to protect them in death. Female figurines have also performed teaching functions in various ethnographic contexts. They are sometimes associated with the initiation of boys, in addition to (or even exclusive of) girls. Elsewhere, anthropomorphic figurines have been used as dolls or children's toys. Actually, the Neolithic figurines fit many of the features seen in dolls cross-culturally: nudity, small size, sturdiness, and a disproportionate number of female and sexless figures…
[H]ow would we know these figurines to be divine? Several critics have noted that there is an inconsistency in viewing female images as representations of goddesses while interpreting male or animal images similarly placed as being merely men or animals. The fundamental problem of interpreting images that have been lifted from their original contexts particularly affects attributions of divinity. For example, a sixteenth-century print by Hans Brosamer shows a nude woman with luxurious hair and a possibly pregnant abdomen holding a lamp and a mirror while a man lies at her feet, gazing up at her with apparent awe … Those unaware of the image's context could well take it to be a representation of a beautiful, magisterial fertility goddess appearing to a man who responds in an attitude of thunderstruck adoration. However, the work's title, A Whore Venerated by a Fool, tells us that that it was intended to warn men against being taken in by women's sexuality…
Disproportionate imaging of females is a widespread (though not universal) phenomenon, in our Western cultures as well as others, and we know that it can coexist with male dominance…
[T]he worship of relatively invisible male deities accompanied by more visible female deities is a pattern found frequently in ancient times. The iconography of Mycenaean Greek religion is "overwhelmingly feminine," but written tablets reveal that a host of additional deities -- significantly, male deities -- were also worshipped. Similarly, ancient Mesopotamian art is rife with depictions of Ishtar, who is comparatively rare in texts, while numerous male deities discussed in texts have no "visual counterparts."…
[Catalhoyuk]The art of Catalhoyuk consists of plaster wall reliefs, wall paintings, and figurines either carved in stone or modeled from clay, radiocarbon dated to between 6500 and 5700 BCE… Wall paintings include depictions of animals and people; some are hunting scenes. Though females are occasionally present, it is always males who are actively involved in the hunt…
Female figurines are typically found at later levels of habitation, and earlier styles of figurines, both animal and "humanoid," do not persist to the latest levels. If the female figurines are representations of the goddess, one must assume that the earlier inhabitants of Catalhoyuk either did not worship her, or did not make icons of her. This in itself casts some doubt on the matriarchalist interpretation of the art of Catalhoyuk, since this site was in theory goddess-worshipping from the beginning…Increasingly, archaeologists are interpreting these figures as being of indeterminate sex. Ian Hodder points out that many of the plaster relief figures have "short stumpy arms and legs" which make them "look more animal than human." Recent excavations at other Neolithic sites in Turkey have revealed similar splayed figures, but these have tails and serpentlike teeth, strengthening the case for interpreting these figures as something other than human females…
Bucrania, or bulls' heads, are frequently found in the plaster reliefs at Catalhoyuk, usually consisting of cattle horns incorporated into plaster heads… Some feminist matriarchalists have responded to this apparently obvious evocation of masculinity by viewing it as evidence of the complementary balancing of the sexes in Neolithic times, or by conceptualizing the bull as the son of the goddess, mystically symbolizing "the regenerative power of the female." More recently though, matriarchalists have said that bulls have a central place in the imagery of Catalhoyuk because of an "accidental similarity" between a bull's head and the female reproductive organs…Marija Gimbutas describes the purported similarity of female internal reproductive organs and bucrania as "a plausible if esoteric explanation for the importance of this motif in the symbolism of Old Europe, Anatolia, and the Near East."… Feminist matriarchalists now routinely argue that bucrania are meant to emphasize not "the bull itself but the female reproductive system it invokes."… Fallopian tubes "are barely visible upon dissection" -- they certainly do not call to mind the size and sweep of the horns of cattle -- and bulls' horns lack any indication of ovaries.
Another common motif in the plaster reliefs of Catalhoyuk are the many "breasts" modeled around the skulls of vultures, foxes, and weasels, with "the teeth, tusks or beaks of the animals" protruding "where the nipples should be." A standard matriarchalist interpretation of these images is that they "represent both the nurturing and devouring nature of the Mother Goddess, in that all of her children eventually return to her." The suggestion that these are intended to represent breasts seems far-fetched…This plaster encasing may have been simply a convenient way for the people of Catalhoyuk to attach animal skulls to their walls, or a means of emphasizing teeth and beaks… [A] few points do seem clear: most of the images feminist matriarchalists regard as female (plaster reliefs, bucrania, "breasts" around animal skulls) are not definitely or even probably female; the images that are unequivocal representations of femaleness do not persist over the entire life of the settlement, suggesting that any goddess worship associated with female figurines was not a stable and enduring feature of Catalhoyuk's religion; hunting continued to be an important activity, in symbol if not in practice, and was strongly linked to men; and death was a prominent theme. None fit the picture feminist matriarchalists paint for prehistory…[Malta]Malta falls rather late in the chronology of matriarchal prehistory, flourishing between roughly 4000 and 2500 BCE. It is said by feminist matriarchalists to have survived in the face of patriarchal threats to its existence because of its enviable island locale…
The Maltese megalithic "goddesses" betray exceptionally little information about their sex. They could easily be female, or they could be male…It has long been thought that these megalithic temples, described by one archaeologist as "a group of chambers centering about a central spine composed of courts and corridors", are a later derivative of the earlier Maltese tombs, which were cut out of rock in ovoid shapes during the fifth millennium BCE.
Feminist matriarchalists claim that the floor plans of these temples replicate the body of the large stone statues. The multiple chambers are thought to form the goddess's head, arms, and legs (or, alternatively, her head, breasts, and hips), with entry through "the open legs of the Goddess." This interpretation has become very popular among feminist matriarchalists. "Just as a Christian worshipper enters a cathedral which represents the living body of the crucified Christ," writes Cristina Biaggi, "to enter a Maltese temple is to enter the living body of the Great Goddess."…
Certain of the Maltese temples, such as those at Ggantija, Gozo, or Mnajdra, have a floor plan that is a fair model of the human body as it is elsewhere portrayed in Maltese art and architecture … But other temples require a tremendous excess of interpretation to be regarded as anything remotely like a human body… Cristina Biaggi has described a rock formation common in this era in Malta -- an inverted trapezoid, as tall as 1.5 meters -- as a "pubic triangle," but the resemblance is invisible to anyone not looking for vulvas in virtually every geometric shape. In sum, the evidence for widespread goddess worship on Malta in the fourth and third millennia BCE is practically nonexistent…[Minoan Crete]Feminist matriarchalists sometimes say that the palaces of Minoan Crete, like the temples of Malta, replicate the body of the goddess on a grand scale. The palaces are "sited on a north-south axis facing a conical hill and beyond that a horned mountain containing a cave." According to Mimi Lobell, "the valley was her encircling arms; the conical hill, her breast or nurturing function; the horned mountain, her 'lap' or cleft vulva, the Earth's active power, and the cave sanctuary, her birth-giving womb." The resemblance is something less than striking: breasts typically come in pairs and horned mountains sound more phallic than vaginal, the caves notwithstanding…As classicist C.G. Thomas comments, "If the Procession Fresco were our only evidence for the position of Minoan women, we could give no answer. The subject is similar to that of the Parthenon frieze where Athenian maidens play a conspicuous role, and fifth century Athens was definitely not a matriarchal society."…
[N]o female figurines have been recovered from "a definitely ritual context" or from graves; most have been found, as earlier, in garbage heaps…[M]ales appear in characteristically different roles than females. The most common male image is of a "god" whom classical archaeologists sometimes name "Master of Animals," for he "holds two wild animals in a position of submission or subjugation" … In other pictures, males "hunt wild beasts" or engage in combat, unlike comparable females, who are typically shown "feeding or tending animals."…
What captures feminist matriarchalists' imagination more than all else, however, is elegantly-crafted figurines of the Minoan "snake goddess": a bare-breasted woman holding snakes in each of her hands … Feminist matriarchalists have devoted extensive attention to interpreting this figurine (which is unmatched in number of modern reproductions by any save the Venus of Willendorf), as can be seen in this passage from Anne Baring and Jules Cashford's The Myth of the Goddess:
The open bodice with the bared breasts is eloquent of the gift of nurture, while the caduceus-like image of intertwined snakes on the belly suggests that the goddess whose womb gives forth and takes back life is experienced as a unity .... The trance-like, almost mask-like expression ... composes a meditation upon this theme of regeneration .... The net pattern on her skirt, which gathers significance from its Palaeolithic and Neolithic ancestry, suggests she is the weaver of the web of life, which is perpetually woven from her womb. Her skirt has seven layers, the number of the days of the moon's four quarters, which divide into two the waxing and waning halves of the cycle .... Although seven was also the number of the visible "planets," this is probably a lunar notation of series and measure, so that sitting in the lap of the goddess, as the overlapping panel of her gown invites, would be to experience time supported by eternity, and eternity clothed in time. For the goddess, by virtue of holding the two snakes, is herself beyond their opposition; or rather, she is the one who contains the two poles of dualism and so prevents them falling apart into the kind of opposition that our modern consciousness assumes as inevitable…
Though this has been described as "a deity very popular in Minoan times," there are actually only two such figurines from the entire palace period in Crete, both uncovered from the same pit in the palace at Knossos… [Part of the reason the "snake goddesses" have been given such an exaggerated importance probably has to do with the eager reception they received when they were first discovered (one served as the frontispiece for the first volume of Sir Arthur Evans's Palace of Minos, published in 1921), and the fact that at least one, and probably several forgeries were successfully sold on the international antiquities market to museums.]
The art of Minoan Crete is certainly beautiful, but the divinity of the figures pictured is uncertain, and again we must ask what effect any Minoan goddess worship might have had on human women.
The evidence of sealstones indicates that hunting and combat were thought of as male activities, which is not suggestive of a peaceful cultural ethos. And though the frescoes show an unprecedented intermingling of the sexes and significant freedoms for women, they are no more than what we are accustomed to in our own culture, one which, according to feminist matriarchalists, is patriarchal…
[W]e are given precious little information about the status of either divine or human women in prehistory; it shows us nothing that would contradict the alternative hypothesis that male dominance flourished throughout the prehistoric times from which these works survive…