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Sestertius of Antoninus Pius showing his portrait and Moneta holding scales and cornucopia. In Roman mythology, Moneta (Latin Monēta) was a title given to two separate goddesses: It was the name of the goddess of memory (identified with the Greek goddess Mnemosyne), and it was an epithet of Juno, called Juno Moneta (Latin Iūno Monēta).
Lakshmi: Goddess of wealth, fortune and luck. Kubera: God of wealth; Ganesha: God of wisdom, luck and good beginnings; associated with wealth and fortune. Alakshmi: Goddess of misfortune. Agni: God of fire, wealth and food(in the vedas).
Juno Moneta, the second name associating the Roman goddess Juno with the goddess Moneta who was worshiped at some locations outside Rome, was regarded as the protectress of the city's funds. Money was coined in her temple for over four centuries, before the mint was moved to a new location near the Colosseum during the reign of the emperor ...
The present iconography of Nang Kwak is similar to Mae Po Sop (แม่โพสพ), the Siamese rice goddess. [1] [2] However, unlike Mae Po Sop, Nang Kwak does not wear the harvested rice sheaf on her right shoulder. The iconography of Nang Kwak is like the Hindu goddess Sri Lakshmi, the goddess of wealth, fortune and prosperity. [1]
Plutus is most commonly the son of Demeter [1] and Iasion, [2] with whom she lay in a thrice-ploughed field. He is alternatively the son of the fortune goddess Tyche. [3]Two ancient depictions of Plutus, one of him as a little boy standing with a cornucopia before Demeter, and another inside the cornucopia being handed to Demeter by a goddess rising out of the earth, perhaps implying that he ...
It has been suggested that the Gallic goddess Rosmerta had a functional equivalence to Abundantia, but the two are never directly identified in inscriptions. [9] William of Auvergne (d. 1249), a bishop of Paris, mentions a Domina Abundia ("Mistress Abundia"), who also appears in the Roman de la Rose as "Dame Habonde."
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The goddess is the central image of this mandala, which depicts scenes of dedication, ritual initiation, festive music, and dance associated with her worship. Its purpose is didactic (to teach). The mandala teaches the importance of worshipping Vasudhara primarily through the narrative of a non-believer whom she converted to belief. [14]