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Turan was the Etruscan goddess of love and vitality and patroness of the city of Velch. In art, she was usually depicted as a young winged girl.[1] Turan appears in toilette scenes of Etruscan bronze mirrors. She is richly robed and jeweled in early and late depictions, but consistently appears nude under the influence of Hellenistic art in the 3rd and 2nd centuries BCE.[2] She is consistently paired with her young lover Atunis (Adonis) and figures in the episode of the Judgement of Paris.
She was commonly associated with birds such as the dove, goose and above all the swan,[3] Tusna, "the swan of Turan".[4] Her retinue were called Lasas. Turan may be quite ancient but does not appear on the Piacenza list nor in Martianus list of Etruscan deities. The Etruscan month of July was named after her, although we only know the Latin word for it, Traneus.[5]
She was seen as the equivalent to the Roman Venus and the Greek Aphrodite. Her name is derived from the Etruscan verb turan "to rule".
Turan had a sanctuary in the Greek-influenced Gravisca, the port for Tarquinia, where votive gifts inscribed with her name have been found. One inscription calls her Turan ati, "Mother Turan" which has been interpreted as connecting her to Venus Genetrix, Venus the mother of Aeneas and progenitor of the Julio-Claudian lineage.
From: Wiki
She was commonly associated with birds such as the dove, goose and above all the swan,[3] Tusna, "the swan of Turan".[4] Her retinue were called Lasas. Turan may be quite ancient but does not appear on the Piacenza list nor in Martianus list of Etruscan deities. The Etruscan month of July was named after her, although we only know the Latin word for it, Traneus.[5]
She was seen as the equivalent to the Roman Venus and the Greek Aphrodite. Her name is derived from the Etruscan verb turan "to rule".
Turan had a sanctuary in the Greek-influenced Gravisca, the port for Tarquinia, where votive gifts inscribed with her name have been found. One inscription calls her Turan ati, "Mother Turan" which has been interpreted as connecting her to Venus Genetrix, Venus the mother of Aeneas and progenitor of the Julio-Claudian lineage.
From: Wiki
Goddess of love and vitality and patroness of the Etruscan city of Vulci. She was usually depicted as a young winged girl in art. Pigeons and black swans were her sacred animals, and her retinue was called the Lasas. She was also the wife of Maris. Her name is a noun meaning "the act of giving" in Etruscan, based on the verb stem tur- 'to give'. She was the only Etruscan deity known to have a cult around her.
From: here
From: here
Turan is the Etruscan Goddess of Love and Beauty, much associated with the Greek Aphrodite. She was the patron Goddess of the city of Vulci, one of the main cities of Etruria, famous for its cemeteries and rich grave goods that now supply many a museum's Roman collections. Her name means "Lady" or "Mistress"; it is related to such Etruscan words as turannuve, "lovable, venerable", tur "give" or "dedicate", turan, "given" and turza "offer", which bring together the ideas of love and worship, implying that that which is lovable is also worthy of worship, and that love and the sacred go together. Venus of the Romans shares a similar idea in Her name, for it is related to the word venerate.
Turan is depicted on a great deal of Etruscan art: on mirror-backs and terracotta panels, on vases and sculpture. Often She shares the iconography and narrative details of Aphrodite, whom the Etruscans knew from contact with Greek settlers in south and central Italy; She can be shown with doves or a swan—which in Etruscan style is given a name, Tusna, meaning "fullness" or "lushness"—or with the Etruscan version of one of Her lovers such as Atuns (known as Attis or Adonis in Greek lands) or taking part in the Judgement of Paris, the famous beauty-contest that ended up causing the Trojan War. In the Judgement of Paris scenes She is shown with Uni and Menrfa, and is easily identified by the fact that of the three Goddesses, Turan is the one hiking up Her skirt to show off Her trendy Etruscan boots and a good bit of leg.
In a more purely Etruscan style, Turan is often shown with various attendants or handmaidens, including Lasa or the Lasae, Goddesses of Fate. She presides over one scene on a mirror of the 4th century BCE that depicts the bride Malaviskh being prepared for Her wedding. The attendants Zipu, Hinthial and Munthukh see to Malaviskh's makeup and hair while Turan watches from the side; She holds a myrtle branch and wears rich jewelry while a dove perches on Her shoulder and a swan or goose stands behind Her. She seems to be overseeing the project, and is swathed in a concealing cloak; this contributes to an older or more "matronly" appearance than the other attending Goddesses, and perhaps this indicates an aspect of Turan as a Goddess of Love within marriage. On another mirror She embraces Hercle (Herakles) between Menrfa and a young male warrior. She is again wearing rich jewelry—an elaborate necklace, earrings, headband, and several bracelets—but this time Her drapery has slipped and She is mostly naked. On another, more elaborate, mirror She is again shown with Hercle, who holds an Erote or winged Cupid-figure; to their right are Tinia and Thalna, who form a couple, and it is reasonable to conclude that Turan and Hercle do as well. She holds a staff tipped with what looks to be a pomegranate; this could be indicative of Her aspect as a fertility Goddess. The pairing of Aphrodite with Herakles is not known in Greek legend, and no Etruscan tales of them have come down to us, but evidently They were lovers.
She shared a temple with Menrfa and probably another Deity, likely Artimi (Artemis) or Aplu (Apollo) at the Etruscan city of Veii, the famous Temple Portonaccio, which had three cellae or chambers much like the later Roman temple of the Capitoline triad (Juno, Minerva, and Jupiter). She also had a cult center at Gravisca (the modern Torre di Corneto), the port town of Tarquinia in Latium where many Greeks came to trade, and where a large sanctuary dedicated to Turan was found with the remains of many votive objects inscribed to Her. Two of the other buildings there were dedicated to Hera and Demeter, as per the Greek influence.
Turan is depicted on a great deal of Etruscan art: on mirror-backs and terracotta panels, on vases and sculpture. Often She shares the iconography and narrative details of Aphrodite, whom the Etruscans knew from contact with Greek settlers in south and central Italy; She can be shown with doves or a swan—which in Etruscan style is given a name, Tusna, meaning "fullness" or "lushness"—or with the Etruscan version of one of Her lovers such as Atuns (known as Attis or Adonis in Greek lands) or taking part in the Judgement of Paris, the famous beauty-contest that ended up causing the Trojan War. In the Judgement of Paris scenes She is shown with Uni and Menrfa, and is easily identified by the fact that of the three Goddesses, Turan is the one hiking up Her skirt to show off Her trendy Etruscan boots and a good bit of leg.
In a more purely Etruscan style, Turan is often shown with various attendants or handmaidens, including Lasa or the Lasae, Goddesses of Fate. She presides over one scene on a mirror of the 4th century BCE that depicts the bride Malaviskh being prepared for Her wedding. The attendants Zipu, Hinthial and Munthukh see to Malaviskh's makeup and hair while Turan watches from the side; She holds a myrtle branch and wears rich jewelry while a dove perches on Her shoulder and a swan or goose stands behind Her. She seems to be overseeing the project, and is swathed in a concealing cloak; this contributes to an older or more "matronly" appearance than the other attending Goddesses, and perhaps this indicates an aspect of Turan as a Goddess of Love within marriage. On another mirror She embraces Hercle (Herakles) between Menrfa and a young male warrior. She is again wearing rich jewelry—an elaborate necklace, earrings, headband, and several bracelets—but this time Her drapery has slipped and She is mostly naked. On another, more elaborate, mirror She is again shown with Hercle, who holds an Erote or winged Cupid-figure; to their right are Tinia and Thalna, who form a couple, and it is reasonable to conclude that Turan and Hercle do as well. She holds a staff tipped with what looks to be a pomegranate; this could be indicative of Her aspect as a fertility Goddess. The pairing of Aphrodite with Herakles is not known in Greek legend, and no Etruscan tales of them have come down to us, but evidently They were lovers.
She shared a temple with Menrfa and probably another Deity, likely Artimi (Artemis) or Aplu (Apollo) at the Etruscan city of Veii, the famous Temple Portonaccio, which had three cellae or chambers much like the later Roman temple of the Capitoline triad (Juno, Minerva, and Jupiter). She also had a cult center at Gravisca (the modern Torre di Corneto), the port town of Tarquinia in Latium where many Greeks came to trade, and where a large sanctuary dedicated to Turan was found with the remains of many votive objects inscribed to Her. Two of the other buildings there were dedicated to Hera and Demeter, as per the Greek influence.
From: Here
The Etruscan goddess of love, health, and fertility, and the patroness of the city Vulci (in the current Italian province Viterbo). Turan is usually portrayed as a young woman with wings on her back. The pigeon and black swan are her symbolic animals and she is accompanied by the Lasas. Her Roman equivalent is Venus.
From: here
From: here
Mirror from Vulci -- sheds light on an Etruscan mirror and its symbolism
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