This is a rudimentary translation of articles from my book “Goddess Culture in Israel“. While it is far from ideal, it serves a purpose given the significance of the topic and the distinctiveness of the information contained. I have chosen to publish it in its current state, with the hope that a more refined translation will be available in the future.

Temples in Gilat

During the Chalcolithic period, there was a clustering of settlements in the northern part of the Negev, particularly within the catchment areas of the Habeshor, Grar, and Be’er Sheva rivers. These regions featured expansive fertile plains. At that time, increased rainfall facilitated agriculture, leading to the emergence of a densely packed network of communities organized around a significant central settlement, such as Shikmim, surrounded by numerous smaller satellite settlements. Often, the central settlement served as a religious hub. Gilat, located in the Western Negev along one of the Nahal Habeshor’s tributaries, was one of these major central settlements.

In Gilat, discoveries included matzevot (standing stones), platforms, altars, a ritual basin, and granaries. Rooms believed to be temples, along with plazas and courtyards likely utilized by the multitude of worshippers visiting the site, were also unearthed. This settlement, the largest of its kind in the Negev, covered an area of 120 dunams and featured an acropolis-like section on its higher ground. Notably, one temple contained violin-shaped figurines and a plethora of ritual items, including hundreds of instruments, Nile oysters, alabaster stalactites, ivories from Egypt, stone and basalt tools from Transjordan, and obsidian from Turkey, suggesting the temple’s role as a trade hub as well. According to David Alon, the settlers originated from Transjordan, specifically the Teleilat Ghassul region. Initially living in burrows, they eventually constructed both the dwellings and a significant temple measuring 15×16 meters.

Within one of the temples, two notable clay sculptures were discovered, known as the “Gilat Oryx” and the “Princess of Gilat.” The “Princess of Gilat” statue depicts a pregnant woman seated naked on a childbirth bench, holding an incense burner under her arm and a butter churn atop her head. Hovering above the Oryx sculpture are three trophies. These artifacts shed light on the spiritual convictions of the era’s inhabitants and the significance they placed on the goddess associated with fertility and sustenance, symbolized by the figures of the princess and the Oryx.

Beyond the statues, substantial torpedo jars filled with olive oil were also discovered in Gilat. The composition of the clay from which these jars were fashioned suggests they originated from various regions across the Levant and were brought to the temple as offerings. The presence of olive oil likely played a role in ritual practices and, regardless, signifies its extensive use which might have transformed daily life, enabling the lighting of oil lamps to brighten the night.

Numerous violin figurines were uncovered in Gilat, characterized by their flat, abstract feminine shape with a long neck (headless), a triangular midsection tapering downwards in a manner evocative of female genitalia, a slender waist, and a broad, square-shaped lower part possibly symbolizing the earth. These figurines, crafted from a variety of stones including granite, diorite, basalt, and others sourced from across the Negev and southern Jordan, are believed to possess distinct magical and spiritual attributes. Within the culture that revered the Goddess, different materials held religious significance, with matter being sanctified and stones regarded as the bones of the Goddess. To date, 120 violin figurines have been found in Israel, with over 60 of them originating from the Gilat site. It’s thought that these figurines were brought as pilgrimage offerings (similar to the urns), linking the temple to the worshippers’ places of origin.

The flat, thin design of the violin figurines, which are predominantly headless and breastless—with the exception of one featuring small breasts—and crafted from stone, implies they symbolize the death aspect of the Goddess, who is also associated with rebirth. This unique depiction of the Goddess, characterized in such a manner, is exclusive to the Levant region and marks the final phase of the Goddess culture. This likely reflects a shift in religious beliefs, placing greater emphasis on the afterlife. In essence, Gilat functioned as a temple facilitating connection with the deceased and rebirth, becoming the focal point of a new religious movement.

Surrounding the temple were several courtyards, each serving a distinct purpose: one courtyard was a gathering place for people, the second housed platforms and burial sites, and the third contained two granaries and a basin for liquids. The presence of graves within the temple’s courtyards reinforces the interpretation that the temple was dedicated to the Goddess’s death aspect, while the granaries represented her facets of fertility and birth (or germination). This dual symbolism is also embodied by the statue of the pregnant princess with a butter churn on her head. Milk and olive oil, used as libations to the Goddess, were abundant at the site, reflected in the numerous jars of olive oil and the depiction of a butter churn. These offerings symbolized the gifts of the Goddess to humanity, for which people expressed gratitude. Worship of the Goddess also involved burning incense, derived from plants and trees linked to her domain. The small cups found on the back of the oryx statue likely served this purpose, alongside other discovered incense burners, which were used to forge connections with the afterlife, reflecting the cyclical nature of death and rebirth akin to plant life.

The Gilat site is situated midway between Moshav Gilat and Ofakim, conveniently close to the main road, making access to the location quite straightforward. However, it’s important for visitors to be aware that the excavation areas have been covered over. Therefore, aside from possibly attempting to sense the energies of the site—a task that might be challenging due to the presence of a cellular antenna—there is not much to observe at the location..

Ein Gedi Sanctuary

The Ein Gedi Reserve stands as one of Israel’s most stunning natural wonders. Its breathtaking landscape, where desert cliffs meet the Dead Sea, interspersed with springs and waterfalls amid lush greenery, evokes a profound appreciation for the beauty of life. This place reminds us that we are not isolated entities but part of a grander whole often referred to as nature, which in ancient times was revered as the Goddess. The ancients were drawn to Ein Gedi, seeking to experience the splendor of Mother Nature. Here, the nurturing presence of water contrasts with the serene blue of the Dead Sea, while the Moab Mountains to the east glow with hues of red and yellow at sunset, complemented by the stark desert cliffs to the west.

It was likely the profound sense of spirituality felt by individuals that inspired the construction of a distinctive temple near the Ein Gedi spring, unparalleled in the region and possibly the world. This temple became a central pilgrimage destination for people throughout the country, particularly from two major Chalcolithic era settlements in the southern region: the Jericho Valley and the northern Dead Sea area on one side, and the Beer Sheva Valley on the other. Chosen for its majestic setting in an otherwise desolate location, this site was intended to function as a national and regional sanctuary accessible to all inhabitants of the south. Surrounding the Ein Gedi temple, no remains of a contemporary settlement have been found, leading archaeologists to believe that the temple stood as an independent site.

The final phase of the Goddess culture is marked by the emergence of temples, as evidenced by the discovery of the Temple of the Leopards in Uvda, along with temples in Gilat, Ramat Saharonim, and others. Megalithic structures were also built as an open kind of temple during this time. Yet, the temple at Ein Gedi stands out for its uniqueness—it’s not directly linked to any nearby settlement, unlike many other temples of the era. In contrast, it spans a significantly larger area, including a courtyard and several interconnected structures. This suggests the presence of a dedicated priesthood, likely comprised of priestesses, who resided in nearby huts. These individuals were tasked with overseeing the ceremonial and religious activities at the site, indicating a more organized and permanent form of worship.

David Osishkin, one of the archaeologists involved in excavating the temple, posits [1] that the temple was designed for conducting water rituals, intimately connected to the nearby springs. Positioned several tens of meters above the Ein Gedi spring, the temple’s entrance directly aligns with it. Additionally, another entrance looks out towards the Nahal David spring. Central to the temple was a ceremonial basin, a round bowl measuring 90 cm in diameter and 40 cm in depth. This basin was filled with water sourced from the springs, and it featured a drain that channeled any overflow water out of the temple complex.

During the era of the Goddess culture, water was revered as a sacred element, closely linked to concepts of birth, fertility, and the unconscious—a primordial substance formless yet teeming with life and energy. It’s believed that the Ein Gedi spring held particular sanctity, attributed not only to the therapeutic qualities of its water but also to its strategic position at the edge of a desert mountain. Supporting this notion is the discovery of a rock adjacent to the spring, engraved with 11 cup-like hollows. These ancient indentations were likely utilized in some form of ritualistic practice, further underscoring the spring’s significance in worship and the cultural landscape of the time.

Archaeologist Amichai Mazar has proposed an alternative interpretation for the circular basin situated in the center of the courtyard, suggesting it was not intended for water but rather served as a receptacle for a sacred tree. This perspective aligns with the worship of the Goddess, who was closely associated with vegetation and, in particular, with sacred trees. Even with this interpretation, the presence of such a basin underscores the deep connection between the Goddess culture and the natural world, emphasizing the reverence for life and growth inherent in its religious practices.

The temple was left unguarded, and notably, one of its entrances lacked even a door—a trait consistent with Goddess culture peaceful existence. However, at some undetermined point, the temple was deserted for reasons that remain unclear, and its contents were removed. The sole artifacts discovered within were approximately 200 bezikhs, or pointed cups, which contained traces of beeswax. Deborah Namdar from the Weizmann Institute has interpreted these as candles that were embedded in the ground. If this assessment is accurate, it suggests that certain rituals conducted at the temple took place at night, possibly in alignment with the lunar cycle, such as during the full, new, or dark moon phases.

The Ein Gedi Temple, now encompassed within the Ein Gedi Reserve, retains a profound sense of sacredness, making it a compelling destination for visitors. David Osishkin has suggested that the temple’s treasures were, at some point and for reasons unknown, relocated to the Nahal Mishmar cave, situated approximately 14 kilometers from Ein Gedi—a distance that could be traversed in a day on foot. This cache was unearthed in the early 1960s by archaeologist Pesach Bar Adon, revealing a significant aspect of the site’s historical and cultural legacy. Today, the area continues to inspire awe and is highly recommended for those seeking to connect with its ancient spiritual ambiance.

A Cache in Nahal Mishmar

Over 70 caves with artifacts from the Chalcolithic period have been discovered in the Judean Desert, alongside an additional 30 caves in the Jericho region. Accessing these caves presents a challenge, necessitating the use of ropes and ladders due to their remote locations. Among these, the Warrior’s Cave near Jericho stands out for its intriguing finds, including sandals, mats, textiles, wooden tools, and even the skeleton of a man believed to have been a local leader, offering insights into the lives of people from that era. However, the cave in Nahal Mishmar garners even greater significance.

In 1961, within an obscure cave tucked away in one of the Judean desert’s canyons – Nahal Mishmar, archaeologists uncovered one of Israel’s most extraordinary treasures, dating back to the Chalcolithic period. Concealed in a straw mat and secreted away in a cave chamber, this cache contained 429 small copper artifacts, alongside an additional 13 items crafted from ivory and hematite stone. Among these finds, 261 are rounded, flattened, and somewhat pear-shaped items, intriguingly referred to as “mace heads.” These artifacts, each featuring a central hole, were likely affixed to wooden poles in their original use. Additionally, the treasure included 118 elongated, hollow tubes, also presumed to have been mounted on wooden poles. The collection also boasted five scepters, ten crowns, and three standards (resembling types of flags), presenting a fascinating glimpse into the craftsmanship and ceremonial practices of the time.

Among the treasure, several of the scepters and standards are adorned with representations of ibex horns, while some crowns feature bird motifs. The ivory objects include designs in the shape of crescents, possibly inspired by the curve of an ibex’s horn. Additionally, tools resembling horns were found, underscoring the ibex’s sacred significance to the creators of these objects. The ibex may have embodied the transition between the realms of the living and the dead, akin to the deer’s symbolism in Marj Rabbah, or its horns could have represented lunar cycles. Alternatively, the sheer elegance of the ibex navigating the cliffs of the Judean desert might have captivated the ancient peoples, leaving an indelible mark on their culture and artistry, much as it continues to impress modern observers.

Facial features characteristic of the period were found engraved on some of the reeds and crowns, including a pronounced nose and prominent eyes. These features bear resemblance to the wall paintings from Teleilat Ghassul in the northern Dead Sea area, the stone pillar-statues from the Golan, the ossuaries from burial sites in the Galilee, and the ivory figurines from the Be’er Sheva Valley. The distinct protruding nose is interpreted as a symbol connecting to the spirit and the energies of the land, while the large eyes signify a call for awareness and vigilance. These artistic elements reflect a consistent cultural theme across various forms of artistic expression, highlighting the importance of spiritual connection and mindfulness in the lives of the people from this era.

Osishkin proposed that the discovered cache represented the hidden treasure of the Ein Gedi temple, which was secreted away in the cave and subsequently forgotten. If the cache indeed originates from the Ein Gedi temple, it would be pertinent to investigate the temple’s structure for any astronomical alignments in its layout, entrances, and courtyard walls. This is because the shapes of the copper objects appear to correlate with lunar cycles, symbolizing the moon’s waxing (spheres) and waning (rays). Furthermore, the temple at Ein Gedi might have functioned as a sanctuary for worshipping the dead, facilitating a passage and connection to the afterlife. This theory is supported by the ibex horn’s symbolism of sacred time and transition to the beyond, as suggested by York Rowan, indicating the temple’s multifaceted spiritual significance.

What sets the copper objects of the cache apart is that they were crafted using the lost wax technique, a method not observed elsewhere in the Middle East at that time except in the Beer Sheva area. Erez Ben Yosef highlights that the copper of the Chalcolithic period, particularly that found in the Nahal Mishmar cache, is one of the significant anomalies and mysteries of the Land of Israel.

In the lost wax technique, a mold containing wax is formed and heated to allow the wax to drain out. Molten copper is then poured into the resulting void at high temperatures, often alloyed with arsenic to enhance its fluidity. This process demands extensive metallurgical expertise, considering that the nearest source of arsenic is in the Caucasus region, as it is not naturally occurring in Israel. Such sophisticated methods were unparalleled elsewhere globally during that era and resurfaced only millennia later.

During the Chalcolithic period, the primary hub of metal production in Israel resided in Nahal Habeshor and settlements within the Be’er Sheva Valley. Copper artifacts unearthed there share identical copper alloys with those discovered in the treasure cave situated in the Judean Desert. Drawing from these discoveries, Professor Tom Levy posits a correlation between the caves in the Judean Desert, particularly the Nahal Mishmar cave, and the settlements along with the copper production centers in Nahal Habeshor and Be’er Sheva. He adopts Dr. Uri Davidovich’s theory suggesting that the caves in the Judean Desert served as havens for individuals from Nahal Habeshor. According to this viewpoint, towards the conclusion of the Chalcolithic period, the settlements of Nahal Habeshor were abruptly deserted, without any discernible rationale. This abandonment was meticulously planned, with belongings packed and openings sealed shut. The “refugees” then dispersed to various locations across the country, depositing their treasures in the caves of the Judean Desert along the way. The ancient craftsmen concealed their metal artifacts in remote and inaccessible locales.

Davidovich argues that the shared use of the lost wax casting technique signifies a connection between the two locations. The depictions of Ibex horns on the artifacts discovered in Nahal Mishmar suggest that the artisans were local to the area and familiar with Ibexes, indicating that the objects were not crafted in distant lands like Cyprus or Turkey, where deer, not Ibexes, are prevalent.

Whether the treasure found in Nahal Mishmar originated from the temple in Ein Gedi, the sites of Nahal Habeshor, or another country altogether, the artifacts unearthed in the cave suggest a link to the realms of flora and fauna. These characteristics align with those of the Goddess culture.

One of the later gifts bestowed upon humans by the Goddess is the metals, viewed as celestial growths within the body of Mother Earth. Earth provided humans with clay for pottery making, introduced them to cultivable plants for sustenance, facilitated connections with animals for wool and milk production, supplied stones for toolmaking and construction, and offered special stones (gems) believed to represent the stars. Finally, humans received metals, all of which were perceived to have originated from within the body of Mother Earth.

In the early days of the Goddess culture, humans revered gold and silver, which they found in pure form in nature. They also held iron from meteorites in high regard, as it left a profound impression on them when it fell from the sky. Additionally, they revered a mysterious green stone containing copper, sometimes using it to create jewelry. As the Goddess period progressed, humans learned to create copper through intricate processes involving heating and cooling. The sacred fire transformed the green ores into a distinct material with magical properties.

Initially, copper was regarded as a talisman, but with time, humans learned to utilize it for crafting tools, despite the cheaper option of using stone. Nonetheless, the sanctity of copper remained intact, leading to the discovery of copper objects in temples alongside silver and gold. Symbolically, copper represented the planet Venus, while gold and silver symbolized the sun and the moon, providing context for understanding the treasure of Nahal Mishmar.

Timna Copper Mines

Metal production is a major Human invention. To take a stone, crush it, heat it and melt it until a liquid comes out of it, from which a new hard and shining substance can be molded, is a great thing. It is a very sophisticated invention. Some archaeologists think that it happened once in history, in one place, perhaps by a group of a sort of ancient scientists, and from there it spread to the rest of the world. Archaeologists struggle to understand how the people of the Stone Age arrived at this, but what is clear is that it began with a long process of study, trial and error and it happened in the Middle East.

The process of producing copper is complex and includes many components. In order for there to be copper, a temperature of at least 1,200 degrees must be reached (the temperature of a bonfire, for example, is 400 degrees), and this means elaborate blowers and furnaces. In addition to that, the process includes several stages, all of which must be passed in order to separate and distill the copper from the rock slag in which it is found. You need precise timing of the melting and cooling, archeologists believe tha copper producing was first done at night, a time when you can see the color of the flame that indicates the chemical reaction.

Probably the first place in the world where copper production took place was in Anatolia or the Armenian highlands. Copper production was probably related to jewelry production. According to various alternative teachings, copper in particular, and metal in general, are an anchor for energy, and thus spirals of copper wires can encourage plants to grow, and copper jewelry can change the energetic state of the Human aura field. Jewelry in general can be understood in this context, and not just as decoration.

Unlike iron, copper is less common and is found in few places in the world. The Arava region in Israel is one of the first places where copper mining and production appeared. The copper mines in Timna are relatively easy to extract and already in ancient times people managed to produce copper ingots there at a level of 99%-98%. Timna is one of the oldest copper mining sites in the world. Open pit mining took place as early as the 5th millennium BC, the miners followed the copper veins with a system of tunnels and shafts.

There are 10,000 copper mining shafts in Timna, all filled with material. The reason why the ancients filled them back with earth is apparently the mentality of protecting mother earth. The mines “wounded” it and the harmony of nature had to be restored. There are researchers (Ben Yosef for example) who think that this is only a technical matter, they took the material from one pit and used it to fill the other pit so that the piles of dirt would not interfere with the continuation of the excavation, but it is much cheaper and more logical to simply throw the ore in the environment, as is done today.

The beginning of copper production in the Arava happened already in the middle of the Goddess culture time. Before this time they didn’t know how to turn the stones into metal, but even in its raw form, the copper stone was considered to have special properties and is found incorporated into jewelry.

South of Timna are the Nahal Amram copper mines, which were an important copper mining site in ancient times as well. Around the mines many cult sites of Matzevot and a special type of installations related to the Rodedic culture (6th millennium BC) were found, a nomadic culture that probably adored the Great Mother because in some of its sites stones with the figure of a woman were found and triangular small stone Veginas as well. In the sites around the Amram mines, pierced stone Matzevot were found, stone figurines, and copper concentrates that were brought as offerings, all of which testify to the Religious importance of copper. Copper concentrates were also found in many other settlements of the Goddess culture throughout the country and the world (sometimes for the purpose of producing paint or making jewelry).

The valley of Timna is special in its crater shape, the beautiful cliffs in many colors, the pillars that are formed naturally in its center (pillars of Solomon), and elevated platforms that are a kind of acropolis in the open parts of the valley. In other words, the valley is beautiful, different and special, and probably even if there was no copper in it, it would have been considered a Sacred place in ancient times. The presence of copper veins in the channels of the hidden streams and the hills and cliffs around suited such a beautiful and holy place. The Goddess chose well the place where she prepared to give the gift of copper to the Humans.

The valley of Timna is a controlled and regulated national park, which has many beautiful sites beyond those of the Goddess culture, such as the Egyptian temple to the Goddess Hathor, paintings of chariots on the rock, a reconstruction of the tabernacle from the days of the Exodus, and more. In short, this is one of the most beautiful places in Israel and you should visit it.

Temple of the Leopards

During the Chalcolithic period, extensive settlement occurred throughout the Negev, including surprising instances of agriculture in what is now considered a harsh desert environment. Professor Henrik Bruins from Ben Gurion University made a significant discovery using carbon measurement methods, revealing organic remains dating back 7,000 years in fields near Avdat. This indicates that humans engaged in agriculture in this area and actively fertilized the fields during that time.

In the east of Uvda valley, clusters of circular rooms around a circular courtyard were discovered; settlements with traces of sheep breeding and agriculture, these settlements were continuously inhabited for hundreds of years. At the beginning of that period, the plow was not common, so they worked the land with flint axes and grounded the grain with grindstones. There is no doubt that those who did the work were mainly the women. Over time, oxen began to be used to plow the land (two ancient plows were found) and as a result, the ancients expanded the crops growth and men took charge of the work. Men and women together prepared large flood plains by diverting the water of the streams with the help of long earthen embankments (75 km). This meant a lot of work, joint mobilization of everyone and social organization.

The question arises: what served as the organizing principle of society during this period? It is reasonable to assume that religious belief played a significant role, particularly given the paramount importance of agriculture at the time. Therefore, it would be apt to explore the concept of divinity in the form of the Great Goddess. The discovery of worship sites in Uvda, notably the Temple of the Leopards, one of the oldest temples in the country, offers insight into the type of faith that defined society during this era.

Near the entrance to the Uvda army base, along the roadside, lies the Temple of the Leopards. Its name derives from the leopard pattern depicted on the floor, crafted using small flat stones. This temple is among the many open temples scattered throughout the Negev. It features a square delineated by a low stone wall, each side measuring 12 meters in length. Positioned in the western corner of the square is an elliptical structure, measuring 3 square meters, identified as the “Holy of Holies” of the temple. At its center lies a trapezoidal arrangement of four medium-sized stones, surrounded by 17 standing small flat stones. The elliptical structure is slightly raised from its surroundings. While the walls of the square are oriented toward the sunset on the shortest day of the year, the ellipse aligns along a north-south axis.

In the courtyard preceding the ellipse, three artificial pits paved with stone slabs are present. These pits likely served for igniting fires and possibly for preparing ceremonial meals or libations. Additionally, three more fire pits were discovered in other areas of the yard, arranged essentially along a north-south axis. These pits contained remnants of ash and ostrich eggshells.

To the west of the square lies a row of 15 figures aligned along a north-south axis and oriented towards the east. Archaeologists who conducted excavations at the site identified these figures as representations of leopards associated with ancient fertility deities. Hence, they face east, symbolizing the birth and rise of the sun. These figures are crafted from small, slender standing stones, resembling stone slabs, a technique observed in other open temples from the same era.

The heads of the leopards are depicted in the shape of squares, yet many of the figures contain a round dark flint stone within the head, lending them a unique otherworldly appearance. In ancient times, flint stone was associated with the element of fire, linking it to the fires lit in the pits within the temple courtyard. The leopards feature rounded and curved tails that face upwards, resembling the horns of ibexes when viewed from the opposite direction. Some of the leopards are smaller, resembling cubs standing on their mothers’ backs, reinforcing the identification of the animals as female leopards and emphasizing their association with procreation.

In front of the leopards stands a solitary figure facing west, identified as a Gazelle due to its straight horns. Unlike the leopards, the Gazelle lacks a head, and its horns feature straight lines instead of the curved tails seen on the leopards. While the leopards face east, towards the rising sun, the Gazelle faces west, towards the setting sun, aligning with the direction of the elliptical Holy of Holies.

The interpretation of the site suggests that the Gazelle symbolizes death, as it lacks a head—a common burial custom during the early Goddess culture, where the skull represents the seed for regeneration in the afterlife, thus pointing towards the setting sun. In contrast, the leopards represent fertility and birth, facing the rising sun symbolizing new beginnings. This duality reflects two aspects of the Goddess, indicating why a temple to the Great Mother was established here. This interpretation is reinforced by other features found at the site, all associated with Goddess culture: the discovery of ostrich eggshells relates to the procreative nature of the Goddess, the orientation of the square wall towards the shortest day of the year aligns with her procreative aspect, and the circular fire pits may also be linked to her worship. Additionally, the arrangement of 17 small stones in the Holy of Holies correlates with the lunar cycle, a central element in Goddess culture.

According to Raphangeluk [2], the number 17 symbolizes the lunar cycle, which consists of 14 days of waxing or waning and an additional 3 days when the moon disappears (new moon) from the horizon. This numerical significance is evident in cave paintings, where it is associated with the lunar cycle and, consequently, with women and the female reproductive cycle.

The identification of the 17 small stones in the temple, believed to be related to the lunar cycle, is further supported by the presence of 4 rectangular stone slabs arranged around them, facing the four semi-cardinal directions—namely, northeast, northwest, southwest, and southeast—which are commonly associated with the Goddess culture. These four slabs symbolize the four seasons, the four phases of the lunar cycle, and, more broadly, the cycles of life and death.

The Temple of the Leopards likely served as a site for ceremonies related to birth and death, offerings, and possibly prophecy. The Goddess was revered for her role in the fertility of crops, the birth of livestock, and human life. This symbolism is reflected in the east-facing leopards with flint stone at their  head, representing the Sacred fire of life. Conversely, the west-facing headless Gazelle symbolizes death or life after death, representing another aspect of the Goddess’s influence. The Holy of Holies encapsulates the cycle of life and death, mirroring the cycles of the year and the moon.

It’s fascinating to observe that in the Eilat area, numerous sacred sites associated with the Rodedian culture, which thrived during the mid-Goddess period (6th millennium BC), have been unearthed [3].

The Rodedian sites are mostly arrangements of stones such as Matzevot or installations, and many times a bounded circle appears next to a elongated ellipse, which are interpreted as expressions of female deities and masculinity and the relationship between them. In some sites, small flat triangular stones with an opening in the shape of a Matzevot vagina were found, which indicates the veneration of the female genital organ and the existence of a cult related to these.

The sites belonging to the Rodedian culture are often remote and challenging to access, contrasting with the Temple of the Leopards, which is easily located and accompanied by informative signage. Along the eastern edge of the Uvda valley, numerous remnants of ancient settlements are scattered, inviting visitors to freely explore their surroundings.

Temples in Ramat Saharonim

In the 6th millennium BC, advancements in the domestication of sheep and goats coincide with the emergence of a culture centered around grazing in the desert. Concurrently, the first temples, such as the Temple of the Leopards and those in Ein Saharonim, begin to appear. Situated at the eastern edge of the Ramon Crater, on Ramat Saharonim, amidst the breathtaking scenery of Mount Ardon and in close proximity to the Nekarot stream and a prominent hill known as “Givat Harut,” one discovers one of the largest and most impressive sacred complexes of temples and tumuli. This complex dates from the third and final phase of the Goddess culture.

According to the archaeologists who conducted research on the site [4], there are four temples in Ramat Saharonim, each built in succession. These temples share a similar layout, comprising a sizable rectangular courtyard, approximately 20-22 meters in length, enclosed by rows of small limestone slabs sourced locally. Adjacent to this, there is a square courtyard measuring 8 meters on each side, enclosed by irregularly shaped small conglomerate stones. The layout of these temples bears resemblance to the enclosures associated with the Rodedian culture. It is suggested that the rectangular section likely represented the male deity, while the square section represented the female deity.

The rectangular sections are characterized by a larger wall on the northeast side, composed of two rows of stone slabs standing at a height of 1.5 meters, with a space of 20-40 cm between them. This imposing wall would have made a significant impression, particularly considering its alignment with the sunset on the longest day of the year, during which the sun’s rays would be captured between the two rows of slabs. Interestingly, similar megaliths, such as the K line, were erected on the west side of Mitzpe Ramon, also oriented towards the sunset on the longest day of the year.

The temples are also positioned in a way that reflects the surrounding mountains in the crater. Three of the temples are oriented towards the sunset on the longest day of the year, which occurs between two nearby hills and towards a prominent black hill in the distance known as “Volcanic Hill” inside the crater. The fourth temple also faces the setting sun, but not directly over “Volcanic Hill.” Their placement seems to mirror the geology of the area, situated at the transition point between yellow soil and sandstone rocks and the red ones. There appears to be a connection to the colors and textures of the soil and rock, with an ancient quarry of grinding stones located about 200 meters north of them, showcasing a remarkable variety of rocks and geological formations.

The temples are not isolated structures but part of a larger Sacred complex. One temple sits in a flat valley, while three others are situated on a raised platform a few meters above the plain and adjacent to it. Continuing along the line of the sunset orientation towards the east, on the elevated platform and typically at its edges, there’s a series of undulating rows consisting of 14 enormous tumuli. These tumuli rise to heights of 2-3 meters and boast an average diameter of 5-6 meters. Within each tumulus lies a burial chamber where the dismembered bones of multiple individuals were interred and covered with stone slabs. Constructed from large stone slabs surrounded by standing stones, these tumuli resemble similar structures found throughout the Negev and Sinai regions.

Some of the tumuli are positioned in a way that, if connected, they align with prominent landmarks in the surrounding environment such as Harut Hill, or with astronomical phenomena like the sunset on the longest day of the year. South of the tumulus platform lies a valley where Temple 1 is situated, and further south, about 50-100 meters away, there’s another raised platform on the opposite side of the valley. Along the edges of this platform, there’s an undulating row of 16 additional tumuli. In total, the complex comprises 30 large tumuli, each containing the remains of multiple individuals. Given that the entire complex—including the temples, the northern row of tumuli, and the southern row of tumuli—faces the setting sun on the longest day of the year, the numbers 14, 16, and 30 may hold astronomical significance related to time measurement and lunar cycles.

Parts of the temples in Ramat Saharonim, as well as some of the tumuli, have been excavated in recent years, but no artifacts were unearthed during these excavations. Interestingly, it was discovered that the entire area surrounding the temples, up to a distance of 2 kilometers, was uninhabited and devoid of any temporary camps. This aligns with the concept of a Sacred place being considered taboo, free from Human presence, which was prevalent during the Goddess culture period. The site likely served as a gathering place for seasonal rituals, particularly during the longest day of the year. However, after these ceremonies concluded, the site was cleared of all belongings and left untouched, as offerings to the Goddesses, before the people moved on.

The temples of Ramat Saharonim can be found within the Ramat Saharonim national park and are relatively accessible. However, it’s the striking tumuli visible atop the surrounding platform hills that truly leave an impression. Notably, some of these tumuli are constructed from yellow stones while others are made from white stones. Accessible climbing paths from the parking lot lead to the platforms on both sides of the valley, offering breathtaking views and a sense of stepping into a mystical realm. Ramat Saharonim is accessed via the Ramon Crater Color Park, which is equally impressive with its diverse sites, vivid colors, and captivating vistas.

[1] Osishkin, D. (2012). The Chalcolithic temple in Ein-Gadi: on the fiftieth anniversary of its excavation. Antiquities: A Journal of the Antiquities of the Land of Israel and the Biblical Lands (144). pp. 71-78

[2] Rappenglück MA. Palaeolithic timekeepers looking at the Golden Gate of the ecliptic; The lunar cycle and the pleiades in the cave of La-Tête-Du-Lion (Ardèche, France) – 21,000 BP. Earth, Moon and Planets. 85-86:391-404.

[3] Avner, E. (2014). An archaeological survey in the area of Eilat Kedmony: Journal of the Antiquities of the Land of Israel and the Biblical Lands 148. pp. 110-120.‎

[4] Rosen, S. A., Avni, Y. Bocquentin, F., & Porat, N. (2007). Investigations at Ramat Saharonim: a desert Neolithic Sacred precinct in the Central Negev. Bulletin of the American Schools of Oriental Research, 346(1), 1-27.