EGYPTIAN BARQUE SHRINES AND THE COMPLEXITY OF MINIATURIZED SACRED SPACE

Disclaimer:

These proceedings contain phrases and images

that some people may find offensive.

TABLE OF CONTENTS

List of Figures and Tables ........................................................................... x List of Color Plates ..................................................................................... xi Foreword .................................................................................................. xiv Peter DSena Part I: Creating Meaning, Influencing Perception

Chapter One ................................................................................................. 2 Creating Meaning, Influencing Perception Erica Hughes Chapter Two ................................................................................................ 9 The Topos of the Coward King: Ursa of Urartu in Assyrian Royal Inscriptions Julia Linke Chapter Three ............................................................................................ 21 The Use and Symbolism of Polychrome Marble in Roman Sculpture Katie Claire McCann Chapter Four .............................................................................................. 41 I'm Peppa Shit: Spokes-Characters 2.0 as Bearers of Reputational Risk? The Case of Peppa Pig Catherine Wilkinson and Anthony Patterson Part II: Thought and Action

Chapter Five .............................................................................................. 62 Relating Concepts to Physical Actions Erica Hughes

Table of Contents

viii

Chapter Six ................................................................................................ 68 Constructing and Accessing Meaning at the Cortical Level: An Investigation of the Neural Networks Underpinning Semantic Cognition, Focusing on the Representation of Action and Vision Nicholas Murphy Chapter Seven ............................................................................................ 88 Recursion as a Key Tool: From Institutionalism and Panopticism to Actorhood Kai Kaufmann Chapter Eight ........................................................................................... 101 Zbigniew Herberts Philosophy of Freedom Miko aj Nowak-Rogozi ski Part III: Keynote Talk

Chapter Nine ............................................................................................ 110 Tribes and Territories Paul Kleimann Part IV: Titles and Definitions

Chapter Ten ............................................................................................. 122 Titles and Definitions Erica Hughes Chapter Eleven ........................................................................................ 130 The Royal Titles of the Urartian Kingdom Ali ifi Chapter Twelve ....................................................................................... 142 Is Interdisciplinarity an Act of Borrowing? David Talbot Chapter Thirteen ...................................................................................... 158 What the I Refuses to Hear: The Meaning of Abject in Heavy Metal Discourse Leyla nal

Meaning and ix

Part V: Etic and Emic Meanings

Chapter Fourteen ..................................................................................... 180 Insiders, Outsiders, and the Generation of Meaning Erica Hughes Chapter Fifteen ........................................................................................ 185 Egyptian Barque Shrines and the Complexity of Miniaturized Sacred Space David Falk Chapter Sixteen ....................................................................................... 195 Modern Alienation Strategies: Maus and the Murals of Belfast Thomas Gallagher and Erica Hughes Chapter Seventeen ................................................................................... 205 Of Fox and Man: Physical Relationships Erica Hughes Chapter Eighteen ..................................................................................... 224 Concluding Note Erica Hughes Contributors ............................................................................................. 225 Index ........................................................................................................ 229

LIST OF FIGURES AND TABLES

Fig. 6.1: An example of the distributed nature of concept knowledge Fig. 6.2: Schematic to contrast the presentation of action and form trials to

test subjects Fig. 6.3: Example of the transition between low (easy) and high (hard)

control demands for an action trial Fig. 6.4: A) Schematic to illustrate the general mini-block structure.

B) Response mapping, using a spatially congruent approach Table 6.1: Descriptive statistics for behavioural data: reaction times and

accuracy Fig. 6.5: Graph displaying the effect of condition on reaction times Fig. 6.6: Graph displaying the effect of condition on accuracy Table 6.2: Table detailing the locations of the peak clusters of activation Fig. 7.1: The Panopticon Puzzle Fig. 7.2: A schema of the general problem solver Table 11.1: Standard Titles in Royal Urartian Inscriptions Table 11.2: Exceptional Titles in Royal Urartian Inscriptions Table 17.1: Sites with evidence for symbolic use of the fox and/or

butchered and roasted fox remains

LIST OF COLOR PLATES

Pl. 1. Region of interest masks for the functional data Pl. 2. Whole brain analysis. Overlapping of significant regions activated

by Action and Form manipulations. Pl. 3. Whole brain analysis, uncorrected. All images are presented on the

MNI 152 standard brain template (Montreal Nurological Institute, 1998). The main experimental manipulations are contrasted showing large similarities in both control and representation activation patterns.

Pl. 4. Urartian Kingdom key settlements. Map by Ali ifi

Pl. 5. A view of Van Kalesi from Lake Van. Photo by Erkan Konyar

Pl. 6. Madrburc inscription of king Sarduri I, located at the west end of Van Kalesi. Photo by Ali ifi

Pl. 7. Mahmud Abad inscription of Rusa I, Urmia Museum / Iran. Photo by Ali ifi

Pl. 8. Meher Kaps Photo by Ali ifi

Pl. 9. Tankard, Disco Destroyer. 1998 Century Media Records

Pl. 10. Samael, Ceremony of Opposites. 1994 Century Media Records

Pl. 11. Napalm Death, Time Waits for No Slave. 2009 Century Media Records

Pl. 12. Sodom, Epitome of Torture. 2013 SPV GmbH

Pl. 13. Celtic Frost, Monotheist. 2006 Century Media Records

Pl. 14. Gorgoroth, Ad Majorem Stahanas Gloriam. 2006 Regain Records

Pl. 15. Marduk, Serpent Sermon 2012 Century Media Records.

Pl. 16. Morbid Angel, Blessed are the Sick. 1991 World Entertainment Inc.

List of Color Plates xii

Les tresors de Satan by Jean Delville. Pl. 17. Cryptopsy, The Best of Us Bleed.

2012 Century Media Records Pl. 18. Death, Human.

1991 Perseverance Holding Ltd. Cover art designed by Rene Miville. Pl. 19. Torsofuck, Erotic Diarrhea Fantasy.

2004 Severed Records and Distribution Pl. 20. Aborted, Global Flatline.

2012 Century Media Records Pl. 21. In Flames. Sounds of a Playground Fading

2011 Century Media Records Pl. 22. Iced Earth, Dystopia.

2011 Century Media Records Pl. 23. Deicide, To Hell with God.

2011 Century Media Records Pl. 24. Arch Enemy, The Root of All Evil.

2009 Century Media Records Pl. 25. Dark Tranquility, We are the Void.

2010 Century Media Records Pl. 26. Cattle Decapitation, Humanure.

2004 The Flaming Arts Agency Pl. 27. Floor plan of Temple of Khonsu Animated by David Falk Pl. 28. Reconstruction of the ritual barque of Khonsu

Animated by David Falk Pl. 29. Close up of sphinx and kings

Animated by David Falk Pl. 30. View of the veil and the vulture

Animated by David Falk Pl. 31. Image of Khonsu between two goddesses Animated by David Falk Pl. 32. Comparison of temple and ritual barque sacred space Animated by David Falk Pl. 33. The red hand of Ulster on a Unionist mural

Photo by Erica Hughes Pl. 34. Rainbows on a Nationalist mural

Photo by Erica Hughes Pl. 35. Placement of murals on residential buildings is itself a territorial

marker. www.belfast-murals.co.uk

Meaning and xiii

Pl. 36. Jointing and paring marks. Butchery marks on bone. A) Fine slices as a result of skinning and B) scoop marks as a result of paring. From Seetah 2011, Figures 3.6 and 3.9

Pl. 37. Burning on bones as a result of roasting. 1) end of tibia and 2) cracking of cranium. From Lloveras et al. 2009, 190.

Pl. 38. Case-skinning a fox. After Andersson and Paulssen 1993: 47. Jgarens skinn och hudar

Pl. 39. Belyaev and tame silver foxes. From Trut 2009, Figure 1, pg 161.

Pl. 40. Map of Near Eastern Neolithic sites with Vulpes evidence. Map by Erica Hughes

Pl. 41. Vulpes vulpes 1st phalanx with cut marks. Late Natufian el-Wad. From Yeshurun et al. 2009, Figure 7. Pl. 42. Pillar from Gbekli tepe showing fox-skin loincloth.

Photo by Lind Moulton Howe, 2010. Pl. 43. Arctic Fox tooth beads. Arctic Fox tooth necklace from Dolni

Vestonice. From Jelinek 1975.

Pl. 44. Fox remains in graves from Uyun al Hammam. From Maher et al. 2011. Figure 3 and 4.

Pl. 45. Incised shaft straightener with fox image, from Jerf el-Ahmar. From Stordeur 2000: 52. Pl. 46. Hallan emi incised stone bowl. Canid with curling tail.

Photo by Michael Rosenberg. Pl. 47. Fox with rolled tail after several generations of taming.

From Trut 1999: Figure 8.

CHAPTER FIFTEEN

EGYPTIAN BARQUE SHRINES AND THE COMPLEXITY OF MINIATURIZED

SACRED SPACE

DAVID FALK Sacred space is an important concept that undergirds our understanding

of religious structures, such as temple architecture, as the delineation of the holy from the profane. Typically scholars have broached the topic of sacred space through an examination of large freestanding structures, such as temples, tombs, and palaces. What is much less recognized is that the architectural separation of the sacred space within temples is recapitulated on a smaller scale with cultic furniture. Through an examination of the ways in which space was cordoned off within a particular type of cultic furniture called the sacred barque, I hope to show analogous methods in both form and style with the well-studied divisions found within large freestanding structures. The iconographic study of ritual barque shrines demonstrates an increasing sophistication of the partitions of sacred space within the smallest confines of physical space.

Architectural Delineation in New Kingdom Structures

Sacred space has a language all of its own and follows its own rules and conventions. As John Baines points out, the sacred spaces of Egypt have a cosmographic function that mimics the structure of the universe as a whole (Baines 1976: 10). Therefore, an understanding of sacred space can give us insight into how the Egyptians relate to their own concepts of divinity from an emic perspective. Through the study of sacred space we understand the rules and patterns that define this cosmographic language of delineation.

In order to set the context for this study of sacred barques, I will first briefly describe the most common ways in which sacred space was

Chapter Fifteen

186

cordoned off architecturally. This study of temples is restricted to the New Kingdom period when the language of sacred space was formalized. Although barque shrines are a consistent feature of Old Kingdom temples, the architecture of Old Kingdom temples appears to follow a completely different paradigm that was perhaps a pioneering phase not beholden to formal rules of sacred space, and the archaeological record of Middle Kingdom temples is too fragmentary to draw any definitive conclusions (Arnold 1997: 74).

The first separation we need to discuss is the temenos walls. Many cultures that have a concept of sacred space separated the sacred from the profane with the use of walls and gates. A temenos is a designated parcel of land that is used for official or religious use, and within the Egyptian context a temenos wall is a wall that is constructed in order to mark off the confines of that parcel of land. An example is of this is from the Temple of Isis at Philae from the 30th Dynasty with its grand pylon and temenos walls. The Egyptians built large pylons that provided a faade for the gates. These pylons provided both a partition and a propaganda function that entrenched the religion of the state as the religion of Egypt.

Besides the structural barrier of the temenos wall, the Egyptians could show that an area was regarded as sacred through the use of symbols. The temple walls were marked with a Rekhyet bird, to show that an area was public. But the most common of the non-architectural devices used to mark off sacred space was the frieze. A frieze is a decorative horizontal border with a repetitive pattern along the upper section of a wall, column, or object which is used as an architectural or design element. Its importance goes beyond mere decoration. Friezes contribute to the greater language of larger architectural units, such as tombs, by adding a vertical dimension to symbolic cosmology, e.g., the heker frieze, was used in

tombs to show a horizon that delineated the earthly realm portrayed on the walls from the stars and heavens portrayed on the ceiling. Through the history of Egypt friezes are used within an architectural context in keeping with its original function, which is to (a) provide an artificial horizon to an architectural element and (b) define an area of importance. A common motif in these friezes was the uraeus (or Wadjet), or cobra, extending out from the wall enclosing the sacred space. This motif is extant since the Old Kingdom where a cobra frieze was found protecting the exterior wall of the memorial chapel of King Djoser (3rd Dynasty).

Many scholars have suggested that the function of the uraeus was apotropaic, i.e., warding off evil (Eaton-Krauss 2008: 36). Unfortunately, this framework does not account for the complex nature of Egyptian deity. Pyramid Text 534 mentions that the gods have a good and an evil

Egyptian Barque Shrines 187

coming (Sethe 1908: 1267-1273). All Egyptian gods had a good and a bad personality. For example, the goddess Sekhmet was said to cure disease but only because she could inflict disease, and thus, she cured malady by withdrawing the sickness she inflicts. Hapy, god of the Nile inundation, brought produce to the field but also caused strife and danger and forced farmers to relocate on an annual basis (De Buck 1948: 13).

Similarly, the uraeus had a good manifestation that protected sacred space and a bad manifestation that indiscriminately blasted out fire (Pyramid Text 256). Thus, Egyptian deities that are seen as "apotropaic" are actually dualistic deities that have their aspects properly oriented. For our purposes then, the use of the uraeus frieze provides a convenient boundary that can define a unit of a sacred space.

Friezes can convey a sense of architecture even when used on smaller structures and objects. An example of an object that has architectural attributes though functions neither as a structure nor temple is a pavilion. Such objects can have multiple friezes, and the use of concentric pavilions and friezes is a common feature in the New Kingdom (Ritner 1993: 224). For example, multiple friezes and pavilions are depicted in the Amarna-period anonymous tomb, Theban Tomb 226 (Davis and Gardiner 1933: pl. 41). This scene contains a total of three concentric pavilions and five rows of uraei, and even the platform of the middle canopy, upon which Akhenaton is sitting, had a frieze demarcating it as sacred space (Vandier 1969: fig. 302).

Moreover, by using one uraeus frieze within another, we see that the Egyptians had the capacity to define ever smaller units of ritual space. Additionally, ritual spaces were not limited to architectural units but also onto non-architectural objects such as coffins and furniture. We also come to understand that for the Egyptians, not all sacred space is the same. There are rings of holiness where the inner rings are zones that have the greatest holiness by reason of the cumulative effects of iconographic intensification. I hope to show that these concentric divisions of sacred space extended beyond architectural elements to the cultic furniture within temples. To do so, I will first describe the spaces of a new kingdom temple, then the spaces within the barque shrine, and finally consider the ways in which these spaces resemble each other physically and iconographically in order to draw conclusions about the rules and patterns of the delineation of sacred space.

Chapter Fifteen

188

Temple of Khonsu

Much research has been done on the organization of temple sacred space (McClain 2007: 85-95). In order to outline the partitions of sacred space in New Kingdom temples, I have chosen one exemplar so that we can later discuss the recapitulation of these partitions in sacred barques.

Temples of the New Kingdom, despite variations in size and layout, had a common language of sacred space that became a consistent religious convention until the Ptolemaic period. For the purposes of illustration, we will use a three dimensional visualization taken from the schematic of the Temple of Khonsu to demonstrate the divisions of sacred space (Plate 27) (Wente 1979: Ground Plan of the Temple of Khonsu). The Temple of Khonsu has typical partitions of sacred space without the extravagancies that are found in more elaborate temples (such as the Temple of Amun) that nonetheless follow the same religious conventions of other New Kingdom temples. While the selection of the Temple of Khonsu is somewhat arbitrary and no two Egyptian temples are identical in layout, the features of the Temple of Khonsu are analogous to what is found in most contemporary temples of the period and are simple enough for spatial analysis which can easily be extrapolated to the more extravagant temples. I will describe the spaces within the Temple of Khonsu in order of ascending holiness.

Outer Open Courts and Pillared Halls

The outmost portions of sacred space are the outer open courts, covered peristyle halls, and hypostyle halls (Plate 27). The outer court and pillared halls were accessed through a massive gate called a pylon and, apart from special occasions and festivals, the layperson had no access these outer temple areas (Bell 1997: 135). These outmost courts were often pillared and in dynastic times were known as ws t (McClain 2007: 89), and a set of bronze doors prevented unauthorized entry. The only other access that the common person had to the temple was the outside of the temple walls within the temenos area (Brand 2007: 60). Thus, the columned halls of the open court and hypostyle were the only places in Egyptian ritual architecture where sacred met the profane.

Inner Court and the Doors of Heaven

The inner court (Plate 27) was separated from the hypostyle by a set of double doors called the Doors of Heaven. While outer doors were typically


covered in bronze, the Doors of Heaven were covered in a variety of metals. Papyrus Harris I describes the gifts that Ramesses III made to several temples. For the Temple of Ka-en-kemet, he gifted doors and doorposts that were like the Doors of Heaven decorated in gold and bronze and inlaid with figures of every precious stone (P. Harris I, 8,8). We can gather from this that the Doors of Heaven were more elaborately decorated than outer temple doors and held special significance. The inner court (including the columned vestibule) surrounded the Great Seat (st wrt), and the Doors of Heaven demarcated where the heavenly realm began, and no one save the temple workers was permitted entry.

It is important to realize that these doors represent a kind of analogical thinking. The Egyptians conceived that the process of travelling from earth to heaven was similar to moving from one room to another and what separates any two rooms (or realms of existence) was a kind of door. This is not to say that the Egyptians really believed that the realms were connected by a real wood-and-hinges door. Analogical thinking is more than symbolic because it takes the regular world which it then mythologizes and idealizes (Averbeck 2003: 758-759). Another example of analogical thinking in Egyptian architecture is the common use of false doors in tombs, which represented idealized portals to the heavenly realm.

The Great Seat (Barque Shrine)

Inside the centre of the inner court is a pair of walls shaped like square brackets, delineating the space of the barque shrine. Architecturally, these walls are the foundations of the shrine with a roof built completely inside the temple. The barque shrine in 18th Dynasty became known as the st wrt, (or Great Seat/Throne) and became synonymous with both the sacred barque and the barque shrine section of the temple (Brovarski 1976: 72). This was the place where the sacred barque (Plate 28) was housed and was considered the most important place in the temple design.

Within the walls of the barque shrine is a raised platform with a stone plinth in its centre. It is upon this plinth where the sacred barque rested. Fortunately, several of these stone plinths have survived. This has given us a better appreciation of the scope of sacred barque use than either the iconography or archaeological remains alone would suggest. As an example the plinth for the Temple of Seth at Avaris was discovered. While the inscription was dedicated to Seti I, it can be inferred that even if the Hyksos (Semitic rulers of the Nile Delta during the Second Intermediate Period) did not follow Egyptian religious practice, the religious practice at the site was normalized towards Egyptian conventions.

Chapter Fifteen

190

Ultimately, the sacred barque becomes its own dynamic of sacred space becoming both the centre of temple space and the outer limits of its own sacred precincts. Many different types of Egyptian worship architecture included barque shrines, such as the cults of kings, and such shrines are explicitly recorded in the temples of many gods, including Amun-Re, Re, Amonet, Mut, Khonsu, Horus, Neith, Seth, Thoth, Hathor, and Nekhbet (Gardiner 1911: 48-49). As a feature of Egyptian temple cults, the use of the sacred barque is ubiquitous in the New Kingdom, as is its placement in the holiest space in the temple.

Upon entering the barque shrine, a priest or temple worker would see a veiled box on a plinth, with the ends of a boat sticking out.

Sacred Barques

The sacred barque was a specific type of model boat used for transporting the votive images of the gods. As Egypt was a river nation and the boat was the preeminent form of travel, it is no surprise that even the gods travelled by boat. The sacred barque included in temple worship had several standardized attributes. First, attendants stood upon the decks of the sacred barque, acting as proxies that serve the god in the barque. This is similar to the function of shabti figures that were placed in tombs to serve the deceased in the afterlife. The kinds of figures that were used on the decks of the ritual barques included human navigators, worshippers, and offering bearers but also included supernatural beings such as sphinxes. It is important to note that the servants on the decks of the barque are not commoners but are manifestations of kings (Plate 29) as they are depicted wearing the xAt crown and the white crown of Upper Egypt (Goebs 2001: 323-324). Even the sphinx is a symbol of royal sovereignty and power. The tradition of kings serving on the barques of gods goes back to the Old Kingdom with kings serving Re on the solar barque (Pyramid Texts 252, 262, 267, 309). The deck is the least sacred portion of the barque but still represents the intersection between functionaries and divine benefactors.

Veil and Vulture

The veil used with sacred barques was linen with a gold foil Nekhbet vulture (Plate 30). Veils as a means of separation were a part of Egyptian religious convention in the New Kingdom (Brand 2007: 61). They provided a way to separate the sacred object from the onlooker while preserving a silhouette of the form. While the veil, added during the reign


of Thutmosis I (Karlshausen 1995: 121), was considered by the Egyptians to be a kind of barrier, it was not considered to be a barrier in the same manner as a door or a wall; instead, it was an important augmentation used to make the sacred barque more like a temple because its primary purpose was not to separate but to provide additional iconographic warding. The veil of the sacred barque was wrapped around the base of the shrine leaving the top exposed. The reason for the veil then cannot be to obscure since the contents of the barque would have been concealed by the box shrine. Rather I would suggest that the purpose of the veil was to provide divine sanctification to the box shrine. This symbolism is similar to that which is found on the Great Seats found at locations such as Luxor.

Where the uraeus provides separation of sacred space by keeping the profane out, i.e., exclusion, winged deities sanctify the space within the embrace of its wings, i.e., inclusion. The cobra protects the god with outward radiance, while the vulture protects by inwardly focused sanctification. Nekhbet in contrast to the Wadjet has been associated with purification and the hdn plant (Pyramid Text 400), which had an offensive smell that was used, according to Faulkner, to make a tomb untenable by evil spirits (Faulkner 1969: 131). The veil with the vulture purifies and sanctifies the shrine beneath it. It is important to recognize that the purification function of the vulture is consistent with the dualistic nature of Egyptian deity. Nekhbets good manifestation is oriented through her embracing function, and her bad manifestation appears in the destructive power of the sun, dont la flame est grande (Preys 2010: 169). Conversely, the evil spirits were lesser beings that do not seem to possess the dualism associated with true deity.

Henri Frankfort in his discussion of the coronation of kings notes that the crowns were charged with power that were derived from the twin goddesses, Wadjet and Nekhbet (Frankfort 1948: 107). While the two ladies are tutelary goddesses, perhaps they became recognized as such not because of the geographic locations of their cults as is often suggested, but because of their roles in defining sacred space. This double action of exclusion/inclusion also makes sense of the symbolism of the two ladies that represent divine kingship.

Box Shrine

If the veil is removed, the wooden cabinet that contains the image of the god, or box shrine, can be seen in its entirety. It has a pair of doors on the front and back, and the doors include a double bolt locking system that was probably used on larger doorways. The box shrine is covered on the

Chapter Fifteen

192

outside with djed pillars, and ankhs and often has a uraeus frieze on the top of the box shrine, pointing outwards.

Winged Goddesses

When the double doors are opened, the image of the god is flanked by a pair of winged goddesses whose function it is to sanctify the holiest part of the barque. In the 18th Dynasty, craftsmen begin to show the interior of the barque shrines in the lowest register of the barque reliefs as if they were visible through both the veil and side of the box shrine, as a result there is little evidence suggesting the decoration of the lower exterior portion of the box shrine. Nevertheless, the artists were conveying what was important to them, which was the presence of the god.

When the interior of the shrine is revealed, it is always in the presence of two minor goddesses. In the case of the barque of Amun-Re, these goddesses are manifestations of Maat. With the Khonsu barque, the two goddesses are lunar deities (Plate 31). These goddesses are always winged purifying the most holy area of sacred space, and the main god is always between their wings.

The Throne

Between the goddesses sat the image of the god. The god was shown seated upon a throne, pedestal, or symbol. The image of the god is thought to be quite small and made of electrum and precious stones. Despite its diminutive size, especially when compared to other votive statues, theologically it was maintained that in this location dwelled the abiding presence of the deity. The materials of the image are subsumed by the deity and transfigured into the deity without compromising or limiting the abilities of the divinity (Shafer 1997: 6).

Discussion

We have seen thus far a progression of concentric zones of different kinds of sacred space (Plate 32). Within the divine temple of the New Kingdom, there is a progression of sacred space from the outer courts and pillared halls, to the inner court, and into the Great Seat.

Within the barque itself, these functional units of sacred space as found in temple sacred space are miniaturized and recapitulated from columns of priests carrying the barque, to the deck, to the box shrine and dual winged goddesses. The recapitulation of the outer courts and pillared


halls is fulfilled by the columns of priests coming in contact with public as they carry the barque on procession. The box shrine recapitulates the inner court where heaven and the servants of the god meet, the intersection between functionaries and divine benefactors, and the double-doors repeat the analogic pathway from earth to heaven. The dual winged goddesses are the recapitulation of the Great Seat and add a layer of sanctifying protection.

The entire purpose of the sacred barque was to act as a small portable temple so that the god could travel out among the people, recreating the creation of sacred spaces. This is especially important in light of the travelling function of the sacred barque. The layered security or protection of the sacred spaces within the temple could be recreated when the barque was on the move. The general pattern of sacred space was to progress from the earthly to heavenly spheres. As one moves towards more sacred space, iconographic intensification increases through the use of cobra and vulture symbolism. This symbolism of protection and sanctification appeared in temples on the Great Seat and was recapitulated outside and within the Box Shrine of the sacred barques. The use of these repeating patterns of space and symbol enabled the ancient Egyptians to take their gods on procession in a manner that was consistent with their theological framework.

References

Arnold, D. 1997. Royal Cult Complexes of the Old and Middle Kingdoms. Temples of Ancient Egypt, edited by B. Shafer, 31-85. London: I. B. Taurus Publishers.

Averbeck, R. E. 2003. Myth, Ritual, and Order in Enki and the World Order. Journal of the American Oriental Society 123: 757-771.

Baines, J. 1976. Temple Symbolism Royal Anthropological Institute Newsletter 15: 10-15.

Bell, L. 1997. The New Kingdom Divine Temple: The Example of Luxor. In Temples of Ancient Egypt, edited by B. E. Shafer, 127-184. Ithaca: Cornell University Press.

Brand, P. J. 2007. Veils, Votives, and Marginalia: The Use of Sacred Space at Karnak and Luxor. In Sacred Space and Sacred Function in Ancient Thebes, edited by P. F. Dorman and B. M. Bryan, 51-83. Chicago: University of Chicago.

Brovarski, E. 1976. "Senenu, High Priest of Am n at Deir El-Ba ri," JEA 62: 57-73.

Chapter Fifteen

194

Davies, N. and Alan H. Gardiner. 1933. Tombs of Menkheperrasonb, Amenmos , and Another. London: Egypt Exploration Society.

De Buck, R. 1948. "On the meaning of the name hapj," Orientalia Neerlandica: A Volume of Oriental Studies, 1-22. Leiden: A. W. Sijthoffs Uitgeversmaatschappij N. V.

Eaton-Krauss, M. 2008. The Thrones, Chairs, Stools, and Footstools from the Tomb of Tutankhamun. Oxford: Griffith Institute.

Faulkner, R. O. 1969. The Ancient Egyptian Pyramid Texts. Oxford: Clarendon Press.

Frankfort, H. 1948. Kingship and the Gods: A Study of Ancient Near Eastern Religion as the Integration of Society and Nature. Chicago: University of Chicago Press.

Gardiner, A. H. 1911. The goddess Nekhbet at the Jubilee Festival of Rameses III, ZS 48: 47-51.

Goebs, K. 2001. Crowns. In Oxford Encyclopedia of Ancient Egypt, Volume 1, edited by D. B. Redford, 321-326. Oxford: Oxford University Press.

Karlshausen, C. 1995. Lvolution de la Barque Processionanelle DAmon la 18e Dynastie. RdE 46: 119-137.

McClain, J. B. 2007. The Terminology of Sacred Space in Ptolemaic Inscriptions from Thebes. In Sacred Space and Sacred Function in Ancient Thebes, edited by P. F. Dorman and B. M. Bryan, 85-95. Chicago: University of Chicago.

Preys, R. 2010. Nekhbet, LOeil Droit du Dier Solaire, RdE 61: 159-177.

Ritner, R. K. 1993. The Mechanics of Ancient Egyptian Magical Practice. Chicago: University of Chicago.

Sethe, K. 1908. Die altaegyptischen Pyramidentexte. 2 Volumes. Leipzig: J. C. Hinrichs'sche Buchhandlung.

Shafer, B. E. 1997. Temples, Priests, and Rituals: An Overview. In Temples of Ancient Egypt, edited by Byron E. Shafer, 1-30. London: I. B. Taurus Publishers.

Vandier, J. 1969. Manuel d'archologie gyptienne, Vol. 5. Paris: A. et J. Picard.

Wente, E. F. 1979. Scenes of King Herihor in the Court: with translations and texts. Chicago: University of Chicago.

Documents

EGYPTIAN BARQUE SHRINES AND THE COMPLEXITY OF MINIATURIZED SACRED SPACE