User:Studiesin.../Cult of Artemis at Brauron

One of the most well-known worshiping sites for Artemis was on the Eastern coast of Attica at Brauron. Artemis is said to have presided over all the biological transitions of females from before puberty to the first childbirth. “Young girls began to prepare for the event of the first childbirth at an early age. Even before menarche young girls danced for Artemis, in some places playing the role of animals. At the Attic site, or Brauron, in the rite called arkteia, girls representing the polis of Athens imitated she-bears, arktoi."  “The initiation ritual for girls was called the Brauronia, after the location of Artemis' shrine at Brauron, in Attica, where the ritual, performed by girls before they reached puberty, took place.” These sanctuaries were established for young women, and performed almost entirely by women due to Artemis' status as the goddess of maidenhood and fertility.

Origins
One of the many myths surrounding the Cult of Artemis at Brauron originates with the story of Iphigeneia. Brauron is the site where Iphigenia, Agamemnon’s daughter, is said to have established a temple to Artemis by decree of Athena, as told in Euripides’ Iphigeneia in Tauris. In fact, the garb the women wore at these rituals were an homage to Iphigenia, who was allegedly buried at the temple. In the story of the Trojan War, as described by Aeschylus, the Greeks had fallen out of favor with Artemis by shooting one of her sacred stags. Thus, they were unable to put to sea against the Trojans due to unfavorable winds, conjured by the goddess. In Euripides' 'Iphigeneia at Tauris ' lines 1446–1468 we find a reference to this origin myth: "And you, Iphigeneia, beside the holy stairs of Brauron you must hold the keys for the goddess herself: where you will die and be buried, and – as a delight for you – they will dedicate the finely woven material of woven cloth which by chance women having lost their lives in childbirth abandon in their homes. I command you to send forth these Greek women from the ground due to their correct intentions.”

In response, an oracle declares that a human sacrifice is required and Agamemnon orders his daughter, Iphigeneia, to come forward for the sacrifice. The attendants seize her and she is gagged to prevent her cries from reaching the ears of the gods. In a final act of desperation, she shrugs out of her robes and tries wordlessly, to reach out to the elders, hoping that in their pity they will release her from her hell. Iphigeneia’s shedding of her robes is an act done by the “bears” of Brauronian Artemis, as depicted by vases which show the bears having shed their robes, becoming naked. An act which fulfills a bear’s purpose. Iphigeneia makes the original sacrifice and the “bears” continue the ritual by shedding their saffron robes. It is also said that Iphigeneia brought a wooden rendering of Artemis to Brauron, and left it there, before continuing her journey to Argos.

Another myth around the Cult of Artemis' origin pertains to two Athenian men that killed a bear sacred to Artemis. Artemis issues a punishment for this, “by sending a plague that would cease only if the Athenians would consecrate their daughters to her, the ‘bear Artemis’, every five years.” Artemis was worshipped as the Great-She-Bear and the girls, who were required to undergo a period of ritual ‘wildness' before puberty, were her images, the arktoi, and often wore bear masks in rituals.

The Wrath of Artemis
According to myth, Artemis must be appeased or the results could be disastrous. “One legend describes how the polis of Patrai was punished with plague (loimos) and famine (limos) because a priestess of Artemis Triklaria entertained her lover in the sanctuary. The punishment was so severe because the young priestess had committed a triple violation: violation of the standards of purity for the sanctuary, violation of the requirements of sexual purity for service to Artemis, and, because the priestess represented all the young women of the community, violation of the social requirement that young women be kept from sexual experience until the time of marriage.” The young participants in the Brauronia were expected to act in purity in order to remain in good favor with Artemis. “The anger of Artemis was always a risk. One commentator describes the girls celebrating the arkteia at Brauron as ‘soothing’ or ‘appeasing’ the goddess… Another says that girls had to ‘placate the goddess for their virginity (parthenia), so that they would not be the object of revenge from her.’

Participants
The Cult of Artemis at Brauron is described in this excerpt from Aristophanes Lysistrata, lines 641-647 "As soon as I was 7 I was an arrhephoros (sacred basket carrier). Then at 10 I was an aletris (miller of corn) for the foundress, and shedding my saffron robe I was an arktos (bear) at the Brauronia." These practices have been attributed the rituals of the Cult of Artemis at Brauron.

The wealth of archeological artifacts documenting this festival in the form of painted vases and tablets suggests it was widely known, evidence suggests that the "girls that took part in the Athenian Braurania were a 'select few chosen from the best families'" to represent the entire community. French historian Pierre Vidal-Naquet said of the cult practices, "The myth is not difficult to explain: in exchange for the very advance of culture implied by the killing of wild animals, an advance for which men are responsible, the girls are obliged before marriage-indeed before puberty- to undergo a period of ritual 'wildness'."

Offerings
There are also many offerings found at Artemis’ shrines throughout the Greek world. At Brauron in particular the offerings include, “implements such as spindles, spindle whorls, loom weights and epinetra…The textiles and garments actually donated survive only in the list preserved on stone…” At Brauron there have also been found certain vase fragments depicting what is certainly initiates and participants in the arkteia.

There is also evidence of other offerings in the way of sacrifice. According to Apollodorus, Priests or Priestesses would require male blood sacrifice during the festival at Brauron. While men's throats would be cut, they would not actually be killed. This is to represent the lost sacrifice of Orestes. Orestes had been taken by the Cult of Artemis to be sacrificed, as was custom when a stranger was found at Brauron. However, he managed to escape with the assistance of Iphigenia. The cutting of men's throats served as a lesser representation of the blood that was owed from Orestes. This displayed Artemis' strength and cruelty.

Importance of Temple Locations
Further information: Sanctuary of Artemis at Brauron

Hughes notes that "the etymology of the name Artemis would be ark-temnis, “bear-sanctuary,” or more fully paraphrased, “she who establishes (or protects) the bear sanctuary.” Such sanctuaries were commonly and most characteristically groves of trees near water. The placement and structure of the temple at Brauron carried significance because its features were often included in the worship of Artemis. Besides Brauron, many other temples devoted to Artemis worship existed. Cole suggests that “the theme that unites the most distinctive sites of Artemis is the idea of dangerous or threatened passage. She was particularly associated with places of narrow access…[which were] sensitive places necessary for a city’s defense but also the places most vulnerable to enemy penetration.” Since she was associated with territorial boundaries, defensive positions, and the wilderness, many of the sanctuaries were located at the periphery or near water. Whether located on a mountain, marshy area, or near a river, water was often a focal point in the sanctuaries. Brauron was located where a river flowed into the Aegean Sea. The structure of the temple highlighted the nearby river because water was essential to the rituals performed in honor of Artemis.

Festivals and Rituals
There is evidence that during the 5th century the festival at Brauron was celebrated every 4 years, and earlier on it may have been an annual event. This indicates that the site at Brauron was flourishing as far back as the Neolithic and Mycenaen periods. During the festival young girls, and it seems that on occasion young boys, would gather to celebrate Artemis, the Great-She-Bear. They did this by assuming the image of bears themselves and performing certain rituals. Vases depict images of races and dancing to honor the goddess. The dance, also called the "arkteia", was made up of slow, solemn steps meant to imitate the movements of a bear and was performed to a tune from a diaulos (double flute). The young girls also carried baskets of figs. Little is known about exactly what each stage of the ritual actually meant, but it is understood that they each symbolized a gesture of devotion to Artemis in return for her protection over the young and guidance on their way to maturity. Early on the participants wore actual bear skins, but by the 5th century bears had become scarce. The skins were substituted with Krokoton. These short, saffron-yellow chiton dresses were meant to symbolize the bear skins and were "shed" during the final ritual to symbolize the participant's maturation.

The ancient Greeks did not possess religious texts, so it is through rituals and festivals that Greeks were able to practice religion. Social hierarchy established who would have the ability to participate in religious practices such as the Ritual of Artemis at Brauron. Religious festivals and rituals were very exclusive. Participation in these events displayed ones social status in having the ability to partake. It was important for wealthier families to show their piety. The young girls chosen for the Cult of Artemis were a select few, and they were given the opportunity to display their virginal attributes in society.

Effects on Greek Cultural Attitudes
The worship of Artemis at Brauronia, and throughout ancient Greece, had several effects on Classical society. Two have already been noted: the need to appease Artemis affected the women participants and temples of Artemis were consciously placed in defensive or contested locations. Another, the dance of Arkteia, dealt in part with the wilderness aspect of Artemis. The Arkteia marked the beginning of the transition of a parthenos to a gyne, which was completed at marriage.

A major part of the Arkteia was the presence of animal symbolism. The symbolism served to give the children (aged five to ten years old, ideally ten) an introduction to environmental education and concern for nature. This is due in large part to Artemis’s reputation as a protector of wildlife. She was a defender of wild animals, and was believed to punish those who killed them for objectionable reasons harshly. She was also identified with wildlife, and many areas were designated as sanctuaries and refuges where the hunting or killing of wildlife was either prohibited or restricted. Artemis was symbolic of ethical principles of hunting and wildlife management. These principles stemmed from the belief of primitive hunters and gatherers who believed that living things were sentient, intelligent beings, deserving of respect. Due to these factors, when embarking on hunts, hunters needed to be mindful of the respect and reverence due to nature and wildlife.

Thanks in large part to Greek beliefs in regards to Artemis, large sections of the Greek landscape were preserved for many years. For this reason, Artemis is seen as an early pioneer and patroness of environmental education and the worship of the virgin goddess is in large part responsible for many of the conservation efforts of Classical Greece.

Below is a Limestone Statue of Artemis with Quiver and Fawn which is displayed at the Metropolitan museum. She holds the fawn as a mother would hold a child, which displays her dedication to the caretaking of animals and nature. This piece is said to have been found in Cyprus, which is a culturally Greek land, but was not necessarily a part of Greece. This displays the notoriety that Artemis holds. [[File:Limestone statuette of Artemis with a fawn MET DP148318.jpg|thumb|Metropolitan Museum's Statuette of Artemis 3rd-1st Century B.C. https://www.metmuseum.org/art/collection/search/242289

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