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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

viii

Table of Contents

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.

xii

List of Color Plates

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

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Chapter Fifteen

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 Amarnaperiod 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.

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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

Egyptian Barque Shrines

189

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.

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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

Egyptian Barque Shrines

191

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

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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

Egyptian Barque Shrines

193

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.

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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
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