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Bast

Bast (or ) was an ancient Egyptian goddess associated with , fertility, joy, and the home, originally depicted as a -headed figure and later evolving into a -headed or full , reflecting her dual roles as a fierce defender and nurturing domestic . Her originated in the Early Dynastic (c. 3100–2686 BCE), with the earliest evidence from around 2800 BCE, where she appeared as a linked to and kingship. Worshipped primarily as the patron of (Per-Bast, "House of Bastet") in the , her temple there dates back to at least the reign of Pepi I (c. 2270 BCE) and became a major religious center by the Old Kingdom's end. 's attributes included safeguarding against evil spirits, contagious diseases, and threats to the and household, often symbolized by the (a rattle for warding off danger) and an ointment jar representing her name's hieroglyphic elements. The goddess's prominence surged during the 22nd Dynasty (945–715 BCE), when served as the royal capital, leading to extensive temple expansions under pharaohs like and the deposition of vast cat mummies as votive offerings—millions have been excavated from sites like , underscoring cats' sacred status as her earthly embodiments. Her annual festival at , described by the Greek historian in the 5th century BCE, drew up to 700,000 pilgrims who traveled by boat along the amid music, dancing, and wine consumption, culminating in processions of her sacred around the temple's sacred lake (Isheru). This celebration honored her as a joyful, life-affirming figure, contrasting her earlier warlike aspects, and highlighted as a hub of trade and cultural exchange with regions like and . Bastet was closely linked to other deities, often conflated with the lioness goddess as complementary aspects of the ""—fierce avenger and gentle protector, respectively—and considered the mother of the lion-headed war god by . In the Greco-Roman period, she was equated with due to shared feline and protective traits, influencing her in hybrid forms. Her enduring legacy is evident in archaeological finds, such as bronze statues from 900–600 BCE depicting her with kittens to symbolize fertility, and inscriptions affirming her role in maintaining cosmic order () through protection of the vulnerable.

The Egyptian Goddess

Etymology and Names

The name of the Bast derives from the ancient term bꜣstt, transliterated as "Bastet" in modern scholarship, which is widely interpreted as "she of the ointment jar." This , proposed by Egyptologist Stephen Quirke, connects the name to the hieroglyphic sign for the bas-jar, a used for storing protective ointments and perfumes, reflecting her early associations with , purification, and safeguarding against evil. The ointment jar symbolism underscores her role in warding off threats, as such jars were believed to contain substances with apotropaic properties in ancient practices. In early texts from the Second Dynasty onward, the name appears simply as bꜣs or "Bast," without the feminine ending, indicating an original form before later grammatical conventions added the suffix -t to denote the goddess explicitly as . This evolution from Bast to occurred during the and later periods to clarify gender in hieroglyphic writing, where the full name was often rendered with the (Gardiner sign V30) alongside or protective symbols. The hieroglyphs typically combined the biliteral sign for bꜣ (basket and foot) with the jar, emphasizing her protective essence over time. During the Greco-Roman period, cultural led to Bastet's identification with the Greek goddess , due to shared attributes of , , and , resulting in composite depictions and epithets like "Artemis-Bastet" in bilingual inscriptions. This equivalence facilitated her worship among Hellenistic communities in , where her name was Hellenized as "Ailuros" () or directly equated with Artemis in temple reliefs.

Iconography and Symbols

In , Bast was initially depicted during (c. 2686–2181 BCE) as a fierce lioness-headed , embodying her role as a warrior protector often associated with the sun god . This form emphasized her aggressive aspects, with representations showing her standing or seated, sometimes wearing a solar disk headdress surmounted by a to signify her solar connections. She frequently held symbols of life and power, such as the in one hand, underscoring her dominion over vitality and protection. By the New Kingdom (c. 1550–1070 BCE) and especially the Late Period (c. 664–332 BCE), Bast's evolved to reflect a more domesticated and benevolent character, transitioning to a cat-headed or a full figure, symbolizing guardianship of the , , and . This shift aligned with the growing reverence for domestic s in Egyptian society, as seen in bronze statuettes from sites like Tell Basta where she appears as a slender, seated or anthropomorphic figure with kittens at her feet. The solar disk headdress persisted in some depictions but became less prominent, giving way to simpler domestic imagery that highlighted her nurturing qualities. Key symbols associated with Bast included the , a rattle-like instrument she often carried, used to ward off evil spirits and invoke protective music during rituals. Another attribute was the or ointment jar, held in her left hand in many Late Period bronzes, representing and the offering of perfumes for and —elements tied to her name's etymological link to "ointment jar." The , a broad collar bearing a head (sometimes with a solar disk), served as a potent emblem of her protective ferocity, frequently appearing in amulets or as a held object in statuettes from the Ptolemaic Period (c. 332–30 BCE). Artifacts in and hues, evoking vitality and divine radiance, further accentuated these symbols in temple votives and jewelry.

Role in Mythology

In ancient , Bastet served as one of the "Eyes of ," embodying the sun god's fierce protective and vengeful aspects. As a lioness, she was dispatched by to combat the chaos serpent (), the embodiment of disorder who threatened the solar barque's nightly journey through the . This role highlighted her function in maintaining cosmic order (ma'at) by repelling threats to the sun's rebirth, often depicted in funerary texts where feline deities like Bastet symbolize the expulsion of evil through fire or physical combat. Bastet shared close mythological associations with other feline goddesses, reflecting syncretic elements in Egyptian cosmology. She represented the gentler, protective counterpart to Sekhmet's destructive fury, with both forming a dual aspect of the Eye of Ra—Sekhmet as the raging warrior and Bastet as the pacified defender. Similarly, her joyful and nurturing qualities linked her to Hathor, particularly in contexts of music, celebration, and fertility, where Bastet adopted Hathor's sistrum as a symbol of harmony. This syncretism culminated in the composite form Bastet-Sekhmet, illustrating the fluid boundaries among solar-eyed deities in Lower Egyptian lore. As a deity, Bastet protected the home, women, and children from malevolent forces, extending her vigilance to domestic spheres. She patronized , , and joy, fostering communal well-being and emotional balance, while her ties to underscored her role in safeguarding and life. In later interpretations, particularly during the Late Period, Bastet gained lunar associations, symbolizing nocturnal protection akin to the moon's watchful cycle, though she lacked major standalone myths and primarily integrated into broader narratives of renewal and defense.

Worship and Cult Practices

Devotees of Bastet offered votive items such as cat mummies, often buried in large numbers at sacred sites to seek her favor or express gratitude. Over 300,000 cat mummies have been discovered at locations like , reflecting the scale of these dedications during the Late Period. Other offerings included jewelry and perfume, associated with Bastet's epithet as the "Lady of Perfumes" and her role in adornment and sensory pleasures. Pilgrimages to , her primary cult center, were a central practice, drawing massive crowds for annual festivals. Rituals honoring featured lively processions, music, and dance, particularly during the festival at described by around 450 BCE. Participants traveled by boat along the , with men playing flutes and women shaking sistra—rattle-like instruments—while singing, clapping, and dancing on the riverbanks. These events, attended by up to 700,000 people, involved heavy wine consumption and ecstatic behaviors, emphasizing joy and communal celebration. In households, small shrines with inscribed images of cats or provided daily protection against evil and illness. Priests at Bastet's temples managed offerings, mummifications, and oracular consultations, interpreting signs from cat behaviors or dreams to guide devotees. Women's devotion was prominent, with many participating in rites that invoked Bastet as a protector of fertility and childbirth, including prayers for safe deliveries and family well-being. A strict taboo prohibited harming cats, viewed as earthly manifestations of Bastet; even accidental killing warranted severe punishment, often death, as recorded by Diodorus Siculus in the first century BCE. In later periods, Bastet's cult integrated with that of Isis, portraying her as an aspect or "soul" of the goddess, blending protective and maternal rites in shared worship.

Historical Development

Origins and Early Worship

Bastet, an ancient goddess primarily associated with protection and feline attributes, may have roots influenced by Nubian traditions during the BCE, though her cult's primary emergence occurred in the region of . Some evidence suggests early favor among Nubian communities, as indicated in later texts like the Nastasene stele, where Bastet is invoked in protective contexts, potentially reflecting shared cultural exchanges across the southern frontiers. However, the goddess's earliest attestations appear in contexts during the Second Dynasty (c. 2890–2686 BCE), where her name is inscribed on stone vessels from , depicting her as a -headed protector often holding a scepter and , symbolizing royal safeguarding and divine authority. These inscriptions, linked to kings like and Ninetjer, portray Bastet as a fierce , emphasizing her warrior role in warding off threats to the and the state. As a local deity of in the eastern , Bastet's worship solidified during the Old Kingdom's Pyramid Age (c. 2686–2181 BCE), where she gained initial solar associations as a daughter of the sun god and an aspect of his protective Eye. In the , inscribed in royal tombs from the Fifth and Sixth Dynasties, Bastet is invoked as a nurturing yet avenging mother to the deceased king, nursing him with solar vitality and shielding him from chaos, underscoring her dual role in cosmic order and royal protection. Her emergence in likely drew from the region's ecology, where wild lions and lionesses prowled semi-desert fringes near seasonal lakes like , preying on cattle herds and symbolizing guardianship over settlements and against predators. This environmental context reinforced Bastet's identity as a protector of homes and communities, with her lioness form embodying the raw power needed to defend vulnerable Delta populations. Archaeological evidence from early sites further highlights Bastet's warrior aspects, including fragments of stone vessels and sherds bearing her name from the galleries beneath Djoser's Third Dynasty at (c. 2670 BCE), and similar finds extending into Fourth Dynasty tombs. These artifacts, often depicting her as a seated lioness-headed figure, emphasize her martial prowess in royal provisioning and divine safeguarding, as seen in inscriptions like "Djefaw-Bastet" denoting offerings for protection. Amulets and small statues from Fourth Dynasty contexts, such as those in elite tombs at and , portray Bastet with feline ferocity, underscoring her role as a fierce defender rather than the gentler domestic form that would later evolve.

Evolution Through Dynasties

During the , particularly under the 12th Dynasty (c. 1991–1802 BCE), Bastet's cult rose to national prominence, with textual evidence portraying her as a protective embodying the ideal . The "Loyalist Teaching," a key instructional text from this period, equates the pharaoh's role to Bastet, stating that "He is Bastet who protects the two lands," highlighting her as a guardian of Egypt's unity and stability. This elevation coincided with administrative and architectural developments at , including the construction of a governor's and associated nearby, signaling expanded infrastructure and her integration into state ideology. In the New Kingdom (c. 1550–1070 BCE), Bastet reached the peak of her influence, becoming deeply woven into royal theology as a benevolent protector. Depictions of her appear in major Theban temples such as and , where she is shown in processions and as a companion to pharaohs, including (r. 1390–1352 BCE), who invoked her patronage in royal inscriptions and cult practices. This era marked a gradual shift from her earlier warrior-lioness aspects to a more domestic guardian role, reflecting broader societal urbanization and the rising value of household protection. Evidence from tomb art around 1500 BCE illustrates cats as cherished pets, paralleling Bastet's evolving iconography toward a cat-headed form symbolizing , motherhood, and home safeguarding. The 22nd Dynasty (c. 943–716 BCE), known as the Bubastite Dynasty, further amplified Bastet's political significance, with founder Sheshonq I (r. 943–922 BCE) elevating her status through direct patronage tied to his origins in the . As rulers from , the dynasty promoted her cult aggressively, expanding temple complexes and portraying her as a supreme state deity, often as the "Daughter of " or "" in royal titulary. This period solidified her transformation into a cat goddess, emphasizing maternal and protective traits amid increased cat mummification and votive offerings at her sanctuaries.

Greco-Roman Period and Decline

During the following the Great's conquest of in 332 BCE, Bast underwent significant with deities, particularly , the goddess of the hunt, wilderness, and chastity, due to shared attributes of protection and feline associations. The historian , writing in the 5th century BCE, explicitly equated Bast with in his descriptions of Egyptian religion. This identification facilitated the integration of Bast's into Ptolemaic society, where her blended local traditions with elements, including the construction of temples like the one uncovered in dedicated to her during the Ptolemaic era. also vividly described the annual festival at , her primary center, as a massive involving hundreds of thousands of participants traveling by boat along the , accompanied by music from flutes and , dancing, and exuberant celebrations that included heavy wine consumption and animal sacrifices, underscoring the festival's role as one of ancient Egypt's most joyous religious events. In the Roman era after Egypt's annexation in 30 BCE, Bast's cult persisted robustly, with continued practices such as the mass mummification of cats as votive offerings to honor her protective and fertility aspects, a tradition that extended into the 4th century CE. Archaeological evidence from sites like Saqqara reveals cat mummies and bronzes dedicated to Bast from this period, reflecting ongoing devotion despite Roman administrative oversight of Egyptian temples. Her worship spread beyond Egypt to the Roman Empire via trade routes, with artifacts and inscriptions attesting to cults in Italian cities such as Rome, Ostia, Nemi, and Pompeii, where Bast was often syncretized with Diana, the Roman counterpart to Artemis, symbolizing similar themes of domestic guardianship and the moon. However, Roman policies began to curtail temple activities; following the conquest, some sanctuaries faced restrictions or partial destruction, though full-scale suppression accelerated later. Bast's cult declined sharply with in the , as Emperor Theodosius I's edicts in 391–392 outlawed pagan practices and led to the demolition of major temples across , including those associated with traditional deities like Bast. By this time, her had waned, supplanted by Christian institutions that repurposed or razed sacred sites, marking the end of organized in . Lingering traces appear in Christian texts, where figures like Bast were recast as demonic entities to demonize remnants of , reflecting the transition from divine protector to symbol of superseded . Archaeological finds from the Ptolemaic period (305–30 BCE) illustrate this era's cultural fusion, with statues of Bast often depicted as a cat-headed woman in elaborate Greco- styles, such as leaded figures adorned with inlaid eyes, broad collars, and aegises that combined with Hellenistic realism and decorative motifs. These artifacts, recovered from sites like and now housed in institutions like the , highlight how Ptolemaic rulers promoted hybrid representations to unify Greek settlers and native Egyptians under a shared religious framework.

Associated Places

Bubastis (Primary Cult Center)

Bubastis, anciently known as Per-Bastet or "House of Bastet," served as the primary cult center for the goddess Bast in Lower Egypt, situated in the fertile Nile Delta region approximately 80 kilometers northeast of modern Cairo at the site of Tell Basta near Zagazig. The city originated around 3000 BCE during the Early Dynastic Period, with initial traces of Bast's worship appearing as early as the Second Dynasty through feline iconography on artifacts. Bubastis flourished as a major religious and political hub, reaching its peak during the 22nd Dynasty (c. 945–715 BCE), when it became the capital under the Libyan pharaohs who elevated Bast's cult to national prominence, constructing monumental additions to her temple complex. The Greek historian provided one of the earliest detailed accounts of the site in the 5th century BCE, portraying the Temple of Bast as a grand structure elevated on a platform and encircled by a navigable branching from the , creating an island-like setting accessible via a tree-lined processional avenue about 3 stades (600 meters) long and as broad as the processional way to the in (approximately 60 meters wide). He described the temple enclosure as a high stone wall embellished with carved figures, enclosing a of lofty trees surrounding a massive and the goddess's , with figures six cubits high on the gateway and the reaching 10 orgyiai (60 feet) in height. highlighted the temple's role in the annual festival of Bast, which drew an estimated 700,000 pilgrims from across , who journeyed by boat with flutes, castanets, and songs, culminating in exuberant celebrations of music, dance, and offerings at the site. Archaeological excavations led by Swiss Egyptologist Édouard Naville from 1887 to 1890, sponsored by the Egypt Exploration Fund, unearthed substantial remnants of the , confirming Herodotus's observations and revealing its architectural splendor. Naville's team exposed the temple's foundations, including a hall supported by red granite columns quarried from , a kiosk erected by for royal rituals, and scattered statues depicting Bast in her feline and forms, underscoring the site's centrality to her . Among the most striking discoveries was an extensive containing vast deposits of mummified cats—estimated in the millions—interred in pottery jars and wooden coffins as votive offerings, illustrating the profound devotion to Bast as protector of the home and felines. Naville also identified remnants of the canal system, including branch channels that facilitated sacred boat processions during festivals, integrating the temple with the Nile's rhythms. As a thriving metropolis, functioned as a vital economic , channeling in commodities like perfumes—evoking Bast's symbolic ointment jar, which represented and aromatic unguents—and textiles produced in the region's fertile fields, bolstering the city's through pilgrim commerce and endowments. This prosperity intertwined with Bast's attributes, as offerings of scented oils and fabrics were integral to rituals, enhancing the cult's allure and the site's regional influence.

Other Sites of Veneration

Bast was venerated in , particularly through extensions and processions at the temple complex, where inscriptions from the New Kingdom and Late Period document her sacred bark being renewed and paraded during festivals, such as the feast on the 29th day of the first month of Peret recorded on a stela of Thutmosis III in the temple. In , located in , Bast served as a guardian known as the "Lady of Memphis" and was associated in joint shrines with the creator god , with whom she was sometimes regarded as a , reflecting her role in local Memphite theology during and later periods. At in , extensive dedicated to Bast, known as the Bubasteion, housed mummified cat offerings from the Late Period onward, serving as a major site for votive deposits despite the official suppression of traditional polytheistic cults during the under ; however, evidence of continued private devotion persists in documents mentioning chantresses of Bast from that era. Bast's cult extended southward into , where she found favor among Kushite worshippers, with artifacts and inscriptions indicating her veneration in sites like , demonstrating the southern spread of her protective attributes during the Napatan and Meroitic periods. In the Nile Delta villages beyond her primary center, household altars and small shrines facilitated everyday worship, emphasizing her domestic role in and . Portable amulets depicting Bast as a cat or lioness were ubiquitous across Egypt, from elite tombs to common graves, underscoring widespread personal devotion that transcended major temple sites and allowed individuals to invoke her guardianship in daily life.

Literature and Modern Myth Retellings

In 19th-century literature, Amelia B. Edwards depicted Bast as a protective deity in her travelogue A Thousand Miles Up the Nile (1877), where she describes the goddess's cult at Bubastis and her dual aspects as a lioness warrior and benevolent guardian against evil, blending historical observation with a sense of mystical allure. Edwards's portrayal emphasized Bast's role in safeguarding homes and communities, influencing later romanticized views of Egyptian mythology in Western writing. In modern , Bast features prominently as a character in Rick Riordan's trilogy (2010–2012), where she manifests in the contemporary world by possessing the form of a named , serving as a fierce protector and mentor to the young Sadie Kane. This retelling draws on Bast's ancient attributes as the goddess of felines and warfare to explore themes of guardianship in a modern magical context. Neil Gaiman's (2001) includes minor references to Bast as a faded Egyptian deity residing in the American Midwest, where she engages in a brief, intimate encounter with the Shadow Moon, symbolizing the immigrant gods' struggle for relevance. Academic retellings provide historically grounded interpretations of Bast, as seen in Richard H. Wilkinson's The Complete Gods and Goddesses of (2003), which details her evolution from a solar lioness goddess associated with and to a more domesticated cat-headed figure embodying joy, music, and domestic harmony. Wilkinson's analysis underscores Bast's syncretic links with other deities like , offering a scholarly foundation for understanding her multifaceted role without speculative embellishment. Contemporary fiction often reimagines Bast to highlight themes of female empowerment and ; for instance, her protective instincts toward women and children in Riordan's series parallel modern narratives of feminine strength and autonomy. Similarly, Bast's sacred association with cats in these works evokes advocacy for , portraying her as a symbol of gentle yet vigilant stewardship over the vulnerable.

Film, Television, and Comics

In Marvel Comics, Bast belongs to the Orisha pantheon of Wakanda and is depicted as the ancient Panther Goddess and protector deity of the Wakandan Panther Clan, granting enhanced abilities to the through the consumption of the heart-shaped herb in a that links the wearer to her divine essence. This characterization draws from her mythological roots as an but reimagines her as a spirit integral to Wakandan lore, first referenced as the "Panther God" in Fantastic Four #52 (July 1966), where T'Challa's heritage is introduced without naming her explicitly. Over time, her portrayal evolved from a distant, gender-ambiguous ancestral figure—initially implied as male in early stories—to a more defined female entity who actively intervenes in mortal affairs, appearing in humanoid form to guide or empower heroes like T'Challa and Shuri. In modern arcs, such as those in Black Panther (vol. 6, 2016–2018) by , Bast assumes a protective yet complex role, manifesting as a warrior advisor during crises like invasions by interdimensional threats, emphasizing themes of legacy and cultural preservation. In the , Bast is referenced across several films. In Captain America: Civil War (2016), T'Challa explains, "In my culture, death is not the end. It's more of a stepping-off point. You reach out with both hands, and Bast and Sekhmet, they lead you into the green veld where you can run forever." The prologue of Black Panther (2018) mentions Bast as having helped the first Black Panther become king of Wakanda. In Black Panther: Wakanda Forever (2022), Bast is referenced as the Panther God central to Wakandan spirituality, appearing in visions within the ancestral plane to guide characters like Shuri. In Thor: Love and Thunder (2022), Bast appears as a member of the Council of Godheads, portrayed by Akosia Sabet as a black woman in Egyptian attire. In television, Bastet appears as a prominent antagonist in Stargate SG-1, reinterpreted as a parasitic Goa'uld System Lord who poses as the Egyptian goddess to subjugate hosts and command the Bast Guard Jaffa warriors. She features in the two-part episode "Summit/Last Stand" (season 5, episodes 15–16, 2001), where she participates in a treacherous summit of System Lords, showcasing her cunning and rivalry with figures like and Ba'al, before her eventual death is referenced in season 8's "" (2004). This portrayal blends ancient mythology with , portraying Bastet as a manipulative alien overlord whose feline associations manifest in her host's graceful demeanor and strategic ferocity. Films and documentaries have incorporated Bast through symbolic nods to her cat associations and protective attributes. In The Mummy (1999), the undead priest Imhotep recoils in terror from a common housecat during a confrontation in Hamunaptra, a direct reference to ancient Egyptian beliefs that felines embodied Bastet's power to ward off evil and the restless dead, underscoring the film's reliance on mythological authenticity for horror elements. These adaptations emphasize Bast's enduring cultural resonance, using visual motifs like cat iconography to evoke her mythological vigilance without delving into full character narratives.

Video Games and Other Media

In video games, Bast appears as a central figure in several titles drawing from . In (2017), developed by , the Curse of the Pharaohs DLC features a side quest titled "The Cat," where protagonist Bayek searches for a lost statuette of in the realm of , rewarding players with experience points and tying into themes of protection and feline reverence. Similarly, in the free-to-play MOBA Smite by , is a playable introduced in 2012, characterized by agile pounce mechanics and area-of-effect damage abilities that evoke her role as a swift guardian against chaos, with her design emphasizing cat-like grace and solar associations. In Marvel's Avengers (2020), the War for Wakanda expansion allows Black Panther to summon the spirit of Bast, the Panther Goddess rooted in Egyptian mythology, via the "Bast's Chosen" ability for combat assistance. In Marvel Rivals (2024), Black Panther's abilities draw ancestral power from Bast, depicted as the Panther Goddess adapting the Egyptian deity's attributes. Beyond gaming, Bast influences music within niche genres and spiritual practices. In , practitioners honor Bast through chants and invocations that celebrate her as a patron of joy, music, and domesticity, often performed during rituals with instruments to invoke her protective energies. In miscellaneous media, Bast's iconography manifests in neopagan symbols and , where tattoos depicting her cat-headed form or ankh-holding silhouette symbolize fertility, home safeguarding, and feminine power, popular among Kemetic reconstructionists since the revival of ancient Egyptian spirituality in the late .

Other Meanings

Bast Fibre

Bast fibre refers to the long, flexible plant fibres extracted from the phloem tissue, or inner bark, of dicotyledonous plants such as flax (Linum usitatissimum), hemp (Cannabis sativa), jute (Corchorus spp.), kenaf (Hibiscus cannabinus), and ramie (Boehmeria nivea). These fibres, which support the plant's vascular system, are valued for their strength and are primarily used in the production of textiles, ropes, and cordage. In contrast to wood fibres derived from the of trees, which are shorter (typically 1-3 mm) and more rigid for , bast fibres are elongated (up to 50 cm or more) and more pliable, enabling finer spinning into yarns. Chemically, bast fibres are composed mainly of (60-75%), along with (10-20%) and (2-10%), where the high cellulose content provides tensile strength comparable to synthetic fibres while remaining biodegradable. Extraction begins with harvesting mature stems, followed by —a microbial process where stems are immersed in water (water retting) or left in fields (dew retting) for 7-28 days to break down pectins binding the fibres to the surrounding tissues. Subsequent steps include (crushing the stalks) and hackling (combing to align fibres), yielding clean bundles for processing. Ancient Egyptians utilized to produce from bast fibres for clothing and sails, a practice dating back over 5,000 years. Today, bast fibres support sustainable industries due to their low environmental footprint, including reduced water and chemical use compared to . They are applied in eco-friendly apparel, , and nonwovens, as well as specialty papers and biocomposites for automotive parts. , the most cultivated bast fibre, drives economic growth in , with and producing over 90% of the global supply (around 3.5 million tonnes annually) and generating billions in export revenue through sacking, carpets, and geotextiles.

Bast as a Surname

The surname Bast has multiple etymological origins, primarily in . In , , and French (particularly from and regions of German origin), it derives from a shortened form of the (: ; : Sebastiaan), meaning "venerable" or "revered," a name popularized by . Alternatively, in some contexts, Bast traces to the word "," referring to bark or fibrous plant material, possibly indicating an occupational name for someone involved in processing fibers or ropes. It appears rarely in English-speaking contexts as a variant of Best, potentially linked to nicknames denoting superiority or quality. Geographically, the surname is most prevalent in , with estimates of approximately 4,383 individuals bearing it in (primarily in regions like , based on global surname databases). It is also common in the and among populations in historically German-influenced areas. records indicate Bast families arrived in the United States during the , with the name appearing in censuses from onward, leading to a population of 2,555 bearers as of the , predominantly of White European descent. Today, it remains niche, with no widely prominent modern figures outside specialized fields such as and . Notable individuals with the surname include (1931–2015), an American screenwriter and author best known for adapting the novel into the 1963 Academy Award-winning film and co-creating the television series . Another is Gerhard Bast (1911–1947), an Austrian lawyer who served as a in the during and led a task force within the , later attempting to evade capture before his in 1947.

Bast in Iranian Culture

In Iranian culture, "bast" (or "bast nešīni") refers to the traditional practice of seeking sanctuary or asylum in designated inviolable places, such as mosques, shrines, royal palaces, and foreign embassies, to escape persecution or legal authorities. This custom grants temporary protection to fugitives, known as bastīs, and is deeply rooted in both pre-Islamic Persian traditions of hospitality and assistance—derived from Old Persian upastā meaning "help"—and Shia Islamic principles emphasizing mercy at holy sites like the ḥaram (sanctuaries) of imams. The practice symbolizes a cultural value of compassion, where violators of bast are often considered cursed, reinforcing its moral and religious weight independent of state power. Historically, bast flourished during the Qajar era (1789–1925), serving as a tool for political protest and negotiation. A prominent example occurred in 1906, when 12,000 to 16,000 demonstrators took bast at the Legation in , pressuring the Qajar court to concede to demands for a and limiting monarchical . Under the (1925–1979), the practice continued amid modernization efforts to curb it, such as Prime Minister Amīr Kabīr's 19th-century restrictions, but persisted in key incidents like the 1935 clergy-led bast at the in against Reza Shah's policies, and Mohammad Mosaddeq's 1953 refuge in the Majles () during political turmoil. These cases highlight bast's role in mediating between the oppressed and authorities, often involving chains at sanctuary entrances to signal the refuge-takers' presence. Key sites of bast include the in , Iran's largest and most revered Shia sanctuary, where architectural features like enclosed spaces historically accommodated refugees; the in , particularly around the historic Pearl Cannon; and the Shah ʿAbd-al-ʿAẓīm Shrine near the capital. Foreign embassies, recognized as bast locations since at least the , extended this protection diplomatically, aligning with international customs of . The 1979 Constitution of the does not explicitly codify bast, reflecting a shift toward centralized legal authority, yet the practice endures as a cultural and religious norm, particularly at shrines, though it has diminished in frequency due to stricter state controls. Post-revolution, bast has seen limited modern uses in political protests and diplomatic contexts, such as individuals seeking refuge in embassies amid unrest, underscoring its enduring significance as a symbol of mercy and resistance within Shia traditions.

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