Riane Eisler

in sharp contrast to the remains of even their earliest and most primitive male-dominant invaders, what is notable in these Neolithic Goddess-worshiping societies is the absence of lavish “chieftain” burials. And in marked contrast to later male-dominant civilizations like that of Egypt, there is here no sign of mighty rulers who take with them into the afterlife less powerful humans sacrificed at their death.

In Neolithic art, neither the Goddess nor her son-consort carry the emblems we have learned to associate with might—spears, swords, or thunderbolts, the symbols of an earthly sovereign and/or deity who exacts obedience by killing and maiming. Even beyond this, the art of this period is strikingly devoid of the ruler-ruled, master-subject imagery so characteristic of dominator societies.

Goddess-centered art we have been examining, with its striking absence of images of male domination or warfare, seems to have reflected a social order in which women, first as heads of clans and priestesses and later on in other important roles, played a central part, and in which both men and women worked together in equal partnership for the common good