The mess-free magic light brush is a revolutionary tool that combines the fun of creativity with the convenience of no mess. The brush uses a special technology that allows children to create amazing drawings without the need for paint, markers, or crayons. The magic light brush consists of a brush-like device that emits light instead of traditional ink or paint. Children can use the brush to draw on a special drawing board that is embedded with sensors. As they move the brush across the board, the sensors detect their movements and light up the corresponding areas. The best part about the magic light brush is that there is no mess to clean up afterwards.
Read on to discover different representations of the Great Mother Goddess, the divine feminine, as found in ancient art.
In many ancient societies, the nurturing nature of the divine feminine was associated with the concepts of fertility and creation and took the shape of the Great Mother Goddess. Huitzilopochtli s brothers, the stars of the southern sky Centzon Huitznáua, Four Hundred Southerners , and his sister Coyolxauhqui, a moon goddess, decided to kill him.
The best part about the magic light brush is that there is no mess to clean up afterwards. Since the brush uses light instead of traditional art supplies, there is no risk of accidental spills or smudges. Parents can rest assured that their children can enjoy hours of creative play without having to worry about cleaning up afterwards.
Mesopotamian Deities
Mesopotamian civilization existed for well over 3,000 years, from the formation of the first cities at the end of the fourth millennium B.C. to the early years of the Roman empire. During this period, religion was a major factor influencing behavior, political decision making, and material culture. Unlike some later monotheistic religions, in Mesopotamian mythology there existed no systematic theological tractate on the nature of the deities. Examination of ancient myths, legends, ritual texts, and images reveals that most gods were conceived in human terms. They had human or humanlike forms, were male or female, engaged in intercourse, and reacted to stimuli with both reason and emotion. Being similar to humans, they were considered to be unpredictable and oftentimes capricious. Their need for food and drink, housing, and care mirrored that of humans. Unlike humans, however, they were immortal and, like kings and holy temples, they possessed a splendor called melammu. Melammu is a radiance or aura, a glamour that the god embodied. It could be fearsome or awe-inspiring. Temples also had melammu. If a god descended into the Netherworld, he lost his melammu. Except for the goddess Inanna (Ishtar in Akkadian), the principal gods were masculine and had at least one consort. Gods also had families. Possessing powers greater than that of humans, many gods were associated with astral phenomena such as the sun, moon, and stars, others with the forces of nature such as winds and fresh and ocean waters, yet others with real animals—lions, bulls, wild oxen—and imagined creatures such as fire-spitting dragons. In the Sumerian hymn “Enlil in the E-Kur,” the god Enlil is described as controlling and animating nature: Without the Great Mountain Enlil . . . the carp would not . . . come straight up[?] from the sea, they would not dart about. The sea would not produce all its heavy treasure, no freshwater fish would lay eggs in the reedbeds, no bird of the sky would build nests in the spacious lands; in the sky, the thick clouds would not open their mouths; on the fields, dappled grain would not fill the arable lands, vegetation would not grow lushly on the plain; in the gardens, the spreading trees of the mountain would not yield fruit. As supreme figures, the gods were transcendent and awesome, but unlike most modern conceptions of the divine, they were distant. Feared and admired rather than loved, the great gods were revered and praised as masters. They could display kindness, but were also fickle and at times, as explained in mythology, poor decision makers, which explains why humans suffer such hardships in life. Generally speaking, gods lived a life of ease and slumber. While humans were destined to lives of toil, often for a marginal existence, the gods of heaven did no work. Humankind was created to ease their burdens and provide them with daily care and food. Humans, but not animals, thus served the gods. Often aloof, the gods might respond well to offerings, but at a moment’s notice might also rage and strike out at humans with a vengeance that could result in illness, loss of livelihood, or death. Cuneiform tablets as early as the third millennium indicate that the gods were associated with cities. Each community worshipped its city’s patron deity in the main temple. The sky god An and his daughter Inanna were worshipped at Uruk; Enlil, the god of earth, at Nippur; and Enki, lord of the subterranean freshwaters, at Eridu. This association of city with deity was celebrated in both ritual and myth. A city’s political strength could be measured by the prominence of its deity in the hierarchy of the gods. Babylon, a minor city in the third millennium, had become an important military presence by the Old Babylonian period, and its patron deity, noted in a mid-third millennium text from Abu-Salabikh as ranking near the bottom of the gods, rose to become the head of the pantheon when Babylon ascended to military supremacy in the late second millennium. Political events influenced the makeup of the pantheon. With the fall of Sumerian hegemony at the end of the third millennium, Babylonian culture and political control spread throughout southern Mesopotamia. At the end of the third millennium B.C., Sumerian texts list approximately 3,600 deities. With the fall of Sumerian political might and the rise of the Amorite dynasties at the end of the third millennium and beginning of the second millennium, religious traditions began to merge. Older Sumerian deities were absorbed into the pantheon of Semitic-speaking peoples. Some were reduced to subordinate status while newer gods took on the characteristics of older deities. The Sumerian god An became the Semitic Anu, while Enki became Ea, Inanna became Ishtar, and Utu became Shamash. As Enlil, the supreme Sumerian god, had no counterpart in the Semitic pantheon, his name remained unchanged. Most of the lesser Sumerian deities now faded from the scene. At the end of the second millennium, the Babylonian creation story Enuma Elish refers to only 300 gods of the heavens. In this process of associating Semitic gods with political supremacy, Marduk surpassed Enlil as chief of the gods, and, according to the Enuma Elish, Enlil gave Marduk his own name so that Marduk now became “Lord of the World.” Similarly, Ea, the god of the subterranean freshwaters, says of Marduk in the same myth, “His name, like mine, shall be Ea. He shall provide the procedures for all my offices. He shall take charge of all my commands.” Beginning in the second millennium B.C., Babylonian theologians classified their major gods in a hierarchical numerical order. Anu was represented by the number 60, Enlil by 50, Ea by 40, Sin, the moon god, by 30, Shamash by 20, Ishtar by 15, and Adad, the god of storms, by 6. While the great gods of the pantheon were worshipped by priests at rituals in cultic centers, ordinary people had no direct contact with these deities. In their homes, they worshipped personal gods, who were conceived as divine parents and were thought to be deities who could intercede on their behalf to ensure health and protection for their families. Demons were viewed as being either good or evil. Evil demons were thought to be agents of the gods sent to carry out divine orders, often as punishment for sins. They could attack at any moment by bringing disease, destitution, or death. Lamastu-demons were associated with the death of newborn babies; gala-demons could enter one’s dreams. Demons could include the angry ghosts of the dead or spirits associated with storms. Some gods played a beneficent role to protect against demonic scourges. A deity depicted with the body of a lion and the head and arms of a bearded man was thought to ward off the attacks of lion-demons. Pazuzu, a demonic-looking god with a canine face and scaly body, possessing talons and wings, could bring evil, but could also act as a protector against evil winds or attacks by lamastu-demons. Rituals and magic were used to ward off both present and future demonic attacks and counter misfortune. Demons were also represented as hybrid human-animal creatures, some with birdlike characteristics. Although the gods were said to be immortal, some slain in divine combat had to reside in the Underworld along with demons. The “Land of No Return” was to be found beneath the earth and under the abzu, the freshwater ocean. There the spirits of the dead (gidim) dwelt in complete darkness with nothing to eat but dust and no water to drink. The Underworld was ruled by Eresh-kigal, its queen, and her husband Nergal, together with their household of laborers and administrators. From about the middle of the third millennium B.C., many deities were depicted in human form, distinguished from mortals by their size and by the presence of horned headgear. Statues of the gods were mainly fashioned out of wood, covered with an overleaf of gold, and adorned with decorated garments. The goddess Inanna wore a necklace of lapis lazuli and, according to the myth “The Descent of Ishtar into the Netherworld,” she was outfitted with elaborate jewelry. Texts refer to chests, the property of the god, filled with gold rings, pendants, rosettes, stars, and other types of ornaments that could adorn their clothing. Statues were not thought to be actual gods but were regarded as being imbued with the divine presence. Being humanlike, they were washed, dressed, given food and drink, and provided with a lavishly adorned bedchamber. Deities could also be represented by symbols or emblems. Some divine symbols, such as the dagger of the god Ashur or the net of Enlil, were used in oath-taking to confirm a declaration. Divine symbols appear on stelae and naru (boundary stones) representing gods and goddesses. Marduk, for example, the patron deity of Babylon, was symbolized with a triangular-headed spade; Nabu, the patron of writing, by a cuneiform wedge; Sin, the moon god, had a crescent moon as his symbol; and Ishtar, the goddess of heaven, was represented by a rosette, star, or lion.
Citation
Spar, Ira. “Mesopotamian Deities.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/deit/hd_deit.htm (April 2009)
Further Reading
Black, Jeremy, and Anthony Green. Gods, Demons, and Symbols of Ancient Mesopotamia: An Illustrated Dictionary. London: British Museum Press, 1992. Collon, Dominique. First Impressions: Cylinder Seals in the Ancient Near East. London: British Museum Publications, 1987. Finkel, Irving L., and Markham J. Geller, eds. Sumerian Gods and Their Representations. Gronibngen: STYX Publications, 1997. Oppenheim, A. Leo. Ancient Mesopotamia: Portrait of a Dead Civilization. Rev. ed. by Erica Reiner. Chicago: University of Chicago Press, 1977.
Additional Essays by Ira Spar
- Spar, Ira. “Mesopotamian Creation Myths.” (April 2009)
- Spar, Ira. “Flood Stories.” (April 2009)
- Spar, Ira. “Gilgamesh.” (April 2009)
- Spar, Ira. “The Gods and Goddesses of Canaan.” (April 2009)
- Spar, Ira. “The Origins of Writing.” (October 2004)
Related Essays
- Babylon
- The Isin-Larsa and Old Babylonian Periods (2004–1595 B.C.)
- Mesopotamian Creation Myths
- The Middle Babylonian / Kassite Period (ca. 1595–1155 B.C.) in Mesopotamia
- Uruk: The First City
- The Akkadian Period (ca. 2350–2150 B.C.)
- Art of the First Cities in the Third Millennium B.C.
- Gilgamesh
- The Gods and Goddesses of Canaan
- The Origins of Writing
- The Roman Empire (27 B.C.–393 A.D.)
- Ugarit
- Ur: The Royal Graves
- Uruk: The First City
Chronology
- Mesopotamia, 1000 B.C.–1 A.D.
- Mesopotamia, 1–500 A.D.
- Mesopotamia, 2000–1000 B.C.
- Mesopotamia, 8000–2000 B.C.
Keywords
- Heilbrunn Timeline of Art History
- About
- Rights & Permissions
- Artists / Makers
- Keywords
- 1000 Fifth Avenue
- New York, NY 10028
- Phone: 212-535-7710
- 99 Margaret Corbin Drive
- Fort Tryon Park
- New York, NY 10040
- Phone: 212-923-3700
- About The Met
- Mission and History
- Collection Areas
- Conservation Departments
- Accessibility
- Press
- Support
- Membership
- Host an Event
- Travel with The Met
- Corporate Support
- Career Opportunities
- Volunteers
- Fellowships
- Internships
- Site Index
- Terms and Conditions
- Privacy Policy
- Contact Information
The Aztecs believed that the sun god needed daily nourishment (tlaxcaltiliztli) in the form of human blood and hearts and that they, as “people of the sun,” were required to provide Huitzilopochtli with his sustenance. The sacrificial hearts were offered to the sun quauhtlehuanitl (“eagle who rises”) and burned in the quauhxicalli (“the eagle’s vase”). Warriors who died in battle or as sacrifices to Huitzilopochtli were called quauhteca (“the eagle’s people”). It was believed that after their death the warriors first formed part of the sun’s brilliant retinue; then after four years they went to live forever in the bodies of hummingbirds.
In addition to being mess-free, the magic light brush also offers a wide range of creative possibilities. Children can choose from a variety of colors and brush sizes, allowing them to create beautiful and intricate designs. The brush also offers various modes and effects, such as rainbow colors, neon lights, and flashing patterns, to add an extra touch of magic to their artwork. The magic light brush is not only a fun and creative toy, but it also offers educational benefits. Children can practice their fine motor skills and hand-eye coordination as they manipulate the brush to create their drawings. They can also learn about colors, shapes, and patterns as they experiment with different combinations and designs. Overall, the mess-free magic light brush is a wonderful tool that allows children to explore their creativity while keeping the mess at bay. Its innovative technology and endless creative possibilities make it a must-have for any child who loves to draw and create..
Reviews for "Unleash Your Child's Artistic Potential with the Mess-Free Magic Light Brush"
1. Sarah - 2/5 - I was really disappointed with the Mess Free Magic Light Brush. The concept seemed great, but it just didn't deliver. The brush was not very responsive and the light was not bright enough to make the colors stand out. It was also messy to work with and the paint didn't spread smoothly on the paper. Overall, it was a frustrating experience and I wouldn't recommend it.
2. Alex - 1/5 - I purchased the Mess Free Magic Light Brush for my child, hoping it would be a fun and mess-free way for them to express their creativity. However, I was thoroughly disappointed. The brush was difficult to control and the light was not vibrant enough to create clear and defined drawings. Additionally, the paint was not easily washable and left stains on their clothing. It was a waste of money and I regret buying it.
3. Matthew - 2/5 - The Mess Free Magic Light Brush did not live up to my expectations. The brush itself felt flimsy and the light was not bright enough to illuminate the paper properly. The paint also dried out quickly, making it difficult to create smooth and consistent lines. Overall, it was not a pleasant experience and I would not recommend it to others looking for a mess-free art toy.