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Qetesh
Qetesh
Qetesh
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For the Stargate character, see Qetesh (Stargate). For other uses, see Qadesh (disambiguation).

Qetesh
A digital collage showing an image of Qetesh together with hieroglyphs taken from a separate Egyptian relief
(the 'Triple Goddess stone')
Name in hieroglyphs
qdd
Aa12		 I12
SymbolLion, snake, a bouquet of papyrus or Egyptian lotus, Hathor wig
ParentsPtah or Ra[1]
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Qetesh (also Qodesh, Qadesh, Qedesh, Qetesh, Kadesh, Kedesh, Kadeš or Qades /ˈkɑːdɛʃ/) was a goddess who was incorporated into the ancient Egyptian religion in the late Bronze Age. The Egyptians likely developed her name based on the Semitic root Q-D-Š, meaning 'holy' or 'blessed,'[2] attested as a title of El and possibly Athirat and a further independent deity in texts from Ugarit.[3]

Due to lack of clear references to Qetesh as a distinct deity in Ugaritic and other Syro-Palestinian sources, she is considered an Egyptian deity influenced by religion and iconography of Canaan by many modern researchers, rather than merely a Canaanite deity adopted by the Egyptians (examples of which include Reshef and Anat)[4][5]

Character

[edit]

In Egyptian religion, the functions of Qetesh are hard to determine due to lack of direct references. Still, her epithets (especially the default one, "lady of heaven") might point at an astral character, and a lack of presence in the royal cult might mean that she was regarded as a protective goddess mostly by commoners. In contrast with previous theories and sources, those that are currently known and considered reliable do not associate her with fertility or sex, and those that presented her as a "sacred harlot" are regarded as obsolete in modern scholarship due to lack of evidence.[6]

Her epithets include "Mistress of All the Gods", "Lady of the Stars of Heaven", "Beloved of Ptah", "Great of magic, mistress of the stars", and "Eye of Ra, without her equal".[7] A connection with Ptah or Ra, evident in her epithets, is also known from Egyptian texts about Anat and Astarte.[8][9]

Iconography

[edit]
Stele of Qetesh / Kadesh, Dynasty XIX (1292–1186 BC), Museo Egizio
Qetesh wearing the headdress of Hathor and standing on a lion; she holds a lotus flower and a snake and is flanked by Min on the left and Resheph on the right (Louvre).

On a stele representing the deity, Qetesh is depicted as a frontal nude (an uncommon motif in Egyptian art, though not exclusively associated with her), wearing a Hathor wig and standing on a lion, between Min and the Canaanite warrior god Resheph. She holds a snake in one hand and a bouquet of lotus or papyrus flowers in the other.[10][11]

Origin

[edit]

Early researchers attempted to prove Qetesh was simply a form of a known Canaanite deity, rather than a fully independent goddess. William F. Albright proposed in 1939 that she was a form of the "lady of Byblos", while René Dussard suggested a connection to "Asherat" (e.g., the biblical Asherah) in 1941. Subsequent studies tried to find further evidence for the equivalence of Qetesh and Asherah, despite their dissimilar functions and symbols.[12]

The arguments presenting Qetesh and Asherah as the same goddess rely on the erroneous notion that Asherah, Astarte, and Anat were the only three prominent goddesses in Canaanite religion and formed a trinity.[13] However, while Ashtart/Astarte and Anat were closely associated with each other in Ugarit, in Egyptian sources, and elsewhere,[14][15] there is no evidence for conflation of Athirat and Ashtart, nor is Athirat associated closely with Ashtart and Anat in Ugaritic texts.[16]

The concept of Athirat, Anat, and Ashtart as a trinity and the only prominent goddesses in the entire region, popularized by authors like Tikva Frymer-Kensky, is modern. It ignores the significant role of other female deities, such as Shapshu, in known texts, as well as the fact that El appears to be the deity most closely linked to Athirat in primary sources.[17][18] One of the authors relying on the Anat-Ashtart-Athirat trinity theory is Saul M. Olyan, author of Asherah and the Cult of Yahweh in Israel, who calls the Qudshu-Astarte-Anat plaque "a triple-fusion hypostasis" and considers Qudshu to be an epithet of Athirat by a process of elimination, for Astarte and Anat appear after Qudshu in the inscription.[19][20]

Modern Egyptologists, such as Christiane Zivie-Coche, do not consider Qetesh to be a hypostasis of Anat or Astarte, but a goddess developed in Egypt, possibly without a clear forerunner among Canaanite or Syrian goddesses, though given a Semitic language name and associated mostly with foreign deities.[21]

[22]

[edit]

Qetesh is the name given to the Goa'uld that once possessed Vala Mal Doran, a recurring and then regular character in Seasons 9 and 10, respectively, of the science fiction television series Stargate SG-1.[citation needed]

Qetesh is also the name used in The Sarah Jane Adventures episode Goodbye, Sarah Jane Smith, and is confirmed to be the humanoid species (also known as "soul-stealers") of Ruby White (the episode's villain), who feeds off excitement and heightened emotion and has stomachs that live outside their bodies.[citation needed]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Qetesh

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from Grokipedia
Qetesh was a Semitic of , ecstasy, and sexuality who was incorporated into during the late , particularly prominent in the New Kingdom from the 19th Dynasty onward (c. 1292–1190 BCE). Her name derives from the q-d-š, meaning "holy" or "sacred," reflecting her role as a divine figure embodying purity and sacred pleasure in Canaanite traditions before her adoption in . Originally from the Syro-Canaanite region, Qetesh likely emerged as an independent rather than a direct form of earlier goddesses like , , or , though she was later syncretized with them in Egyptian contexts, as seen in inscriptions labeling her "Qudshu-Astarte-Anat." In Egyptian iconography, Qetesh is characteristically portrayed nude and facing forward—a rare pose in Egyptian art—standing atop a striding lion, which symbolizes power and protection, while holding a snake in one hand and a lotus or papyrus bouquet in the other, evoking fertility and rebirth. She often wears a Hathor-style wig and heavy jewelry, including necklaces and anklets, and is frequently depicted between the Egyptian god Min and the Syrian god Resheph, her consort, in a triad emphasizing sexuality and virility. This frontal nudity and lion motif underscore her foreign origins and association with ecstatic worship, contrasting with more veiled Egyptian deities. Qetesh's cult flourished among artisans and soldiers in during the Ramesside period (c. 1300–1100 BCE), where she was invoked for love, beauty, and protection in battle, blending Canaanite with Egyptian practices. Notable artifacts include a stela from worker Ramose at (now in the , , Cat. 1601), showing her in the triad, and various limestone reliefs from the same site dating to 1198–1166 BCE. She was also linked to astral elements, bearing the epithet "lady of the stars of heaven" in inscriptions from the reign of . Though her worship waned after the New Kingdom, Qetesh represents a key example of cultural exchange between and the , highlighting the integration of foreign deities into the Egyptian pantheon.

Origins and Etymology

Name and Linguistic Roots

The name Qetesh derives from the Semitic triconsonantal root q-d-š, signifying "holy," "sacred," or "sanctified," a term prominent in Canaanite and Ugaritic religious contexts where it appears as an epithet for deities emphasizing divine purity and consecration. The root qdš, meaning "holy" or "sacred," appears in Ugaritic texts as an epithet emphasizing divine purity. Scholars debate whether Qetesh originated as an independent Canaanite deity or as an epithet ("the holy one") for goddesses like Asherah, though she was treated distinctly in Egyptian contexts. In Egyptian sources, the name is phonetically adapted as Qdš or Qdš(t), incorporating a feminine to denote the , with hieroglyphic spellings typically employing biliteral signs for /q/, /d/, and /š/ within a cartouche-like foreign name enclosure to mark its non-native origin. Variations include Qudšu in Semitic contexts. Evidence of this Semitic nomenclature emerges in Late Bronze Age texts, where the root qdš underscores religious concepts in literature from the 14th–13th centuries BCE, paralleling the period of intensified Levantine-Egyptian contacts. The , diplomatic correspondence from the 14th century BCE, illustrate pervasive Semitic linguistic influences in Egyptian administration and culture, providing a backdrop for the integration of such foreign divine names without direct mentions of Qetesh herself. To distinguish Qetesh's name from native Egyptian lexicon, scholars note that qdš has no direct equivalent in Middle or Late Egyptian vocabulary for holiness (which uses terms like ḏd or nṯr), ensuring its identification as a Semitic import rather than a with indigenous deities or concepts.

Adoption into Egyptian Pantheon

Qetesh, a Syro-Palestinian of fertility and love originating from Canaanite traditions, was incorporated into the Egyptian pantheon during the New Kingdom (ca. 1550–1070 BCE) through intensified trade, military conquests, and cultural exchanges with regions in and . This adoption reflected Egypt's expanding influence in the following the expulsion of the in the late Second Intermediate Period, which had already introduced Semitic cultural elements, paving the way for later integrations of foreign deities via migrant craftsmen, traders, and diplomatic interactions. The earliest attestations of Qetesh appear in the 18th Dynasty, with evidence from the reigns of (ca. 1479–1425 BCE) and (ca. 1427–1400 BCE), including a from Tell el-Borg in the northeastern Delta that links her to Levantine influences amid Egyptian military campaigns. Further early references emerge under (ca. 1390–1352 BCE), such as an offering basin from Memphis (private collection), and during Horemheb's reign (ca. 1323–1295 BCE) on a vessel belonging to Sennefer. These artifacts indicate her initial entry as a distinct foreign import, facilitated by New Kingdom expansion into Syria-Palestine and ports like Memphis, which served as hubs for Levantine goods and personnel. Diplomatic exchanges during the (ca. 1353–1336 BCE) likely contributed indirectly through , with possible veneration noted among workmen at Tell el-Amarna. Qetesh's presence became more prominent in the Ramesside period (19th–20th Dynasties, ca. 1295–1070 BCE), particularly in popular religion among non-elite communities, as seen in numerous stelae from , the village of royal tomb builders in western Thebes. Examples include the stele of Ramose (Turin 50066, dedicated to Qetesh alongside Min and Reshef) and the stele of Huy (Louvre C86, from the reign of , ca. 1279–1213 BCE), which highlight her role in personal devotion and triad iconography derived from Canaanite models. Ostraca and amulets from the same site further attest to her widespread appeal, often emphasizing themes of vitality and regeneration. She was often depicted with Hathor-style attributes, reflecting early associations with Egyptian deities.

Attributes and Role

Domains of Influence

Qetesh served as a prominent goddess of love, beauty, sexual pleasure, and sacred ecstasy, often embodying the vital forces of nature and fertility in ancient Egyptian theology. Her domains extended to the sensual and transcendent aspects of human experience, positioning her as a deity who facilitated ecstatic union and procreative abundance, distinct from more martial or maternal figures in the pantheon. This role emphasized the sacred dimensions of sexuality, where rituals invoked her to ensure harmony between earthly desires and cosmic order. Among her notable epithets were "Mistress of All the Gods," highlighting her supreme authority; "Lady of the Stars of Heaven," denoting her celestial sovereignty; "Eye of Ra," linking her protective and solar qualities; and "Great of Magic," underscoring her command over mystical powers. These titles, inscribed on stelae and amulets from the New Kingdom, reflect her multifaceted influence as a unifying and empowering presence. Qetesh's connections to astral elements, such as stars and heavenly bodies, symbolized transcendence and eternal cycles, often portraying her as "Lady of the Stars of Heaven." This astral association reinforced her role in fertility by evoking the regenerative patterns of the cosmos, where celestial bodies mirrored earthly renewal. Unlike traditional Egyptian fertility deities like , whose domains centered on nurturing motherhood and joyful revelry rooted in native traditions, Qetesh's ecstatic and foreign-inflected aspects—stemming from her Canaanite origins—introduced a more intense, liberating expression of sensuality and divine .

Mythological Character

Qetesh, known in Semitic contexts as Qudshu or "the Holy One," emerges as a powerful and independent female deity in ancient , embodying divine femininity and empowerment through her syncretic integration of Levantine attributes. She represents a fusion of Canaanite influences, particularly drawing from goddesses like and , and stands out for her assertive presence as a bestower of vitality and protective forces in matters of love and ecstasy. This portrayal underscores her role as a of sacred sensuality and autonomy, distinct from more hierarchical divine figures in the Egyptian pantheon. Surviving mythological narratives involving Qetesh are notably limited, with no extensive epic tales or cycles preserved in Egyptian or Semitic texts from the (ca. 1550–1200 BCE). Instead, inferences about her character derive primarily from votive inscriptions and dedicatory stelae, such as those labeling her as "Qudshu-Astarte-Anat," which highlight her as a multifaceted entity granting personal blessings of energy and safeguarding in romantic and fertile pursuits. These texts emphasize themes of intimate devotion rather than grand cosmic events, portraying her as approachable for individual supplicants seeking empowerment through divine favor. Her essence aligns with broader Near Eastern traditions of deities facilitating renewal and harmony through erotic and vitalistic rites, though adapted to Egyptian contexts of sexuality and without overt conflict or creation motifs. The absence of major myths involving creation, destruction, or heroic exploits further accentuates her focus on personal, devotional interactions, reinforcing her as a emblem of balanced divine .

Iconography and Depictions

Core Iconographic Elements

Qetesh is characteristically represented in as a nude or semi-nude female figure standing frontally in a symmetrical pose, often with arms raised in a V-shape, which underscores her role as a potnia therôn or mistress of animals. This frontal orientation, uncommon in traditional Egyptian depictions that favor profile views, accentuates her direct engagement with the viewer and highlights her exotic, Levantine origins adapted into Egyptian . She is invariably shown standing atop a striding , a motif symbolizing power, dominion over chaos, and protective ferocity, drawing from Syro-Anatolian iconographic traditions. Her head is adorned with a -style wig, featuring long, wavy tresses falling to her shoulders, frequently topped by a pair of cow horns framing a sun disk, which evokes associations with solar vitality, motherhood, and the nurturing aspects of the goddess . In her raised hands, Qetesh grasps distinct attributes: a lotus or lily flower in one, emblematic of , creation, and rebirth due to the plant's emergence from water symbolizing the origin of life; and a coiled serpent in the other, representing , renewal through shedding skin, and the transformative power of sexuality. These elements blend Egyptian symbolic conventions with her Canaanite heritage, reinforcing her domains of love and ecstasy. The emphasis on frontal nudity in Qetesh's stands out as a deliberate and rare choice in Egyptian , where divine figures are typically clothed or partially veiled to denote sanctity; here, it conveys a potent blend of , divine , and the unbridled power of and , distinguishing her from more conventional goddesses. This motif, combined with the and serpent, positions Qetesh as a multifaceted of both peril and benevolence, embodying the dualities of and human desire.

Variations Across Artifacts

Qetesh's iconography exhibits notable variations across artifacts, reflecting her syncretic integration into Egyptian religious art during the New Kingdom. A prominent example is the stela of the foreman Qeh from , now in the (EA 191), dated to the 19th Dynasty. Here, Qetesh appears in the upper register as a nude standing upon a , flanked by the Egyptian fertility god Min on her left and the Canaanite war god on her right, emphasizing her dual aspects of love and warfare through this triad composition. The lower register depicts Qeh, his wife Tuy, and son adoring the , underscoring the familial and devotional context of such private stelae from the workers' village. Another key artifact from is the dedicated by the scribe Ramose, featuring Qetesh in a similar frontal nude pose atop a striding , but with her arms raised holding a serpent in her right hand and a lotus flower in her left, symbols evoking and . This depiction aligns closely with the Qeh stela but highlights subtle differences in gesture and attributes, possibly tailored to the devotee's personal invocations for prosperity and virility. Temporal shifts in Qetesh's depictions trace her evolution from pronounced Canaanite roots to fuller Egyptian assimilation. Early New Kingdom representations, such as those from the 18th Dynasty, retain foreign traits like the rare full-frontal nudity and mount, uncommon in native Egyptian art and evoking Syrian prototypes of ecstatic figures. By the 19th and 20th Dynasties, artifacts increasingly Egyptianize her image with additions like the Hathor-style wig, lunar disk headdress, and anklets, as in the stelae, signaling deeper pantheon integration.

Worship and Cult

Sites and Evidence of Veneration

The veneration of Qetesh is most prominently attested at Deir el-Medina, the New Kingdom village of artisans and workers responsible for constructing royal tombs in the Valley of the Kings near Thebes. Numerous limestone stelae dedicated to the goddess have been excavated from this site, often depicting her standing nude on a lion, flanked by the Egyptian god Min and the Canaanite god Resheph, with inscriptions invoking her protection and favor. For instance, a 19th Dynasty stela (EA191) from Deir el-Medina shows Qetesh in the upper register, worshipped by the necropolis foreman Qeh and his family in the lower register, highlighting her role in personal devotion among the community. Another notable example is the bifacial limestone stela (N 237) discovered at the same site, featuring Qetesh holding a snake and lotus flowers, dated to the reign of Seti I and Ramesses II (ca. 1294–1213 BCE). These artifacts, primarily from domestic and chapel contexts within the village, indicate widespread private worship among the inhabitants, likely influenced by their exposure to Levantine cultural elements through royal campaigns and trade. Evidence of Qetesh's cult extends to votive offerings, particularly small statuettes and inscribed amulets recovered from New Kingdom tombs and settlement debris. These portable items, often portraying Qetesh in her characteristic frontal nude pose with Hathor-style wig and solar disk, served as personal talismans for and , deposited in contexts to ensure benefits in the . Examples include figures from the late 18th to 19th Dynasties, found in Theban necropoleis, where they appear alongside Egyptian deities, reflecting syncretic practices. Such offerings underscore her appeal to non-elite individuals, with concentrations in areas of cultural exchange. The distribution of Qetesh's veneration shows primary archaeological evidence from Theban sites like in , due to intensive excavations there, with additional indications of worship in northern centers such as Memphis, facilitated by proximity to Levantine trade routes along the Delta. Lesser presence is noted in beyond Thebes, suggesting her cult's reliance on proximity to foreign influences rather than widespread indigenous adoption. Post-New Kingdom, archaeological and textual evidence for Qetesh diminishes sharply, coinciding with Egypt's reduced political and economic ties to the following the collapse and the rise of the Third Intermediate Period, leading to the assimilation or fading of her distinct worship.

Rituals and Devotional Practices

Votive rituals directed toward Qetesh centered on offerings intended to invoke her blessings for and , including flowers, , and symbols associated with sexuality such as lotus blooms or phallic representations, as seen in reliefs and stelae depicting laden offering tables before the . These practices aligned with broader New Kingdom fertility cults, where such gifts were presented at shrines to ensure procreation and relational harmony. Personal devotions to Qetesh were prevalent among artisans and soldiers, particularly those at , where inscribed stelae record prayers seeking her favor for love, protection, and ; for instance, the Ramose dedicated a stela (Museo Egizio Cat. 1601) to Qetesh during the reign of . These votive monuments served as focal points for individual supplications, often placed in domestic or community shrines to facilitate direct communication with the goddess. Scholars suggest that ecstatic rites influenced by Semitic traditions formed part of Qetesh's worship, potentially incorporating music, , and ritual ecstasy in temple environments to honor her as a of sacred sexuality, though textual evidence remains sparse and primarily inferential from her foreign origins. Qetesh's devotional practices integrated into Egyptian festivals, notably those for the fertility god Min, with her figurines carried in processions alongside symbols of abundance to amplify communal rites of renewal and potency.

Legacy and Interpretations

Syncretism with Other Deities

Qetesh is frequently depicted in a divine triad alongside the Canaanite warrior god Resheph, portrayed as her consort, and the Egyptian fertility god Min, embodying a synthesis of martial prowess, eroticism, and generative power that underscores sacred sexuality in New Kingdom worship. This configuration appears on numerous stelae from sites like Deir el-Medina, where Qetesh stands centrally on a lion, flanked by Min on one side and Resheph on the other, as seen in a 19th Dynasty example now in the British Museum (No. 191). In Egyptian contexts, Qetesh underwent with native deities, notably , resulting in the composite form Qetesh-Hathor, which emphasized her attributes of beauty, love, and sensuality through shared iconographic elements like the Hathor wig. Influences from the Canaanite goddess are evident in Qetesh's blended warrior and amorous domains, while occasional associations with the fierce highlight her martial side, as in triadic representations with Min and Anat (Anthat). Scholars debate Qetesh's origins as a "composite" deity, reflecting Egypt's imperial during the New Kingdom, when conquests in the integrated Semitic elements into the Egyptian pantheon. Early 20th-century researchers like proposed she was a hypostasis of or , but modern Egyptologists, including Christiane Zivie-Coche, argue she represents an independent Egyptian development with a Semitic name, distinct from direct Canaanite equivalents like or . This view underscores her role as a product of cultural exchange rather than wholesale adoption.

Modern Cultural Representations

In contemporary media, Qetesh has been reimagined in science fiction and fantasy, often emphasizing her ancient associations with sexuality, power, and fertility. In the television series Stargate SG-1 (2004–2007), Qetesh appears as a Goa'uld symbiote possessing the character , portrayed with seductive and manipulative traits that draw on the goddess's historical epithets as a of ecstasy and desire. This depiction highlights her as a ruthless yet alluring , influencing fan interpretations of ancient mythology through popular entertainment. Similarly, in the video game (2017), Qetesh is referenced via a and war elephant named after the goddess and the god , evoking her syncretic links to warfare and protection in a setting. Neo-pagan and feminist reinterpretations have revived Qetesh as a of empowerment, sacred sexuality, and bodily autonomy, integrating her into modern and spiritual practices. In these contexts, she is invoked during rituals like celebrations to honor sensual union and feminine energy, reframing her ancient nudity and lion symbolism as emblems of liberated desire rather than . Works such as Abiola Abrams' African Goddess Initiation (2021) present Qetesh as the "Egyptian of Sacred Sensuality," guiding readers toward and erotic ecstasy through meditations and affirmations that align with feminist reclamation of divine . This approach positions her within broader neo-pagan movements that adapt ancient deities to address contemporary issues of and personal agency. Scholarship since 2000 has examined Qetesh as a emblem of cultural exchange in the , underscoring her adoption from Canaanite origins into Egyptian worship as evidence of interregional religious dialogue. Beth Alpert Nakhai's Archaeology and the Religions of and (2001) describes Qetesh (referred to as Qudshu) as a and sexuality depicted nude on a lion, whose iconography in Egyptian artifacts illustrates the blending of Canaanite and Egyptian pantheons during the Late . More recent analyses, such as those in Meike Dief's 2023 thesis on Egyptian hybrid deities, explore how Qetesh's frontal nudity and hybrid attributes continue to inform modern perceptions of , bridging ancient visual forms with contemporary gender discourses. In the , museum displays have sustained Qetesh's visibility, fostering public engagement with her legacy through accessible interpretations of ancient artifacts. The British Museum's permanent features a limestone stela (EA 191) depicting Qetesh flanked by Min and , with inscriptions emphasizing her as "Lady of Heaven" and "Mistress of All the Gods," which educates visitors on her role in cross-cultural devotion. Complementary events like the 2022 "Feminine Power: the Divine to the Demonic" contextualize similar ancient goddesses within global narratives of spiritual influence, enhancing awareness of Qetesh's in discussions of feminine and its enduring impact on identity and equality.

References

  1. https://egypt-museum.com/goddess-qetesh/
  2. https://henadology.wordpress.com/theology/netjeru/qadesh/
  3. https://www.academia.edu/24691667/The_Holy_One
  4. https://trace.tennessee.edu/cgi/viewcontent.cgi?article=3039&context=utk_chanhonoproj
  5. https://ancientegyptonline.co.uk/qadesh/
  6. https://debrareeves.com/the-goddesses-of-canaan/
  7. https://dornsife.usc.edu/wsrp/el-amarna-tablets/
  8. https://dokumen.pub/syro-palestinian-deities-in-new-kingdom-egypt-the-hermeneutics-of-their-existence-9781407304489-9781407334820.html
  9. https://escholarship.org/content/qt7tr1814c/qt7tr1814c.pdf
  10. https://www.worldhistory.org/article/885/egyptian-gods---the-complete-list/
  11. https://www.britishmuseum.org/collection/term/BIOG55481
  12. https://www.academia.edu/73860793/The_Many_Faces_of_the_Goddess_The_Iconography_of_the_Syro_Palestinian_Goddesses_Anat_Astarte_Qedeshet_and_Asherah_c_1500_1000_BCE
  13. https://www.jstor.org/stable/1585459
  14. https://doi.org/10.2458/azu_jaei_v07i4_budin
  15. https://www.mdpi.com/2077-1444/9/9/256
  16. https://www.britishmuseum.org/collection/object/Y_EA191
  17. https://egypt-museum.com/stele-of-qetesh/
  18. https://collections.louvre.fr/en/ark:/53355/cl010028651
  19. https://qetesh-iseum.co.uk/qeteshkadesh/qetesh-johanna-stuckey/
  20. https://isac.uchicago.edu/sites/default/files/uploads/shared/docs/saoc54_4th.pdf
  21. http://etheses.dur.ac.uk/2631/1/2631_642_-_vol_1.pdf
  22. https://ancientegyptonline.co.uk/min/
  23. https://etana.org/sites/default/files/coretexts/20626.pdf
  24. https://stargate.fandom.com/wiki/Qetesh
  25. https://www.thejessicatanselle.com/grimoire/beltane-qetesh
  26. https://www.db-thueringen.de/servlets/MCRFileNodeServlet/dbt_derivate_00063729/Thesis-Dief-red.pdf
  27. https://www.britishmuseum.org/exhibitions/feminine-power-divine-demonic
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