The Myth of the ‘Two Queens’ has an important meaning. The persons of the ‘Divine Triad’, from earliest roots, were mother, daughter, and young son. While this has been evident over the millennia, the meaning of the Triad was not. However there is evidence that its meaning was not lost and appears clear in a painting from Greece. The painting is key to the meaning of the ancient agrarian lore.
It is another representation of the ‘Two Queens’. Painted on a vase, it is a metaphorical representation of the cultivation of the cereals, and at the same time reflects an ancient myth from which it originates, itself a metaphorical lesson in cereal cultivation. The story in the myth represents the life-cycle of the cereal plant, and a calendar of the stages of its cultivation. Hence the link and association to the solar calendar.
The ‘Two Queens’, now accompanied by the grown child in centre. A plougher par excellence and a ‘seeder of the furrow’, represented as a comparison to human reproduction. His two implements, shown oddly, tell that function clearly. The plough penetrates the earth and in the opened furrow the seed is sown.
The oldest artifact, and most clear in identity because the child is held in a wicker winnowing basket, is of Maltese origin, and is more than 6000 years old. The associated myth in its earliest form and considered of a contemporary age, comes from later texts from ancient Mesopotamia. The common and central element in the picture is the ‘Ear of Corn’ (added in 1 and 2).
The Child is born in a grain winnowing basket of wicker construction (fig1), the ancient ‘vannus’. As a youth his duties are allotted to him, fig 2. The coming of age as a grown up lad, his work is the ploughing of the furrow and sowing of seed grain, fig3. However in the more ancient myth he represents the ‘vigor and fertility’ of nature. It is an allegory, a personification of grain cultivation.