In the early 1980s a pop group called Frankie Goes To Hollywood released a song called Relax. The lyrics of the song were considered to be so raunchy that the BBC banned it from their playlists at the time. This decision backfired, quickly propelling Relax to Number 1. Across the UK people began to boldly wear t-shirts bearing the slogan, ‘Frankie Says Relax’. Today, Relax remains one of the most explicit pop songs to reach Number 1. I wonder what the ancients would have made of it?
Ancient Avebury stone circle, in Wiltshire, England, is a magnificent site of Neolithic worship. Its large stones, many similar in size to those used at Stonehenge, tower above the landscape, hinting at distant times and long forgotten people. Within the village of Avebury, which is situated itself within the giant stone circle, is a marvellous shop, called The Henge Shop. It’s full of all kinds of mystical accoutrements, including magical books, healing crystals, spiritual incense… and more. If you ever visit the Henge Shop, you may find yourself noticing, situated opposite the till, near the door some molded figures of a woman called Sheela na Gig. When you do, due to the pose she holds, you’ll find yourself being briefly reminded that ancient views on human sexuality were much different to contemporary opinions.
You see, from the enigmatic Sheela na Gig, who originated in Ireland, before making her way to Avebury, to the imposing Cerne Abbas Giant of England and the Venus of Willendorf, to the breathtaking erotic sculptures of Khajuraho, India, ancient cultures embraced the depiction of sexuality in art and architecture, in ways that are sometimes frowned upon today. While these artistic expressions may appear shocking or scandalous to modern sensibilities, they offer a fascinating window into the complex and nuanced understanding of human sexuality in these societies.
Sheela na Gig: Guardian of Fertility
Sheela na Gig is a unique and enigmatic figure that has captivated the imagination of scholars and historians for centuries. These carvings, typically depicting a naked female displaying her genitals, are found primarily on churches and other religious buildings in Ireland and the United Kingdom. The origins of Sheela na Gig are shrouded in mystery. Some theories suggest that they represent Celtic fertility goddesses or pagan deities associated with childbirth. One popular interpretation is that Sheela na Gig served as a protective figure, warding off evil spirits and safeguarding the building. The exposed genitals may have been intended to symbolise both fertility and the power of creation and destruction.
Sheela na Gig figures vary in appearance but generally share certain physical characteristics. They are typically carved in stone or wood and depict a naked woman with exaggerated body features. Sheela na Gig carvings are often located on the exterior walls of the building, facing outward. This placement suggests that they were intended to be seen by passersby and visitors. The presence of Sheela na Gig figures on religious buildings is a source of much debate. Some scholars believe that they were incorporated into Christian architecture as a way of assimilating pagan beliefs and practices. Still more argue that Sheela na Gig is a symbol of female empowerment and autonomy. Her exposed genitals may represent a challenge to male authority and a celebration of female sexuality.
The Cerne Abbas Giant: A Protector of the Land or a Symbol of Male Power?
The imposing chalk figure of the Cerne Abbas Giant, carved into the hillside in southern England, is another enigmatic example of ancient depictions of sexuality. This monumental naked figure, clearly engaged in an act of sexual arousal, has been interpreted as a fertility symbol, a protector of the land, or a representation of the power of the male deity.
While its exact meaning remains open to debate, the giant’s prominent presence suggests a connection to the land and its fertility, potentially reflecting a deep-seated reverence for nature and its cycles.
The Venus of Willendorf
The Venus of Willendorf, a remarkably preserved figurine dating back to approximately 28,000 to 25,000 BCE, offers a unique window into the past, shedding light on the societal views of the ancient Palaeolithic period, particularly in regards to sexuality. Despite its tiny size, measuring only around four inches tall, the Venus of Willendorf carries a substantial historical weight that transcends its diminutive stature.
Discovered in 1908 near the Austrian village of Willendorf, this small statuette is carved from limestone and painted with red ochre. The figurine depicts a nude woman with exaggerated physical features, including large breasts, wide hips, and a prominent vulva. The absence of facial details, in contrast to the meticulous depiction of the female body, is striking and intriguing.
Interpretations surrounding the Venus of Willendorf vary among scholars, but one predominant theory suggests that it may represent a fertility fetish or a mother goddess, indicating a reverence for fecundity and maternal figures. This notion is further reinforced by the Venus’s physical attributes, all of which align with the essential components of fertility and motherhood.
The Venus of Willendorf’s pronounced physical features, particularly her voluptuous breasts and hips, may reveal ancient views on sexuality and fertility. Her large breasts could symbolise the ability to nurse and nurture, an essential aspect of child-rearing. Meanwhile, the accentuated hips and vulva may highlight the significance of child-bearing. The depiction of such features in a hyperbolic manner might suggest an emphasis on fertility and reproduction rather than sexuality as we understand it today.
The Venus’s lack of facial features is another noteworthy aspect. Some scholars argue that this could imply an emphasis on the body’s reproductive capacity over individual identity. In this sense, the Venus might not represent a specific woman but rather a symbol of the feminine and her potential to propagate and ensure the continuation of the human species.
While concrete conclusions about the ancient’s views on sexuality based on the Venus of Willendorf can only be speculative, the statuette provides valuable insights into the societal values and beliefs of the Palaeolithic period. The Venus serves as an enduring testament to the ageless reverence for fertility and motherhood, offering a profound glimpse into the ancient’s perspective on human reproduction and survival.
Though the Venus of Willendorf may not directly reflect modern perceptions of sexuality, the statuette stands as a testament to the continuity of human preoccupations, transcending the millennia that separate the ancient artists who carved her and the modern researchers who still grapple with her complex symbolism.
The Erotic Temples of Khajuraho: Celebrating Life and Erotic Desire
The magnificent temple complex of Khajuraho in India, with its intricate carvings depicting a vast array of human experiences, including love, passion, and sensuality, stands as a testament to ancient India’s acceptance and celebration of sexuality. Unlike the often ambiguous or cautionary depictions found elsewhere, the Khajuraho temples explicitly explore erotic themes, showcasing scenes of lovemaking, pleasure, and intimate encounters.
Scholars believe these carvings represent more than just a celebration of the physical act. They represent a holistic view of human existence, encompassing both the spiritual and the sensual. The interplay of erotic themes with religious imagery suggests a connection between spiritual growth and the appreciation of the body and its pleasures.
Lessons from the Past
These diverse and often provocative depictions of sexuality in ancient art offer valuable insights into the past. They remind us that our understanding of sexuality and its expression has evolved significantly over time, and that what we may find shocking or scandalous today was once a vital part of cultural and religious expression. Indeed, some sources suggest that in times past the practice of sacred temple sexuality was considered an acceptable custom.
By studying these ancient depictions, we can learn to appreciate the complexity of human sexuality and its manifold expressions across different cultures and historical periods. These works of art challenge us to relax whilst we reexamine our own prejudices and preconceptions about the body, love, and desire, urging us to embrace the multifaceted nature of human experience.
You may find the following authors’ works useful.
Maggie Pinset (Chapter contributor in Journeys with the Divine Feminine; chapter titled Living With The Feminine Divine). ISBN: 9781693212222.
Worldwide Temple of Aurora 