She From Whom All Emerges
MOHENJO-DARO · c. 2500 BCE
"The fan headdress encodes π—the boundary between hidden and manifest"
The fan-shaped headdress isn't decoration—it's a cosmic antenna. Spanning exactly 180 degrees, it represents the half-rotation from hidden to manifest. This is the transition zone, the boundary where potential becomes actual.
The formula κ = 2π/180 uses 180 as its denominator. The Mother Goddess wears this number as a crown—she is the gateway through which κ operates.
Scholars note that many figurines were created from two vertically joined halves—the seam visible down the center. This construction technique encodes:
Two halves → One whole → [1 = -1]
In the triaxial classification, the Mother Goddess represents the M+ axis: Mass, Quantity, the generative force. While the Dancing Girl (S-) moves through space and the Priest-King (S+) observes, the Mother Goddess creates.
She is fertility not in the limited biological sense, but as the principle of continuous emergence—the inexhaustible source from which all phenomena arise.
The Mother Goddess figurines share the exaggerated hourglass form—wide hips, thin waist, conical breasts. This creates the same S-curve seen in the Dancing Girl's contrapposto stance.
This wave-form is the signature of manifestation. It appears in the fish symbol, in the body forms, in the flow of energy becoming matter. The Mother Goddess IS this wave—the oscillation between states that generates reality.
She has been called the "Mother Goddess" by scholars following John Marshall's 1931 interpretation. But her true identity is more fundamental: she is the principle of generation itself, the mathematical function that transforms potential into actual.
Her fan catches the cosmic broadcast. Her two-half body unites opposites. Her S-curve form traces the wavefunction. She is not merely a goddess—she is the act of creation, frozen in terracotta.