Inanna in the context of "Gilgamesh"

Aphrodite (/ˌæfrəˈdaɪtiː/ , AF-rə-DY-tee) is an ancient Greek goddess associated with love, lust, beauty, pleasure, passion, procreation, and as her syncretised Roman counterpart Venus, desire, sex, fertility, prosperity, and victory. Aphrodite's major symbols include seashells, myrtles, roses, doves, sparrows, and swans. The cult of Aphrodite was largely derived from that of the Phoenician goddess Astarte, a cognate of the East Semitic goddess Ishtar, whose cult was based on the Sumerian cult of Inanna. Aphrodite's main cult centers were Cythera, Cyprus, Corinth, and Athens. Her main festival was the Aphrodisia, which was celebrated annually in midsummer. In Laconia, Aphrodite was worshipped as a warrior goddess. She was also the patron goddess of prostitutes, an association which led early scholars to propose the concept of sacred prostitution in Greco-Roman culture, an idea which is now generally seen as erroneous.

A major goddess in the Greek pantheon, Aphrodite featured prominently in ancient Greek literature. According to many sources, like Homer's Iliad and Sappho's Ode to Aphrodite, she is the daughter of Zeus and Dione. In Hesiod's Theogony, however, Aphrodite is born off the coast of Cythera from the foam (ἀφρός, aphrós) produced by Uranus's genitals, which his son Cronus had severed and thrown into the sea. In his Symposium, Plato asserts that these two origins actually belong to separate entities; Aphrodite Urania (a transcendent "Heavenly" Aphrodite, who "partakes not of the female but only of the male", with Plato describing her as inspiring love between men, but having nothing to do with the love of women) and Aphrodite Pandemos (Aphrodite common to "all the people" who Plato described as "wanton", to contrast her with the virginal Aphrodite Urania, who did not engage in sexual acts at all. Pandemos inspired love between men and women, unlike her older counterpart). The epithet Aphrodite Areia (the "Warlike") reveals her contrasting nature in ancient Greek religion. Aphrodite had many other epithets, each emphasizing a different aspect of the same goddess or used by a different local cult. Thus she was also known as Cytherea (Lady of Cythera) and Cypris (Lady of Cyprus), because both locations claimed to be the place of her birth. Sappho's Ode to Aphrodite is one of the earliest poems dedicated to the goddess and survives from the Archaic period nearly complete.

Sacred prostitution, temple prostitution, cult prostitution, and religious prostitution are purported rites consisting of paid intercourse performed in the context of religious worship, possibly as a form of fertility rite or divine marriage (hieros gamos). Scholars prefer the terms "sacred sex" or "sacred sexual rites" in cases where payment for services is not involved.

The historicity of literal sacred prostitution, particularly in some places and periods, is a controversial topic within the academic world. Historically mainstream historiography has considered it a probable reality, based on the abundance of ancient sources and chroniclers detailing its practices, although it has proved harder to differentiate between true prostitution and sacred sex without remuneration. Beginning in the late 20th century, a number of scholars have challenged the veracity of sacred prostitution as a concept, suggesting that the claims are based on mistranslations, misunderstandings or outright inventions of ancient authors. Authors have also interpreted evidence as secular prostitution administered in the temple under the patronage of fertility deities, not as an act of religious worship by itself.

In ancient Mesopotamian mythology, the Bull of Heaven is a mythical beast fought by the King of Uruk Gilgamesh. The story of the Bull of Heaven is known from two different versions: one recorded in an earlier Sumerian poem and a later episode in the Standard Babylonian (a literary dialect of Akkadian) Epic of Gilgamesh. In the Sumerian poem, the Bull is sent to attack Gilgamesh by the goddess Inanna for reasons that are unclear.

The more complete Akkadian account comes from Tablet VI of the Epic of Gilgamesh, in which Gilgamesh refuses the sexual advances of the goddess Ishtar, the East Semitic equivalent of Inanna, leading the enraged Ishtar to demand the Bull of Heaven from her father Anu, so that she may send it to attack Gilgamesh in Uruk. Anu gives her the Bull and she sends it to attack Gilgamesh and his companion, the hero Enkidu, who slay the Bull together.

Sin (/ˈsiːn/) or Suen (Akkadian: 𒀭𒂗𒍪, EN.ZU) also known as Nanna (Sumerian: 𒀭𒋀𒆠 ŠEŠ.KI, NANNA) is the Mesopotamian god representing the moon. While these two names originate in two different languages, respectively Akkadian and Sumerian, they were already used interchangeably to refer to one deity in the Early Dynastic period. They were sometimes combined into the double name Nanna-Suen. A third well attested name is Dilimbabbar (𒀭𒀸𒁽𒌓). Additionally, the name of the moon god could be represented by logograms reflecting his lunar character, such as 30 (𒀭𒌍), referring to days in the lunar month or U₄.SAKAR (𒀭𒌓𒊬), derived from a term referring to the crescent. In addition to his astral role, Sin was also closely associated with cattle herding. Furthermore, there is some evidence that he could serve as a judge of the dead in the underworld. A distinct tradition in which he was regarded either as a god of equal status as the usual heads of the Mesopotamian pantheon, Enlil and Anu, or as a king of the gods in his own right, is also attested, though it only had limited recognition. In Mesopotamian art, his symbol was the crescent. When depicted anthropomorphically, he typically either wore headwear decorated with it or held a staff topped with it, though on kudurru the crescent alone serves as a representation of him. He was also associated with boats.

The goddess Ningal was regarded as Sin's wife. Their best attested children are Inanna (Ishtar) and Utu (Shamash), though other deities, for example Ningublaga or Numushda, could be regarded as members of their family too. Sin was also believed to have an attendant deity (sukkal), Alammuš, and various courtiers, such as Nineigara, Ninurima and Nimintabba. He was also associated with other lunar gods, such as Hurrian Kušuḫ or Ugaritic Yarikh.

The Uruk Trough is an important Sumerian sculpture found at the site of Uruk, Iraq. It has been part of the British Museum's collection since 1928. Along with the Uruk Vase, the trough is considered to be one of the earliest surviving works of narrative relief sculpture from the Middle East, dating to 3300–3000 BC, during the Uruk period. Simple relief sculpture is known from much earlier periods, from the site of Göbekli Tepe, dating to circa 9000 BC.

It is thought to have served as some sort of cult image in the temple of the goddess Inanna. The carving depicts a procession of sheep, but the meaning of this scene is unclear.

The Mask of Warka (named after the modern village of Warka located close to the ancient city of Uruk), also known as the Lady of Uruk, dating from 3100 BC, is one of the earliest known representations of the human face. The carved white marble female face is probably a depiction of Inanna. It is approximately 20 cm (8 inches) tall, and was probably incorporated into a larger wooden cult image, though it is only a presumption that a deity is represented. It is without parallels in the period. It is in the National Museum of Iraq, having been recovered undamaged after being looted during the United States invasion of Iraq in 2003.

It could depict a goddess. Inanna has been suggested. Shells may have served as the whites of the eyes, and a lapis lazuli, a blue semi-precious gemstone, may have formed the pupils.

The Vorderasiatisches Museum (German: [ˈfɔʁdɐ.ʔaˌzi̯atɪʃəs muˈzeːʊm], Near East Museum) is an archaeological museum in Berlin. It is in the basement of the south wing of the Pergamon Museum and has one of the world's largest collections of Southwest Asian art. 14 halls distributed across 2,000 square meters of exhibition surface display southwest Asian culture spanning six millennia. The exhibits cover a period from the 6th millennium BCE into the time of the Muslim conquests. They originate particularly from today's states of Iraq, Syria and Turkey, with singular finds also from other areas. Starting with the Neolithic finds, the emphasis of the collection is of finds from Sumer, Babylonia and Assyria, as well as northern Syria and eastern Anatolia.

Excavations in historically important cities like Uruk, Shuruppak, Assur, Hattusha, Tell el Amarna, Tell Halaf (Guzana), Sam'al, Toprakkale and Babylon built the foundation of the museum's collection. Further acquisitions came from Nimrud, Nineveh, Susa and Persepolis. The museum shows finds from the cultures of Sumer, Akkad, Babylonia, Assyria, the Hittites and the Aramaeans. These finds often found their way to Berlin via the German Oriental Society. In 1899, the Middle East Department at the royal museums was created. In 1929, they were provisionally accommodated in the Bode Museum and the Pergamon Museum, where they have been accessible to the public since 1930. During the Second World War, there were hardly any war-related losses. The mobile exhibits, which were taken as art spoilage to the Soviet Union, were returned to East Germany in 1958. The collection had already opened again as the Vorderasiatisches Museum in 1953.

Anahita /ɑːnəˈhiːtə/ is the Old Persian form of the name of an Iranian goddess and appears in complete and earlier form as Aradvi Sura Anahita (Arədvī Sūrā Anāhitā), the Avestan name of an Indo-Iranian cosmological figure venerated as the divinity of "the Waters" (Aban) and hence associated with fertility, healing and wisdom. There is also a temple named Anahita in Iran. Aredvi Sura Anahita is Ardwisur Anahid (اردویسور آناهید) in Middle and Modern Persian, and Anahit in Armenian. An iconic shrine sects of Aredvi Sura Anahita was, together with other shrine sects, "introduced apparently in the 4th century BCE and lasted until it was suppressed in the wake of an iconoclastic movement under the Sasanids." The symbol of goddess Anahita is the Lotus flower. Lotus Festival (Persian: Jashn-e Nilupar) is an Iranian festival that is held on the end of the first week of July. Holding this festival at this time was probably based on the blooming of lotus flowers at the beginning of summer.

The Greek and Roman historians of classical antiquity either refer to her as Anaïtis or identify her with one of the divinities from their own pantheons. 270 Anahita, a silicaceous S-type asteroid, is named after her. Based on the development of her sect, she was described as a syncretistic goddess, who was composed of two independent elements. The first is a manifestation of the Indo-Iranian idea of the Heavenly River who provides the waters to the rivers and streams flowing in the earth while the second is that of a goddess of uncertain origin, though maintaining her own unique characteristics, who became associated with the sect of the ancient Mesopotamian goddess Inanna-Ishtar. According to one theory, this arose partly from a desire to make Anahita part of Zoroastrianism following the diffusion of her sect from the extreme northwest into the rest of Persia.