Life Connective (Crescent Moon) Goddess Ayu, Inanna, Ishtar, Artemis

Druid Goddess Comparisons

Hecate from Sardinia


Life Source Goddess (Outer Layer)

Symbols: under-dome, arms across or on stomach to form under-dome shape

Epithet: (none known yet)

Life Manifestation Goddess Pillar Figurine from Israel (700-600 BCE)

Ayu (Inanna, Ishtar, Astarte, Artemis, Hathor) 

Life Connective Goddess (Middle Layer) 

Symbols: crescent moon, wings, bees, hands just under breasts

Epithet: Reed-Boat, Opener, one of the "Controllers" (along eagle-vultures)

Willendorf Venus with acorn hat

Asher (Asherah, Venus)

Life Manifestation Goddess (Inner Layer)

Symbols: hands on breasts with upward angled arms

Epithet: (none known yet)

Minoan Hecate Figurines

Selu (Salu, Selene)

Motion Source Goddess (Outer Layer)

Symbol: glowing things, heavenly bodies in the night sky. Air, feathers, song birds, Hands pointing upward

Epithet: (none known yet)

Life Connective Goddess Ayu

Marble Ayu from Sesklo Culture in Northern Greece c5000 BCE

Statuette at National Archaeological Museum of Athens 8772. Photo via Wikmedia Commons at:,_NAMA_8772_080802x.jpg
Hekate or Asher Found at Skorba Site (4400-4100 BCE)

Goddess Ayu Figurine Found at Skorba Temple, Malta (4400-4100 BCE)

The Skorba site was poorly preserved but it did produce a few finds such as this ocher covered goddess. The red ocher means it was a life power. Arms below breasts identifies the goddess as Ayu. It is displayed at the National Museum of Archaeology in Valletta, Malta.
Photo at Wikimedia Commons by Hamelin de Guettelet. Online at:
Minoan Asherah

Minoan Ayu (1680 BCE)

On display at the Heraklion Museum in Crete. This was found in a house.
Life Manifestation Goddess Pillar Figurine from Israel (700-600 BCE)

Israelite Ayu (Astarte) (700-600 BCE)

Goddess Pillar Figurine from Israel (700-600 BCE).  These ceramic figurines have been found in many Israelite homes. They are complementary to the life manifestation god Yahu (Yahweh = "power of Yahu"). Its size is:  7 1/4 × 3 7/16 × 2 5/8 in. (18.4 × 8.8 × 6.7 cm)
Now at the Met Museum in New York Number 34.126.53. Online at:

Silver Hoard 4 Found at Ekron which was a Philistine city in what is now Israel (720 BCE)

This hoard was found hidden at the bottom of an olive oil press where it seems to have been hidden for safekeeping. It represents the local religious culture and contains the silver pendant shown in the figure on the right.  (Gitin and Golani, 2001)
Ayu figurines found in Israel between 800 and 640 BCE. These were found in settlements throughout Judah, mainly in private dwellings. In excavations of Jerusalem more than two thousand of such figurines were found, all of which had been smashed to bits. This may have been connected with the religious reform of King Josiah (c. 640–609 BCE) as described in II Kings 22-23. Under threat from the Assyrians he embarked on religious purification with the elimination of all traditional Israelite Pagan practices and all other temples outside of the Temple in Jerusalem. These are on display at the Rockefeller Archaeological Museum in Jerusalem. Online at:

Silver pendant from hoard 4 at Ekron Showing the Winged Goddess Ayu 720 BCE

(Feb 23, 2023) Silver pendant from hoard 4 shows goddess Ayu standing on the sun lion and below signs representing the sun guiiding Pleiades (7 stars). Between her and a worhiper is a crescent moon (her symbol), and above that is a sign representing the network editing eagle-vultures which she controls.  
It is 5.2 cm high. Its top lop is broken suggesting it was in the hoard only for its silver value at this time. Now on display at the Rockefeller Archaeological Museum in Jerusalem. Online at:
Burney Relief from the British Museum showing the Mesopotamian Akkadian goddess Ishtar (Ayu in Mediterranean, Inanna in Sumeria)
Burney Relief from the British Museum showing the Mesopotamian Akkadian goddess Ishtar (Ayu in Mediterranean, Inanna in Sumeria). She is identified by her wings which indicate she is a connective power and by the life symbols of circle and rod (chalice and athame) which she is holding in her hand.  
She is standing on lions which means she controls the sun power and brings order to the land. She is assisted in this by the motion power owls flanking her. She edits (cuts or gates) the life network with her eagle vultures. Her eagle vulture aspect is shown by her bird claws. Her snake headdress indicates she is a deity having the power of life and death. This snake hat is typically worn by most early  Mesopotamian deities (and some priests).
This relief was originally painted the life color of red as indicated by red ocher pigment still existing on her left hand. Its find location is unknown and it appeared on the antiquities market in 1930.

Ayu (Mesopotamian Ishtar, Sumerian Inanna)

(July 3, 2022) Ayu directed the transporter of fertility fluids from the divine realm to the earth. She was the river bank to the river. Her main correspondence was with bees because bees with their golden pollen carrying ability also directed fertility.

Entry from Alphabetic Akkadian Lexicon (Olmsted Jan 1 2022):

AY, ‘Y [Akkadian ayyu, ayu] goddess Ayu (noun) - feminine life-growth connective power and the complimentary power to masculine Atu. Ayu assembles the life-growth network through which flows the fertility fluids. Her orderly form complementary to the sun god Hu of Atu represents a well-structured network. That orderly form is represented by the crescent moon which is why her epithet for that is “Reed Boat.” In contrast her chaotic storm form complimentary to the storm bull form of Atu is the dark part of the moon, Thanu, not normally seen when the moon is in crescent form. Thanu means “grinder.” Ayu edits the divine network with the divine birds, which are owls and eagle-vultures, a trait she shares with magic-crafters. She is the Mesopotamian Ishtar, Sumerian Inanna, Egyptian Hathor, Greek Artemis. The word “Artemis” derives from Aru-Tu-Maṣȗ to which means "The Controller's-enabling-magic" where “controller” is an epithet for Ayu. The “setter” is another epithet because Ayu is responsible for setting or fixing the connections of the divine network at dusk.

Red Skorba Pottery from Malta with Crescent Moons Representing Ayu (4400-4100)

The crescent moons represent the connective life goddess Ayu. The life power theme corresponds to the red color. This red Skorba ware  was slipped (dunked in a thin solution of clay and water) and then burnished to a bright red sheen. This connection with red with crescent moons indicates the spiritual motivation behind the coloring.
Photo from:

Cucuteni–Trypillia: (5500 to 2750 BCE)

Cucuteni–Trypillia  culture was one of the first Druid cultures to Fall to the Indo-Europeans around 2750 BCE.
They grew wheat, rye and peas. Tools included ploughs made of antler, stone, bone and sharpened sticks. The harvest was collected with scythes made of flint-inlaid blades. The grain was milled into flour by quern-stones. Women were involved in pottery, textile- and garment-making, and played a leading role in community life. Men hunted, herded the livestock, made tools from flint, bone and stone. Of their livestock, cattle were the most important, with swine, sheep and goats playing lesser roles.
During its middle phase (c. 4000 to 3500 BCE), populations belonging to the Cucuteni–Trypillia culture built the largest settlements in Neolithic Europe, some of which contained as many as three thousand structures and were possibly inhabited by 20,000 to 46,000 people

Goddess Ayu from Cucuteni–Trypillia with Network Lines and Spirals (4000 BCE)

Not all goddesses with this shape had spirals. Most just had lines representing the life network.
Photo by Marius Amarie from Archaeology Magazine. Online at:
Goddess Ayu from Cyprus

Goddess Ayu from Cyprus (1450-1100 BCE)

Goddess Ayu with an eagle-vulture head and crescent moon ears is from Cyprus and made from terracotta. Here the eagle-vulture head and life-network line replaced her wings as the indicator of her function. Eagle vultures trimmed the links of the life network.
British Museum Number: 1898,1201.218
Left Side of Hathor Sphinx from Serabit el-Khadim
Left Side of Hathor Sphinx. This red sandstone hand-held sphinx was found on the floor just outside the Sopdu temple at Serabit el-Khadim by Sir Flanders Petrie in 1905. It has inscriptions inscribed on the base on each side which have never been translated. Image from Butin 1932.

Left Side of Serabit el-Khadim Hathor Sphinx Found at Serabit el-Khadim

(August 5, 2022) This graffito is  pro-magic again

Text in Akkadian (right to left)

  1. Ṭu le’ȗ dalû
  2. Pu šâku nâ[pu]

In English

  1. Magic's astrological-powers bring-water.
  2. The Opener (Ayu, Hathor) is making-narrow the fil[ter] (network)

Thu is the magical hermaphrodite connective motion power deity of the Ancient Pagan Paradigm.

Line 1 is stating that the motion powers brought to earth by Thu are important for manifesting rain.

Line 2 is stating that some of the blame for a drought lies with the life network thread opener which is restricting the number of threads which reach earth.


Butin, Romain F. (1928) The Seribit Inscriptions: II. The Decipherment and Significance of the Inscriptions. Harvard Theological Review. Vol 21 No. 1 pp. 9-67 
Butin, Romain F. (1932) The Proto-Sinaitic Inscriptions. Harvard Theological Review. Vol 25 No. 2 pp. 130-203
Faulkner, R.O. (1962) A Concise Dictionary of Middle Egyptian. Griffith Institute, Oxford
Gravestone from the child cemetery of Carthage.
Gravestone from the child cemetery of Carthage. Now at the Tunisian National Bardo Museum. The child's cemetery is mistakenly called the "Tophet" from its use in the Hebrew scripture as a place for child sacrifice. The word is actually Akkadian meaning "Magical Boundary Opener" from Tu.Pe.Etu (Magic.Opener.Boundary).
Photo by Pascal Radigue via Wikimedia commons online at:

Child Gravestone Text from Carthage Blames Ayu and Eagle-Vultures for Drought (170 BCE)

(August 29, 2022) This gravestone was found in the children’s cemetery in Carthage. It's shape is likely meant to represent Selene with her upraised arms. The Phoenicians were big fans of the magical motion powers and this likely carried over to their colony of Carthage. This gravestone dates sometime after 400 BCE when texts first started to appear on gravestones there (Sheldon 2020) and before the destruction of Carthage in 146 BCE. The text reveals that the child seems to have died from starvation due to a drought which dates it to about 170 BCE.

Translation in Akkadian (Med Text 12)

(read right to left. Capital letters on stone. Inner vowels inferred)
  1. IRu BaQu Ya Qu, Gi Qâ Lu. Nu Ba'u Ya
  2. UYa ARu NuNu. Ba'u YaḪu MaNu. AMu Nu
  3. Mu A'u Bu Pu AMu Ma. Nu EŠu Lu. RaBa Nu
  4. 'Bu Pu Mu. Iwu EŠu Gi. Ru AZu Qu. 
  5. A Ru MiQu MuRa Zu

In English

  1. Astrological-powers are not swarming the life-growth-threads, (because) energy lacks threads. The Revealer (Yahu) is not being nested.
  2. Misery makes anarchy. The nesting Controllers (Ayu and eagle-vultures) are paralyzing the Revealer. The Reed-Boat (Ayu) is revealed.
  3. The fertility-fluid's motion-powers are nourishing the Reed-Boat's fertility-fluids.  The Revealer lacks confusion. The Authorities (astrological powers) are revealed.
  4. Life-priests are opening the fertility-fluids. The Redirectors (Ayu and eagle-vultures) are confused by the energy. Eagle-vultures are getting involved with the life-growth-threads. 
  5. Those undermined eagle-vultures eliminate the rainstorms.    


Sheldon, N. (2020) The Tophet of Carthage: Archaeology and the Question of Sacrifice. From History and Archaeology Online at:
Image shows the mid-layer Controller deities of the Ancient Pagan Paradigm. These are the motion power hermaphrodite deity Thu (Greek Hermes) on the left and the crescent moon life power goddess Ayu on the right holding a young plant.
Thu is misidentified as “Velia Velcha” in Orcus Tomb map above. See Tomb of Shields for positive identification of Thu
(Photo: Rönnlund, Wikimedia Commons, 2012). Letters added by Olmsted.

Etruscan Orcus Tomb Image 1: The Connective Layer "Controllers," Hermaphrodite Motion Deity Thu and Life Goddess Ayu, Have Been Weakened

(Sept. 8, 2022) The texts and images in the tomb of so-called Orcus 1 tell a story when viewed clockwise from the tombs entrance. The story's first scene is shown on the right. "Controllers" are the mid-layer deities of the Ancient Pagan Paradigm.

Translation in Akkadian (Text Med 18.1)

(read right to left. Capital letters on stone. Inner vowels inferred)
  1. ARu Ne'u : Pu E Lâšu A : (Med 18.1.1)
  2. Gi ELu .... (Med 18.1.2)

In English

  1. The Controllers (Ayu, Eagle-Vultures) are being affected : None of the Openings are being influenced by them :
  2. High energy .... 

The rightmost image in the scene is the life power goddess Ayu (Inanna, Ishtar, Hathor) who is identified by her snake skin hat having a network pattern revealed by its scales. She is responsible for editing the network by removing and adding network links. She seems to be holding a young plant stem spurting fluid which likely corresponds to a network link. Another sign of her life power is that she is tanned from the sun because she is the feminine power compliment to the sun god Hu. 

(Continue Reading)

The leftmost image is the middle layer motion-power hermaphrodite deity Thu who is wearing the laurel crown to indicate their divine role as a motion deity. The fast-growing laurel tree (Laurus nobilis) is also called the Bay Laurel because its bay leaves are a spice having a unique odor and taste. Either because of its fast growth or because of its aroma this tree has been associated with speed and motion. It was placed on the heads of Greek runners to indicate they were the fastest. They were a champion and from that the laurel crown came to indicate any sort of victor. The hair of Thu has both masculine and feminine components relative to Italian culture with long side hair (feminine) and short back hair (masculine). That this image represents the hermaphrodite deity Thu is provided by a painting in a different tomb called the Tomb of Shields who is “associating” with unknown deity or demon.

Cylinder seal of Inanna's life network construction

Inanna's Life Network Construction (2100 BCE)

This cylinder seal shows a woman with clasped hands of anticipation behind a bird on a pole. In front of the pole is a priestess of Inanna before Anu (has beard). The theme of the text is about using the powers of Anu to overcome problems in the life network.
Unfortunately the symbol giving the order of the priestess has been rubbed out and the find location of this seal is unknown. It reads (by Olmsted)
  1. Tremble at Anu's watchfulness.
  2. By means of Anu overcome the divine-network's construction.

from sign assignments:
  1. (right column) UR AN AB
  2. (middle column) TA AN I GAD Dù

Once again the translation provided by the British Museum is wrong. British Museum number 101958 acquired in 1905) probably came from Ur but that is not known for sure. Online at:

Bronze Crescent Moon of Ayu from Israel (700-600 BCE)

Found at Tel Serah, Israel. Displayed at the Rockefeller Archaeological Museum in Jerusalem. Online at:
Cylinder seal of Inanna Holding Back a Lion

Inanna Holding Back a Lion (1800 BCE)

The goddess Inanna is ready to release a lion to attack a scorpion woman who represents a paralyzed, drought stricken land. The scorpion woman is indicated by her clawed hands. The scorpion stings small animals and paralyzes them. Its cuneiform style contains simplifications relative to the 2300 BCE style and that dates the seal to about 1800 BCE. It find location is unknown.
Only the 4th column from the right is complete and its says:
  • An's spouse Inanna greatly shakes the fertility fluids

from sign assignments:

This seal (Oriental Museum number A27903) is from Oriental Institute of the University of Chicago at
Cylinder seal of a seated Inanna

Seated Inanna (2100 BCE)

This seal from the Sumerian city of Nippur shows the goddess Inanna  seated on a royal throne granting a favor to a petitioner being led by a priestess of the connective powers. Her order's symbol is that of a crescent moon with Atu's sun disk (water and rays) on top. The cylinder seal is made from expensive lapis lazuli. It reads (by Olmsted)
  1. Goodness is purifying the milk-powers (fertility-fluids)
  2. The strength of Anu lifts the strength of the net
  3. Anu makes good Inanna,
  4. his wife

from sign assignments:
  1. (right column) SAG9 KUG GA NI
  2. (middle right column) ŠU AN ŠU SA LAL
  3. (middle left column) AN INANNA SAG9
  4. (left column)  DAM NI

Registration Number: A30568, Accession Number: 3346, Field Number: 5 N 236. Online at:
Cylinder seal of Sumerian Inanna

Sumerian Inanna (2100 BCE)

This seal shows a woman being led by the priestess of Inanna to the life source God Anu. Her order's symbol is that of the goddess Inanna indicated by the crescent moon. It was found at the ziggurat at Ur. It reads (by Olmsted):
  1. A person weepingly-approaches Anu
  2. to offer the land's-produce.
  3.  A priestess of Inanna approaches the fertility-fluids

from sign list:
  1. (right column) LU AN SES.TE
  2. (middle column) RI.ES SAR
  3. (left column) DUMU.GAD.IG.ŠE A TE

The phrase "priestess of Innana" is literally DUMU.GAD.IG.ŠE meaning child.fabric.gate.grain or "daughter of the divine-network gate for grain."  Inanna guides and controls the fertility fluids.
The British Museum translation is wrong (apparently it has never been reviewed since its first pioneering translation. It was found in 1867. British Museum Number 89069. Online at:
Cylinder seal of Inanna and her followers

Inanna's Followers (2100 BCE)

Another cylinder seal presumably found at the ziggurat at Ur showing a wealthy woman being led by a priestess of Inanna to the God Anu. Her order's symbol is that of the goddess Inanna indicated by the crescent moon. It reads (by Olmsted)
  1. Tremble before Anu's earth strength
  2. you humble children of the thread.

from sign list:
  1. (right column) UR AN ŠU KI
  2. (middle column) DUMU UR (new sign

Once again the British Museum translation is wrong. Museum number 129488. Online at
modern classic image of Artemis showing her archer connection with the crescent moon
A modern classic image of Artemis showing her archer connection with the crescent moon. Frustratingly, I cannot find its creator.
Artemis (right) with Apollo (left) on 470 BCE pottery
Artemis (right) with Apollo (left) on 470 BCE pottery. Now at the Louvre. Image from Wikimedia Commons at:

Greek Artemis (Roman Diana)

(July 3, 2022) Artemis had the greatest number of temples of any deity in the ancient world. She was the Greek equivalent to Ayu but in Greek cultures she was given a bow to represent the crescent moon. This associated her with hunting.  

Greek culture was a merger of the old Neolithic farmer Akkadian culture with the newer Indo-European culture. This tension gave Greek culture its vitality and innovation.

Her connection with hunting via the moon bow comes mainly from  Homer:

Artemis of the wilderness (agrotera), lady of wild beasts (potnia theron). (Homer, Iliad 21. 470 ff, trans. Lattimore)
Over the shadowy hills and windy peaks she [Artemis] draws her golden bow . . . The tops of the high mountains tremble and the tangled wood echoes awesomely with the outcry of beasts." (Homeric Hymn 27 to Artemis, trans. Evelyn-White)

The Greeks properly associated the sun with crescent moon since both were the main connective life deities of the sky according to the Ancient Pagan Paradigm. This connection of Apollo with Artemis is found in Hesiod line 918-922:

And Leto was joined in love with Zeus who holds the aegis, and bore Apollo and Artemis delighting in arrows, children lovely above all the sons of Heaven.