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Gimbutas gained fame — and notoriety — with her last three books: The Goddesses and Gods of Old Europe ( 1974 ); The Language of the Goddess ( 1989 ), which inspired an exhibition in Wiesbaden, 1993 / 94 ; and her final book, The Civilization of the Goddess ( 1991 ), which based on her documented archeological findings presented an overview of her conclusions about Neolithic cultures across Europe: housing patterns, social structure, art, religion, and the nature of literacy.
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Gimbutas and —
These include the Great Goddess hypothesis, propagated by Marija Gimbutas, according to which prehistoric Europeans worshipped a single female monotheistic deity — and various theories associated with the Earth mysteries movement, such as the concept of ley lines.
Gimbutas observed that neolithic European iconography was predominantly female — a trend also visible in the inscribed figurines of the Vinča culture — and concluded the existence of a " matristic " ( woman-centered, but not necessarily matriarchal ) culture that worshipped a range of goddesses and gods.
Gimbutas and with
He also excavated with Marija Gimbutas at Sitagroi in Greece.
* M. Gimbutas book on the Balts, with maps
Gimbutas settled in the temporary capital of Lithuania of Kaunas with her parents in 1931, where she continued her studies.
At her father's deathbed, Gimbutas pledged that she would study to become a scholar: " All of a sudden I had to think what I shall be, what I shall do with my life.
" In 1946, Gimbutas received a doctorate in archaeology, with minors in ethnology and history of religion, from Tübingen University with her dissertation " Prehistoric Burial Rites in Lithuania " ( in German ), which was published later that year.
In 1956 Gimbutas introduced her Kurgan hypothesis, which combined archaeological study of the distinctive Kurgan burial mounds with linguistics to unravel some problems in the study of the Proto-Indo-European ( PIE ) speaking peoples, whom she dubbed the " Kurgans "; namely, to account for their origin and to trace their migrations into Europe.
Gimbutas ' work is housed at OPUS Archives and Research Center, along with those of her colleague, mythologist Joseph Campbell, at the Joseph Campbell and Marija Gimbutas Library on the campus of Pacifica Graduate Institute in Carpinteria, just south of Santa Barbara, California.
From the 1950s, Marija Gimbutas developed a theory of an Old European culture in neolithic Europe which had matriarchal traits, replaced by the patriarchal system of the Proto-Indo-Europeans with the spread of Indo-European languages beginning in the Bronze Age.
The book reflects the rise of feminist theology in the 1970s to 1980s, along with authors such as Elizabeth Gould Davis, Riane Eisler and Marija Gimbutas.
The hypothesis was introduced by Marija Gimbutas in 1956, combining kurgan archaeology with linguistics to locate the origins of the Proto-Indo-European ( PIE ) speaking peoples.
Marija Gimbutas ' Kurgan hypothesis is opposed by Paleolithic Continuity Theory, which associates Pit Grave and Sredny Stog Kurgan cultures with Turkic peoples, and the Anatolian hypothesis, and is also opposed by the Black Sea deluge theory.
Gimbutas argued that the thousands of female images from Old Europe ( archaeology ) represented a number of different groups of goddess symbolism, notably a " bird and snake " group associated with water, an " earth mother " group associated with birth, and a " stiff nude " group associated with death, as well as other groups.
* M. Gimbutas book on the Balts, with maps
According to Gimbutas ' version of the Kurgan hypothesis, Old Europe was invaded and destroyed by horse-riding pastoral nomads from the Pontic-Caspian steppe ( the " Kurgan culture ") who brought with them violence, patriarchy and Indo-European languages.
The Kurgan hypothesis was first formulated in the 1950s by Marija Gimbutas, who defined the " Kurgan culture " as composed of four successive periods, with the earliest ( Kurgan I ) including the Samara and Seroglazovo cultures of the Dnieper / Volga region in the Copper Age ( early 4th millennium BC ).
Gimbutas defined and introduced the term " Kurgan culture " in 1956 with the intention to introduce a " broader term " that would combine Sredny Stog II, Pit-Grave and Corded ware horizons ( spanning the 4th to 3rd millennia in much of Eastern and Northern Europe ).
Gimbutas believed that the expansions of the Kurgan culture were a series of essentially hostile, military incursions where a new warrior culture imposed itself on the peaceful, matriarchal cultures of " Old Europe ", replacing it with a patriarchal warrior society, a process visible in the appearance of fortified settlements and hillforts and the graves of warrior-chieftains:
According to Krell ( 1998 ), Gimbutas ' homeland theory is completely incompatible with the linguistic evidence.
The Yamna culture is identified with the late Proto-Indo-Europeans ( PIE ) in the Kurgan hypothesis of Marija Gimbutas.
Gimbutas and her
Marija Gimbutas () ( Vilnius, January 23, 1921 – Los Angeles, United States February 2, 1994 ), was a Lithuanian-American archeologist known for her research into the Neolithic and Bronze Age cultures of " Old Europe ", a term she introduced, and for her Kurgan hypothesis, the current most widely accepted of the Proto-Indo-European Urheimat hypotheses among scholars.
With regard to her strong cultural upbringing, Gimbutas said:
Gimbutas lived through great turmoil in her homeland during the Second World War, which was under successive Soviet and Nazi occupation from 1940 – 1941 and 1941 – 1943, respectively.
In her reflection of this turbulent period, Gimbutas remarked, " Life just twisted me like a little plant, but my work was continuous in one direction.
While holding a postdoctoral fellowship at Tübingen the following year, Gimbutas gave birth to her second daughter, Živilé.
During the 1950s and early 1960s, Gimbutas earned a reputation as a world-class specialist on the Indo-European Bronze Age, as well as on Lithuanian folk art and the prehistory of the Balts and Slavs, partly summed up in her definitive opus, Bronze Age Cultures of Central and Eastern Europe ( 1965 ).
Campbell provided a foreword to a new edition of Gimbutas ' The Language of the Goddess ( 1989 ) before he died, and often said how profoundly he regretted that her research on the Neolithic cultures of Europe had not been available when he was writing The Masks of God.
Sláine's goddess, Danu, and her tribes, the Tuatha Dé Danann, come from the Irish Mythological Cycle, although the worship of a universal mother goddess of the earth is not Celtic and comes from speculations about prehistoric European culture and religion by the likes of Marija Gimbutas and Robert Graves.
His 1968 monograph Anthropomorphic Figurines of Predynastic Egypt and Neolithic Crete countered the Mother Goddess theories espoused by Marija Gimbutas, characterizing her interpretations as glib.
John Chapman suggests that Gimbutas ' Goddess theories were a poetic projection of her personal life, based on her idealised childhood and adolescence.
For this reason, Gimbutas and her associates regard the terms Neolithic Europe, Old Europe, and Pre-Indo-European as synonymous.
In her later life, Gimbutas increasingly emphasized the violent nature of this transition from the Mediterranean cult of the Mother Goddess to a patriarchal society and the worship of the warlike Thunderer ( Zeus, Dyaus ), to a point of essentially formulating feminist archaeology.
Gimbutas and last
Lauren Talalay, reviewing Gimbutas ' last book, The Living Goddesses, says that it reads " more like a testament of faith than a well-conceived thesis ", stating that " Just because a triangle schematically mimics the female pubic region, or a hedgehog resembles a uterus (!
Gimbutas and three
The Triple Goddess was here distinguished by Hutton from the prehistoric Great Mother Goddess, as described by Marija Gimbutas and others, whose worship in ancient times he regarded as neither proven nor disproven Nor did Hutton dispute that in ancient pagan worship " partnerships of three divine women " occurred ; rather he proposes that Jane Harrison looked to such partnerships to help explain how ancient goddesses could be both virgin and mother ( the third person of the triad being as yet unnamed ).
Marija Gimbutas characterized the Bell Beaker culture complex as an amalgam of Vucedol and Yamna culture traditions formed after the incursion of the Yamna people into the milieu of the Vučedol culture, which evolved in the course of the three or four centuries after 3000 / 2900 BC.
Gimbutas and Goddesses
* Gimbutas, Marija, edited and supplemented by Miriam Robbins Dexter ( 1999 ) The Living Goddesses.
Almost without exception, images of what Marija Gimbutas interpreted as Mother Goddesses have been discovered in all of these cultures.
* Gimbutas, Marija, The Gods and Goddesses of Old Europe, Thames and Hudson 1974.
Gimbutas and Old
The Civilization of the Goddess articulated what Gimbutas saw as the differences between the Old European system, which she considered goddess-and woman-centered ( gynocentric ), and the Bronze Age Indo-European patriarchal (" androcratic ") culture which supplanted it.
The Gimbutas Archives house over 12, 000 images personally taken by Gimbutas of sacred figures, as well as research files on Neolithic cultures of Old Europe.
According to Gimbutas ' Kurgan Hypothesis, Old European cultures were disrupted by expansion of Indo-European speakers from southern Siberia.
Marija Gimbutas controversially suggested that agrarian settlers of around 3500-2500 BCE were examples of earth-worshipping Old Europeans.
The primary advocate of the idea that the markings represent writing, and the person who coined the name " Old European Script ", was Marija Gimbutas ( 1921 – 1994 ), an important 20th century archaeologist and advocate of the notion that the Kurgan culture of Central Asia was an early culture of Proto-Indo-Europeans.
Gimbutas postulated that in " Old Europe ", the Aegean and the Near East, a great Triple Goddess was worshipped, predating what she deemed as a patriarchal religion imported by the Kurgans, nomadic speakers of Indo-European languages.
Bachofen became an important precursor of 20th century theories of matriarchy, such as the Old European culture postulated by Marija Gimbutas from the 1950s, and the field of feminist theology and " Matriarchal Studies " in 1970s feminism.
Old Europe is a term coined by archaeologist Marija Gimbutas to describe what she perceives as a relatively homogeneous and widespread pre-Indo-European Neolithic culture in Europe, particularly in Malta and the Balkans.
Marija Gimbutas ( 1989 ), observing a unity of symbols marked especially on pots, but also on other objects, concluded that there may have been a single language spoken in Old Europe.
In the context of the Kurgan hypothesis, the culture is seen as non-Indo-European, representing the culture of what Marija Gimbutas termed Old Europe, the peoples of which were later to be governed by the Indo-European-language-speaking peoples ( see Yamna culture ) intruding from the east.
And Lithuanian-American archaeologist Marija Gimbutas argued during the mid-1900s that Basque is clearly related to the extinct Pictish and Etruscan languages, in attempt to show that Basque was a remnant of an " Old European culture ".
The Goddess movement draws some of its inspiration from the work of such archaeologists as Marija Gimbutas ( Gimbutas 1974 and 1989, Mellaart 1967 ), whose interpretation of artifacts excavated from the region she called " Old Europe " points to societies of Neolithic Europe that were " matristic " or " goddess-centered ".
It was associated with the cover-term Old Europe by Marija Gimbutas, though may have been undergone " kurganization " by the Proto-Indo-Europeans and become integrated into the successor Globular Amphora culture.
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