{"id":640,"date":"2016-01-08T04:19:49","date_gmt":"2016-01-08T04:19:49","guid":{"rendered":"http:\/\/a8c.828.myftpupload.com\/?page_id=640"},"modified":"2024-02-09T23:25:56","modified_gmt":"2024-02-09T23:25:56","slug":"inspiration","status":"publish","type":"page","link":"https:\/\/ayuriart.com\/?page_id=640","title":{"rendered":"Inspiration"},"content":{"rendered":"<section  class='av_textblock_section av-loltiaoz-e865180ea81487a5189a00bcad9c29b9 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2 style=\"text-align: center;\"><span style=\"color: #999999;\">Inspiration<\/span><\/h2>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-nmwfs-3614dbc8b435fd920cd949d66975874c\">\n#top .hr.hr-invisible.av-nmwfs-3614dbc8b435fd920cd949d66975874c{\nheight:90px;\n}\n<\/style>\n<div  class='hr av-nmwfs-3614dbc8b435fd920cd949d66975874c hr-invisible  avia-builder-el-1  el_after_av_textblock  el_before_av_one_third '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-1sfi1c-a97d08076e02553e7e3daf2b7fb4395f av_one_third  avia-builder-el-2  el_after_av_hr  el_before_av_two_third  first flex_column_div  '     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lolsx722-9b746dddad9b62cae3192fbd39f74752\">\n.avia-image-container.av-lolsx722-9b746dddad9b62cae3192fbd39f74752 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lolsx722-9b746dddad9b62cae3192fbd39f74752 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lolsx722-9b746dddad9b62cae3192fbd39f74752 av-styling- avia-align-center  avia-builder-el-3  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-643 avia-img-lazy-loading-not-643 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/tintinnabula1.jpg\" alt='' title='tintinnabula[1]'  height=\"300\" width=\"255\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-1ltnjc-9cdf2abf6efc620b9623eae11f0ee11d av_two_third  avia-builder-el-4  el_after_av_one_third  el_before_av_one_third  flex_column_div  '     ><section  class='av_textblock_section av-lolsw0y5-df6d320e537c8a809cf5be7121685d25 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Bronze phallus with bells (<em>tintinnabulum<\/em>) from Herculaneum.<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Combining the male organ with bells doubled its protective powers. <\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">First century B.C.- first century A.D. Bronze, 5 3\/4 in. From the Pornographic Collection, Museo Archelogico Nazionale, Napales, Italy.<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-crp3s-1961f4183d727ba9ccdc0cdd849374dc av_one_third  avia-builder-el-6  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-loltbt7i-fb27a06092822872bc85fbd8292e7a08\">\n.avia-image-container.av-loltbt7i-fb27a06092822872bc85fbd8292e7a08 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-loltbt7i-fb27a06092822872bc85fbd8292e7a08 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-loltbt7i-fb27a06092822872bc85fbd8292e7a08 av-styling- avia-align-center  avia-builder-el-7  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-649 avia-img-lazy-loading-not-649 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/hqdefault1.jpg\" alt='' title='Witkin'  height=\"360\" width=\"480\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/hqdefault1.jpg 480w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/hqdefault1-300x225.jpg 300w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/hqdefault1-448x336.jpg 448w\" sizes=\"(max-width: 480px) 100vw, 480px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-12sbs-68ebad4d03706979e9fb5944e427d8ed av_two_third  avia-builder-el-8  el_after_av_one_third  el_before_av_one_third  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-loltf02z-dc89387b99c93522f5f7c33a8c27afec '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Joel Peter Witkin,\u00a0<em>Harvest<\/em>, Philadelphia, 1984<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Toned gelatin silver print, from an edition of 15.\u00a0 20\u2033 x 16\u2033<br \/>\nCollection Baudoin Lebon &#038; Lunn Ltd.\u00a0<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Joel-Peter Witkin\u00a0(born September 13, 1939) is an American photographer who lives in\u00a0Albuquerque, New Mexico. His work often deals with themes such as death, corpses (and sometimes dismembered portions thereof), often featuring ornately decorated photographic models, including\u00a0people with dwarfism,\u00a0transgender\u00a0and\u00a0intersex\u00a0persons, as well as people living with a range of physical features. Witkin is often praised for presenting these figures in poses which celebrate and honor their physiques in an elevated, artistic manner. Witkin&#8217;s complex\u00a0<i>tableaux vivants<\/i>\u00a0often recall religious episodes or classical paintings<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-11agfc-d30eb54fb0e45b1ee565b73efbc75957 av_one_third  avia-builder-el-10  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lom6segv-492e61b7eb04d51afa627fc9dc31f955\">\n.avia-image-container.av-lom6segv-492e61b7eb04d51afa627fc9dc31f955 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lom6segv-492e61b7eb04d51afa627fc9dc31f955 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lom6segv-492e61b7eb04d51afa627fc9dc31f955 av-styling- avia-align-center  avia-builder-el-11  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-656 avia-img-lazy-loading-not-656 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Lot_131.jpg\" alt='' title='Lot_13[1]'  height=\"1024\" width=\"788\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Lot_131.jpg 788w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Lot_131-231x300.jpg 231w\" sizes=\"(max-width: 788px) 100vw, 788px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-z40co-65c3ed42c249aa75297588f677b7ab23 av_two_third  avia-builder-el-12  el_after_av_one_third  el_before_av_one_third  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-lom6ubsb-036e1791e93b80ac24d8edcb49d7f613 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Moche drinking vessel, Terracotta. Circa 100-400 CE on the north coast of Peru.<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">The eroticism present in this major pottery collection at Museo Larco in Peru evokes desire, attraction and the coming together of the opposing yet complementary forces that enable life to endlessly regenerate.\u00a0Depicting a well-defined male with an erect phallus spout, the rim of the vessel has been perforated, forcing its user to drink from the phallus.<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-11baio-0703eca72d01473ab435d5e5f90ef34d av_one_third  avia-builder-el-14  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lom7484c-201a14d6bf5c8926a9f12f7555eac421\">\n.avia-image-container.av-lom7484c-201a14d6bf5c8926a9f12f7555eac421 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lom7484c-201a14d6bf5c8926a9f12f7555eac421 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lom7484c-201a14d6bf5c8926a9f12f7555eac421 av-styling- avia-align-center  avia-builder-el-15  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-658 avia-img-lazy-loading-not-658 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/o-SHUNGA-9001.jpg\" alt='' title='o-SHUNGA-900[1]'  height=\"629\" width=\"900\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/o-SHUNGA-9001.jpg 900w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/o-SHUNGA-9001-300x210.jpg 300w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-vxxvc-39ac5a5ebc2f1e0acc75c274b0371488 av_two_third  avia-builder-el-16  el_after_av_one_third  el_before_av_one_third  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-lom7bsbw-9dc0655be74b8d0f3d6f43a925b47709 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Kitagawa Utamaro (1753 &#8211; 1806), <em>Uta Makura (The Poem of the Cushion), <\/em>1788.<br \/>\n<\/span><span style=\"color: #c7c1c1;\">Woodblock print.<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\"><i>Shunga<\/i>\u00a0(<span title=\"Japanese-language text\"><span lang=\"ja\">\u6625\u753b<\/span><\/span>)\u00a0is a type of Japanese\u00a0erotic art\u00a0typically executed as a kind of\u00a0ukiyo-e (floating-world images), often in\u00a0woodblock\u00a0print format. While rare, there are also extant erotic painted\u00a0handscrolls\u00a0which predate ukiyo-e. Translated literally, the Japanese word\u00a0<i>shunga<\/i>\u00a0means\u00a0<i>picture of spring<\/i>; &#8220;spring&#8221; is a common euphemism for sex.<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Shunga, as a subset of ukiyo-e, was enjoyed by all social groups in the\u00a0Edo period, despite being out of favor with the\u00a0shogunate. The ukiyo-e movement sought to idealize contemporary urban living and appeal to the new\u00a0ch\u014dnin\u00a0 (merchant) class. Shunga followed the aesthetics of everyday life and widely varied in its depictions of sexuality. Most ukiyo-e artists made shunga at some point in their careers.<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-ojng8-3d1087dbed642c4ae62ee4363de4112a av_one_third  avia-builder-el-18  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lom7foje-ce9e1961f8fb5b4da0e57e5c8816b210\">\n.avia-image-container.av-lom7foje-ce9e1961f8fb5b4da0e57e5c8816b210 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lom7foje-ce9e1961f8fb5b4da0e57e5c8816b210 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lom7foje-ce9e1961f8fb5b4da0e57e5c8816b210 av-styling- avia-align-center  avia-builder-el-19  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-672 avia-img-lazy-loading-not-672 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/bellmer-hans-notes-pour-la-nouvelle-justine.jpg\" alt='' title='bellmer-hans-notes-pour-la-nouvelle-justine'  height=\"658\" width=\"497\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/bellmer-hans-notes-pour-la-nouvelle-justine.jpg 497w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/bellmer-hans-notes-pour-la-nouvelle-justine-227x300.jpg 227w\" sizes=\"(max-width: 497px) 100vw, 497px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-ndnvk-f6762aed413ee1f5cec8e5186452dcce av_two_third  avia-builder-el-20  el_after_av_one_third  el_before_av_one_third  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-lom7hrt7-37596f442530162c31013d19a1c08ab2 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Hans Bellmer (1902 &#8211; 1975), <em>Notes Pour La Nouvelle Justine, 1968<br \/>\n<\/em><\/span><span style=\"color: #c7c1c1;\">Engraving, <\/span><span style=\"color: #c7c1c1;\">27.5 cm x 21.2 cm<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Bellmer was a German artist, best known for the life-sized female dolls\u00a0he produced in the mid-1930s. Historians of art and photography also consider him a\u00a0Surrealist photographer. Of his own work, Bellmer said, &#8220;What is at stake here is a totally new unity of form, meaning and feeling: language-images that cannot simply be thought up or written up \u2026 They constitute new, multifaceted objects, resembling polyplanes made of mirrors \u2026 As if the illogical was relaxation, as if laughter was permitted while thinking, as if error was a way and chance, a proof of eternity.\u201d<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-cj3ow-8f522d77bb1fefefac0292618e0cc2c3 av_one_third  avia-builder-el-22  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lom7l3sh-c9867f7934f4eb8971c65958394d76ff\">\n.avia-image-container.av-lom7l3sh-c9867f7934f4eb8971c65958394d76ff img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lom7l3sh-c9867f7934f4eb8971c65958394d76ff .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lom7l3sh-c9867f7934f4eb8971c65958394d76ff av-styling- avia-align-center  avia-builder-el-23  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-675 avia-img-lazy-loading-not-675 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Neo-Assyrian.jpg\" alt='' title='Neo Assyrian'  height=\"1500\" width=\"826\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Neo-Assyrian.jpg 826w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Neo-Assyrian-165x300.jpg 165w, https:\/\/ayuriart.com\/wp-content\/uploads\/2016\/01\/Neo-Assyrian-564x1024.jpg 564w\" sizes=\"(max-width: 826px) 100vw, 826px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-6rwl4-11979e6bf1c58c3b1b85e7dbeef60fa4 av_two_third  avia-builder-el-24  el_after_av_one_third  el_before_av_one_third  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-lom7qf2q-4559868dea2b17ad76ef38cf382618d9 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\"><em>Human-headed winged lion (lamassu), <\/em><\/span><span style=\"color: #c7c1c1;\">Neo-Assyrian,\u00a0ca. 883\u2013859 B.C.<br \/>\n<\/span><span style=\"color: #c7c1c1;\">Mesopotamia, Nimrud (ancient Kalhu)<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">Gypsum alabaster, Height. 10 ft. 3 1\/2 in. (313.7 cm). Stone-Reliefs-Inscribed.<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">The art of Mesopotamia rivalled\u00a0that of Ancient Egypt\u00a0as the most grand, sophisticated and elaborate in western\u00a0Eurasia\u00a0from the 4th millennium BC until the\u00a0Persian\u00a0Achaemenid Empire\u00a0conquered the region in the 6th century BC.<\/span><br \/>\n<span style=\"color: #c7c1c1;\">An\u00a0Assyrian\u00a0artistic style distinct from that of Babylonian art, which was the dominant contemporary art in Mesopotamia, began to emerge c. 1500 BC, well before their empire included\u00a0Sumer, and lasted until the fall of\u00a0Nineveh in 612 BC.\u00a0<\/span><br \/>\n<span style=\"color: #c7c1c1;\">The conquest of the whole of Mesopotamia and much surrounding territory by the Neo-Assyrian Empire (911\u2013609 BC) created a larger and wealthier state than the region had known before, and very grandiose art in palaces and public places, no doubt partly intended to match the splendor of the art of the neighboring Egyptian empire. From around 879 BC the Assyrians developed a style of extremely large schemes of very finely detailed narrative low reliefs in stone or gypsum\u00a0alabaster, originally painted, for palaces. The precisely delineated reliefs concern royal affairs, chiefly hunting and war making. Predominance is given to animal forms, particularly horses and lions, which are magnificently represented in great detail.<\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-phavc-402e845fd40cc8bc32aa808621d84a8b av_one_third  avia-builder-el-26  el_after_av_two_third  el_before_av_two_third  first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lpbzudz2-8b01b8dab3ea2183ce2c8f527fe732d8\">\n.avia-image-container.av-lpbzudz2-8b01b8dab3ea2183ce2c8f527fe732d8 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-lpbzudz2-8b01b8dab3ea2183ce2c8f527fe732d8 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-lpbzudz2-8b01b8dab3ea2183ce2c8f527fe732d8 av-styling- avia-align-center  avia-builder-el-27  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-1471 avia-img-lazy-loading-not-1471 avia_image ' src=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu.webp\" alt='' title='Relief of Hathor in the Temple of Edfu'  height=\"1600\" width=\"1046\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu.webp 1046w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-196x300.webp 196w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-673x1030.webp 673w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-768x1175.webp 768w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-1004x1536.webp 1004w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-981x1500.webp 981w, https:\/\/ayuriart.com\/wp-content\/uploads\/2023\/11\/Hathor-Relief-of-Hathor-in-the-Temple-of-Edfu-461x705.webp 461w\" sizes=\"(max-width: 1046px) 100vw, 1046px\" \/><\/div><\/div><\/div><\/div>\n<div  class='flex_column av-kcyao-e56c92dd65ef0a8191ae34e61bafe122 av_two_third  avia-builder-el-28  el_after_av_one_third  el_before_av_hr  flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-lpbzvtd1-954895f3b7e20ff3810d500d65204edf '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><span style=\"color: #c7c1c1;\">Relief of Hathor in the temple of Edfu, Egypt.\u00a0<\/span><\/p>\n<p><span style=\"color: #c7c1c1;\"><strong>From <em>Re-vamping the world: On the return of the Holy Prostitute<\/em> by Deena Metzger<\/strong><\/span><\/p>\n<p><span style=\"color: #c7c1c1;\">&#8220;Once upon a time, in Sumeria, in Mesopotamia, in Egypt, in Greece, there were no whorehouses, no brothels. In that time, in those countries, there were instead the Temple of the Sacred Prostitutes. In these temples, men were cleansed, not sullied, morality was restored, no desecrated, sexuality was no perverted, but divine. The original whore was a priestess, the conduit to the divine, the one through whose body once entered the sacred arena and was restored. Warriors, soldiers, soiled by combat within the world of men, came to the Holy Prostitute, the <em>Quedishtu, <\/em>literally meaning \u201cthe undefiled one,\u201d in order to be cleansed and reunited with the gods. The Quedishtu or Quadesh is associated with a variety of goddesses including Hathor, Ishtar, Anath, Astarte, Asherah, etc. It is interesting to note, according to Patricia Monaghan in <em>The Book of Goddesses and Heroines<\/em>, that Astarte originally meant \u201cShe of the Womb\u201d, but appears in the Old Testament as Ashtoreth, meaning \u201cShameful thing.\u201d Despite scripture and orthodox thought, war was seen as separating men from the gods, and one had to be reconnected in order to be able to re-enter society. The body, the sexual act, was the means for re-entry. AS the body was the means, so inevitably pleasure was an accompaniment, but the essential attribute of sexuality, in this context, was prayer. In Pergamon, Turkey, I saw the remains of the Temple of the Holy Prostitutes on the Sacred Way, alongside the other temples, palaces, public buildings. Whatever rites we imagine took place in these other buildings, it is common whether we elevate them as do neo-pagans or condemn them as do Judeo-Christians to associate the Holy Prostitutes with orgies and debauchery. But it is possible that neither view is correct, as each tends to inflate the physical activity and ignore or impugn the spiritual component. Our materialist preoccupation with form blinds us to the content.&#8221;<\/span><\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lmvj1bcs-a1788f432d9ee1dae724e8de53ceaa35\">\n#top .hr.hr-invisible.av-lmvj1bcs-a1788f432d9ee1dae724e8de53ceaa35{\nheight:90px;\n}\n<\/style>\n<div  class='hr av-lmvj1bcs-a1788f432d9ee1dae724e8de53ceaa35 hr-invisible  avia-builder-el-30  el_after_av_two_third  avia-builder-el-last '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-640","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.10 - aioseo.com -->\n\t<meta name=\"robots\" content=\"max-image-preview:large\" 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