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Modern Minoan Paganism is something of a hybrid, combining reconstructionism (to the extent that we can) with a lot of do-it-yourself methods: shared personal gnosis, shamanic journeying, psychic archaeology. We're not trying to revive the exact religious practices of the ancient Minoans because, to be honest, we really can't. And there are all sorts of obstacles in our way, even if we did want to revive "the real thing."

We can't read the Linear A script that the Minoans used to write their own language. Yes, someone or other comes out with a supposed "translation" every few years but they're always wrong, but any well-trained linguist will tell you that we simply don't have enough text to do a proper decipherment. There are a few things we can tell about the script, but we honestly can't read it so we don't Minoan texts to go by (yes, I'm positively envious of the Norse and Irish reconstructionists and all their historic texts).

In my widely read blog and academic essay offering a new definition of patriarchy, I argued that patriarchy is a system of male dominance that arose at the intersection of the control of female sexuality, private property, and war. In it, bracketed the question of how patriarchy began. Today I want to share some thoughts provoked by a short paragraph in Harald Haarmann’s ground-breaking Roots of Ancient Greek Civilization. Haarmann briefly mentions (but does not discuss) the hypothesis that patriarchy arose among the steppe pastoralists as a result of conflicts over grazing lands. As these conflicts became increasingly violent, patriarchal warriors assumed clan leadership in order to protect animal herds, grazing lands, and the women and children of the clan.

The figure-eight shield that shows up in Minoan and Mycenaean art is endlessly fascinating and has inspired a broad range of theories as to its religious and military significance. You can see above part of the reconstructed Shield fresco from the Minoan temple complex at Knossos; the figure-eight shield also appears on Minoan seals and seal impressions as well as a fresco from the Mycenaean palace at Tiryns. The seals and seal impressions combine the figure-eight shield with other images from Minoan religion and nature, like these:

We divide our world into all sorts of segments based on time and space: day and night; the four seasons; the ground, the air, and space. Organizing the world into understandable parts is a natural human inclination, and the Minoans did it, just like everyone else. So how did they divide their world?

I have a few ideas. The most obvious is the seasons. Crete lies in the sea just south of Greece and has a Mediterranean climate. That means that, instead of the spring-summer-autumn-winter cadence we're used to in most of North America and Europe, the year flows from the rainy season to the dry season and back again: only two major seasonal divisions. In Mediterranean climates, the dry season lasts from what we might call late spring, through summer, and into early autumn. On Crete, plant life turns crispy-brown and dry. All but the largest creeks dry up, and even the rivers diminish to a flow much smaller than their wet season. This is the dead time of year, the counterpart to winter in the northern temperate zone.

The lovely young lady in the image above is picking the stigmas of the saffron crocus, also called the autumn crocus, to give as an offering to the goddess. We see this whole scene play out in a series of frescoes from Akrotiri, the ancient Minoan-era town on the Mediterranean island of Santorini. Saffron crocus blooms float in mid-air across the backgrounds of these frescoes, reminding us where our focus should lie. Below, we see a girl pouring her gathered saffron into a large basket while a monkey presents some to the enthroned goddess.

Modern Minoan Paganism is a pretty broad path. People come to it from many different directions and backgrounds; our commonalities are the pantheon, the Minoan sacred calendar, and a few basic practices that we all share. Prominent among these is making offerings to the Minoan gods and goddesses. The image at the top of this post is a lovely three-footed offering table from Akrotiri decorated with dolphins. Perhaps its owner left fruit or flowers or seashells some other offering on it, maybe dedicated to the ocean goddess Posidaeja or another favorite deity (though I'd vote for Posidaeja because of the dolphins).

Solid items can be set out on the altar or offering stands or at an appropriate outdoor location. Liquid offerings can also be set out in a cup or pitcher, or they can be poured out as libations. A libation can be poured into another container (a bowl, for instance) or onto the ground. A libation can even be the centerpiece of a ritual for abundance.

Have the gods ever appeared to you? If the artwork is any indication, they seem to have put in a few appearances to the Minoans of ancient Crete. The image at the top of this blog is of the Isopata ring, a gold seal ring from a Minoan-era tomb near Knossos. The scene shows four women, presumably priestesses, dancing ecstatically in a field of lilies. Interesting stuff floats around their heads: snake-like serpentine lines, a beehive, and... a small female figure. She is dressed like the other women, in a flounced skirt, but she's tiny; her hair and skirt are flying out as if she is moving quickly through the air. She is, perhaps, a goddess who has been invoked in this ritual.

The interesting thing is, figures like her show up on several other seal rings, as does a small floating male figure who holds a spear. And all the artwork depicts ritual settings, so I think the identification of these floating figures as deities is a pretty sound one. For instance, this ring from the Minoan port city of Amnisos has a floating goddess hovering over a boat full of people and being greeted by more people to the left: