Ishtar in Mesopotamian tradition
Ishtar descends into the Underworld, where her sister has her stripped and killed, before divine aid restores her and allows reproduction to resume on earth. She is a Mesopotamian deity of sexual love, fertility, warfare, royal power and Venus. Unlike the usual image of her Greek and Roman counterparts as love goddesses, Ishtar combines erotic power with battle and political sovereignty. She is also called Queen of Heaven and Lady of Battle.
The quick answers
Who is Ishtar?
Ishtar is a Mesopotamian deity associated with sexual love and fertility, warfare and victory, royal power and kingship, Venus and celestial phenomena, political sovereignty.Source
Source
- The Oxford Companion to World Mythology
- Dictionary of Mythology
- World Mythology
What is Ishtar the god of?
sexual love and fertility, warfare and victory, royal power and kingship, Venus and celestial phenomena, political sovereigntySource
Source
- The Oxford Companion to World Mythology
- Dictionary of Mythology
Is Ishtar in Ahat Ilī - Sister of Gods?
Yes. It is linked here to Inanna’s Descent to the Underworld.What family links are recorded for Ishtar?
Father: Sin, Spouse: Ashur, 2 siblings.What happens in Inanna’s Descent to the Underworld?
Ishtar entered the Land of No Return, where Ereshkigal ordered her stripped at the gates and killed.Source
Source
- the ancient sources
- Babylonian mythology
Ishtar’s family, at a glance
Parents above, children below, and the figure’s consorts named in between, the same family data as the fact box, laid out as a chart instead of a field list.
The names Ishtar answers to
Inanna
Sumerian name and counterpart of Ishtar
SourceWorld Mythology
Annunitum
The Warlike One; a warrior manifestation of Ishtar
SourceDictionary of Mythology
Ishtar of Arbela
Ishtar’s major cult form at Arbela
SourceThe Oxford Companion to World Mythology
Ishtar of Nineveh
Ishtar’s major cult form at Nineveh
SourceThe Oxford Companion to World Mythology
Nin-anna
Lady of Heaven
SourceThe Oxford Companion to World Mythology
The myths of Ishtar
6 myths, each traced to its primary text and corpus sources, with 3 reviewed modern reworks linked where the evidence supports it.
Inanna Claims An’s Temple
Inanna confronted An over possession of the Eanna temple. She claimed the temple itself and the authority attached to it. She sought to hold both for herself and for Uruk. The dispute concerned control of the sanctuary and the power that came with it. An opposed her claim, and the two deities faced one another over the temple’s possession.
An was the sky god and the father of the gods. He was closely associated with Uruk, where his cult was centred. Inanna, also called Ishtar, was his daughter. She was the goddess of love and fertility, a goddess of war, and the Queen of Heaven. She was also the patroness of Uruk and had a temple there. Her claim joined her own authority to the interests of the city.
The confrontation ended with Inanna securing the Eanna temple and its authority. The settlement placed the temple under her possession and connected its authority with her role as patroness of Uruk. Inanna therefore obtained the temple for herself and for the city. The dispute ended when she took control of the Eanna temple and its authority.

In the modern world
No modern rework confirmed yet.
3 sources· checked 2026-08-19
- 1THE EPIC OF GILGAMESH : an English version with an introductionT1
- 2the ancient sourcesT1
Quote
“Inanna claims the Eanna temple from An and obtains it for herself and Uruk.”
the ancient sources
- 3THE EPIC OF GILGAMESH : an English version with an introductionT1
Inanna’s Revenge on Bilulu
Inanna set out for the realm of the dead and instructed her vizier, Ninshubar, to mourn her if she did not return within three days. She ordered him to appeal to Ellil of Nippur, Sin of Ur, and Ea of Eridu. She feared that the journey might end in her death, but she still went on.
When Inanna reached the gates of the Underworld, Ereshkigal allowed her to enter on the condition that she removed her clothes. Inanna followed the instruction at each gate and surrendered what she wore. By the time she reached Ereshkigal, she stood naked and vulnerable. Ereshkigal then ordered her sister to kill her.
Ea hastily created two beings whose only purpose was to rescue Inanna. They entered Ereshkigal’s realm and deceived her into releasing Inanna’s body. They used the food and drink of divine immortality to restore her to life. Inanna then returned from the Underworld, and reproduction resumed across the earth.
The account did not include Bilulu, Dumuzi, or an act of revenge against Bilulu. It therefore did not establish the events named by the title.

In the modern world
No modern rework confirmed yet.
3 sources· checked 2026-08-19
- 1Babylonian mythologyT1
- 2the ancient sourcesT1
Quote
“Inanna kills Bilulu and her accomplice in revenge for Dumuzi, then transforms Bilulu into a vessel used in funerary rites.”
the ancient sources
- 3Babylonian Creation MythsT1
Inanna Chooses Dumuzi
Inanna turned away from Enkimdu, the farmer, and gave her preference to Dumuzi, the shepherd. Enkimdu had stood before her as a possible lover and bridegroom, but she did not accept him. Dumuzi was the man she chose instead. She took him as her lover and selected him as her bridegroom.
The choice settled the dispute between the farmer and the shepherd. Inanna preferred Dumuzi over Enkimdu, and Enkimdu was rejected. She gave no reason for changing or forming her preference, and no later marriage rite followed the decision. No exchange between their families took place, and no household was established after Inanna selected Dumuzi. The decision ended with Dumuzi chosen as her lover and bridegroom.
In a separate telling, Dumuzi was named as a shepherd and was bound in Ezidagišnugal, which was described as an improper place. That event did not alter Inanna's choice between the farmer and the shepherd. Other tellings gave Tammuz a mother named Duttur and, in some traditions, a father named Ea. Those family connections did not explain Inanna's decision. The dialogue ended with Inanna choosing Dumuzi and rejecting Enkimdu.

In the modern world
No modern rework confirmed yet.
2 sources· checked 2026-08-19
- 1THE EPIC OF GILGAMESH : an English version with an introductionT1
- 2the ancient sourcesT1
Quote
“Inanna turns from Enkimdu the farmer and selects Dumuzi the shepherd as her lover and bridegroom.”
the ancient sources
Inanna’s Descent to the Underworld
Ishtar entered the Underworld to visit her sister Ereshkigal, who ruled the dark realm called the Land of No Return. The reason for the journey was not stated. Some tellings treated it as an attempt to seize Ereshkigal’s subterranean kingdom. Before she left, Ishtar instructed her vizier Ninshubar that, if she did not return within three days, he had to mourn her. He then had to seek help from Ellil of Nippur, Sin of Ur, and Ea of Eridu, and ask them to prevent her death in the nether world.
When Ishtar reached the gates, Ereshkigal sent word that she welcomed her if she removed all her clothes. Ishtar followed the instruction as she passed through the gates and left her garments behind. The command was a trick. When Ishtar stood completely naked and vulnerable, Ereshkigal ordered her sister to be killed. Ishtar’s death brought reproduction to an end across the earth’s surface.
Ninshubar carried out Ishtar’s instructions and sought help from the three gods. Ea then hastily created two beings whose only purpose was to rescue Ishtar. They entered Ereshkigal’s realm and deceived her into releasing Ishtar’s body. They used the food and drink of divine immortality to restore Ishtar to life. Reproduction immediately resumed across the earth’s surface.
Ishtar still could not leave the Underworld permanently without finding a substitute to live there in her place. Guarded by some of Ereshkigal’s demons, she returned to the surface and searched for one. She chose her mate, Tammuz, whom the Sumerians called Dumuzi. His sister Geshtinanna tried to rescue him, but she failed. The major parties involved then agreed that Tammuz and Geshtinanna would alternate their residence in the dark depths. This arrangement allowed Tammuz to leave the Underworld for part of the year.

In the modern world
Ahat Ilī - Sister of Gods
MusicThe opera libretto, adapted from Tokarczuk's own novel, keeps the same descent-into-the-underworld structure and its Ishtar connection.
Anna in the Tombs of the World
BookOlga Tokarczuk's novel resets Inanna's descent into the underworld in a futuristic, high-tech world, keeping the goddess's journey down and the death-and-return structure.
The Epic of Inanna
GameThe visual novel splices Gilgamesh's story together with two Inanna myths, her descent into the underworld and her marriage to Dumuzi, across a sweeping multi-era plot.
3 sources· checked 2026-08-19
- 1Babylonian mythologyT1
- 2the ancient sourcesT1
Quote
“Ishtar is admitted to the Underworld, killed there, restored by Ea, and required to provide a substitute, with Tammuz and Geshtinanna alternating their time below.”
the ancient sources
- 3Babylonian mythologyT1
Inanna Takes the Divine Powers
Inanna went to Eridu and received the me from Enki. Enki held the me before the exchange, and Inanna became their bearer after he gave them to her. The me were the divine powers and institutions. The reason for Inanna’s visit remained unstated, and the reason for Enki’s gift remained unstated. The exchange took place between them, with Enki as the holder and Inanna as the recipient.
After she received the me, Inanna carried them away from Eridu. She began the return journey towards Uruk with the divine powers and institutions in her possession. She kept the me with her as she travelled. The route remained undescribed, and the manner in which she carried them remained undescribed. The me included powers and institutions, but their individual forms and contents were not given. The exchange had taken place before Inanna began her return.
Enki tried to recover the me after Inanna had left Eridu. His attempt did not succeed. Inanna continued towards Uruk and completed the return with the me still in her possession. She brought the divine powers and institutions from Eridu to Uruk. The transfer therefore ended with Enki no longer holding the me and Inanna holding them at Uruk.

In the modern world
No modern rework confirmed yet.
3 sources· checked 2026-08-19
- 1Babylonian Creation MythsT1
- 2the ancient sourcesT1
Quote
“Enki gives the me to Inanna at Eridu, and she carries them to Uruk despite his unsuccessful attempt to recover them.”
the ancient sources
- 3Babylonian Creation MythsT1
Ishtar and Ishullanu
Ishtar saw Ishullanu, her father Anu’s gardener, and went straight to him when she saw his beauty. He had regularly brought her dates in his basket and had set a shining table for her each day. She invited him to taste the produce of his work. She told him to stretch out his hand and pluck her fruit. This happened among the former lovers whom Gilgamesh named when he answered Ishtar and recalled the men who had suffered after rejecting her.
Ishullanu refused her offer. He said that his mother had baked food and that he had already eaten it. He asked why he should come to Ishtar for food that was tainted and rotten. He also asked when a screen of rushes had ever given enough protection from frost. His words rejected her invitation and answered it with an insult. No earlier intimacy passed between them in this episode, and Ishullanu gave no other reason for his refusal.
Ishtar heard his answer and fell into a bitter rage. She struck Ishullanu and changed him into a blind mole deep beneath the earth. His desire then remained forever beyond his reach. Gilgamesh used Ishullanu’s fate with the other former lovers when he warned Ishtar that a lover might suffer the same punishment. Ishullanu’s transformation ended his place among human beings and left him beneath the earth.

In the modern world
No modern rework confirmed yet.
3 sources· checked 2026-08-19
- 1THE EPIC OF GILGAMESH : an English version with an introductionT1
- 2the ancient sourcesT1
Quote
“Ishtar invites Ishullanu, he refuses her, and she turns him into a blind mole beneath the earth.”
the ancient sources
- 3Gilgamesh. A New Translation of the Ancient Epic (2021) [Retail]T1
Also appears in
The myths across MythSource where Ishtar features, each on that figure’s page.
- Nergal and Ereshkigal · on Ereshkigal
- Gilgamesh and the Bull of Heaven · on Gilgamesh
- Gilgamesh Rejects Ishtar · on Gilgamesh
- The Divine Birth and Kingship of Gilgamesh · on Gilgamesh
- The Gods Condemn Enkidu · on Gilgamesh
- Inanna and Bilulu · on Inanna
- Nergal and Ereshkigal · on Nergal
- Dumuzi’s Capture and Seasonal Return · on Tammuz
10 works catalogued
This is the candidate catalogue for Ishtar: candidate reworks first, then references, then names used as atmosphere. Nothing here has been checked against a source yet. Only reviewed myth-to-work links are promoted in Overview.
Showing 10 of 10 works.
Film4
- Inanna, the Queen of HeavenRework
- Agatha and the Curse of IshtarReference
- InannaReference
- IshtarReference
Game4
- Arcade Archives: The Return of IshtarRework
- The Epic of InannaInanna’s Descent to the UnderworldRework
- The Return of IshtarRework
- At Ishtar's GateName only
Book1
- Anna in the Tombs of the WorldInanna’s Descent to the UnderworldRework
Music1
- Ahat Ilī - Sister of GodsInanna’s Descent to the UnderworldRework
These are catalogue candidates, not proof that every work retells this figure. Reviewed myth-to-work links appear in Overview.
What this page is built from
About this page
Written and maintained by MythSource. Last reviewed not yet recorded. How a page gets built.
5 sources are cited on this page, primary texts and corpus scholarship, listed below.
Cite this page
MythSource. (n.d.). Ishtar. https://www.mythsource.com/figures/ishtar
"Ishtar." MythSource, n.d., www.mythsource.com/figures/ishtar.
"Ishtar." MythSource. n.d. https://www.mythsource.com/figures/ishtar.
The mythology summaries and identity fields on this page are grounded in the primary texts and scholarship above. The appearance table records candidates separately; only reviewed joins are presented as modern reworks in Overview.
The film
The Underdrawing video on Ishtar embeds here once it publishes.



