The "Master of Animals" motif is one of the most enduring and widespread symbols in the history of art, with its roots stretching across millennia and continents. This iconic image, depicting a central figure flanked by two animals, can be found in the cultural artifacts of ancient Mesopotamia, Egypt, the Indus Valley, and even as far as Northern Europe and Mesoamerica. The versatility and adaptability of this motif underscore its significance in human culture, serving as a visual representation of humanity’s complex relationship with nature, spirituality, and power. The motif's appearance across such a diverse range of cultures suggests a shared human experience or perhaps even ancient cultural exchanges that influenced the development of religious and spiritual ideologies globally.
In many early societies, the "Master of Animals" appears as a powerful figure, often a deity or hero, who exerts control over the animal kingdom. This control is typically depicted through the figure's physical interaction with the animals—grasping them by the neck or horns, standing between them in a posture of dominance, or even pacifying them with a mere gaze. This depiction of control reflects an essential aspect of early human societies: the need to assert dominance over nature to ensure survival. The figure often embodies the human conquest of the wild, representing a spiritual mediator who not only tames nature but also maintains the balance between the human and animal worlds. This balance, as suggested by some interpretations, highlights a symbiotic relationship where the "Master" serves as both protector and ruler, emphasizing the duality of power and responsibility.
Stamp seals of Susa, obverse: horned-headed hero/"shaman" (or "demon") with two snakes issuing from his waist, two larger snakes flanking the figure, an upside-down antelope above him, and two crescents in the field. Reverse: cross-hatched border top and bottom; row of animals above, animal heads below.
3500–2700 BCE
Source:
https://collections.mfa.org/objects/163886/stamp-seal?ctx=936317e6-7ac6-4de3-93ad-a7c2d29d008c&idx=0
Collection:
Museum of Fine Arts Boston. Accession number: 65.1531
However, the "Master of Animals" is not always a figure of dominance. In many depictions, the figure appears to serve as a unifying or protective entity, fostering harmony between humans and the natural world. This interpretation can be seen in the way the animals are often portrayed as calm or subdued, standing in peaceful proximity to the central figure. In some cultures, particularly those with deep-rooted animistic beliefs, the "Master of Animals" is viewed as a guardian of the wild, a spiritual being who ensures the continued fertility of the land and the animals. This role as a guardian is particularly evident in agrarian and pastoral societies, where the "Master" is often associated with the cycles of nature, overseeing the growth and harvest of crops, the reproduction of livestock, and the overall health of the ecosystem.
The Origins and Spread of the Motif
The origins of the "Master of Animals" motif can be traced back to the earliest known civilizations. The earliest depiction of this motif appears on stamp seals from the Ubaid period in Mesopotamia, dating back to around 4000 BCE. These seals typically show a human figure grasping two animals, a theme that has continued to evolve over the centuries. Although a lot of scholars believe that the first archaeologically attested illustration of the Master of Animals motif appears on a button seal from Susa, datable to the immediate post-Susa I level. In Egypt, the motif appears on the famous Gebel el-Arak Knife, dating to around 3450 BCE, where a figure in Mesopotamian dress grapples with two lions. This knife not only highlights the motif's early appearance but also suggests a cultural exchange between Mesopotamia and Egypt, indicating that the motif might have been transmitted along ancient trade routes.
Gebel El-Arak Knife Ivory Handle, Naqada II/Gerzean period (3600–3200 BCE), c. 3450 BCE
Source:
https://collections.louvre.fr/en/ark:/53355/cl010007467
Collection:
Musée du Louvre, E 11517.
As the motif spread across the ancient world, it adapted to the local cultures and artistic traditions. In the Indus Valley civilization, a similar figure appears on the Pashupati seal, which shows a horned figure surrounded by animals, seated in a yogic posture. This figure is often interpreted as a proto-Shiva, linking the motif to the later Hindu concept of Pashupati, the "Lord of Animals." In Celtic art, the motif appears on the Gundestrup cauldron, where a figure with antlers, possibly a representation of the god Cernunnos, is shown surrounded by animals, emphasizing the motif's association with fertility and the natural world.
The Seated Mother Goddess figurine from Çatalhöyük, dating to around 6000 BCE, is one of the oldest representations of a female deity, symbolizing fertility and protection, but it is not categorized under the "Master of Animals" motif. The "Master of Animals" motif typically involves a central figure, often male, actively interacting with animals in a way that suggests control or dominance, which differs from the nurturing and life-giving symbolism of the Çatalhöyük goddess. While the Seated Mother Goddess is a significant ancient artifact, it represents a different archetype from the "Master of Animals."
Seated Mother Goddess Figurine from Catal Huyuk
During the Paleolithic and much of the Neolithic Eras, mankind was primarily living as a hunter-gatherer lifestyle, first using stones as tools. Humans needed to hunt animals for their sustenance; communal bonds between hunters and their families may have developed, but the need to settle permanently on the land was not justified.
Cultures:
Catul Huyuk (7400–5600 BCE), Neolithic Period (c. 7000–1700 BCE)
Date:
c. 5800 BCE
Source:
https://www.catalhoyuk.com/node/736
Collection:
Ankara Anatolian Civilizations Museum
The motif also made its way into the art of the ancient Near East and the Mediterranean, where it often took on new forms. In the art of the Achaemenian Empire, for example, the "Master of Animals" motif was a favorite on official seals, where the figure was often identified as the king himself, symbolizing his divine authority and control over both the natural and human worlds. Similarly, in Greek art, the motif is often associated with Apollo, the god of hunting, who is depicted as a master over the animals. The motif's presence in these cultures suggests that it was not only a symbol of power and control but also a representation of the divine order of the universe, where the ruler or god maintained the balance between chaos and order.
Interpretations and Symbolism
The "Master of Animals" motif is rich with symbolic meaning, reflecting the diverse ways in which different cultures understood their relationship with the natural world. In many cases, the motif embodies the tension between civilization and the wild, with the central figure representing the force that tames and controls the untamed aspects of nature. This interpretation is particularly evident in hunting cultures, where the "Master of Animals" is often depicted as a hunter or a warrior, symbolizing humanity's dominance over the animal kingdom. In these cultures, the motif may also serve as a protective charm, ensuring success in the hunt and safeguarding the community from the dangers of the wild.
A seal from the Indus valley civilzation (2500-1500 BC).
In other contexts, the "Master of Animals" is a symbol of harmony and unity. The figure is often depicted as a mediator between the human and animal worlds, ensuring that both coexist in a state of balance. This interpretation is particularly prevalent in agrarian societies, where the "Master" is seen as a guardian of the land and the animals, responsible for the fertility of the earth and the well-being of the community. The motif's association with fertility and the cycles of nature suggests that it may have been used in rituals and ceremonies to invoke the blessings of the gods and ensure the continued prosperity of the community.
The motif also holds a deeper, more esoteric meaning in some cultures, where it is associated with spiritual transformation and the journey of the soul. In these contexts, the "Master of Animals" is often depicted as a guide or a guardian, leading the soul through the dangerous and wild realms of the afterlife. This interpretation can be seen in the art of ancient Egypt, where the motif is often associated with the god Anubis, who guides the souls of the dead through the underworld. Similarly, in Mesoamerican cultures, the motif appears in the form of the god Quetzalcoatl, who is often depicted as a master over the animals and a guide for the souls of the dead.
Detail image of the Mawangdui Banner, Tomb 3
This scene occurs at the bottom of the funerary banner, where a squatting, pot-bellied, anthropomorphic figure stands atop two copulating fish. His arms outstretch toward the bodies of two dragons; their long intertwine insinuates the hu-vessel motif.
Cultures:
Western Han Dynasty (202 BCE – 9CE)
Date:
193–140 BCE
Origin:
Changsha, China
Source:
https://hollis.harvard.edu/permalink/f/1mdq5o5/TN_cdi_pascalfrancis_primary_21139298
Collection:
Hunan Provincial Museum
The Enduring Legacy of the Master of Animals
The "Master of Animals" motif has not only endured but has also evolved over the centuries, adapting to the changing spiritual, cultural, and artistic landscapes of the societies that adopted it. In the medieval period, the motif continued to be used in Christian art, where it often took on new meanings. For example, the motif appears in the depiction of Daniel in the lion's den, where Daniel is shown standing between two lions, symbolizing his faith and God's protection. In this context, the "Master of Animals" motif is transformed into a symbol of divine authority and the triumph of good over evil.
In the early modern period, the motif continued to appear in various forms, often as a symbol of power and authority. For example, the motif is found on the purse-lid from the Sutton Hoo burial, dating to around 620 CE, where it is used to symbolize the power and status of the Anglo-Saxon king buried there. The motif's presence in this context suggests that it continued to be a powerful symbol of kingship and authority, even as the societies that used it evolved and changed.
Plaque of Kingdom of Benin in Nigeria
Relief plaque, lost-wax cast in brass. Wide plaque, rectangular in form with side flanges. Background surface decorated with river leaf patterns and stippling. Rosette in bottom left and right corners. Two nail holes at top, one hole at bottom right; remains of iron nail in hole at bottom left. Depicts Oba with mudfish legs, facing front, holding a leopard by tail in each hand. Oba wears cylindrical beaded crown with oro protrusion and three ornamental beads, deep beaded collar, tunic and patterned skirt with series of pendant masks depicting animal heads. Two mudfish suspended from belt around waist. Leopards shown in profile wearing collars with bells attached.
Cultures:
Kingdom of Benin (1200s to the 1800s C.E.)
Date:
c. 1501–1700 CE
Origin:
Benin City, Nigeria
Source:
https://www.britishmuseum.org/collection/object/E_Af1898-0115-31
Collection:
The British Museum, Af1898,0115.31.
Today, the "Master of Animals" motif continues to capture the imagination of scholars and artists alike. Its enduring appeal lies in its ability to convey complex ideas about humanity's relationship with nature, power, and the divine. As a symbol, it encapsulates the tension between civilization and the wild, the balance between order and chaos, and the interconnectedness of all living things. In a world where the relationship between humans and the natural world is increasingly fraught, the "Master of Animals" motif serves as a reminder of the ancient wisdom that saw humanity not as separate from nature, but as an integral part of it.
Conclusion: The Universal Significance of the Master of Animals
The "Master of Animals" motif is a testament to the universality of certain themes in human culture. Its widespread presence across different cultures and epochs suggests that it taps into a fundamental aspect of the human experience: the need to understand and interact with the natural world. Whether as a symbol of power and control, a guardian of the natural order, or a guide through the spiritual realms, the "Master of Animals" reflects the diverse ways in which humans have sought to relate to the world around them.
Celtic Master of goats; c. 600 BC
Photographed 2018 in the Landesmuseum Stuttgart:
In tracing the evolution of this motif from its origins in ancient Mesopotamia to its continued use in modern art, we gain insight into the ways in which different cultures have understood their place in the world. The "Master of Animals" is not just a symbol of the past; it is a living motif that continues to resonate with contemporary concerns about the environment, spirituality, and the balance of power. As we continue to grapple with these issues in the modern world, the "Master of Animals" serves as a powerful reminder of the deep and enduring connections between humanity and the natural world.
