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POSTGRADUATE DISSERTATION
Anubis: The God’s Manifestation in the Iconographical and Literary Sources
of the Pharaonic Period
Antoniadou Christina
N.R.: msmarch15004
Rhodes, 2018
1
UNIVERSITY OF THE AEGEAN
Postgraduate Program of the University of the Aegean
“Archeology of the Eastern Mediterranean from Prehistoric to Late
Antiquity: Greece, Egypt, Near East”
POSTGRADUATE DISSERTATION
Antoniadou Christina
N.R.: msmarch15004
Supervisor: Panagiotis Kousoulis, Assosiate Professor of University of
Aegean
Advisory Committee:
Stefanakis Emmanouil, Associate Professor
Syropoylos Spyridon, Associate Professor
Rhodes, 2018
2
[To become] Christina. I am the
daughter of the builder, he who
watches over the door, Dimit(ris),
lord of the house in Drama, the lord
of Pontus, (and) the daughter of the
housemistress, Agathi, she who is
beside the night bier, she who cooks
the divine meals, foremost of Asia.
[…] the sister of the scribe (and)
the immortal-eagle (and) the wife of
chief worker of the ancestors.
3
ACKNOLEDGMENTS
Writing this thesis, as it is logical, was time-consuming and stressful. With its
completion, the second stage of my university life ends with all the necessary
equipment for a new start ... a new pursuit.
All this would not be feasible, without the support of my parents, Demetris and
A g a t h i , a n d m y l i f e - p a r t n e r , T h o m a s , w h o m I n e g l e c t e d t o c o m p l e t e t h i s c yc l e o f
m y l i f e . I w o u l d l i k e t o t h a n k D r . P a n a yi o t i s K o u s o u l i s , w h o s u p p o r t e d m y
project, my two professors, Dr Stefanakis Emmanouil and D r S yr o p o u l o s
S p yr i d o n , as well as my friends Christos, Angeliki for their valuable
corrections. I owe a big thank you to Dreven, who provided me with
bibliographic materials, Ms Kapantzoglou Dimitra Soultana for her help with the
e d i t i n g a n d H a r i s f o r h i s p s yc h o l o g i c a l s u p p o r t .
4
TABLE OF CONTENTS
ACKNOLEDGMENTS.............................................................................. 4
TABLE OF FIGURES ....................................... Error! Bookmark not defined.
CANID-HEADED HIEROGLYPHICS ....................................................... 13
ABSTRACT ........................................................................................... 15
1. CANIDS AND THE CANID-HEADED DIVINITIES ................................ 18
1.1 Canids and Canids’ Cult .................................................................. 18
1.2 Canid-headed Divinities .................................................................. 20
6
ABBREVIATIONS
AEA L e s A m i s d e l ' É g yp t e A n c i e n n e
AIA Archaeological Institute of America
AMICA Art Museum Images from Cartography
Asswociate
BAAM The Bibliotheca Alexandrina Antiquities
Museum
BC Book of Caverns
BD Book of the Dead
BG Book of Gates
BI Bridgeman Images
BM The British Museum
CMA The Cleveland Museum of Art
CN 360o Cities Net
CT Coffin Texts
DC D e s c r i b i n g E g yp t
EC E g yp t C e n t r e - C a n o l f a n E i f f t a i d d
GEM T h e G l o b a l E g yp t i a n M u s e u m
HMA Harrogate Museum and Arts
JARCE Journal of the American Research Center in
E g yp t
JEA The Journal of Egyptian Archaeology
KTU Keilalphabetische Texte aus Ugarit
MAA Mediterranean Archaeology and Archaeometry
MAM Milwaukee Art Museum
MET The Metropolitan Museum of Art
MAF Museum of Fine Arts Boston
PT P yr a m i d T e x t s
TMP Thebean Mapping Project
TTB The Tale of the Τwo Brothers
UEE U C L A E n c yc l o p e d i a o f E g yp t o l o g y
WMA The Walters Art Museum
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TABLE OF FIGURES
Figure 1. Wepwawet on standard ............................................................... 30
Figure 2. Den’s seal ................................................................................ 30
Figure 3. Duamutef and Imsety on canopic box ............................................ 30
Figure 4. Thutmose III taught by Set the archery ........................................ 31
F i g u r e 5 . S t a t u e o f H a t h o r , M e n k a u r e a n d A n u p e t ( 4 t h D y n a s t y) . . . . . . . . . . . . . . . . . . . . 3 1
Figure 6. Inherkhau in front of Souls of Nekkhen ........................................ 31
Figure 7. Gebelein. White Cross-lined bowl ................................................ 57
Figure 8. Gebel Tarif knife ...................................................................... 57
Figure 9 Detail. Hunting scene with canids (?) from tomb 100 in Hierakonpoli 57
Figure 10. Detail. Lion and canid (?) from tomb 100 in Hierakonpolis ............ 57
F i g u r e 1 1 . C a n i d a n d b i r d ( f a l c o n ? ) . T o m b U j a t A b yd o s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 7
Figure 12. Seal from Tomb U-j at Abydos ................................................... 58
Figure 13. Seal from the mortuary temple of Senwosret III ........................... 58
Figure 14. Canines in henu gesture (?). Naqqada I ....................................... 58
Figure 15. Souls of Nekhen ...................................................................... 58
F i g u r e 1 6 . 2 n d D y n a s t y’ s b o w l f r a g m e n t w i t h r e p r e s e n t a t i o n o f A n u b i s ( ? ) . . . . . . . 5 8
Figure 17. The judgment Hall of Osiris in the Book of Gates ......................... 58
Figure 18. The coffin of Tanakhtnettahat .................................................... 59
Figure 19. Detail. The coffin of Tanakhtnettahat ......................................... 59
F i g u r e 2 0 . T h e G r e e n f i e l d P a p yr u s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 9
F i g u r e 2 1 . M u m m y C o f f i n o f P e d u s i r i , L a t e D yn a s t i c ( 7 1 2 – 3 2 3 B C ) . . . . . . . . . . . . . . . 5 9
F i g u r e 2 2 . D e t a i l . M u m m y C o f f i n o f P e d u s i r i , L a t e D yn a s t i c ( 7 1 2 – 3 2 3 B C ) . . . . . 6 0
Figure 23. Fragment of coffin ................................................................... 60
Figure 24. Cartonnage with the embalming scene ......................................... 60
Fi gure 25. Tom b of Ro y. The “Openi ng of the Mouth” ritual ....................... . .. 60
F i g u r e 2 6 . D e t a i l . T o m b o f R o y. T h e “ O p e n i n g o f t h e M o u t h ” r i t u a l . . . . . . . . . . . . . . . 6 1
Figure 27. Hunefer’s “Opening of the Mouth” ritual ..................................... 61
F i g u r e 2 8 . “ O p e n i n g o f t h e m o u t h “ r i t u a l f r o m t h e t o m b o f M a ya . . . . . . . . . . . . . . . . . . . 6 1
Figure 29. Anubis rolling the Lunar disk from Dendera ................................ 61
Figure 30. Anubis rolling the lunar disk from the Deir el-Bahari mamissi ....... 62
Figure 31. Anubis from the mammisi of Edfu .............................................. 62
Figure 32. Bes from the New Kingdom’s chair of Satamon ............................ 62
F i g u r e 3 3 . A n u b i s c a r r yi n g t h e l u n a r ( ? ) d i s k f o r M i r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 2
Figure 34. Hermanubis ............................................................................ 62
8
Figure 35. Pantheistic posture .................................................................. 63
Figure 36. Ram-headed representation........................................................ 63
Figure 37. Anubis as a Falcon-head bird ..................................................... 63
F i g u r e 3 8 . D o n k e y- h e a d e d A n u b i s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 3
Figure 39. Human representation in offerings gesture, from Seti’s I temple at
A b yd o s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 3
F i g u r e 4 0 . H u m a n r e p r e s e n t a t i o n , f r o m R a m e s s e s I I t e m p l e a t A b yd o s . . . . . . . . . . . . 6 3
Figure 41. Recumbent posture. Tomb of Nefertari. ....................................... 64
Figure 42. Recumbent posture of Anubis .................................................... 64
Figure 43. Standing posture ...................................................................... 64
Figure 44. Standing posture ...................................................................... 64
Figure 45. Enthroned posture from Nefertari’s tomb..................................... 64
Figure 46. Enthroned posture .................................................................... 64
Figure 47. Squatting posture cartonnage’s fragment ..................................... 65
Figure 48. Winged posture ....................................................................... 65
Figure 49. Detail. Winged posture ............................................................. 65
Figure 50. Anubis with knives .................................................................. 65
Figure 51. Embrasing gesture of the Angeriautef’s tomb statue ...................... 66
Figure 52. Anubis in purification gesture. .................................................. 66
Figure 53. Detail. Anubis in purification gesture. ........................................ 66
Figure 54. Supportive gesture from Horemhed’s tomb................................... 66
Figure 55. Protective gesture of Ramesses’ I tomb ....................................... 66
Figure 56. Procession and Summoning gesture of Anubis from the Tatiaset’s
stela ..................................................................................................... 67
Figure 57. The “breath of life” gesture from Neuserra’s relief ....................... 67
Figure 58. Greeting gesture ...................................................................... 67
Figure 59. Greeting gesture ...................................................................... 67
Figure 60. Tutankhamen’s magical brick .................................................... 93
Figure 61. Anubis of Thebes, the 3rd division ............................................. 93
Figure 62. Book of Amduat, the 5th division ............................................... 93
Figure 63. Book of Gates, the 5th hour...................................................... 93
Figure 64. Book of Caverns, the 4th cavern ............................................... 94
Figure 65. Book of Caverns, the 5th cavern ................................................ 94
Figure 66. Book of Caverns, the 6th cavern ................................................ 94
Figure 67. Book of Caverns, the 6th cavern ................................................ 94
9
Figure 68. Lector-priest, sem-priest and the mourners ................................ 112
Figure 69. The festival of the Navigation of Anubis ................................... 112
Figure 70. The festival of Clothing Anubis ............................................... 112
Figure 71. Priest with Anubis's mask on Osiris temple at Dendera ................ 113
Figure 72. Priest wearing the mask of Anubis ........................................... 113
F i g u r e 7 3 . A n u b i s ' s m a s k o f 1 9 t h D yn a s t y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 3
Figure 74 - New Kingdom Anubis's mask .................................................. 113
Figure 75. Late to Ptolemaic Period Anubis's mask .................................... 114
Figure 76. Late Period Anubis's mask ...................................................... 114
Figure 77. Ebony label from Hor-Aha reign, with jmjwt............................. 114
Figure 78. Jmjwt standard ...................................................................... 114
Figure 79. Late Period was-scepte made from faience ................................. 114
Figure 80. Priest holding the 17th nome' scepter ....................................... 115
Figure 81. 7th hour of the BG. Enemies on stakes ...................................... 115
Figure 82. A slab, which held the sacred oils ............................................ 115
Figure 83. Model of equipment for Opening of Mouth ritual ........................ 115
F i g u r e 8 4 . T h e " T r e a s u r y" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 9
Figure 85. Anubis on the "Treasury's" threshold ........................................ 119
Figure 86. The entrance to the Upper Shrine of Anubis at Deir el-Bahari ...... 119
Figure 87. Recontruction of Anubeion by Mariette ..................................... 119
Figure 88. Recontruction of Anubeion by Quibel ....................................... 119
F i g u r e 8 9 . M a p o f a n i m a l ’ s m u m m i f i c a t i o n i n E g yp t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 0
F i g u r e 9 0 . T h e w e l l a n d t h e d o g ' s h yp o g e u m a t A b yd o s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 1
F i g u r e 9 1 . P l a n o f d o g ' s h yp o g e u m a t A b yd o s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 1
F i g u r e 9 2 . B o n e s o f d o g s a t A b yd o s ' s h yp o g e u m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 1
10
TIMELINE1
D yn a s t y 7 - 8 2181-2160 BCE
D yn a s t y 9 - 1 0 2160-2025 BCE
D ynas t y 11 2125-2055 BCE
Middle Kingdom 2055-1795 BCE
D ynas t y 11 2055-1985 BCE
1
Bard, 1999
11
D ynas t y 23 735-730 BCE
12
CANID-HEADED HIEROGLYPHICS
Table 1: Variations of canid-headed hieroglyphics2
Hieroglyph Transliteration Meaning
jnpw Ideogram for the gods Anubis and
Wepwawet
G r e yh o u n d
full form
Recumbent canid
jnpw
Ideogram for the god Anubis
full form
jnpw Recumbent canid with feather.
Emblem of 17th nome.
3
A n u b i s ’ n o m e C yn o p o l i s ,
full form
Hieroglyph Transliteration Meaning
2 Gardiner, 1957, pp. 449, 459, 460, 462, 517 and Allen, 2014, pp. 428, 431, 446
3 Willockx, 2007, p. 37
13
jnpw Recumbent dog
Ideogram for the god Anubis
4
sAb Jackal
stX/stS Seth-animal
stX/stS Seth-animal
15
Pharaonic art. We avoided talking about those subjects that we did not have an
e l e m e n t a r y b i b l i o g r a p h y. T h e p u b l i c a t i o n t h a t w a s u s e d f o r t h e P T w a s t h a t o f
Allen and for CT was that of Faulkner. The photographs of this thesis are from
books, archaeological magazines, museums and distinct sites, such as Osirisnet.
ΠΕΡΙΛΗΨΗ
Το θέμα της παρούσας διπλωματικής είναι οι υλοποιήσεις του θεού Άνουβη
μέσα από την εικονογραφία και τη κειμενογραφία της Φαραωνικής Περιόδου
(3000 – 31 π.Χ.). Ο λόγος που διάλεξα αυτό το θέμα είναι ότι πάντα ο
κυνόμορφος θεός με ενθουσίαζε και διοχέτευε τη φαντασία μου, με αποτέλεσμα,
πλέον ως μεταπτυχιακή φοιτήτρια να θέλω να μάθω και να ερευνήσω την ιστορία
του.
Παρόλο που υπάρχουν πολλά κενά σχετικά με την προέλευση του, το πιο
σίγουρό είναι ότι η καταγωγή του θεού εντοπίζεται στη μακροχρόνια
παρατήρηση των νυχτόβιων/σαρκοφάγων ζώων, ένα θέμα το οποίο θα
μελετήσουμε στο Κεφάλαιο 1. Σε αυτό το κεφάλαιο θα αναφερθούμε στους
κυνόμορφους θεούς από το Αιγυπτιακό πάνθεον, όπως ο Wepwawet, ο Duamutef
κτλ. Επιπλέον θα παρουσιάσουμέ το Άνουβη και την ιστορία του από το Παλαιό
Βασίλειο έως την Πτολεμαική Περίοδο.
Έπειτα, μέσα από την εικονογραφία του, θα κάνουμε λόγο για τη σχέση μεταξύ
των ανθρώπων και της οικογένειας των κυνίδων κατά τη διάρκειας της
Προδυναστικής Περιόδου, και πώς αυτή η σχέση συντέλεσε προπομπός της
λατρείας του Άνουβη. Επιπλέον θα κατηγοριοποιήσουμε της διάφορες
υλοποιήσεις του θεού σε ταφικό και αναγενιασιακό πλαίσιο (κρίση των νεκρών,
μουμιοπίηση), καθώς και τις στάσεις και τις χειρονομίες (ανακεκλιμένη, όρθια,
ένθρονη κτλ) και θα προσπαθήσουμε να τις ερμηνεύσουμε.
Στη συνέχεια θα προσπαθήσουμε να αποκρυπτογραφήσουμε τους ρόλους του
Άνουβη μέσα από τις γραπτές πηγές (ΠΚ, ΚΣ, BN κτλ). Από τα πολλά επίθετα
που προσκωλλούνται στον Άνουβη θα επιλέξουμε τα πιο χαρακτηριστικά με
σκοπό την ερμηνεία τους, η οποία εντάσσεται στο ρόλο που είχε ο θεός στον
Α ι γ υ π τ ι α κ ό κ ό σ μ ο ( «α υ τ ό ς π ο υ ε ί ν α ι σ τ η μ ο υ μ ι ο π ο ί σ η », «ο ά ρ χ ο ν τ α ς τ η ς ι ε ρ ή ς
περι οχής »).
Κατόπιν, θα παρουσιάσουμε τους ιερείς της αρχαίας Αιγύπτου και θα
αναφέρουμε στοίχους της αιγυπτιακής κειμενογραφίας που τους εντάσσουν στο
θρησκευτικό πλαίσιο του Άνουβη. Στην πορεία θα γίνει μνεία για τους ναούς και
τα ιερά που ήταν αφιερομένα στο θεό, καθώς και τα νεκροταφεία που
16
συσχετίζονταν με την οικογένεια των κυνίδων. Συγχρόνως, πριν προβούμε σε
συμπεράσματα, θα παρουσιάσουμε τα διάφορα εργαλεία που χρησιμοποιούνταν
σ τ ι ς τ ε λ ε τ ο υ ρ γ ί ε ς , ό π ω ς η τ ε λ ε τ ή «Α ν ο ί γ μ α τ ο ς τ ο υ Σ τ ό μ α τ ο ς », κ α θ ώ ς κ α ι τ α
φεστιβαλ προς τιμήν του θεού.
Η βιβλιογραφία σχετικά με τον Άνουβη δεν είναι μεγάλη, αλλά πολλά βιβλία
τον αναφέρουν σε ευρήτερο πλαίσιό, αλλά δεν εμβαθύνουν στη μελέτη του θεού,
εκτός ίσως από την έρευνα του Terence Duquesne. Πολλά από αυτά αναφέρουν
τα ίδια, ενώ άλλα προσθέτουν κάποια στοιχεία παραπάνω. Στην παρούσα
διπλωματική προσπαθήσαμε να μην επικεντρωθούμε στα γενικά στοιχεία που
είναι γνωστά, πέρα από μια μικρή αναφορά, αλλά να δώσουμε έμφαση στην
κατηγοροποίηση και ερμηνεία της εικονογραφίας του, με παραδείγματα από τη
Φαραωνική τέχνη. Αποφύγαμε να ασχοληθούμε με θέματα για τα οποία δεν
είχαμε μια στοιχειώδη βιβλιογραφία. Η έκδοση που χρησιμοποιήθηκε για τα ΠΚ
είναι του Allen και για τα ΚΣ του Faulkner. Οι φωτογραφίες της διπλωματικής
προέρχονται, από βιβλία, αρχαιολογικά περιοδικά, διπλωματικές, καθώς και από
εκκεκριμένα sites, όπως το Osirisnet.
17
1. CANIDS AND THE CANID-HEADED DIVINITIES
1.1 Canids and Canids’ Cult
S e a r c h i n g a n d s t u d y i n g s e p a r a t e l y t h e E g yp t i a n g o d s a n d g o d d e s s e s , a m o n g t h e
many manifestations, we can track animal’s behavior into the same animal in
w h i c h e a c h g o d i s p o r t r a ye d . T h i s i s o n e o f m a n y d i s a g g r e g a t i o n s b e t w e e n t h e
variety of ancient religions. In the Mediterranean and Near East world most of
t h e d e i t i e s h a d b e e n h u m a n i z e d , b u t E g yp t i a n s g a v e t o t h e i r g o d s a n i m a l ’ s
h yp o s t a s i s o r a c o m b i n a t i o n o f a n i m a l a n d h u m a n f o r m s , a n d o n l y i n s o m e c a s e s
t hey port ra yed t hem in full y hum an form . C ons equent ly, t he i mport ance of the
animal’s divine aspect can be tracked in many mummified animals as in burial
s i t e s a c r o s s t h e l a n d o f E g yp t . L i k e w i s e , t h e P . T . m e n t i o n t h a t a n i m a l s c o u l d
a c c u s e t h e k i n g i f h e m i s t r e a t e d t h e m 5, g i v i n g i n a n i m a l s t h e p o w e r o v e r t h e k i n g
and treating them as equal to him.
We are not sure when the connection between human and animal happened, but
it might have had occured in the early stage of domestication when the animals
were pure and untouched by the human’s control. However, the domestication of
a n i m a l s s t a r t e d t h o u s a n d s o f ye a r s b e f o r e , u s i n g e a c h o n e o f t h e m f o r a d i f f e r e n t
purpose, bovines in aquiculture, sheep for food etc. dogs for several purposes:
c o m p a n i o n , g u a r d i a n s , h e r d e r s 6. I t i s g e n e r a l l y c o n s i d e r e d t h a t t h e d o g 7 w a s t h e
first domesticated a n i m a l 8. His domestication occured in the Late Upper
P a l a e o l i t h i c ( c a . 1 6 . 0 0 0 B C E ) 9. O t h e r r e s e a r c h s u g g e s t s e v e n e a r l i e r d a t e s a s
2 4 . 0 0 0 10 o r 3 3 . 5 0 0 B C E i n R u s s i a 11. I n t h e e a r l y s t a g e o f d o m e s t i c a t i o n i t i s
difficult to distinguish the different canid species, because they shared the same
morphological characteristics, therefore it is hard to understand if they were
t a m e d o r n o t 12. H o w e v e r , a f t e r f e w g e n e r a t i o n s t h e e s t a b l i s h m e n t o f s p e c i e s
became more secured, because of the rapid morphological changes. In tamed
a n i m a l s , t h e e v o l u t i o n h a p p e n e d s o o n e r t h a n i n t h e t h o s e w h i c h w e r e n o t 13.
F r o m M e r i m b e B a n i S a l a m e i n E g yp t c o m e s o n e o f t h e e a r l i e s t e v i d e n c e o f a
f u l l y d o m e s t i c a t e d d o g , d a t e d i n 4 8 0 0 B C E 14. T h e C a n i d a e f a m i l y 15, b r i e f l y, h a d a
5 Rice, 2006, p. 14
6 Rice, 2006, p. 2
7 Gray wolf (Canis Lupus) perhaps is the ancestor of the dog Larson, Karlsson, & Perri, 2012, p.
8878
8 Larson, Karlsson, & Perri, 2012, p. 8878
9 Perri, 2016, p. 1
10 R i c e , 2 0 0 6 , p .
11 P e r r i , 2 0 1 6 , p . 1
12 L a r s o n , K a r l s s o n , & P e r r i , 2 0 1 2 , p . 8 8 7 1
13 R i c e , 2 0 0 6 , p . 3
14 R i c e , 2 0 0 6 , p . 1 1
18
c l o s e a s s o c i a t i o n w i t h t h e E g yp t i a n s a n d t h e i r i m p o r t a n c e c a n b e v e r i f i e d f r o m
various depictions in art or from the tombs dedicated to them.
The dog as a companion, in contrast to other animals, carries names, and some
of n a m e s a r e d e l i v e r e d t o u s : “ B r a v e O n e ” , “ R e l i a b l e O n e ” , “ G o o d W a t c h e r ” 16,
etc., and most of the time are represented as a tame animal in hunting scenes or
frequently under the chairs, as a guardian and protector. Herodotus wrote that
“…where a dog has died, the head and the whole body are shaven” (Herodotus
2 . 6 7 ) p r o v i n g t h e i m p o r t a n c e o f d o g i n t h e E g yp t i a n s o c i e t y 17. I n P r e d yn a s t i c
P e r i o d t a m e d d o g s a r e s h o w e d b e i n g s u c k l e d b y w i l d o n e s 18, m a yb e a s t h e n e w -
political thought of the establishment and unity that will occur in the following
y e a r s , p a s s i n g t h r o u g h t h e w i l d l i f e a n d v a l i d a t i o n t o h a r m o n y.
A n i m a l ’ s c u l t w a s d i m i n i s h e d i n t h e v a s t l e n g t h o f t h e E g yp t i a n h i s t o r y , b u t
w a s i n c r e a s e d a g a i n d u r i n g t h e L a t e P e r i o d , m a yb e a s a r e s t o r a t i o n t o t h e o l d
r e l i g i o n o r a s a n a t o n e m e n t f o r t h e d e t a c h m e n t o f t h e p r e v i o u s ye a r s , g a i n i n g t h e
a p p e a s e m e n t o f t h e g o d s 19. I n t h e e a r l y ye a r s t h e i m p o r t a n c e o f t h e a n i m a l s c a n
b e t r a c k e d d o w n f r o m o n e p r i m a l e x a m p l e : t h e C i t i e s P a l e t t e ( o r L i b ya n P a l e t t e )
a t A b yd o s d a t e d f r o m P r e d yn a s t i c P e r i o d ( 5 5 0 0 - 3 0 0 0 B C E ) 20. The one side of
t h e p a l e t t e s h o w s , o x e s , d o n k e ys , r a m s , o n t h e o p p o s i t e s i d e s e v e n f o r t i f i e d
cities are carved, and above them is their patron animal. This palette is
i m p o r t a n t b e c a u s e i t d e p i c t s t h e d i v i d e d E g yp t w i t h i t s l o c a l r u l e r s , i n t h e f o r m
of lion, scorpion, falcon, each one holding a hoe, a symbol of foundation or
d e s t r u c t i o n o f t h e c i t y- e n e m i e s . I n a d d i t i o n , t h i s p a l e t t e , w e c a n s a y w i t h
caution, outlines the connection’s dawn between animals and gods. The Cities
Palette holds another major historical moment; it is considered as one of the
first writing documentation, since the fortified cities are a group of
h i e r o g l yp h i c s , w h i c h b e a r s t h e n a m e s o f t h e c i t i e s .
A n i m a l s ’ m u m m i f i c a t i o n e x i s t e d f r o m t h e P r e d yn a s t i c P e r i o d a n d c a n b e
d i s t i n g u i s h e d i n f o u r c a t e g o r i e s 21:
19
P e t m u m m y: a p e t u s u a l l y b u r i e d w i t h i t s m a s t e r i n t h e t o m b , i n o r d e r t o
be with him/her in the Afterlife; it was carefully mummified, buried in
separate coffin, or sometimes shared the same coffin with its master.
F o o d / v i c t u a l m u m m y: w a s a m u m m i f i e d a n i m a l o f f e r i n g a s a n e t e r n a l f o o d
supply of the deceased to the Afterlife.
S a c r e d m u m m y: w a s a c h o s e n a n i m a l , w h i c h w a s c o n s i d e r e d a s t h e
m a n i f e s t a t i o n o f a g o d ; w h e n t h e a n i m a l d i e d , i t h a d a r o a ya l b u r i a l a n d
c e r e m o n y.
V o t i v e m u m m y : w a s a p r a ye r s ’ d o n a t i o n t o t h e g o d s , i t w a s s t o r e d b y a
p r i e s t a n d w h e n a ye a r p a s s e d a f e s t i v a l t o o k p l a c e i n w h i c h a l l t h e
donations were buried and sealed until the forthcoming festival.
F u r t h e r m o r e , m u m m i f i e d a n i m a l s c a n b e l o c a t e d t h r o u g h o u t E g yp t ; i n d i v i d u a l
burials were excavated at Badari, Deir Tasa such as goats and sheep dated to the
B a d a r i a n C u l t u r e 22. D o g c e m e t e r i e s c a n b e f o u n d a t A s yu t , A b yd o s , S a q q a r a , e t c .
devoted to Anubis, Werwawet and Khentamentiu (see Chapter 5).
Anci ent Eg yp t i ans were acquai nt ed wit h cani d an im al s, and t hi s famili ariz ation
led to the creation of different canid gods with funerary aspects.
1.2 Canid-headed Divinities
1.2.1. Wepwawet
Wepwawet (Figure 1) was a funerary deity like Anubis, featured as canid with
w h i t e o r g r a y h e a d . B e yo n d h i s f u n e r a r y r o l e , W e p w a w e t c a r r i e s a l s o a w a r l i k e
concept. This thought comes from his frequent depictions atop a standard (the
s h d - s h d e m b l e m ) 23 a c c o m p a n i e d w i t h u r a e u s , w h i c h i s i n f r o n t o f t h e k i n g 24. T h i s
emblem might also be connected to the ascension of a monarch to the sky or the
r o ya l p l a c e n t a 25. H i s n a m e , m e a n s “ O p e n e r o f t h e W a y s ” , r e f e r r i n g t o h i s
t e r r e s t r i a l v i c t o r i e s a n d t o h i s f u n e r a r y r o l e i n t h e U n d e r w o r l d 26.
From the inscription, dated back to Old Kingdom, Wepwawet was born in the
s h r i n e ( p r - n w ) o f W a d j e t 27. O n e o f t h e f i r s t r e p r e s e n t a t i o n s o f W e p w a w e t c o m e s
from the Narmer Palette. Wepwawet is on a standard, which is held by a bearer.
The other three bearers hold falcons and an animal skin (the placenta). These
bearers represent the areas ruled by Narmer. Wepwawet is often depicted with a
22 Daine, 1999, p. 9
23 Wilkinson, 2003, p. 192
24 Houser-Wegner, 2001, p. 497
25 Hart, 2005, p. 162
26 Hart, 2005, p. 162
27 Hart, 2005, p. 162
20
g r e y 28 o r w h i t e h e a d 29, p e r h a p s w i t h t h i s c o l o r a n c i e n t E g yp t i a n s w a n t e d t o v e r i f y
h i s s p e c i e s . H e i s t h e l o r d o f A s s u yt ( L y c o p o l i s b y t h e G r e e k s ) t h e 1 3 t h n o m e o f
E g yp t a n d o t h e r c e n t e r s o f h i s c u l t c a n b e f o u n d a t Q u b a n , e l - H a g a r s a M e m p h i s
a n d S a i s 30.
In the PT Wepwawet is called “Ra”, who arose from the horizon to bring the
l i g h t o f d a w n 31. I n t h e l a t e r ye a r s , h e i s c o n s i d e r e d a s a c o m p a n i o n o f t h e
deceased to the underworld with his assistance in the “Opening of the Mouth”
r i t u a l 32. O n S h a b a q o S t o n e ( 2 5 t h D yn a s t y ) , w h i c h i s a c o p y f r o m t h e P yr a m i d E r a ,
W e p w a w e t i s i d e n t i f i e d w i t h t h e p h a r a o h , t h r o u g h h i s c o n n e c t i o n w i t h H o r u s 33.
1.2.2. Khentamentiu
His name means “Foremost of the Westerners”, in which the last is referring to
the dead. The earliest entitled example of the god comes from the necropolis’
seals of Den (Figure 2) and Qaa at Abydos, in which the first temple for the god
was built. Wilkinson suggests that was already an epithet for Osiris, but
D u Q u e s n e s a y s t h a t K h e n t a m e n t i u w a s f i r s t t h e e p i t h e t A n u b i s 34. T h e o p i n i o n o f
DuQuense is most likely correct, if we consider that for both gods, the
det erminative hi erogl yphi c is the recumbent canid, a det erminative that full y
characterizes Anubis.
K h e n t a m e n t i u w a s t h e f u n e r a r y g o d o f A b yd o s , a n d a s a s i n g l e g o d i s a t t e s t e d
f r o m t h e 5 t h D y n a s t y 35. I n t h e M i d d l e K i n g d o m ( 2 0 5 5 - 1 7 9 5 B C E ) w e c a n s e e t h e
name of Khentamentiu used both as a single god, as an epithet to Osiris, and
o n l y f e w e x a m p l e s o f o f f e r i n g f o r m u l a s r e p o r t s e p a r a t e l y t h e t w o g o d s 36. A f t e r
t he 13th Dyn as t y, Khent am enti u, as a god, is full y connect ed with Osi ri s, but as
e p i t h e t i s a l s o s t i l l u s e d f o r A n u b i s i n a l l D yn a t s t i c P e r i o d t o t h e R o m a n A g e 37.
1.2.3. Duamutef
H i s n a m e m e a n s “ H e w h o p r a i s e h i s m o t h e r ” 38 ( F i g u r e 3 ) a n d i s o n e o f t h e f o u r
s o n s o f H o r u s ( t h e o t h e r s o n s a r e I m s e t y, H a p y, Q e b e h s e n u e f ) , w h i c h a r e
worshiped from the Old Kingdom to Roman Era. He and his brothers were
1.2.4. Seth
S e t h 42 ( F i g u r e 4 ) i s t h e g o d o f c h a o s a n d t h e g o d o f f o r e i g n e r s 43. H a v i n g t h e s e
a s p e c u e t s i n m i n d i t i s s c r u t a b l e w h y a n c i e n t E g yp t i a n s c h o s e h i m a s t h e m a i n
vilan in their religions. Chaotic forces and mostly foreigners are considered as
t h e e n e m i e s o f t h e E g yp t , t h o s e t h a t b r i n g d i s o r d e r a n d u n b a l a n c e . T h i s
maleficent aspect of Seth can be seen from his very first breath, where he tore
a p a r t h i s m o t h e r N u t t o c o m e t o l i f e 44 a t O m b o s - N a g a d a r e g i o n ( U p p e r E g yp t ) .
Therefore, Seth killed Osiris and fought with Horus, for the domination of the
world. While fighting each other, Seth and Horus, the first lost the semen of his
t e s t i c l e s a n d t h e o t h e r t h e l i g h t o f h i s e ye s 45. A t t h e e n d , H o r u s w o n o v e r t h e
b a t t l e , a n d b e c a m e l o r d o f E g yp t . L e a v i n g b a c k t h e c o n f l i c t , S e t h l i v e d w i t h R a ,
a s h i s s o n , a n d b e c a m e t h e g o d o f t h u n d e r a n d s t o r m s 46. A c c o m p a n i e d b y R a h e
f o u g h t a g a i n s t A p o p h i s . F i n a l l y, w e s e e S e t h a s t h e s t r e n g t h t h a t l i v e s i n
p h a r a o h , a n d c a l l e d “ S e t h o f N u b e t ” 47.
1.2.5. Anupet
H e r n a m e m e a n s “ O p e n e r o f t h e W a y s ” a n d i n e a r l y d y n a s t i c ye a r s A n u p e t w a s
t h e t i t l e o f g o d d e s s N e i t h 48. S h e w a s t h e f e m a l e c o u n t e r p a r t o f A n u b i s 49 a n d s h e
w a s w i t h W e p w a w e t , t h e p r o t e c t o r g o d d e s s o f L y c o p o l i s 50.
In iconograph y from the Ptolemaic Period, Anupet (Figure 5) carried knives for
t h e p r o t e c t i o n o f O s i r i s a n d g e n e r a l l y t h e d e c e a s e d 51 a n d i n h e r h e a d h a d t h e
2005, p. 145
43 t e V e l d e , 2 0 0 1 , p . 2 6 9
44 H a r t , 2 0 0 5 , p . 1 4 4
45 t e V e l d e , 2 0 0 1 , p . 2 6 9
46 H a r t , 2 0 0 5 , p . 1 4 4
47 H a r t , 2 0 0 5 , p . 1 4 3
48 B u d g e , 1 9 0 4 , p . 4 5 4
49 R i c e , 2 0 0 6 , p . 1 5 2 a n d P i n c h , 2 0 0 2 , p . 1 0 4
50 M ü l l e r , 1 9 1 8 , p . 1 3 1 , R i c e , 2 0 0 6 , p . 1 5 2
22
s u m b o l o f A n u b i s 52. A f i n e r e p r e s e n t a t i o n o f A n u p e t c o m e s f r o m t h e 5 t h D yn a s t y,
alongside king Menkaure and the Goddess Hathor. She is in human form having a
s t a n d a r d w i t h a f e a t h e r o n h e r h e a d . T h e s t a n d a r d d e p i c t s a r e c u m b e n t j a c k a l 53.
The feather may be used to distinguish Anupet’s image from that of Anubis.
1.2.6. Wepiu
He might be a solar god associated with Ra. The name Wepiu means “Opener”,
“ D i v i n e r ” o r “ J u d g e ” 54. I n t h e P T t r a n s l a t i o n o f A l l e n 55, W e p i u c a r r i e d t h e n a m e
Parter (wpjw) and thought to be an alternative aspect of Wepwawet. Wepiu is
a s s o c i a t e d w i t h A b y d o s a n d H e l i o p o l i s 56 a n d s o m e t i m e s i s i d e n t i f i e d w i t h t h e
d e a d k i n g 57. H e i s a t t e s t e d i n f e w A f t e r l i f e B o o k s , l i k e t h e B o o k o f G a t e s ,
A m d u a t a n d B o o k o f D a y 58.
1.2.7. Sed
S e d ’ s e a r l y e v i d e n c e t r a c k b a c k t o P a l e r m o S t o n e ( 5 t h D yn a s t y) , w h e r e h e i s
attested as the theophoric name of the king, a characteristic that lasted until
M i d d l e K i n g d o m . A f t e r t h a t h e w a s r e p l a c e d b y W e p w a w e t 59. H e w a s a s s o s s i a t e d
w i t h t h e k i n g s h i p a n d t h e S e d f e s t i v a l m i g h t b e n a m e d a f t e r t h e g o d ’ s n a m e 60.
His epithet xnty-wsrt.f “He who is foremost of his court” suggests his duty
a s j u d g e 61.
1 . 2 . 8 . T h e S o u l s o f Pe a n d N e k h n en
T h e S o u l s o f P e a n d N e k k h e n s ym b o l i z e d t h e o l d r u l e r s o f B u t o a n d H e l i o p o l i s .
In representation, the Souls of Pe was depicted with the head of falcon, and the
Souls of Nekkhen (Figure 6) with the head of canid. The most known illustration
of them is in the henu (=praise) posture greeting the newborn sun in the sky or
celebrating the animated soul of the king during the “Recitation of the
Glorifications” ritual. This posture combines the jubilation and rejoicing
51 DuQuesne, 2007, p. 20
52 Rice, 2006, p. 152
53 Rice, 2006, p. 152
54 DuQuesne, 2007, p. 398
55 Allen, 2005, p. 439
56 DuQuesne, 2007, p. 398 and Allen, 2005, p. 439
57 Simpson, 2003, p. 274
58 DuQuesne, 2007, p. 399
59 Wilkinson, 2003, p. 190
60 DuQuesne, 2007, p. 401 and Wilkinson, 2003, p. 190
61 DuQuesne, 2007, pp. 401,402
23
g e s t u r e 62. These ancestral kings supported the living king and served the
d e c e a s e d k i n g b y h e l p i n g h i m t o l a d d e r i n t h e s k y 63.
1.2.9. Anubis
“Lord of the sacred place”, “he who is in the place of embalming”, “he who is
upon his mountain”, are some of the many different epithets of the god Anubis.
The origin of the canid-headed god is possible to be found in all canid animals,
w h i c h w e r e c a u g h t s e a r c h i n g t h e t o m b s t o e a t . C o n s e q u e n t l y, f o r t h e p r o t e c t i o n
o f t h e d e c o m p o s i n g b o d i e s o f t h e b e l o v e d o n e s 64, E g yp t i a n s s t a r t e d t o b u i l d t h e i r
e a r l i e s t t o m b s . D u e t o t h e f a c t t h a t t h e a n c i e n t E g yp t i a n s o b s e r v e d t h e b e h a v i o r
of these animals, it might be possible to think them as devourers of the dead’s
s o u l . W e d o n o t k n o w e x a c t l y w h e n , b u t a l r e a d y i n t h e P r e d yn a s t i c P e r i o d t h e
E g yp t i a n s h a d e m b r a c e d t h e i r u n i q u e p h i l o s o p h y o f t h e p r e s e r v a t i o n o f t h e
d e c e a s e d ’ s b o d y. T h e r e f o r e , i t i s u n k n o w n w h e t h e r i n t h e e a r l y s t a g e s o f t h e i r
w o r s h i p t h e y a c t u a l l y f e a r e d A n u b i s 65, a s s o m e c o l l e g u e s b e l i e v e , o r n o t . T h e
only thing that is certain is that if they ever feared Anubis, this fear was never
delivered to us. However, Anubis, or the idea of his worship, might had started
during the Early D yn a s t i c Period (3000-2686 BCE) and then arosed and
e s t a b l i s h e d s t e a d i l y i n t h e ye a r s t h a t c a m e .
It is remarkable that his name might come from the verb (= jnp), which
m e a n s “ t o d e c a y ” 66. T h i s o r i g i n o f h i s n a m e i s n o t e n t i r e l y a c c e p t e d , a n d
colleagues have provided different meanings, like, “child”, “young prince”, or
even to “lie down (on the stomach)” 67
. Examples of the vocal pronunciation of
t h e g o d ’ s n a m e w a s a t t e s t e d i n t h e b e g i n n i n g o f 6 t h D y n a s t y 68, b u t o n e t h i n g i s
certain, if the origin of his name (“to decay”, or “to lie down (on the stomach)”)
is correct, it will full y correlate with his manifestations and roles. In addition,
f r o m J u m i l h a c P a p y r u s 69, A n u b i s w a s n a m e d b y I s i s a f t e r t h e w o r d s w i n d f o r j ,
water for n and Gebel for p. Regarding to Isis’ relationship with the name of
A n u b i s , a s a l s o t o t h e c o n n e c t i o n o f A n u b i s a n d H o r u s , t h e p a p yr u s m e n t i o n e d
62Wilkinson., 1992, p. 17
63Wilkinson, 2003, p. 89
64 T h e p r o t e c t i o n o f t h e d e a d b e c a m e o n e o f t h e i r d a i l y l i f e a c t i v i t i e s a n d , d u r i n g a t i m e w h e n
other reces, as Greeks, Romans and Mesopotamian races, feared death, Egyptians embraced this
concept to their upcoming religion. Faith in the afterlife, as also the power of the universe were
equ ally i mpo rtant to th eir worship , which was asso ciated with th e natural en viron men t and its
elements.
65 E v a n s , 2 0 0 8 , p . 1 9
66 D o x e y , 2 0 0 1 , p . 9 7
67 W i l l o c k x , 2 0 0 7 , p . 4 0
68 D u Q u e s n e , 2 0 0 5 , p . 7 5 , D a w o o d , 1 9 9 8 , p . 3 4 a n d E l - K h a d r a g y , 2 0 0 1 , p . 1 9 1
69 V a n d i e r , 1 9 6 2 , p p . 1 0 2 - 1 0 3 , 1 1 7
24
that when the goddess found Horus in the swamps of Akhmim she asked “Is it
he?” (=jn pw); These words constructed the name of Anubis mening “royal
child”. Ra also claims Anubis naming: "As for this one, it is I who created his
name of Anubis"; further it is mentioned that Anubis was named by Seth.
F u r t h e r m o r e , t h e b l a c k c o l o r o f a d e c o m p o s i n g b o d y b e c a m e a s ym b o l o f t h e
A f t e r l i f e , w i t h r o o t s b a c k t o t h e N i l e s ’ f e r t i l i t y s i l t 70, a n d c o n n e c t e d w i t h t h e
circle and animation of environment.
Α problem that scientists come across is about the nature of Anubis’ animal,
t h a t e v e n , t h e a n c i e n t s k n e w h i s f o r m w a s s o m e k i n d o f m ys t e r y: “ P e p i
Neferkare, whose form is secret as Anubis on his belly, for you have received
y o u r f a c e o f a j a c k a l ! ” 71 ( N 4 1 2 ) . T h e f o r m o f A n u b i s i s p r o b l e m a t i c d u e t o t h e
fact that the researchers could identify more than one species from the Canidae
f a m i l y 72. Head, muzzle, sometimes even tail are correspondingly from foxes,
j a c k a l s a n d d o m e s t i c d o g s 73. A d d i t i o n a l l y, t h e e a r s r e s e m b l e t o f o x e s ’ o r j a c k a l s ’
and his body shape with domestic dogs’. These characteristics from various
species makes it difficult to recognize which is the one prevailing species of
A n u b i s ’ a n i m a l . T h i s h yb r i d f o r m 74 o f A n u b i s m a yb e w a s c r e a t e d t o e s t a b l i s h h i s
gruesome activities and to amplify his image as the god of the underworld, since
all these species have something in common, they are scavengers.
During the Ptolemaic Period the ancient Greeks considered Anubis a dog and
n a m e d t h e g o d ’ s n o m e C yn o p o l i s , m e a n w h i l e t h o u g h t W e p w a w e t a s a w o l f ,
therefore his nome was named Lycopolis. Diodurus Sicilus wrote about those
gods naming Anubis as the one who wears the dog’s skin, and Macedon
(Wepwawet) wears the wolf’s skin: “τὸν μὲν γὰρ Ἄνουβιν περιθέσθαι κυνῆν, τὸν
δὲ Μακεδόνα λύκου προτομήν: ἀφ᾽ ἧς αἰτίας καὶ τὰ ζῷα ταῦτα τιμηθῆναι παρὰ
τ ο ῖ ς Α ἰ γ υ π τ ί ο ι ς ” ( D i o d . 1 . 1 8 . 1 ) 75. A s m e n t i o n e d a b o v e , t h e r e a l n a t u r e o f t h e g o d
i s n o t ye t e s t a b l i s h e d , b u t t h e G r e e k s w i t h t h e i r i d e n t i f i c a t i o n o f t h e g o d a s a
dog formed the god Hermanubis (Hermes and Anubis), during the cultural
interaction between the two civilizations.
Anubis is identified in many passages with the king’s face and with other of his
body parts and through that he is established as an important god. Regarding the
70Hart, 2005, p. 25
71Allen, 2005, p. 277
72 T h e r e a r e s e v e n d i f f e r e n t s p e c i e s f o r c a n i d a e f a m i l y t h a t l i v e s i n E g y p t : t h e g o l d e n j a c k a l , t h e
African wild dog, the wolf, the Blanford's fox, the fennec fox, the red fox, the Ruppell's sand fox
Hoath, 2009, pp. 69-81 and Evans, 2008, p. 22
73 E v a n s , 2 0 0 8 , p . 1 8
74 E v a n s , 2 0 0 8 , p . 2 2
75 B e k k e r , L u d w i g , & V o g e l , n . d .
25
face, this might be referring to the moment of death, before the resurrection took
place and the deceased became a manifestation of Anubis, or, in other passages
H o r u s 76, W e p w a w e t 77, e t c . F r o m t h e p a s s a g e s o f J u m i l h a c p a p yr u s T h o t h , H o r u s ,
Osiris and other gods are the manifestion of Anubis; this might have happened
due t o t he stor yt ell ing and not actual l y becaus e of t he exis t ed notion of t hat
time.
F r o m o t h e r P e p i I ’ s p a s s a g e ( P 5 2 0 ) 78, t h e k i n g i s i d e n t i f i e d a s O s i r i s , A n u b i s
and Milk Goddess (Hesat?) “Osiris Pepi, you should not go away in those
eastern lands, but you should go away into those western lands, in the path of
t he Sun’s followers […] . Since you are t he one who prevents t hem from sl ipping
from within your arms, you should take hold of them, in your identity of the
north wind; they will take account of you, in your identity of Anubis; and the
gods will not go down against you, in your identity of the Milk-Goddess”. It is
very intriguing the point that both Hesat and Osiris were regarded as the parents
of Anubis.
Whereas in CT, Spell 185 is Anubis: “What I doubly detest, I will not eat.
Faeces is my detestation, and I will not eat; I will not consume filth, because I
a m A n u b i s , B u l l o f h i s S i d e ( s i c ) ” 79.
Having established the general notion of the creation of the god, another
problem we face_ is his parenting. It is claimed that Anubis was the son of
d i f f e r e n t g o d s a n d g o d d e s s e s , O s i r i s , S e t h o r R a , f o r t h e f a t h e r h o o d , H e s a t 80,
B a s t e t , N e p h t h ys 81, f o r t h e m o t h e r h o o d . A n u b i s i s m o s t l y c o n s i d e r e d t h e s o n o f
O s i r i s a n d N e p h t h y s , i n f o r m a t i o n c o m i n g f r o m 1 9 t h D y n a s t y s t e l a 82. P l u t a r c h
wrote about Anubis’s birth and life: “Γεννώσης τῆς Νέφθυος τὸν Ἄνουβιν Ἶσις
ὑποβάλλεται· Νέφθυς γάρ ἐστι τὸ ὑπὸ γῆν καὶ ἀφανές, Ἶσις δὲ τὸ ὑπὲρ τὴν γῆν καὶ
φανερόν, ὁ δὲ τούτων ὑποψαύων καὶ καλούμενος ὁρίζων κύκλος ἐπίκοινος ὢν
ἀμφοῖν Ἄνουβις κέκληται καὶ κυνὶ τὸ εἶδος ἀπεικάζεται· καὶ γὰρ ὁ κύων χρῆται τῇ
ὄψει νυκτός τε καὶ ἡμέρας ὁμοίως. καὶ τοιαύτην ἔχειν δοκεῖ παρ' Αἰγυπτίοις τὴν
δύναμιν ὁ Ἄνουβις, οἵαν ἡ Ἑκάτη παρ' Ἕλλησι, χθόνιος ὢν ὁμοῦ καὶ Ὀλύμπιος.
ἐνίοις δὲ δοκεῖ Κρόνος ὁ Ἄνουβις εἶναι· διὸ πάντα τίκτων ἐξ ἑαυτοῦ καὶ κύων ἐν
ἑαυτῷ τὴν τοῦ κυνὸς ἐπίκλησιν ἔσχεν. ἔστι δ' οὖν τοῖς σεβομένοις τὸν Ἄνουβιν
76 Allen, 2005, p. 45
77 Allen, 2005, p. 102
78 Allen, 2005, p. 184
79 Faulkner, 1973, p. 155
80 Hart, 2005, p. 24
81 Budge, 1904, p. 261, Doxey, 2001, p. 98 and Hart, 2005, p. 28
82 Willockx, 2007, p. 54
26
ἀπόρρητόν τι, καὶ πάλαι μὲν τὰς μεγίστας ἐν Αἰγύπτῳ τιμὰς ὁ κύων ἔσχεν· ἐπεὶ δὲ
Καμβύσου τὸν Ἆπιν ἀνελόντος καὶ ῥίψαντος οὐδὲν προσῆλθεν οὐδ' ἐγεύσατο τοῦ
σώματος ἀλλ' ἢ μόνος ὁ κύων, ἀπώλεσε τὸ πρῶτος εἶναι καὶ μάλιστα τιμᾶσθαι τῶν
ἑ τ έ ρ ω ν ζ ῴ ω ν ” 83. T h e s e v e r s e s c i t e t h e d o w n f a l l o f A n u b i s ; h e i s c o n n e c t e d , a p a r t
f r o m H e r m e s , w i t h H e c a t e a n d C r o n o s . H e c a t e a n d H e r m e s a s p s yc h o p o m p o s , a r e
considered cthonic deities, therefore the connection of Anubis with these deities
i s a fai r analogy. The connect ion of Anubi s wit h Cronus mi ght have happened
for two reasons: A. Cronus was the rebellion son of Uranus, who won his father
and became the ruler of cosmos. B. Seth, the god of chaos, transformed as
Anubis in many passages of Jumilhac Papurus and in other passages Anubis had
a S e t h i a n 84 a s p e c t . A l t h o u g h t h e J u m i l h a c P a p yr u s w a s c o m p o s e d i n t h e P t o l e m a i c
P e r i o d , i t m i g h t b e a s yn t h e s i s o f a n c i e n t E g yp t i a n m yt h s , t r a n d i t i o n s a n d
legends.
A n o t h e r k n o w n A n u b i s ' s r e l a t i v e i s h i s d a u g h t e r , Q e b e h u t 85, t h e o n e w h o
liberated the deceased’s soul with water.
As already mentioned above, other canid divinities had the same aspect with
Anubis and many colleagues consider them as the early manifestation or epithets
of the god. Whether it is true or not, Anubis prevailed over them and during the
Old Kingdom became the lord of the Underworld equal to Osiris. The Htp-dj-
n s w t ( C h a r t 1 ) 86 f o r m u l a a t t e s t e d b o t h f o r A n u b i s a n d O s i r i s , b u t t h e a n c i e n t s
started to focus more to Osiris’s cult and in the end Anubis joined the Osirian
m yt h 87 a n d b e c a m e t h e f i r s t e m b a l m e r , m u m m i f i e d O s i r i s , w h o w a s k i l l e d b y h i s
o w n b r o t h e r , S e t h : “ A n u b i s [ c a m e] f r o m B u s i r i s . H e h a s e m b a l m e d O s i r i s i n t h e
P l a c e o f P u r i f i c a t i o n ” 88. T h e r e a s o n o f t h i s c h a n g e m i g h t b e f o u n d i n t h e n e e d
for a divine origin of the pharaoh. Therefore, the slaughtered Osiris, the dead
who came back to life, and Horus his mighty offspring gave a strong background
83 Π λ ο ύ τ α ρ χ ο ς , 2 0 0 3 , σ σ . 2 2 1 - 2 2 3 . T r a n l a t i o n b y t h e a u t h o r : “ W h e n N e p h t h y s g a v e b i r t h t o A n u b i s ;
Isis treated him, as he was her own. Nephthys is that which is beneath the earth and invisible, Isis
that which is above the easth and visible and that which touches these, the cicle horizon, is common
to both, called Anubis, and represented in the form of dog; because the dog can see both in the
night and in the day alike. And for this reason, Anubis is thought, among Egyptians, has such power
as Hekate for the Greeks, since at the same time he is cthonic and Olympic (deity). Some are
thought that Anubis is Cronus; And because the dog gestation (κύων) everything of himself, took the
name of “dog” (κυνὸς). Those who venerated Anubis, was a mystery and in the ancient times in
Egypt, the dog was highly honoured. But, when Cambyses had kill Apis and scattered him away,
nothing came near the body or taste from the body only the dog, thereby he lost his supremacy and
his honours among the other animals”.
84 V a n d i e r , 1 9 6 2 , p . 9 6
85 A l l e n , 2 0 0 5 , p . 1 5 8
86 M u r r a y , M i l n e , & C r u m , 1 9 0 4 , p . 3 4 a n d D a w o o d , 1 9 9 8
87 ( P i n c h , 2 0 0 2 , p . 1 0 4 )
88 B r o o k l y n P a p y r u s , C o l u m n X , O ' R o u r k e , 2 0 0 2 , p . 1 8 8
27
to Osiris, a history with a beginning and an end, necessary for their worship and
its anthropocentric aspect.
Chart 1
Htp-dj-nswt formula
50
45
40
35
30
25
20
15
10
5
0
Anubis Anubis and Osiris Anubis, Osiris and other gods
H o w e v e r , i n t h e v a s t h i s t o r y o f E g yp t , A n u b i s g a i n e d a p l a c e i n p e o p l e ’ s m i n d ,
having an active role in the ritual of the “Opening of the Mouth”, in which the
deceased could “breathe” again, as also in the “Weighing of the hearts” (see
Chapter 4). The latter was the final “gate” between the deceased and the welfare
of the Afterlife and occurred from Old Kindfom to Roman Period.
Havi ng m ys t erio us l ife and form, Anubi s durin g t he New Kingdom (1550-1069
BCE), also took part in the sequence of the king’s reborn spirit (see Chapter 2)
in the mammisi (birth temples). In a political stage, as some collegues think,
A n u b i s h a d a r i v a l , B a t a , f o r t h e o w n e r s h i p o f 1 7 t h n o m e 89 a n d t h e “ T a l e o f t h e
T w o B r o t h e r s ” , c o u l d b e n a r r a t i n g t h i s r i v a l r y, e n d i n g i n a c o n c e p t o f e q u a l i t y
between the two gods/brothers (see Chapter 3). Source for his military aspect
could be found in the Jumilhac Papyrus (Ptolemaic Period, 332-30 BCE), in
w h i c h A n u b i s i s p o r t r a ye d a s a w a r r i n g g o d a l o n g s i d e H o r u s ( s e e C h a p t e r 3 ) .
T h e P a l e r m o S t o n e ( 5 t h D yn a s t y) m e n t i o n e d t h e s o - c a l l e d “ B i r t h o f A n u b i s ” t h a t
were statues which specified a ceremonial ye a r 90; temples, chapels and
sanctuaries devoted to Anubis found at Saqqara, Kahun, Deir el-Bahari etc. and
1 7 t h n o m e 91 ( v i c i n i t y o f S a m a l u t , C yn o p o l i s b y t h e G r e e k s ) 92 o f U p p e r E g yp t w a s
dedicated to him.
2005, p. 106.
28
L a s t l y, t h e n a m e o f A n u b i s i s a t t e s t e d a s p a r t o f p e r s o n a l n a m e s ( t h e p h o r o u s
n a m e s ) a n d w a s c o n n e c t i n g t h e i n d i v i d u a l w i t h t h e d e i t y 93. I t a l s o g i v e s u s
i n f o r m a t i o n o n t h e p r e v a i l i n g c u l t o f t h e p e r i o d 94 a n d e x a m p l e s r e g a r d i n g A n u b i s
c a n b e f o u n d f r o m O l d K i n g d o m , A n u b i s e m a n e k h 95, A n u b i s h o t e p 96, P a d i n p u 97 e t c .
30
Fig ure 4. Thut mose III taught by Set the archery Figure 5. Statue of Hathor,
© te Velde, 2001, p. 270 Menkaure and Anupet (4th
Dynasty)
© Cairo Museum. Invertory
number: JE 46499
31
2. THE MANIFESTATIONS OF ANUBIS THROUGH HIS ICONOGRAPHIC
REPRESENTATIONS
2.1 Art in General
T h e E g yp t i a n s t yl e i n a r c h i t e c t u r e , s c u l p t u r e a n d p a i n t i n g w a s b a s e d o n a s e r i e s
o f s t r i c t l a w s . T h e s e l a w s r e s u l t e d i n a s e n s e o f b a l a n c e a n d s t r i c t h a r m o n y. T h e
E g yp t i a n a r t d i d n o t c h a n g e m u c h t h r o u g h t h e ye a r s , g i v i n g u s a t o n e o f s t a b i l i t y
a n d a v i e w o f t h e c o n s e r v a t i v e n a t u r e o f t h e a n c i e n t s o c i e t y. A l l f i g u r e s w e r e
constructed with the same characteristics, however the identity of each one
figure can be understood by the size, color, emblems and generally by the
thematic concept of the scene. For example, the pharaoh and the divinities
a l w a ys w e r e d e p i c t e d l a r g e r t h a n c o m m o n p e o p l e w e r e 98, a n d t h e w o m e n , e v e n i f
t h e y w e r e g o d d e s s e s , w e r e a l w a ys a s t e p b e h i n d f r o m t h e m a l e g o d o r p h a r a o h .
T h e a n c i e n t E g yp t i a n a r t c a n b e d i v i d e d i n t o t w o c a t e g o r i e s :
The two-dimensional and
The three-dimensional
2.1.1. The two-dimensional art
The two-dimensional art mainly depicted the ideal elements of an object or a
figure. It was about their quintessence of things and not a faithful
r e p r e s e n t a t i o n . T h i s s e l e c t i o n c l a s s i f i e s t h e t w o - d i m e n s i o n a l E g yp t i a n a r t i n t h e
c o n t e x t o f m o d e r n d a y’ s a b s t r a c t a r t , s i n c e e x t e r n a l p h ys i c a l r e a l i t y i s n o t
t h e r e 99. I n t h e t w o - d i m e n s i o n a l a r t a r e i n c l u d e d b o t h r e l i e f s c u l p t u r i n g a n d w a l l
painting.
The Two-dimensional representation had two techniques, painting (coloring and
d r a w i n g ) 100 a n d t h e r e l i e f s c u l p t u r i n g ( b a s o r r a i s e d a n d s u n k r e l i e f ) 101. D u r i n g
the Old Kingdom (2705-2180 BCE) the artist to create a work of art, whether it
w a s a w a l l p a i n t i n g o r a r e l i e f , p a i n t e d h o r i z o n t a l a n d v e r t i c a l g u i d e s 102 t o s h a p e
the scene. From the Middle Kingdom and afterwards the use of the grid
t e c h n i q u e w a s p r a c t i c e d , w h i c h w a s b e i n g u s e d o n t h e w a l l p a i n t i n g s 103. I n t h e
e n d o f 1 8 t h D y n a s t y , t h e f i g u r e s w e r e d o n e b y h a n d 104. T h e u s e o f g u i d e s o r g r i d
aim ed at creating s ym m etr y and gro upi ng the fi gures . The hum an fi gure was
98 Watts, 1998, p. 44
99 Chilvers, 2009, p. 2 and Manley, 1996, p. 83
100 B r y a n , 2 0 1 4 , p . 9 9 4
101 H a r t w i n g , 2 0 0 1 , p . 2
102 W a t t s , 1 9 9 8 , p . 3 8
103 H a r t w i n g , 2 0 0 1 , p . 2 , R o b i n s , 1 9 9 7 , p . 2 7
104 R o b i n s , 2 0 0 1 , p . 6 1 , Κ ε κ έ ς , 2 0 1 5 , p . 2 1
32
s e p a r a t e d i n 1 8 s q u a r e s , f o r t h e s t a n d i n g , a s a l s o f o r s e a t i n g f i g u r e s 105, f r o m t h e
l e g s u p t o t h e h e a d 106, p r o v i d i n g s t a b i l i t y o f b o d y a n a l o g y. T h e f o r e h e a d w a s n o t
part of the square because there were plenty of crowns and hair accessories. In
the painting, lines were used to separate the colors and to create the desirable
f o r m 107. F o r t h i s r e a s o n , w h i l e o b s e r v i n g t h e E g yp t i a n p a i n t i n g s , t h e i n t e n s e u s e
of the contour and the coloring is being perceived.
The relief sculpturing, most of the time, before painted was carved and
s m o o t h e d w i t h a l a ye r o f p l a s t e r 108. O t h e r w i s e , i f t h e s u r f a c e w a s n o t c a r v e d
b e f o r e p a i n t e d , t h e a r t i s t a p p l i e d s e v e r a l l a ye r s o f m u d p l a s t e r t o c r e a t e a f l a t
plane. The ancient artist was interested more in what was vital and not in what
w a s o b j e c t i v e 109 a n d h e p a i n t e d e v e r yt h i n g f r o m t h e i r c h a r a c t e r i s t i c s i d e 110. L e g s ,
arms depicted from the inner side, the head was in profile, but the torso and the
e ye w e r e p a i n t e d f r o n t a l . T h i s w a s t h e t yp i c a l c a n o n a n d t h e i d e a l f o r m . T h e
f i g u r e s a n d t h e s c e n e s w e r e p l a c e d i n h o r i z o n t a l z o n e s 111 i n o r d e r t o h a v e
balance, an element that stems from their own religion. Besides, we should
remember that the funerary art was made in order to be seen by the gods and the
deceased and not by the living.
I n b o t h b a s a n d s u n k r e l i e f t h e d e p t h o f e n g r a v i n g , w a s m a i n l y 2 . 5 0 c m 112, a n d
t h e c h a r a c t e r i s t i c s w e r e a l w a ys c r e a t e d u s i n g t h e b a s - r e l i e f t e c h n i q u e . E x a m p l e s
of the first technique have been found in the early Dynasties and already in the
3 r d D y n a s t y t h e r e l i e f s c u l p t u r i n g w a s c o v e r i n g t h e t e m p l e s a n d t h e t o m b s 113. O n
t he cont rar y, wi th t he pai nt ing t ech niq ue t he reli ef s culpturi ng was a t eamwork.
One artist made the sketch, using brush and ink, another made the sculpture and
s o m e o n e e l s e p a i n t e d i t 114.
The colors were placed to give life and to contribute to the story of the scene.
T h r o u g h t h e h u e o f c o l o r s , o n e c a n d i s t i n g u i s h t h e d e i t y, P h a r a o h a n d t h e
foreigners too. Colors can also show the knowledge gained through long-term
o b s e r v a t i o n , a s i t h a p p e n e d i n t h e c a s e o f t h e b l a c k c o l o r , w h i c h s ym b o l i z e s
f e r t i l i t y a n d r e g e n e r a t i o n . T h i s s ym b o l i s m d e r i v e s f r o m t h e d e p o s i t i o n o f t h e
considered a divine metal. Hathor’s sacred ore was turquoise. A solar substance can be identified in
red gran it e. Black was asso ci ated with fert ility an d und erwo rld. Wood was sacred for Isi s, Nun and
Hathor, Kozloff, 2001, p. 219
127 K o z l o f f , 2 0 0 1 , p . 2 1 9
128 B u n s o n , 2 0 0 2 , p . 4 8
129 K o z l o f f , 2 0 0 1 , p . 2 2 0
130 B u n s o n , 2 0 0 2 , p . 8 7 5
131 K o z l o f f , 2 0 0 1 , p . 2 1 9
132 B a k i r , 1 9 6 7 , p . 1 6 0
35
t o t he s tory, a be gi nni ng and an end. However, even st atues had t he s ame
p r i n c i p a l s f o r b a l a n c e a n d s ym m e t r y.
There were many statue categories, those of humans and human’s world (royal,
private statues) and those of the divine (cult, votive, guardian statues). The
o l d e r e x a m p l e o f a r o ya l s t a t u e w a s t h e s p h i n x , a c o m b i n a t i o n o f h u m a n a n d
a n i m a l e l e m e n t s 133, e m p h a s i z i n g t h e i m p o r t a n c e o f t h e k i n g a n d h i s d i v i n e
lineage. Other forms were the mummiform k i n g 134, his coronation, the
o f f e r i n g / a d o r i n g k i n g b e f o r e t h e g o d s 135 a n d t h e o n e w i t h a m a g i c a l e n g r a v e d
f o r m u l a 136.
Many artists and different workshops can be identified by the statue’s facial
d i f f e r e n c e s . U p p e r E g yp t f o l l o w e d t h e t r a d i t i o n a l s t yl e a n d w a s l e s s o p e n t o
a r t i s t i c i n n o v a t i o n t h a n L o w e r E g yp t . H o w e v e r , d i f f e r e n t s t yl e s w e r e i n t r o d u c e d
during the ruling of each pharaoh, from a pessimistic (e.g. Senwosret III,
A m e n e m h e t I I I ) a n d e x a g g e r a t e d s t yl e ( e . g . A k h e n a t e n ) t o N e g r o i d a n d f i n a l l y,
t o t h e G r e e k s t yl e 137.
T he non-ro yal st atues rel ated to t hos e of t he nobl es as well as to t he m ass
p r o d u c t i o n o f f i g u r i n e s o f e v e r yd a y l i f e , w h i c h d i d n o t r e l a t e t o a n y p a r t i c u l a r
person. These figurines were perhaps created either for an individual use or for a
votive one. The noble’s statuary had various representations but never depicted
w i t h r e g a l i a o r s p h i n x ; t h e s e t w o w e r e f u l l y a s s o c i a t e d w i t h t h e k i n g 138.
T h e d i v i n e r e p r e s e n t a t i o n i s m o r e c o m p l e x t h a n t h a t o f t h e r o ya l ; d e i t i e s c a n b e
depicted in full y human or animal form, half-human and half-animal. In some
cases, when they are in fully human form they can be identified only by their
h i e r o g l yp h i c n a m e . T h i s d i f f i c u l t y a l s o e x i s t s d u r i n g t h e N e w K i n g d o m a n d
afterwards, when many gods manifested themselves in the form of other gods, or
manifested themselves at an older age.
The cult statues were placed in the sanctuary of the temple, and were only seen
b y t h e h i g h p r i e s t s 139. T h e v o t i v e s t a t u e s w e r e t h e m o s t c o m m o n s t a t u e t h a t
a r c h a e o l o g i s t s c o m e a c r o s s 140, d u e t o t h e f a c t t h a t h u m a n i t y a l w a ys n e e d s
s o m e t h i n g t o p r a y t o a n d a l w a ys h a s t h e n e e d t o b e h e a r d .
185 Layers of plastered, painted and varnished linen wrapped around the deceased’s body.
186 EC, n.d.
44
h a i r s w i t h t h e i r b r e a s t s o u t s i d e . H u n e f e r ’ s w i f e , N e s h a 187, i s t h e o n e k n e e l i n g .
Behind them are two smer p r i e s t s 188, holding the rituals implements and
purification vessels and the sem priest is at the end of the scene. The elaborate
i l l u s t r a t i o n o f t h i s p a p yr u s d e r i v e s f r o m t h e i m p r e s s i o n o f a p a l e p i n k s k i n u n d e r
t h e d r e s s 189.
T h e l a s t s c e n e c o m e s f r o m t h e t o m b o f M a ya a t S a q q a r a 190 ( 1 9 t h D yn a s t y. F i g u r e
2 8 ) . T h e b a s - r e l i e f d e p i c t s t h e g o d A n u b i s h o l d i n g t h e m u m m y o f M a ya 191, t h e
vet nurse of Tutankhamen. Before the mummy of Maya is a priest holding the
M e s k h e t yu i m p l e m e n t ; a t t h e b o t t o m o f t h e m u m m y a r e p r a ye r s g i v i n g h e r
offerings. At the top is another priest holding a vessel for purification purposes
and alongside him is another one in a summoning gesture.
2.2.2. Rebirth manifestations: Anubis with the lunar disk
The scene of Anubis rolling the lunar disk confused many Egyptologists about
its real nature. As Naville underlines, this scene of Anubis can be found in all
mammisi (birth-temples). In addition, he points out that it is the depiction of the
m o o n 192. Rolling the disk, Anubis rejuvenates the moon, meaning the
a r r a n g e m e n t o f t h e g o d s ’ t i m e 193 a n d c yc l i c a l r e b i r t h 194. M o r e o v e r , t h e m o o n h a s a
close association with Osiris and a stela of Ramesses IV states that “is the body
o f O s i r i s ” . T h e a s s o c i a t i o n o f t h e m o o n w i t h t h e d e a d o c c u r s a l s o i n P T , C T 195
a n d B D 196, b u t t h i s t h o u g h t i s n o t f u l l y a c c e p t e d . H o w e v e r , n o o n e c a n d e n y t h e
fact that Anubis was the one who attended Osiris, mummified and resurrected
him, therefore, an Osiris-moon connection could the case. A close parallel of
t h i s s c e n e i s a n s w e r e d i n t h e B o o k o f t h e E a r t h f r o m t h e s u n - g o d R a 197.
From the temple of Dendera (Figure 29) and Deir el-Bahari (Figure 30) comes
an image of Anubis rolling the lunar disk. In the latter, Anubis takes part in
from their facial characteristics. Specifically, he said, “The extraordinary thing is that they are
very similar. They have the same chin, the eyes, the family traits” Mortimer, 2015.
192 T h e m o o n i s c o n s i d e r e d t h e m a n i f e s t a t i o n o f t h e g o d T h o t h t h a t a p p e a r s i n t h e e a r l y e v e n i n g
Richter, 2012, p. 89. Also it was thought to be the god Khonsu, a moon god, whose manifestation
was a baboon Hart, 2005, p. 86. Moreover, in a cosmic aspect, Horus’s left eye is the moon and his
right is the sun Hart, 2005, p. 74. This links to the rejuvenation of royal power after the battle with
Seth, in which he gained his eyes back Kaper, 2001, p. 481.
193 N a v i l l e , 1 8 9 7 , p . 1 8
194 R i t n e r , 1 9 8 5 , p . 1 5 1
195 R i t n e r , 1 9 8 5 , p . 1 5 3 , K a p e r , 2 0 0 1 , p . 4 8 1 , “ I k n o w t h e s o u l s o f t h e N e w m o o n : t h e y a r e O s i r i s ,
p. 1615, usually used for the moon, Renouf & Naville, 1904, p. 299.
197 R o b e r s o n , 2 0 1 4 , p . 2 2 8 a n d R o b e r s o n , 2 0 0 7 , p . 2 5 0
45
H a t s h e p s u t ’ s d i v i n e b i r t h 198. I n a n o t h e r d e p i c t i o n f r o m E d f u , w h i c h i s t h o u g h t t o
b e t h e l u n a r d i s k , A n u b i s ( F i g u r e 3 1 ) i s i n f r o n t o f O s i r i s a n d I s i s i s h o l d i n g 199 a
s m a l l d i s k 200. I n t h i s s c e n e , m o s t l i k e l y a s D a u m a s b e l i e v e d , A n u b i s i s h o l d i n g a
tambourine and not actually the lunar disk, for the pleasure of Isis’s son. This
belief comes from his posture’s difference with the other two scenes, in which
Anubis is rolling the disk. In the first two, Anubis is bending over the disk, as
h e u s u a l l y d o e s d u r i n g t h e e m b a l m i n g o n t h e d e c e a s e d b i e r 201. A p a r t f r o m t h e s e ,
i f w e c o m p a r e t h e i m a g e o f t h e g o d B e s 202 f r o m t h e N e w K i n g d o m ’ s c h a i r o f
Satamon (Figure 32), to Edfu’s scene,we can easily see the similarities between
t h e t w o g o d s . B e s w a s t h o u g h t a s t h e p r o t e c t o r o f c h i l d b i r t h 203 a n d h e r e , o n a
series of musical scenes, he is holding a tambourine. Therefore, in the Edfu
c a s e , A n u b i s i s d e p i c t e d a s p a r t o f a m u s i c a l t h e m e t o c o m f o r t t h e yo u n g s o n o f
I s i s . S p e a k i n g a b o u t p o s t u r e d i f f e r e n c e s , a c a r t o n n a g e s c e n e 204 f r o m M i r ( L a t e
P e r i o d ) d e p i c t s A n u b i s c a r r yi n g t h e l u n a r ( s o l a r ? ) d i s k ( F i g u r e 3 3 ) , i n w h a t
seems to be the echo of the rejoice gesture. Here, Anubis is in a different
posture from all the previous ones. It is like he is giving or bringing the light
(life?) to the dead one.
2.2.3. Anubis’s alternative manifestations
Pantheistic manifestations
T h e m o s t k n o w n r e p r e s e n t a t i o n o f h i s p a n t h e i s t i c f o r m i s H e r m a n u b i s 205, a
combination of Anubis and the Hellenic god Hermes. Although Hermes is
considered the Egyptian god Thoth, his divine role as psychopompos related him
to Anubis. An example of this union is a marble statue (Figure 34), 125 cm high,
d a t e d i n t h e 2 n d c e n t u r y B . C . E . , w i t h H e l l e n i c s t yl e f e a t u r e s a n d t u n i c . I n h i s
h e a d h a s a v e s s e l n a m e d “ κ ά λ α θ ο ς ” , w h i c h w a s a H e l l e n i c c r a t e r t yp e v e s s e l a n d
he holds a palm fan. In Hermanubis’s feet a dog is looking towards him. Its feet
t o u c h g e n t l y h i s f o o t , i n a j u b i l a t i o n g e s t u r e ( ? ) 206.
the Glorifications”, Wilkinson, 1999, p. 193. One arm was bent parallel to the torso and the palm
closed to a punch, while the other was raised and closed to a punch, was bent parallel to the
shoulders and the head was at the side. This gesture mi ght be for welcoming or to applause, Reidy,
46
A unique piece of statue showing Anubis in pantheistic representation (Figure
35) comes from the Ptolemaic period. The bronze statue. The figure, 18.4 cm
h i g h , w e a r s t h e a t e f c r o w n 207 o f O s i r i s , w i t h t h e n a k e d b o d y o f B e s 208. I t h a s t w o
heads, one of a jackal (Anubis) and one of a ram (Re) and a falcon’s tail
(Horus), which can be seen at the back of the figure, as also the remains of an
attribute in its right hand. The figure stands on two crocodiles, on a corroded
r e c t a n g u l a r b a s e 209.
Other animal-headed manifestations
An unusual representation of what it seems to be Anubis comes from the tomb
of Ramesses I (KV16). In the niche beneath the 4th Hour of the Book of Gates,
behind Rammeses-Osiris, is a ram-headed deity (Figure 36) in the protective
gesture. In front of Ramesses-Osiris is a uraeus, named Mereret. The thought
that this deity is the god Anubis comes from the epithet “he who is in the divine
b o o t h ” , a n e p i t h e t a s s o c i a t e d w i t h A n u b i s a n d h i s e m b a l m i n g r o l e s 210.
From Osiris’s chapel at Dendera, Anubis (Horus-Anubis of This) is depicted
f a l c o n - h e a d e d a l o n g s i d e A n u b i s o f C yn o p o l i s a n d A n u b i s o f e l - H i b a 211. T h e
chapel’s frieze depicts the first spirits being sent by Osiris to protect the
res urrect ion from the Typhoni an one. Thes e s pi rit s are repres ent ed i n the form
o f b i r d s a n d t h e y a r e t h e f i r s t n o m e s o f E g yp t 212 ( F i g u r e 3 7 ) .
L a s t l y, a r e p r e s e n t a t i o n o f A n u b i s w i t h a d o n k e y- l i k e ( ? ) h e a d i s s h o w n o n t h e
d o o r p i l a s t e r o f N t e m k h e r ’ s p yr a m i d i n t h e n e c r o p o l i s o f K u s h ( 3 r d c e n t u r y
B.C.E.). The donkey-head Anubis (Figure 38) is wearing a long kilt with his legs
slightly bent; in his hands he holds a purification jar, with its liquid fallen to
t h e g r o u n d 213.
Human manifestations
The depictions of Anubis in fully human form are very rare. An example comes
f r o m S e t i ’ s h y p o s t y l e h a l l a t h i s t e m p l e a t A b yd o s , d a t e d i n 1 2 9 0 - 1 2 7 9 B . C . E .
( 1 9 t h D yn a s t y , N e w K i n g d o m ) . I n t h e 1 s t a n d t h e 2 n d h yp o s t yl e h a l l i n t h e b o t t o m
r e g i s t e r a r e t h e 4 2 n o m e s o f t h e a n c i e n t E g yp t , r e p r e s e n t e d b y t h e i r p a t r o n
2010, p. 216 the pharaoh or the sun god Hodel-Hoenes, 2000, p. 136. The gesture means “praise”,
Wilkinson, 1999, p. 193 and it was mostly performed by the “Souls of Pe and Nekhnen”.
207 D u r i n g t h e c e r e m o n i e s w a s u s e d t h e w h i t e c r o w n w i t h o s t r i c h f e a t h e r s i n e i t h e r s i d e .
208 A s i m i l a r i m a g e i s d a t e d a t 2 5 0 - 1 0 0 B . C . E . a n d d e p i c t e d B e s , A m u n ’ s c r o w n , H o r u s a n d A n u b i s .
WMA, n.d.
209 C h r i s t i e s , 2 0 1 6 , p . 5 8
210 B e n d e r i t t e r , n . d .
211 K a p e r , 2 0 0 8 - 2 0 0 9 , p p . 3 5 - 3 6
212 M a r i e t t e , 1 8 7 5 , p . 2 7 6
213 d i L u i g i , 2 0 1 6 , p . 2 4
47
d e i t y 214, a n d e a c h o n e i s k n e e l i n g i n a f u l l y h u m a n f o r m ( F i g u r e 3 9 ) . E a c h g o d i s
in the offering gesture, giving gifts to the king, as a propagandistic evidence of
unity and of the king’s power. The upper registers depict Seti and his son,
R a m e s s e s I I . A n u b i s i n h i s h u m a n f o r m i s i n t h e 2 n d h y p o s t yl e h a l l o f S e t i ’ s I
temple, bringing a lotus gift (?) to the king. On his head he has the sign of the
1 7 t h n o m e - s y m b o l o f U p p e r E g yp t ( C y n o p o l i s ) 215, a r e c u m b e n t c a n i d a t t a c h e d o n
t h e n o m e ’ s h i e r o g l y p h i c ( t h e s i g n N 2 4 ) 216.
Another example of Anubis’s human form (Figure 40) comes from Ramesses II
c e n o t a p h t e m p l e a t A b y d o s ( 2 n d O c t o s t yl e C o u r t ) 217. I t i s d a t e d i n 1 2 7 9 - 1 2 1 3
B.C.E. (19th D yn a s t y , New Kingdom), made from a ye l l o w - w h i t e glazed
l i m e s t o n e 218, u s i n g t h e b a s - r e l i e f t e c h n i q u e . A n u b i s i s e n t h r o n e d i n a b l o c k
throne holding the ankh and the was-scepter. It is a splendid ex ample, in which,
e v e n n o w , w e c a n f e e l t h e w a r m c o l o r , a s i f i t w a s p a i n t e d t o d a y. T h e c o l o r s a r e
so real that we can understand even the material that is being depicted, e.g. the
turquoise was-scepter is like mimics the faience. The figures, more than ever,
have plasticity and stand imposing in the area.
2.2.4. General manifestations: Anubis in different postures and gestures
Recumbent posture
The most recognized posture of Anubis is the recumbent one, especially that of
T u t a n k h a m e n , a n d h e u s u a l l y w o r e a c o l l a r a n d h a d f r a i l a t t a c h e d t o h i s b a c k 219.
This depiction was also used as a seal in order to protect the tombs from the
looting. In the tomb of Nefertari (Figure 41) in the corridor to Chamber C
A n u b i s i s s e a t e d o n a s h r i n e w i t h g o l d m a g i c a l c o l l a r 220, r e d s a s h a n d g o l d f r a i l
on his back and is represented on both walls of the corrindor (west and east) to
e n s u r e h e r a d u p l e x p r o t e c t i o n t o t h e A f t e r l i f e 221. T h i s p o s t u r e i s a s s o c i a t e d w i t h
t h e r i t u a l s o f m u m m i f i c a t i o n a n d w a s c o n s i d e r e d s a c r e d a n d s e c r e t 222.
Another depiction comes from the Middle Kingdom amulet (Figure 42) of
A n u b i s o n a s h r i n e . I t i s d a t e d a p p r o x i m a t e l y i n t h e 1 2 t h D yn a s t y o r t h e e a r l y
1 3 t h a n d f o u n d a t A b yd o s ( C e m e t e r y V , T o m b V 2 1 ) . T h e s k e t c h y a m u l e t i s m a d e
214 A similar example is attested in the temple of Ramesses II at Abydos, located in the 1st
Octostyle court Ossian, 2008, p. 44.
215 V i s i t 3 6 0 o , n . d .
216 G a r d i n e r , 1 9 5 7 , p . 4 4 8
217 O s s i a n , 2 0 0 8 , p . 4 6
218 O s s i a n , 2 0 0 8 , p . 3 9
219 D o x e y , 2 0 0 1 , p . 9 7
220 H a r t , 2 0 0 5 , p . 2 5
221 M c D o n a l d , 1 9 9 6 , p . 8 7
222 P i n c h , 2 0 0 2 , p . 1 0 4
48
from silver and its height is 6.8. The ears are addressed semicircular and the
thin body ends to a bushy tail. Up to his right feet has a small rectangular hole,
for the strap. The shrine is made only schematically with two horizontal bases
and two vertical surbases forming a square. The interior of the square has two
opposite openwork spiral.
Standing posture
T h e s t a n d i n g p o s t u r e i s u s e d f r o m t h e 2 n d D yn a s t y a n d o n w a r d s a n d m a yb e w a s
thought to give hope and wellbeing, considering the depiction of the ankh which
generally the god holds.
A bronze statuette of Anubis, 20.8 x 14.4 x 5.3 cm (H x W x D) depicts the god
i n s t a n d i n g p o s t u r e . I t i s d a t e d i n 7 4 7 - 5 2 5 B C E ( 2 5 t h - 2 6 t h D yn a s t y, T h i r d
Intermediate Period-Late Period) and found at Karnak. Anubis stands in front of
p r a ye r ( F i g u r e 4 3 ) m a k i n g a s t e p f o r w a r d w i t h h i s l e f t f e e t . I n t h i s s t a n d i n g
posture he usually holds an ankh and the was-scepter, both of them now lost. He
stands on two structures. The one ends in two cobras, which are wearing the Red
Crown of Lower Egypt and the White Crown of Upper Egypt. The other structure
e n d s t o t h e k n e e l i n g p r a y e r , w h o s t a n d s u p o n a r e c t a n g u l a r b a s e . A n u b i s ’ s e ye s
w e r e i n l a i d w i t h g o l d a s w e r e s o m e o t h e r p a r t s o f h i s b o d y . H e w e a r s t h e s h e n d yt
kilt and has bracelets in his arms. This statue is a dedication to Wdja-Hor-
r e s n e t , w h o i s h o p i n g A n u b i s t o g i v e h i m a g o o d l o n g l i f e 223. I n a s a m e s c e n e
from the Horemhed’ wall painting, Anubis stands before the latter ready to
r e c e i v e h i s o f f e r i n g s 224.
A n o t h e r t y p e o f s t a n d i n g p o s t u r e ( F i g u r e 4 4 ) c o m e s f r o m a l i m e s t o n e p yr a m i d a l
s t e l a , 2 7 . 5 x 3 4 . 5 ( H x W ) , d a t e d i n 1 8 t h D yn a s t y ( N e w K i n g d o m ) 225. O s i r i s a n d
Anubis are standing on a base, with their backs turned to each other. Between
them is the djer pillar with the ankh on the top. The two gods are holding a
scepter and are looking at the two worshipers who are masking in the adoration
g e s t u r e . T h e i n s c r i p t i o n s a ys “ A d o r e O s i r i s , b y t h e g o l d s m i t h ’ s f o r e m a n . ( A d o r e )
Anubis, by the goldsmith’s foreman”.
Enthroned posture
T h e s i g n i f i c a n c e o f t h e k i n g , r o ya l m e m b e r s a n d d e i t i e s a r e a l s o d e p i c t e d i n t h e
enthroned posture, in which only they could ever sit; commoners were sitting on
232GEM, n.d.
233Willockx, 2007, p. 52
234 G E M , n . d .
235 T w o w i n g e d p o s t u r e s c o m e s f r o m O s i r i s ’ s c h a p e l a t D e n d e r a , i n w h i c h A n u b i s h a s a c a n i d a n d
falcon head and body of bird, symbolizing the first nomes of Egypt, Mariette, 1873, pp. 43, 44, Pl.
40.08 and PL. 41.18.
236 M a r i e t t e , 1 8 7 5 , p p . 2 8 4 - 2 8 5
51
Another representation that depicts Anubis as warrior comes from the walls of
Alexandria’s catacombs. Anubis is the armored guardian of Osiris with his lower
b o d y b e i n g t h a t o f a s n a k e 237.
Embraced gesture
A n u n u s u a l r e p r e s e n t a t i o n c o m e s f r o m t h e s t a t u e o f A n g e r i a u t e f , a r o ya l s c r i b e
o f R a m e s s e s I I ( F i g u r e 5 1 ) , a t S a q q a r a ’ s n e c r o p o l i s , d a t e d i n 2 4 t h D yn a s t y . T h e
limestone statue, 129 x 43 cm (H x W), represents a seated Angeriautef holding
a block, which depicts the enthroned Anubis and Hathor, embracing each other.
This statue seems to be an artistic rebel, with the two embracing gods, declaring
a u n i t y a n d e q u a l i t y . W i t h a q u i c k s u r v e y o f a n c i e n t E g yp t i a n a r t , i t i s
conceivable that the female figures, even if they were goddesses or queens, were
a l w a ys a s t e p b e h i n d t h e k i n g o r g o d .
Purification gesture
The purification of the deceased was a stage in both mummification and rituals.
An elaborate statue of Anubis depicts him, with raised hands and the palms
l o o k i n g d o w n m a k i n g t h e p u r i f i c a t i o n a n d t r a n s f i g u r a t i o n g e s t u r e 238 ( F i g u r e 5 2 ) .
The statue, 42.3 x 0.1 x 20.7 cm (H x W x D), from unknown provenance, dated
in 304-30 B.C.E. (Ptolemaic Period). It is made of wood painted and plastered,
with intense colors like blue, red, gold and black. He has a colorful corselet and
a ceremonial multicolor kilt painted with geometric motifs. He wears golden
brassards and blue long nemes. Anubis stands upon a rectangular base decorated
wit h a s ym boli c “f als e door ” patt ern. However, this gesture might be the
adoration gesture (or a combination of purification and adoration getsure),
which usually is encountered in false door’s pilaster, as also in stelae and
c h a p e l s 239. I t w a s u s e d f r o m t h e l a t e O l d K i n g d o m a n d w a s a l w a ys r e f e r r i n g t o a
g o d ’ s n a m e m a i n l y t o O s i r i s o r A n u b i s a n d t h e o f f e r i n g f o r m u l a 240. Anubis is
making this gesture in front of Osiris or some other god, who is pictured larger
i n s c a l e , m e a n i n g t h a t t h e y a r e m o r e i m p o r t a n t t h a n h e i s 241.
Another purification gesture comes from the Tentosorkon’ Book of the Dead
( F i g u r e 5 3 ) , d a t e d i n T h i r d I n t e r m e d i a t e P e r i o d , m a yb e f r o m T h e b e s . T h e
p a p yr u s i s p a i n t e d w i t h b l a c k , b l u e , y e l l o w , w h i t e a n d r e d p i g m e n t s . A n u b i s i s a t
the top of the papyrus with blue nemes, black face, his naked parts red-brown,
Curved tail
© Ischlondsky, 1966, p. 27
Narrow tail
© T he Fitzwilliam Museum.
Inventory number: E.GA.4315.1943
56
FIGURES
Fig ure 9 Det ail. Hunting scene wit h ca nids (?) from t omb 10 0 in Hierakonpo lis © Case
& Crowfoot, 1962, p. 6 (modified by the author)
Figure 10. Detail. Lion and canid (?) Figure 11. Canid and bird (falcon?). Tomb
fro m to mb 100 in Hierakonpolis © Case Uj at Abydos © Rice, 2006, p. 35
& Crowfoot, 1962, p. 6, (modified by the
author)
57
Fig ure 12. Seal from Tomb U- j at Figure 13. Seal from the mortuary temple of
Abydos © Wegner, 2007, p. 482 Senwosret III © Wegner, 2007, p. 486
Figure 14. Canines in Figure 15. Souls of Figure 16. 2nd Dynasty’s bowl
henu gesture (?). Naqqada Nekhen © Hart, 2005, frag ment with repr esentat ion of
I © Rice, 2006, p. 29 p. 153 Anubis (?) © DuQuesne, 2005, p. 94
58
Figure 18. The coffin of
Tanakhtnettahat © Michael C.
Carlos Museum. Inventory Number:
1999.001.017C
Figure 19. Detail. The coffin of Tanakhtnettahat © Michael C. Carlos Museum. Inventory
Number: 1999.001.017C
Fig ure 21. M ummy Cof fin of Pe dusiri, Late Dy na stic (712–
323 BC) © Milwaukee Art Museum. Inventory number:
M1967.20. Photo credit: Michael Tropea
59
Fig ure 22. Detail. Mummy Coffin of Pedusiri, Late Dynastic (712 –323 BC) © Milwauke e
Art Museum. Inventory number: M1967.20. Photo credit: Michael Tropea
Fig ure 23. Fra gme nt of coff in © Museum of Fine Figure 24. Cartonnage with the
Artsin Budapest. Invertory number: M19 67.20. P ho to embal ming scene © Egypt Ce ntre
credit: Michael Tropea - Canolfan Eifftaidd. Inventory
number: W894
60
Figure 26. Detail. Tomb of
Roy. The “Opening of the Figure 27. Hunefer’s “Opening of the Mouth” ritual
Mouth” ritual. © Mick © James, 1985, p. 55
Palarczyk and Paul Smit
Figure 28. “Opening of the mouth“ ritual from the Figure 29. Anubis rolling the
Lunar disk from Dendera
tomb of Maya © Mortimer, 2015
© Ritner, 1985, p. 150
61
Fig ure 30. Anubis rolling the lunar disk fro m the Deir el-Ba hari ma missi
© Naville, 1897, p. 18
Figure 31. Anubis from the mammisi Figure 32. Bes from the New Kingdom’s chair of
Sata mon
of Edfu © Ritner, 1985, p. 150
© Davis, Maspero, Newberry, 1907, p. 39 (modified
by the author)
Figure 33. Anubis carrying the Fig ure 34. Her manubis © T he Bib liotheca
lunar (?) disk for Mir Alexandrina Antiquities Museum. Inventory
© Kunsthisto risches Museum. number: T0019
Inventory number: 3855
62
Figure 35. Pantheistic posture Figure 36. Ram-headed representation
© Christies, 2016, p. 58 (modified by the © Unidia-Bruno Sandkühler
author)
Fig ure 39. Human repr esentation in off ering s Fig ure 40. Human
repr esentation, from Ramesses
gesture, from Seti’s I temple at Abydos © Visit 360o
II t emple at Abydos. © (Dunn &
Rome, n.d.)
63
Fig ure 42. Rec umbent postur e
Fig ure 41. Rec umbent postur e. To mb of Nefe rtari. ©
of Anubis. © The Metropolitan
3d representation (Hirst, n.d.) for OsirisNet
Museum of Art. Inventory
Number: 04.18.9
Figure 43. Standing posture © The Figure 44. Standing posture © from T GEM, n.d.
Walters Museum of Art. Inventory Museo Archaeologico Nazionale. Invetrory Number:
number: 54.400 2570
64
Figure 47. Squatting posture
cartonnage’s fragment © The
Trustees of the British Museum.
Inventory number EA66641
Figure 48. Winged posture © from T GEM, n.d. Kunsthistorisches Museum. Inventory
number: 3855
Figure 49. Detail. Winged posture Figure 50. Anubis with knives
© from TGEM, n.d. Kunsthistorisches
© Mariette, 1873, p. 64. Pl. 61a, (modified
Museum. Inventory number: 3855
by the author)
65
Figure 51. Embrasing gesture of Figure 52. Anubis in Figure 53. Detail.
the Angeriautef’s tomb statue © purification gesture. © The Anubis in
di Luigi, 2016 Metropolitan Museum of Art. purification
Inventory Number: 38.5 gesture. © The
Trustees of the
British Museum.
Inventory Number:
EA 9919.2,
(modified by the
author)
Figure 54. Supportive gesture from Fig ure 55. Pro tect ive gesture of Ramesses’ I
Horemhed’s t omb © Ber na rd M. Adams tomb © Unidia-Bruno Sandkühler
66
Fig ure 56. Escord and Summoning Figure 57. The “breath of life” gesture from
gesture of Anubis from Tatiaset’s Neuserra’s relief © Robins, The Art of Ancient
stela © The Metropolitan Museum of Egypt, 1997, p. 18
Art. Inventory Number: 22.3.33
Figure 58. Greeting gesture © Scalf, Figure 59. Greeting gesture © Demas & Agnew,
2017, p. 346 2012, p. 70
67
3. THE MANIFESTATIONS OF ANUBIS IN THE LITERARY SOURCES
3.1 Divine Epithets of Anubis in the Literary Sources
The role of the epithets is to frame the manifestation, the appearance,
genealogy and the cult of the deity and often multiple deities could share the
same epithet. The epithets (Table 4) were distinguished by Kurth in two
c a t e g o r i e s , t h e p e r s o n a l e p i t h e t s ( t h e d e i t y’ s a s p e c t a n d a p p e a r a n c e ) a n d t h e
s i t u a t i o n a l e p i t h e t s ( e p i t h e t s a s s o c i a t e d w i t h t h e a c t i v i t i e s o f t h e d e i t y) 257.
3.1.1. Natural epithets
N a t u r a l a n d f u n c t i o n a l e p i t h e t s 258: t h e s e e p i t h e t s c o n n e c t e d w i t h t h e m e a n i n g
o f t h e d e i t y ’ s n a m e , i n n e r d i v i n e a n d h u m a n a s p e c t a s s o c i a t e d w i t h t h e d e i t y, a s
t h e d e i t y’ s r o l e . E p i t h e t s f o r t h e i n n e r a s p e c t d e d i c a t e d t o A n u b i s a r e “ A n u b i s i s
s a t i s f i e d ” , “ A n u b i s i s s t r o n g ” , “ A n u b i s i s m i g h t y ” 259, a n d “ A n u b i s i s g l a d ” 260.
O s i r i s w a s t h e f i r s t m u m m i f i e d e n t i t y, a n d t h i s a c t o c c u r r e d b y A n u b i s . W i t h t h e
mummification, Osiris never fell into the eternal death, since, according to the
E g yp t i a n c o n c e p t , t h e p r e s e r v a t i o n o f t h e b o d y w a s c o n s i d e r e d t o b e n e c e s s a r y
because the deceased continued to live and move perpetually in Duat. Therefore,
epithets for Anubis’ role are “he who is upon his mountain”, regarded again as
t h e g u a r d i a n w h o o v e r l o o k s t h e n e c r o p o l i s f r o m t h e d e s e r t c l i f f s 261. S e n w o s r e t ’ s
III tomb is named “Mountain of Anubis”, refering to both in the tomb’s eclosure
and the epithet “he who is upon his mountain”, thus meaning the protector of the
t o m b s 262. A n o t h e r r e f e r e n c e t o t h i s e p i t h e t c o m e s f r o m L a t e D e m o t i c l i t e r a t u r e ,
depicting a healing role: “Anubis who is upon his mountain will come to you and
r e n e w e v e r y l i m b o f y o u r s ” 263.
In this category it is justified to be the mummification epithet of Anubis jnpw
w t , w h i c h c a n b e f o u n d o n C T I V , 3 7 5 ( S p e l l 3 4 5 ) 264 “ H o N ! A n u b i s t h e e m b a l m e r
has mummified you with his best embalming”. In addition to that, an epithet
refering the guardian role of Anubis during the mummification is jmj wt “he
w h o i s i n t h e p l a c e o f e m b a l m i n g ” 265 o r “ A n u b i s i n t h e p u r e p l a c e ” 266. T h e “ p u r e
looking at the oldest form of the word , the word‘s determinative is the
t o w n - s i g n . T h i s m i g h t a l s o b e r e f e r i n g t o t h e a r e a w h e r e t h e r i t u a l t o o k p l a c e 268.
T h e n e c r o p o l i s i s a h i g h l y p o t e n t i a l a r e a f o r t h i s a c t i v i t y, t h e s o u r c e o f w h i c h i s
t i t l e s a r e c o m b i n e d w i t h t h e v a r i e t y o f h i e r o g l yp h i c s i g n .
G e n e a l o g i c a l e p i t h e t s 296: t h e g e n e a l o g y r o o t s o f t h e d e i t y w i t h w o r d s a s
“father/mother/son of”. Epithets for the genealogy of Anubis comes from a
p a p yr u s ( L o u v r e N 3 1 7 6 ) w h e r e h e i s t h e s o n o f O s i r i s a n d B a s t e t , f r o m E d f u ’ s
mammisi comes the passage “Your (the king’s) purification is the purification of
A n u b i s , b o r n o f H e s a t ” 297 a n d f r o m M i d d l e K i n g d o m c o f f i n o f H e n u i : “ A n u b i s …
h i m w h o w a s i n t h e m i d d l e o f t h e m i d - h e a v e n , f o u r t h o f t h e s o n s o f R a … ” 298
From Pepi I (P 463) his daughter’s name is confirmed, “This Pepi will find
Q e b e h u t , A n u b i s ’ s d a u g h t e r , m e e t i n g h i m w i t h t h o s e f o u r w a t e r - j a r s o f h e r s ” 299.
T h e f o l l o w i n g p a s s a g e f r o m C T ( I , 2 2 8 - 2 2 9 ) 300 , a p a r t f r o m t h e r e f e r e n c e t o
Anubis’s father, who might be Osiris, as the lord of the gods, is also using other
epithets of Anubis as function and ownership epithets: “Thus has Atum said:
Awake, Anubis, Lord of Rokeret, because of this god, son of the Lord of the
72
M y t h i c a l a n d c o s m o g o n i c a l e p i t h e t s 313: t h e c o n t e x t o f t h e s e e p i t h e t s i s t o s h o w
t h e g o d ’ s s p l e n d i d n e s s . A m yt h o l o g i c a l e p i t h e t a s a l s o a c u l t o n e i s t h e e p i t h e t
“ A n u b i s r u l e r o f t h e B o w s ” 314. T h i s e p i t h e t e c h o e d t h e n i n e e n e m i e s o f E g y p t
(Haw nHw, Sat, tA Smaw, sxt jAm, tA mHw, pDtjw Sw, THnw,
j w n t y w s t j a n d m n t y w s t t 315) a n d h i s v i c t o r y u p o n t h e w i c k e d f o r c e s o f
D u a t 316. A n u b i s i s d e p i c t e d o v e r n i n e b o w s i n a s e a l , w h i c h u n d e r l i n e s h i s c o n t r o l
o v e r t h e i n t r u d e r s o f t h e t o m b 317.
The PT of Pepi I (P 31) mentioned that Anubis has the power to enlighten the
d e c e a s e d ’ s s p i r i t ( a k h i f y) b y c o m m a n d : “ T h e h o r i z o n s ’ d o o r h a s b e e n o p e n e d t o
you. Geb’s door has been pulled open to you. You shall emerge at Anubis’s
voice, and he will akhify you as Thoth, that you may part the gods and set the
borders of the (sky’s) arcs between the two Controlling Powers, by virtue of this
akhification that Anubis has commanded” 318
. In this passage, we also see Anubis
acting like Thoth, or a correlation of the two gods, to ensure the ankification.
The words “horizon”, “akhify”, which we sometimes see in the epithets, outline
resurrection abilities, sacred for and secret from the common people, knowledge
only for the gods and the priests. To establish his role, he carries epithets which
are associated with the deceased’s final places “desert”, “wt”, “west”, etc. The
face of Anubis, which a king has, might suggest the protective aspect of Anubis
during the animation of the soul. The commands of Anubis might be the divine
words full of magic to create a new life or an offering to feed the eternal soul.
All these epithets of Anubis prove his important role in the funerary rituals, as
also in rebirth and in the contexts of the Osirian circle.
Table 4. List of Anubis’s epithets
Transliteration Translation Category
jnpw wt Anubis the embalmer Functional
jmj wt He who is in the place of
embalming
Hry sStA He who is upon the secrets
jnpw tA wab Anubis in the pure place
jnpw Hr Anubis on his belly Functional/ Iconographical
Xt=f
jrj-mxAt He who belongs to the
scales
Tpy ḏw=f He who is upon his mountain Functional/ Iconographical
Chart 2
Anubis's Name PT Citation
Unis
Teti
Pepi I
Merenre
Pepi II
Neith
0 5 10 15 20 25 30 35 40 45
As it has already been mentioned in the Chapter 3.1, Anubis can akhify the
deceased’s spirit by command. This is an important role during the resurrection
74
a n d a d d r e s s e d t o A n u b i s , a n d m i g h t m e a n t h a t A n u b i s c a n u s e m a g i c 319 t o
transform the spirit. Other passages with Anubis’s magic come again from Pepi
I, where Anubis’s magic is stronger through repetition. Moreover, they state that
he can make the deceased a star and a morning god, achieving, for the
deceased’s soul, life in both day and night.
P e p i I ( P 3 3 4 ) 320 “ A s p e e c h ( a b o u t y o u ) h a s c o m e b e f o r e A n u b i s a n d y o u r
privilege has come from the mouth of Anubis: (your privilege of) Horus Thighs-
Forward, the one of the hobbles, lord of Rebellion-town; and the Nile-Valley’s
Jackal, administrator of the Elder Ennead”.
P e p i I ( P 4 8 4 ) 321 “ A n u b i s , f o r e m o s t o f t h e g o d ’ s b o o t h , h a s c o m m a n d e d t h a t y o u
descend as a star, as the morning god”.
P e p i I ( P 5 2 6 ) 322 “ A n u b i s a t t h e f o r e o f t h e g o d ’ s b o o t h w i l l c o m m a n d y o u r a k h
(to be) about you and your control within you, as you remain at the fore of the
controlling powers”.
A connection of Anubis with the sun’s course in the sky comes from Pepe I’s
P yr a m i d T e x t s ( P 4 8 4 ) 323 “ A n u b i s , f o r e m o s t o f t h e g o d ’ s b o o t h , h a s c o m m a n d e d
that you descend as a star, as the morning god. You shall wander southern
Horus’s mounds, you shall wander northern Horus’s mounds, and those of
estimation will lay down their arms for the stairway to your seat”.
A p a s s a g e f r o m P e p i I ’ s P T ( P 1 4 ) 324 d e p i c t s t h e f a t e o f O s i r i s ’ s e n e m i e s , b u t
also the role of Anubis in the judgement: “Horus has been untied from his
breastband for you, that he might catch those in Seth’s following. Seize them,
remove their heads, sever their forelegs, and gut them, take their hearts, and
slurp their blood. Allot their hearts in this your identity of Anubis who allots
hearts”. The meaning of this might be the identification (allocation) of the
h e a r t s ( t h e c e n t e r o f a l l t h o u g h t s a n d s e n t i m e n t s 325) b y t h e k i n g ( a s A n u b i s ) , o f
t h o s e w h o a r e t h e e n e m i e s . A s a m e o n e c o m e s f r o m U n i s ( W 1 5 0 ) 326 “ T h i s U n i s
has come, an imperishable akh, arrayed on the neck as Anubis at the head of the
western height, that he may claim (the king as Anubis) minds and control hearts.
The one he wants to live, he will live; the one he wants to die, he will die”, in
319 P T i n h e r e d t h e c o n c e p t o f H k A , w h i c h i s α f o r m o f m a g i c t h a t w i l l b e p r e s e n t e d i n t h e l a t e r
years.
320 A l l e n , 2 0 0 5 , p . 1 3 1
321 A l l e n , 2 0 0 5 , p . 1 6 8
322 A l l e n , 2 0 0 5 , p . 1 8 7
323 A l l e n , 2 0 0 5 , p . 1 6 8
324 A l l e n , 2 0 0 5 , p p . 1 0 2 - 1 0 3
325 Κ ο υ σ ο ύ λ η ς , 2 0 0 4 , σ . 4 8
326 A l l e n , 2 0 0 5 , p . 3 3
75
which Unis is considered a good spirit. Here the controlling aspect of Anubis
over the minds and hearts passed to the king’s possession and might mean the
state of Anubis’s knowledge on the deceased life.
The importance of the following passages might rely on the thought which
underlines Anubis’s warfare and protection.
P e p i I ( P 3 2 2 ) 327 “ H o r u s ’ s f o l l o w e r s , A n u b i s ’ s t h r o w s t i c k a n d b o w , s h a l l c l e a n
this Pepi”.
M e r e n r e ( M 3 4 2 ) 328 “ H o r u s ’ s f o l l o w e r s , A n u b i s ’ s t h r o w s t i c k a n d b o w , s h a l l
clean you and make for you the spell of emerging and make for you the spell of
proceeding”.
Throw-stick and bow are identified as Anubis’s implements, or weapons.
Furthermore, throw-stick h i e r o g l yp h i c 329 refers to foreigners that were
c o n s i d e r e d e n e m i e s o f E g yp t . T h e s e t w o i m p l e m e n t s a r e u s e d i n t h i s p a s s a g e f o r
the deceased’s liberation, to be a pure spirit and any noxious elements (as
enemies) will be set aside with the help of the divine followers and implements.
I n a d d i t i o n , w i t h t h a t t h e P e p i I ’ s p a s s a g e ( P 4 8 9 ) 330 c l a r i f i e s t h a t t h o s e w h o a r e
malevolent and come to Anubis’s territories (necropolis, underworld) shall die
for the king as Osiris continues his journey to rebirth “You who are dangerous
for him when the king journeys over Anubis’s places!”—anyone who hears this
will not live”. Enemies of the resurrecting spirit can also be found in Neith’s
P yr a m i d T e x t s ( N t 2 4 0 ) 331 i n w h i c h a g a i n A n u b i s s e e m s t o g i v e t h e m e a n s t o
impugned: “Stand at the fore of the Dual Shrines, at the fore of the jackal gods,
and strike your arm against your opponents that Anubis at the fore of the god’s
booth gave you when he put you, Neith, at the fore of the westerners”. Moreover,
t h e p a s s a g e f r o m P e p i I ( P 3 6 1 ) 332 o u t l i n e s A n u b i s a s a g u a r d i a n w h o c a u t i o n s
against the evil forces penetrating the Underworld. For this reason, since this
particular recitation is done during the morning ritual, bread is offered to pacify
him and, in fact, to be invoked to acknowledge the soul that is good. Anubis as a
warrior of the evil can be calm down with offerings: “My father, become sound;
defend those therein as one whose character is hidden, and you will be defended
to perfection. Become calm, Anubis, with the bread. Induct the owner of the
bDA-bread so that he is perfect, sweet of tooth and pleasant of love. The sound
H t p - d j - n s w t “ a n o f f e r i n g w h i c h t h e k i n g g i v e s ” 348
Chart 3
Anubis's Name CT Citation
PT CT
Anubis’s ability to transform the deceased’s soul to akh can be found in:
C T I , 2 3 8 ( S p e l l 5 1 ) 359 “ [ … ] y o u s h a l l h a v e l i f e f r o m A n u b i s [ … ] ”
356 Htp-dj-nswt jnpw.t nb tA Dsrt qrst.f rx-nsw kA n mn.f m smyt.t Hr.t jAw
ntr wrt prt-xrw n.f ray t ran b Dt. Transliteration and translation by the author.
357 W h a t i s r e p e a t e d i n p e r p e t u i t y ( l i n e a r t i m e ) .
358 W i l l o c k x , 2 0 0 7 , p . 5 9
359 F a u l k n e r , 1 9 7 3 , p . 5 0
80
C T I V , 3 8 0 ( S p e l l 3 4 7 ) 360 “ T h o t h p e r f o r m i n g t h e r o l e o f R e a c c o r d i n g t o t h e
command which Anubis made”.
C T S p e l l 7 8 5 361 “ O N , A n u b i s i n d e e d f o r m s y o u , s o t h a t y o u m a y b e o n e a r t h
through him, you being alive so that you may travel about daily; your vision is
restored so that you may see the sun; be a spirit”.
These three examples are powerful not only because they underline Anubis’s
magic, but also because Anubis has the ability to make Thoth act as Ra. The
Spell 785 clarifies that after the formation by Anubis the deceased,who is now
an akh, is capable of seeing the sun, meaning the restoration of certain senses
useful in the Afterlife.
The warfare aspect of Anubis, which is found on PT continues to the Coffin
Texts.
C T V I , 4 7 ( S p e l l 4 8 1 ) 362 “ O A n u b i s , L o r d o f A s y u t ( ? ) , w h o s p e a r s a n d t r a p s i n
the place of the wounded one, I have escaped from it”.
C T V I , 3 6 9 ( S p e l l 7 4 1 ) 363 “ S e e , R e h a s i m p o s e d a n o b s t a c l e [ . . .] h e s p e a k s t o
t he gods w ho are about hi s shrine, and they have smi tt en […] myst erious
[ w o r d s ( ? )] w h i c h a r e i n t h e m o u t h o f A n u b i s . T h e t e r r o r o f y o u i s i n f r o n t o f m y
s h a p e , [ a n d I s e e ( ? )] w h a t h a s b e e n d o n e t o y o u b e c a u s e o f y o u r e v i l a f f a i r ” .
These two passages are filled with violence “spears”, “traps”, “wounded”,
“smitten” and “evil affair”. Both passages seem to depict the damnation of the
enemy and of evil souls, an act made by Anubis or by the words spoken by him.
They give a more direct role to Anubis and in the case of the first spell a more
active role with the verbs “spears and traps”.
The role of Anubis in mummification in the CT is sanctioned and strengthened.
In man y passages, Anubis is portrayed as the embalmer or as the source from
which the deceased gained his knowledge of mummification. However, if we
compare the references to the Old Kingdom, the process of mummification is
more humanized and its narrative becomes darker.
C T I I , 3 0 0 - 3 0 4 ( S p e l l 1 5 5 ) 364 “ I k n o w w h a t i s l a c k i n g f r o m t h e c o r p s e i n t h e
hand of Anubis on that night of covering his testicles (?), and on that day of
bandaging what is in his mouth. It is something which was not out of Osiris, the
front of which was joined to its back in woodwork of planking”.
more emphasis on god’s offer with the verb or , dj.f prt xrw
“ t h a t h e m a y g i v e a n i n v o c a t i o n o f f e r i n g ” 370
emphasis of deceased’s ka
alread y from First Intermediate Period the phrase “he who honored by
( n a m e o f t h e g o d ) ” 371 e m p h a s i s t h e d i v i n e a c c e p t a n c e o f t h e d e c e a s e d .
382 Allen, 1960, p. 90, Budge, 1898, p. 53 and Budge, 1913, p. 388
383 Renouf & Naville, 1904, p. 310
384 I t i s d i s t i g u i s h e d i n t h r e e c h a p t e r s : T h e c h a p t e r e n t e r i n g i n t h e H a l l o f M a a t , t h e c h a p t e r o f
Negative Con fession, and the ch ap ter enterin g to the gods who are in the Duat.
385 B u d g e , 1 9 1 3 , p . 3 7 3
386( B u d g e , 1 9 1 3 , p . 5 7 )
85
BD 26 illustrates Anubis giving back the deceased’s heart. In the Anubis’s
shrine at Tutankhamen’s tomb the god adrressed to the deaceased “I bring you
y o u r h e a r t a n d g i v e i t t o i n i t s p l a c e i n y o u r b o d y ” 387.
BD 145: “I have washed myself in the water wherein the god Anuubis washed
w h e n h e h a d p e r f o r m e d t h e o f f i c e o f e m b a l m e r a n d b a n d a g e r [ … ] " 388
BD 151: “T he god Anubis, who dwelles in the [city of] embalmment, the
governor of the divine house, places his two hands upon the lord of life of
Nebseni, the scribe and draughtsman of the Temple of Ptah, the lord of piety, the
son of the scribe and designer Thena, triumphant, born of the lady of the house
Mut-resth, triumphant, and he furnishes him with the things which belong to
h i m ” 389.
The BD 151 was carved on clay bricks, placed on the four sides (north, south,
east and west) of the burial chambers as an apotropaic amulet, and were being
u s e d f r o m t h e N e w K i n g d o m t o t h e 3 0 t h D yn a s t y 390 ( F i g u r e 6 0 ) .
F i n a l l y, a H t p - d j - n s w t f o r m u l a i s a t t e s t e d i n a v e r y s i m p l y f o r m :
“A royal offering to Anubis the embalmer, that he may give goodly burial in the
g o d ' s d o m a i n t o O s i r i s N ” 391.
3.2.5. New Kingdom: Anubis in other Afterlife books
The representation and references to Anubis can be found almost in all
Afterlife books, but his role is centered in his protective aspect. The most
known books, besides the Book of the Dead, are the Book of Amduat and the
Book of Gates, which are very similar to each other. Both depict the journey of
the sun-god Ra to Duat during the night hours. The Book of Amduat is divided
into 12 divisions and the Book of Gates in 12 hours. The god, with the help of
other divinities and entities, defeats the demon Apep who threatens the world
and these actions take place in the 7th division in the Book of Amduat, but in the
Book of Gates the battle against Apep is through the 3rd, 6th, 10th, 11th and 12th
h o u r 392. F i n a l l y, i n t h e e n d o f R a ’ s t r a v e l / j o u r n e y t h e g o d i s r e s u r r e c t e d a s t h e
new sun.
In the 3rd division (Figure 61) on the first register of Amduat, Anubis of
Thebes (Ramesses VI’s tomb) is one of the gods that with their voice and praise
to the god Ra will help Nu to be born, Nile to flow and Ra to avenge his
387 Assmann, 2001, p. 102
388 Budge, 1898, p. 247
389 R e n o u f & N a v i l l e , 1 9 0 4 a n d B u d g e , 1 8 9 8 , p . 2 7 5
390
Scalf, 2017, p. 311
391 A l l e n , 1 9 6 0 , p . 2 8 7
392 Κ ο υ σ ο ύ λ η ς , 2 0 1 5 , σ . 7 8
86
e n e m i e s 393. F u r t h e r m o r e , A n u b i s a n d t h e o t h e r g o d s w i l l h e l p t h e g o o d s o u l t o
p a s s t h e d i v i s i o n w i t h s a f e t y. I n t h e 4 t h d i v i s i o n , A n u b i s i s d e p i c t e d a s a h a u l e r
o f t h e s o l a r b o a t o f R a 394; c a n i d e n t i t i e s a r e f r e q u e n t l y d e p i c t e d a s h a u l e r s 395:
“they who guard Anubis in his form of hauler when he pass by them in their
s a c r e d l a n d ” . H e i s a l s o p o r t r a ye d i n t h e 5 t h d i v i s i o n ( F i g u r e 6 2 ) i n t h e m i d d l e
of the scene of the 1st register before the mountain of darkness from which
K h e p r i w i l l d e b o u c h 396, c a r r yi n g t h e e p i t h e t “ A n u b i s o f t h e c h e s t ” . A t t h e e n d o f
b o t h s i d e s o f t h e r e g i s t e r a r e N e p h t h ys a n d I s i s t a k i n g p a r t i n t h e c e l e s t i a l s c e n e .
Anubis is depicted in the 3rd hour of the Book of Gates from the decorated
alabaster sarcophagus of Seti I, declares himself as “he who in the place of
embalming” and “foremost of the divine booth”. He praises Osiris and his true
w o r d s s h i e l d h i m f r o m t h o s e w h o w o r k a g a i n s t h i m 397. I n t h e 5 t h h o u r ( F i g u r e 6 3 )
the judgment hall of Osiris (see Chapter 2) and his damned enemies in the form
o f a p i g a r e p o t r a y e d 398 ( R a m e s s e s V I ’ s t o m b ) . A n u b i s s t a n d s u p r i g h t a n d h e
invokes Thoth to judge the deceased’s words and he, himself, protects his father
b y e a t i n g h i m , a n a c t i o n v e r y s i m i l a r t o s w a l l o w i n g 399.
Another afterlife book is the Book of the Caverns, in which the Underworld is
divided in 6 caverns. The concept is the same with the previous books but its
difference lies on the fate of the cursed ones. The last register of this book
underlines the torture of the damned, delivered with ghoulish detailed
r e p r e s e n t a t i o n s 400.
Regarding to Anubis (Ramesses VI’s tomb), the sun-god Ra advises and
i n s t r u c t s A n u b i s o n h o w t o c e a s e a d e a d b o d y f r o m t h e d e c o m p o s i t i o n 401.
M o r e o v e r , h e i s p o r t r a ye d i n t h e 3 r d c a v e r n i n s i d e t h e c o f f i n b e f o r e O s i r i s ’ s
s h r i n e 402, a s a l s o i n t h e 4 t h c a v e r n ( F i g u r e 6 4 ) w i t h t h e c o m p a n y o f H o r u s b o t h
a t t e n d i n g t o t h e b o d y o f O s i r i s 403. I n t h e 5 t h c a v e r n ( F i g u r e 6 5 ) A n u b i s i s i n f r o n t
o f a s h r i n e c o n t a i n i n g t h e s c e p t e r o f A t u m 404 a n d b e h i n d o f f o u r m u m m i f i e d
h a w k - h e a d e d f i g u r e s 405. T h e s e m u m m i f i e d f i g u r e s r e i n f o r c e h i s r o l e a s g u a r d i a n .
Anubis and other gods, but his role is inactive, and functions as the accompanying presence of
Osiris, Sokar and Ptah Faulkneρ, 1954, p. 34.
90
story alongside the god Horus, the patron god of the 18th nome; Anubis at
various times is confused with Horus and sometimes he bears the name of Horus-
A n u b i s 424.
M a n y l e g e n d s a n d s t o r i e s a r e a t t e s t e d o n t h i s p a p yr u s ; o n e o f t h e m o s t k n o w n i s
the story of the panther’s skin. When Anubis kills the usurper god Seth his blood
f e l l o n t h e p a n t h e r a n d c h a n g e d i t s s k i n 425. F o r t h i s r e a s o n , t h e s e m - p r i e s t s w o r e
that skin as a cloth in attribution to the victorious act against the evil and was
used as an explanation for the origin of sem-priest clothing.
In the legend of Horus’ box es, Anubis tries to take the boxes, which contain the
t w o e ye s o f H o r u s . S e t h h a d t h e m s t o l e n b y h i s m e n , t r a n s f o r m e d i n t o a
crocodile and was established at a mountain. Anubis turned into a winged
serpent armed with knives, accompanied by six serpents which were throwing
flames. When he took back the boxes, he buried them; since then, Anubis has
been called "The Fugitive”. With the help of Thoth and his magical spell "The
wind that comes out of the house of Anubis takes you away”, Anubis beat Seth
and put on the mountain the two boxes of Horus. As the story ends, the
identification of Horus-Anubis is being mentioned again b y Isis, when she went
t o t h e c a s t l e o f t h e d i v i n e a d o r e r 426.
O t h e r s t o r i e s o f t h e p a p yr u s m e n t i o n t h a t H o r u s t u r n e d i n t o A n u b i s a n d
g a t h e r e d t h e m e m b e r s o f O s i r i s i n a b a g , i n s i d e t h e h o u s e o f t h e b a n d a g e s 427; t h e
g a t h e r i n g o f O s i r i s p a r t s i s a t t e s t e d i n o t h e r p a s s a g e s o f t h e p a p yr u s w i t h t h e
a c c o m p a n y o f T h o t h 428. F r o m t h e l e g e n d o f t h e b e a s t , t h e h e r o e s o f t h e s t o r y a r e
a w o l f a n d n i n e d o g s , a " h yp o s t a s e s " o f s e v e r a l g r e a t g o d s o f t h e E g y p t i a n
p a n t h e o n ; t w o o f t h e m a r e i d e n t i f i e d a s A n u b i s 429. I n o t h e r s t o r i e s , t h e S e t h i a n
a s p e c t o f A n u b i s 430 o r t h e d i s g u i s e o f t h e f o r m e r a s A n u b i s i s m a t e r i a l i z e d 431
; an
interesting one is about the disguise of Seth as Anubis, in which Seth took the
name Bata, echoing the “Tale of the Two Brothers”. In contrast to the New
K i n g d o m s t o r y , h e r e B a t a i s p o r t r a ye d a s a v i l l a i n , s i n c e h e i s t h e e m b o d i m e n t o f
t h e g o d S e t h 432.
91
The connection of Anubis and Horus (or even the form of Anubis as a falcon) is
c o n f i r m e d i n m a n y p a r t s o f t h e p a p yr u s . A s a l r e a d y s e e n i n C h a p t e r 2 , a n
alternative animal head of Anubis was that of a falcon, although extremely rarer.
In addition, the embalming aspect of Anubis that is attested on the papyrus, as
also the story of the sem-priest’s cloth origin is interesting if these legends are
t h e w i t n e s s e s o f a n c i e n t m yt h s c o m i n g t o l i f e f r o m a m o r e e l a b o r a t e a n d c o m p l e x
viewpoint.
92
FIGURES
Fig ure 62. Boo k of Amduat, the 5th division © C.N., n.d .
93
Figure 64. Book of Caverns, the 4th cavern © Hornung, 1999, p. 94
Fig ure 65. Boo k of Cav erns, the 5th cav ern © D.E., n.d.
Figure 66. Book of Caverns, the 6th cavern Figure 67. Book of Caverns, the 6th
© D.E., n.d. cavern © D.E., n.d.
94
4. PRIESTS, RITUALS-FESTIVALS AND RITUAL OBJECTS
4.1. Priests
T h e p r i e s t h o o d ( F i g u r e 6 8 ) a s a f u l l t i m e j o b s t a r t e d i n t h e N e w K i n g d o m 433, i n
t he previ ous years i t was a part t im e j ob i n whi ch ever y m an was cons idered an
a c t i v e p r i e s t a n d t h r o u g h t i m e b e c a m e i n h e r i t e d 434. T h e p r i e s t , a p a r t f r o m t h e i r
d a i l y d u t i e s , w o r k e d a s s t a t e o f f i c i a l s , l a n d ’ s m a n a g e m e n t s , f a r m e r s 435 e t c ; t h e y
could ascend from a low title to a senior and the king was considered as the high
p r i e s t 436. T h e p r i e s t w a s a h i g h l r a n k p o s i t i o n s i n c e h e w a s t h e l i n k b e t w e e n t h e
h u m a n s a n d t h e g o d s a n d t h e y h a d t o b e t h e o f f s p i n g s o f a p r i e s t l y f a m i l y,
c i r c u m c i s e d a n d a b l e t o r e a d H i e r a t i c 437. T h e p r i e s t h o o d c a n b e c a t e g o r i z e d i n
t h e 438:
Temple priesthood for daily rituals and festivals in the temple. Close
assossiation to the temple had the Hwt nbw (House of Gold), which was the
place of the artist finishing a cult statue; pr mDAt (House of Books), which was
the storage of spells, litanies, and ritual objects and pr anX (House of Life),
which was storage for the mummification and crowning texts and acted as
faculty for the new priests.
Mortuary priesthood related to the rituals and activities in the tombs.
Domestic and magic priesthood for home protrection through apotropaic and
medical spells.
T h e m o s t r e c o g n i z e d p r i e s t s o f a n c i e n t E g yp t w e r e :
Sem-priests (smw or sm) : their most recongnised role was during the
Opening of the mouth ritual, in which they acted as Horus and the dead as
O s i r i s 452. T h e i r i d e n t i f i c a t i o n e m a n a t e s f r o m t h e c h a r a c t e r i s t i c p a n t h e r c l o t h i n g ;
u n l i k e t h e o t h e r p r i e s t s , t h e J u m i l h a c P a p yr u s m e n t i o n e d t h a t t h e i r c l o t h h a d
been made by Seth’s blood (see Chapter 3)
100
the feather (the true of voice) he would gain a place in the afterlife and his
s p i r i t w o u l d b e c o m e a n a n k ( a x = b l e s s e d s p i r i t ) 481. H o w e v e r , i f t h e h e a r t i s
heavier than the feather they would be devoured by the beast Ammit (crocodile
h e a d , b o d y o f l i o n a n d l e g s o f h i p p o p o t a m u s ) . A s a m u t ( m t ) 482 s p i r i t ( d a m n e d )
t h e y w o u l d g o t o t h e p l a c e o f n o e x i s t e n c e 483, g a i n t h e e t e r n a l d e a t h a n d b e
considered an enemy of Osiris. The eternal death can also happen with the
deliberate deletion (damnatio memoriae) of the deceased's name. Without his
name, his soul cannot be recognized and therefore cannot be judged for his
l i f e 484.
We have many scenes of the Judgement’s positive outcome in the scale of truth,
but none of the negative one. However, the “Book of Two Ways”, “Book of
A m u d u a t ” , “ B o o k o f C a v e r n s ” a n d t h e “ B o o k o f E a r t h ” 485 d e s c r i b e t h e l a n d o f
annihilation and the outcome of the damned ones.
4.2.2. Anubis and mummification ritual
T h e b u r i a l p r a c t i c e a n d t h e r o ya l a r c h i t e c t u r e f o l l o w a n e v o l u t i o n a r y p a t h ,
w h i c h b e g a n i n t h e P r e d yn a s t i c P e r i o d . T h e n , t h e b u r i a l c u s t o m s t o o k p l a c e , l i k e
the concept of the body conservation. Because they believed that the human soul
c o u l d o n l y l i v e i f t h e b o d y w a s “ a l i v e ” 486 t h e y t r i e d t o a v o i d d e c o m p o s i t i o n a n d
t h e d a m a g e c a u s e d b y l o o t i n g 487.
S o , t h e n e w a g e o f c u s t o m s ( e t e r n i t y, k i n g ’ s d i v i n e a s p e c t a n d a n n u a l f e s t i v a l s )
488, l e a d t o a n a f t e r l i f e c o n c e p t 489. A l r e a d y i n t h e P r e d yn a s t i c P e r i o d , t h e p i t -
g r a v e s 490 h a v e t h e f i r s t e v i d e n c e o f t h e n a t u r a l m u m m i f i c a t i o n 491, w h i c h o c c u r r e d
by the sand’s natron. Observing this function, the Egyptians create an entire
p h i l o s o p h y a r o u n d t h e d e a d b o d y. H a v i n g a b o d y m u m m i f i e d , t h e k A i s
r e c o g n i z e d 492 a n d t h e s o u l c a n w a l k b a c k s w i n g i n D u a t 493.
In the Old Kingdom, the internal organs were removed, ex cept for the brain
s i n c e i t w a s n o t i m p o r t a n t 494. T h e n , t h e y w e r e w r a p p e d w i t h l i n e n ( i n g r a i n e d w i t h
495Κουσούλης, 2004, σ. 90
496David, 2001, p. 440
497 D a v i d , 2 0 0 1 , p . 4 4 1
498 Κ ο υ σ ο ύ λ η ς , 2 0 0 4 , σ . 9 0
499 Κ ο υ σ ο ύ λ η ς , 2 0 0 4 , σ . 9 1 a n d D a v i d , 2 0 0 1 , p . 4 4 1
500 Κ ο υ σ ο ύ λ η ς , 2 0 0 4 , σ . 1 0 2
501 L u c a s , 1 9 3 4 , p p . 2 3 1 , 2 5 8 a n d Κ ο υ σ ο ύ λ η ς , 2 0 0 4 , σ . 9 3
502 L u c a s , 1 9 3 4 , p . 2 3 1 and Abdel-Maksoud & Abdel-Rahman, 2011, p. 131
503 D a v i d , 2 0 0 1 , p . 4 4 1
504 D a v i d , 2 0 0 1 , p . 4 4 2
505 L u c a s , 1 9 3 4 , p . 2 3 1 a n d D a v i d , 2 0 0 1 , p . 4 4 0
506 A b d e l - M a k s o u d & A b d e l - R a h m a n , 2 0 1 1 , p . 1 3 1
507 A b d e l - M a k s o u d & A b d e l - R a h m a n , 2 0 1 1 , p . 1 3 2
508 I n a l e s s e x p e n s i v e m u m m i f i c a t i o n p r o c e d u r e s t h e e m b a l m e r s : a ) u s e d o n l y c e d a r o i l i n s i d e t h e
body to clean all internal organs and then the body filled with natron Κουσούλης, 2004, σ. 95 and
Lucas, 1934, p. 231, or b) clead only the intestine and smoothed them with oils Lucas, 1934, p. 231
and Κουσούλης, 2004, σ. 95 and David, 2001, p. 441.
102
peace to the Beautiful West, in the first month of the third season (ninth month),
d a y [ … ] a n d h i s l i f e i n t h e n e c r o p o l i s i s f o r e v e r a n d e v e r ” 509. T h e e m b a l m e r s
washed the body again with water and smoothed it with oils and aromatized the
b o d y 510. T h e b o d y w a s s t u f f e d w i t h m a t e r i a l s , s u c h a s l i n e n , s a w d u s t m i x e d w i t h
r e s i n e t c 511, t o l o o k a l i v e . T h e n , o i l s w e r e p l a c e d a g a i n i n t h e b o d y a n d i t w a s
covered with linen. The final stages were the body cosmetics with elaborate
masks, jewelry and was painted and wrapped with l i n e n 512. F i n a l l y, the
e m b a l m e r s r e t u r n e d t h e b o d y t o t h e o w n e r ’ s f a m i l y f o r t h e f u n e r a l r i t e s 513.
4.2.3. Anubis and the “Opening of the Mouth” ritual
104
with his Ennead in this day of festival, daily offerings every day”. The clothing
festival might be reffering to the fashioning of the cult-statue, during the
“Opening of the Mouth” ritual, and the so-called “births of Anubis” written on
t h e P a l e r m o S t o n e m i g h t b e r e f e r r i n g t o t h i s d a y 531 ( F i g u r e 7 0 ) .
In both d ays , t h e offerings were si milar; t he l ist s cit ed di fferent ki nds of bread,
beer, flowers, biscuits, including vases and jars for the inceses that took place.
F r o m a p a r yr u s d a t e d i n t h e P t o l e m a i c P e r i o d , A n u b i s t a k e s p a r t i n t h e “ N i g h t
of Loneliness” celebration, the night before the burial procession of Osiris (aka
the deceased). Liberation and mournings were addressed to Osiris in order to
bring him back to life. All gods are present before the arrival of Osiris and
Anubis states the desirable moment “The god is arriving at the great entrance to
t h e n o m e o f t h e r e a l m o f t h e d e a d ” 532 ( c o r r e l a t i o n b e t w e e n t h e “ O p e n i n g o f t h e
mouth” ritual and the “Night of Loneliness”).
The Procession of Isis (Navigium Isidis) was held in the spring (2nd of
January and 5th of March). For the first time this festival was celebrated in
C a n o p u s 533. A p u l e i u s ’ s M e t a m o r p h o s e s B o o k 1 1 ( 2 n d C E ) i s m e n t i o n e d t h a t
A n u b i s w a s t h e f i r s t o f t h e g o d s w h i c h a p p e a r e d a n d l e d t h e f e s t i v a l 534: “ F i r s t
was the dread messenger between the gods above and the Underworld, his dog’s
head held high aloft, his face now black, now gold: Anubis, holding a caduceus
in his right hand and brandishing a green palm-leaf in his left. Hard on his
heels followed a cow standing upright, the fertile image of the All-Mother,
p r o u d l y b o r n e o n t h e s h o u l d e r s o f o n e o f h e r b l e s s e d p r i e s t s ” 535. A c t u a l l y t h e y
were priests wearing cloths, the mask of Anubis and held the needed objects,
which were necessary for the ritual. The theme of the festival is connected to the
navigation’s new season and Isis’s protection over the welfare of the voyages
w a s s ym b o l i z e d w i t h t h e s ym b o l i c t r a n s f e r o f h e r s h i p 536 ( 5 t h o f M a r c h ) . A l s o , i n
m yt h o l o g i c a l l e v e l i t w a s c o n n e c t e d w i t h t h e r e t u r n o f I s i s f r o m t h e s e a r c h o f
O s i r i s a t t h e s h o r e s o f B yb l o s 537 ( 2 n d o f J a n u a r y) 538.
References to Anubis in other festivals cited on Cairo Calendar (19th
D yn a s t y) . O n I I A X t 4 w a s “ t h e d a y o f t h e g o i n g f o r t h o f A n u b i s f o r t h e
which see, whom Anubis knit together, whom Ptah-Sokar exalted, to whom Shu gave the supports,
kindly of countenance among the gods, whom Re gave to Osiris for the secret thing which was done
against him in order to end the injury by Seth against him. Your White Crown is that of Thoth, your
vertex is that of Wepwawet, your eyebrows are those of the two Enneads, your eyes are those of the
Night-bark and the Day-bark, your tresses(?) are those of Isis and Nephthys, the back of your heads
is that of Dwn-rnw, your braid is that of-the scorpion, your linen is that HD-Htp; you are in front
of N, and he will see by means of you. May you make him to be a spirit, may you subdue his foes for
him, may you guide him to the fair places of the realm of the dead, may you smite the confederacy
of Seth for him. The king has commanded that N be made triumphant over his foes before Horus,
Lord of Patricians. That I be one who is enduring, enduring, is what has been commanded, (even)
enduring like Rer for ever Faulkner, 1977, p. 154.
542 A s s m a n n , 2 0 0 1 , p p . 1 0 7 - 1 0 8 a n d T a y l o r , 2 0 1 0 , p . 1 0 9
106
Your right eye is the night barque, your left eye is the day barque, your
eyebrows are the Ennead. The crown of your head is Anubis, the back of your
head is Horus, your lock of hair Ptah-Sokar. The crown of your head is Anubis.
You (the mask) are in front of N., he sees by means of you. (Y ou) lead him to
the goodly ways, you repel Seth’s band for him and cast his enemies under his
feet for him in front of the Ennead in the great House of the Noble in Heliopolis.
You take the goodly way to the presence of Horus, the lord of the nobles”.
This 3-structure spell provides us with details for the concept of
mummification and the deceased’s transformation. The first paragraph is
associated with the definition of Anubis as the embalmer god and his work upon
t he dead bod y. The s econd paragraph speaks about t he t ransform ati on of the
deceased into a divine spirit. In the third paragraph, the deceased is wearing the
m a s k t h a t c a n c a s t a w a y t h e e n e m i e s a n d S e t h 543.
References to Anubis’s mask are found in:
C T V I , 1 0 3 ( S p e l l 5 1 6 ) 544 “ H o N ! R a i s e y o u r s e l f f o r t h o s e w h o a r e g r e a t e r t h a n
you! You shall eat figs and drink wine, for your face is (that of) the jackal of
Anubis; be covered with it”.
C T V I I , 2 6 ( S p e l l 8 2 5 ) 545 “ I h a v e c o m e a s a n e q u i p p e d [ a n d w o r t h y ( ? )] s p i r i t , I
heal my members, and my (priestly) service is in this house. I have come in
order to do my duty and in order to enter into the gate, which is under the care
of Anubis. I have not eaten what remains over of the stretched bull after the
share-out, and I have not repeated what I heard in the Presence. I am the
embalmers of Anubis, I have come that I may cover up what I found missing, for
I a m a w a r d e n w h o s p e n t h i s d a y s o t h a t [ . . .] w a s r e c k o n e d u p b e f o r e R a d a i l y ,
and I have not eaten the black ewes(?), I have not bathed in the waters of
Nedit”.
Illustration of a priest wearing Anubis’s mask is identified on the north side
chamber’s entrance of Osiris at Dendera, which depicts priests of Lower Egypt
holding the nomes’s scepter celebrating the resurrection of Osiris and one priest
i s w e a r i n g A n u b i s ’ s m a s k 546 a n d t w o o t h e r s h o l d t h e s c e p t e r o f t h e 1 7 t h n o m e
(Figure 71). Another one comes from the temple of Amun at Karnak dated in the
New Kingdom; the priests hold the hooks of the solar barque on their shoulders
(Figure 72).
564
as a definition of Anubis’s 17th nome (Figure 80). It is depicted to be
held by the nomarch of the nome or priests, as a result of political corporation
between the nome and the king or as participation of the nome in the rituals
context.
A scepter that might be associated with Anubis is the wsrt-“scepter”. In the
BG at the 7th hour on the walls of Rammeses VI, the enemies of the solar barque
a r e t i e d u p o n c a n i d - h e a d s t a k e s , t h e s t a k e s o f G e b 565. H e r e G e b ’ s s t a k e s a c t a s a
judge and guardian, two roles held by Anubis, making the damnation of the
enemies certain and unbreakable (Figure 81).
Mummification tool and oils
As mentioned above, different kinds of oil were used during the mummification
process. All these oils (Figure 82) and resin were used during the procedure. The
embalmers, depending on the period, used different kinds of material and oil to
s t r e n g t h e n t h e b o d y a n d p r e v e n t i t s h u m i d i t y:
558 Vandier, 1962, pp. 65-66, 124, DuQuesne, 2012, p. 2 and Hart, 2005, p. 24
559 Hart, 2005, p. 24 and DuQuesne, 2012, p. 2
560 Logan, 1990, p. 69
561 Gardiner, 1957, p. 509
562 Graham, 2001, p. 166
563 Vygus, 2015, p. 1954 and GEM, n.d.
564 Gardiner, 1957, p. 488
565 Hornung, 1999, p. 63
109
c e d a r o i l w a s u s e d i n t o t h e a n u s p r e v e n t i n g t h e b o d y l i q u i d s t o e s c a p e 566.
b e e s w a x 567 w a s u s e d t o t h e e a r s , e ye s , n o s e a n d m o u t h 568,
c i n n a m o n a n d c a s s i a w e r e p e r h a p s u s e d f o r i n s e n s e 569,
o n i o n s w e r e u s e d i n t h e e ye s , p e l v i s , t h r o r a x a n d o n e x t e r n a l e a r s 570,
l i c h e n u s e d t o f i l l b o d y c o n c a v i t y 571, a n d h e n n a f o r p e r f u m e c o s m e t i c
p u r p o s e s 572,
g u m w a s u s e d t o c e m e n t t h e b a n d a g e s o f t h e m u m m y 573
other materials are natron, salt, resin, palm wine, pine, juniper, mastic,
m yr r h a n d b i t u m e n .
T h e e m b a l m e r s u s e d k n i v e s t o o p e n t h e b o d y, b u t t h e m o s t i m p o r t a n t w a s t h e
tool for the excerebration. The bronge tool was approximately 40 cm long and its
e d g e w a s h o o k e d , s p i r a l , o r n e e d l e - l i k e 574. T h e b r a i n r e m o v a l w a s d o n e f r o m t h e
ethmoid bone, left/right nostril or with complete or partly nasal septum
r e m o v a l 575. I n t h i s w a y, t h e d a m a g e o f t h e s k u l l w a s a h o l e a p p r o x i m a t e l y 8 . 9
c m 576.
Opening of the mouth tools
As mentioned above, the Opening of the Mouth ritual was performed for the
animation of the deceased’s soul. Therefore, for the execution of the ritual,
several tools were needed. These tools were considered to belong to Anubis
throughout all periods. On the Hatshepsut’s Opening of the Mouth ritual,
Thuthomes III said:
“I have opened your mouth. I have opened your two eyes. I have opened your
m o u t h w i t h t h e i n s t r u m e n t o f A n u b i s 577”
This connection occurs also in Pepi II’s PT (N 100) adze blades are connected
w i t h A n u b i s : “ H o , P e p i N e f e r k a r e] ! Y o u r m o u t h h a s b e e n p a r t e d w i t h A n u b i s ’ s
a d z e , t h e m e t a l S t r i k e r t h a t p a r t e d t h e m o u t h o f t h e g o d s . ” 578
T h e C T V I I , 1 5 ( S p e l l 8 1 6 ) 579 c l a r i f i e s t h a t A n u b i s w a s t h e o n e w h o m a d e t h e
implement: “The iron is broken by Anubis in the sky. Ho, iron which opened up
psSkf before the rite Roth, 1992, p. 113, implying that was a box of tools. The psSkf tool also
used to cut the umbilical cord of the newborn child Rzeuska, 2008, p. 576 and Roth, 1992, p. 145
and it might be the emblem of the goddess of birth, Meskhenet Roth, 1992, p. 145.
585 I t m i g h t b e m a d e b y m e t e o r i c i r o n b A j R o t h , 1 9 9 2 , p . 1 1 6
586 B u d g e , 1 9 0 9 , p . 6 7
587 T h i s c o n c e p t d e r i v e s f r o m t h e l i t t l e f i n g e r s ( f i n g e r s o f H o r u s ) , w h i c h u s e d t o c l e a n t h e m u c u s
o f a n ewbo rn child Ro th, 1993, p. 63, as Ho ru s did fo r his fath er (Ro th, 1993 , p. 64 ).
588 R o t h , 1 9 9 2 , p . 1 1 6
589 R o t h , 1 9 9 2 , p . 1 1 5
590 B u d g e , 1 9 0 9 , p . 6 8
591 A l l e n , 2 0 0 5 , p . 4 2 5
592 T h e s e b l a d e s a r e a s s o c i a t e d w i t h t h e c o n s t e l l a t i o n o f U r s u s M a j o r R o t h , 1 9 9 3 , p . 7 0 .
593 B u d g e , 1 9 0 9 , p . 7 8
594 B u d g e , 1 9 0 9 , p . 7 0
111
FIGURES
Fig ure 68. Lec tor- pr iest, se m-priest a nd the mourners © Osiris net
Figure 69. The festival of the Navigation of Figure 70. The festival of Clothing
Anubis Anubis
© Breasted & Allen, 1934, Pl. 165 © Breasted & Allen, 1934, Pl. 167
Fig ure 72. Pr iest wearing the ma sk of Anubis © T he Bridgeman Ar t Libr ary. Image
number: DGA535000
113
Fig ure 75. Late to Ptole maic Period Figure 76. Late Period Anubis's mask
© from (TGEM, n.d.) Roemer-Pelizaeus Museum.
Anubis's mask © Harrogate Museums
Invertory Number: 1585
and Arts. Invertory Number: 10686
Figure 77. Ebony label from Hor-Aha reign, with jmjwt © Logan, 1990, p. 63
Fig ure 78. J mjw t standard © The Figure 79. Late Period was-scepte made from
Metropolitan Museum of Art.
faience © The Metropolitan Museum of Art.
Accession Number: 14.3.19-20
Accession Number: 26.4.4.6.a,b and Jo an
Lansberry
114
Fig ure 80. Pr iest ho lding the 17t h nome ' scept er © Mar iette, 1873 , P late 34
Fig ure 81. 7th hour of the BG. Enemies on sta kes © D.E., n.d.
115
5. DIVINE DWELLINGS AND CEMETRIES
5.1. Divine dwellings
Buildings of Anubis’s cult are located on several sites. Sanctuaries of Anubis-
Horus existed at Tuna and at Hut-nesut, the 18th nome, in which Anubis and
H o r u s h a d t h e i r a d v e n t u r e s w r i t t e n i n t h e J u m i l h a c P a p y r u s 597; A n u b i s ’ s t e m p l e
e x i s t e d a t A s y u t , a l t h o u g h , u n t i l l t o d a y, t h e s p e c i f i c l o c a t i o n o f t h a t t e m p l e i s
not verified 598
. The temple of Siut was near the necropolis, at the foot of the
cliff and erected b y Hepzefi, the nomarch of 13th nome, under Seworset I. A
temple of Anubis was located at Lahun (Sekhem-Senwosret) close to the
S e n w o s r e t I I p yr a m i d , w i t h m a n y p r i e s t s i n s e r v i c e 599; i t h a d a n o v e r s e e r o f t h e
temple, a lector-priest and nine priests, who changed every month, six door-
k e e p e r s a n d t w o s e r v a n t s 600. Q u i r k e s u g g e s t e d t h a t t h e c u l t o f A n u b i s w a s
attested on the same temple complex with that of Senwosret and identified his
p yr a m i d complex and his p yr a m i d t o w n as Sekhem-Senwosret and Hetep-
S e n w o s r e t c o r r e s p o n d i n g l y 601.
Near the burial chamber of Tutankhamen is the “Treasury” (Figure 84), a small
chamber with marvelous findings, such as a canipoc chest, jmwt emblems, boats-
models etc. Alongshide these treasures was a moveable shrine-chest standing at
t h e t h r e s h o l d w i t h t h e r e c u m b e n t A n u b i s o n i t s t o p 602 c o v e r e d w i t h l i n e n ; a l i f e -
size representation of the iconographic epithet “he who is upon the shrine”,
a c t i n g a s a g u a r d i a n o f t h e t r e a s u r y. T h e s h r i n e h a d c a r i n g p o l e s a n d i n s i d e i t
one large and four smaller pots are found 603
(Figure 85).
Hatshepsut’s temple, at Deir el-Bahari, has two shrines that were dedicated to
Anubis, the Upper and Lower shrines, located in the Upper (in the sun-cult-
c o m p l e x ) a n d i n t h e M i d d l e t e r r a c e 604.
T h e a c c e s s t o t h e U p p e r S h r i n e ( F i g u r e 8 6 ) w a s d o n e b y a c o u r t ya r d ’ s d o o r a n d
c o n t s r u c t e d p a r t i a l l y o n t h e r o c k . M o s t o f t h e f i n e i l l u s t r a t i o n s w e r e d e s t r o ye d
i n A k h e n a t e n ’ s r e i g n b e yo n d a n y r e s t o r a t i o n ; a n d w e r e c o n n e c t e d w i t h t h e s u n
cult religion. Representation of Anubis and mostly his jmwt emblem decorated
605 A n a l t e r n a t i v e n a m e o f t h e s h r i n e i s t h e “ C h a p e l o f t h e P a r e n t s o f t h e Q u e e n ” d u e t o t h e f a c t
Hatshepsut and Thuthomis depicted with the company of their mothers Szafranski, 2010, p. 192
606 B a r d , 1 9 9 9 , p . 2 7 8 a n d W i l k i n s o n , 2 0 0 0 , p . 1 7 7
607 S z a f r a n s k i , 2 0 1 0 , p p . 1 8 7 - 1 9 2
608 J e f f r e y s & S m i t h , 1 9 8 8 , p p . 5 0 - 6 0
609 J e f f r e y s & S m i t h , 1 9 8 8 , p . 2 6
610 R i c e , 2 0 0 6 , p . 3 2
611 B r u n t o n & C a t o n - T h o m p s o n , 1 9 2 8 , p p . 7 , 4 2 a n d 9 1
612 W e n d o r f & S c h i l d , 2 0 1 3 , p . 4 8 6
613 B a r d , 1 9 9 9 , p . 4 3 9
614 F l o r e s , 1 9 9 9 , p . 1 4
615 H o u l i h a n , 2 0 0 1 , p . 2 2 9
616 B a r d , 1 9 9 9 , p . 1 2 8 a n d F l o r e s , 1 9 9 9 , p . 1 5
117
In t he P red yn as ti c si tes of M a’adi and Wadi Di gla dog buri al was found on in
s e p a r a t e g r a v e w i t h a p o t 617.
On the 1st-2nd Dynasties in these auxiliary chambers, burial of dogs and
servants were located 618
and accompanied those of kings Djer, Djet, Den and
o t h e r k i n g s o f t h i s e r a . A r o ya l d o g b u r i a l c o m e s f r o m Y a s e n ’ s m a s t a b a a t G i z a
dat ed to 4th Dynas ty. In t his l arge mas t aba, one s cene depi cts the owner wi th his
dog, where the latter wears collar attached to a strap, held by the unknown
o w n e r . T h e a c c o m p a n yi n g i n s c r i p t i o n s a ys :
”The dog which was the guard of His Majesty. Abuwtiyuw is his name. His
Majesty ordered that he be buried (ceremonially) that he be given a coffin from
the royal treasury, fine linen in great quantity, (and) incense. His Majesty (also)
gave perfumed ointment, and (ordered) that a tomb be built for him by the gangs
of masons. His Majesty did this for him in order that he (the dog) might be
h o n o r e d ( b e f o r e t h e g r e a t g o d , A n u b i s ) ” 619.
Another enormous example comes from North Saqqara. During the last decades,
a century after the first documentation from Jacques de Morgan, dogs’
c a t a c o m b s 620 d a t e d f r o m 7 4 7 t o 3 0 B C E w e r e e x c a v a t e d b y P a u l N i c h o l s o n . T h e
c a t a c o m b s m e a s u r e 1 7 3 t o 1 4 0 m e t e r s 621 b u i l t f r o m L o w e r E o c e n e s t o n e a n d c a r r y
approximately 8 million dog mummies, some of which are jackals, foxes,
falcons, cats and mongoose. In the same area ibis, hawk, baboon, and apis
catacombs are located.
A n o t h e r c a t a c o m b w i t h d o g s ’ b o n e s w a s f o u n d i n A b yd o s d a t e d f r o m 1 s t B C E t o
4th CE. In the sacred well’s enclosure the entrance of a hypogeum which leads to
s e r i e s o f r o c k - c u t c h a m b e r s 622 i s l o c a t e d ( F i g u r e 9 0 - 9 2 ) .
R e m a i n s o f d o g s a r e f o u n d i n A b yd o s a t t h e I b i s c e m e t e r y ( L a t e t o R o m a n
Period). Some dogs were inside a small brick enclosure near or between the jars,
some of which contained a dog’s skeleton or dog’s mummy and some were tied
u p w i t h l i n e n 623. T h e c e m e t e r y o f e l - K u r r u d a t e d i n t h e 2 5 t h D yn a s t y c o n t a i n s
s k e l e t o n s o f d o g s 624 i n s i d e a c i r c u l a r g r a v e .
118
FIGURES
Figure 85. Anubis on the "Treasury's" Figure 86. The entrance to the Upper Shrine
threshold of Anubis at Deir el-Bahari
© Reeves, 1995, p. 87 © Szafranski, 2010, p. 194, Figure 4
119
Fig ure 89. M ap of ani ma l’s mummific ation in Egy pt
© Ikram, 2015, p. xvii
120
Figure 90. The well and the dog's Figure 91. Plan of dog's hypogeum at
hypogeum at Abydos Abydos
© Peet, 1914, PLXVIII © Peet, 1914, PLXVIII
121
CONCLUSION
Thinking generall y of the Ancient Egyptian culture, we believe the following
statement by Paton is suitable: “Death is the “king of terrors,” yet it is the
greatest teacher of our race. Without it men could never have learned the
defference between body and spirit; and without the idea of spirit, god could not
h a v e b e e n c o n c e i v e d , a n d r e l i g i o n w o u l d h a v e b e e n i m p o s s i b l e ” 625.
The concept of canids in relation to the mortuary context started during the
P r e d yn a s t i c Period. During that time, the canids represented the human
manifestation and the human figure is mentioned indirectly through the canid
lashes. Evindence of the importance of the canids is attested in palettes, like the
Two Dog Pallete. Therefore, Anubis’s cult had already had a valid ground and
all the needful ingredients to be established. The mortuary god was born and
became the god of the Underworld equal to Osiris. Nevertheless, with the
upcoming religion of the latter, the canid-headed god was left a few steps
behind.
The ancients, as the evidence show, wanted an anthropocentric god as the ruler
o f t h e A f t e r l i f e , a w a y f r o m t h e P r e d yn a s t i c a n i m a l i n f l u e n c e , b u t t h e y n e v e r
e r a s e d t h e d i v i n e a n i m a l h yp o s t a s i s f r o m t h e d i v i n e m a n i f e s t a t i o n s , p e r h a p s a s a
reminder of their diversity with their gods. Likewise, Anubis was never
s u p p l a n t e d , b u t , o n t h e c o n t r a r y, h e j o i n e d t h e O s i r i a n m yt h a s O s i r i s ’ s
embalmer and son. Anubis, being an illegitimate son, didn’t have the power to
be a rival of Horus; therefore, the latter became the living pharaoh through his
legitimate bloodline. Furthermore, Osiris represented a humanized Underworld
a n d a l s o e s t a b l i s h e d a u n i q u e o r i g i n s t o r y.
During the New Kingdom and afterwards, Anubis acquires his former glory to
some extent, particularly as regards iconography both in the temples and the
t o m b s 626. I t i s v e r y i n t r i g u i n g t h a t t h e f u n c t i o n o f A n u b i s i s i s e s t a b l i s h e d d u r i n g
the Old Kingdom, but his illustration flourished during the New Kingdom and
onwards. The answer to that might rely on the fact that during the Second
I n t r e m e d i a t e P e r i o d , E g yp t w a s r u l e d b y f o r e i g n e r p h a r a o h s . F o r g n e i g n e r s w e r e
a l w a ys t h o u g h t a s t h e e n e m i e s o f E g y p t , t h e u n b a l a n c e o f t h e w o r l d , t h e b e a r e r s
of chaos and the occupation of their ancient land was thought as a result of the
deviation from their manners and customs. When that time passed, the Egyptians
625Paton, 1921, p. 1
626During the Old Kingdom, the tombs were not illustrated because the ancient Egyptians feared
the power of the image Pinch, 2002, p. 10.
122
had to be closer to their ancient traditions and “make peace” with their gods.
Canid’s mummifications were doubled and were addressed especially to Anubis,
because he was the guide to Osiris’s Hall, he was the god of the embalming;
therefore, if they appeased him, he would give them the opportunity to gain a
place in the afterlife.
T h r o u g h h i s r i c h i c o n o g r a p h y, A n u b i s ’ s m o s t k n o w n r e p r e s e n t a t i o n i s t h e
recumbent one; attested on seals, amulets, walls, statues etc., concealing the
secret and sacred aspect of the embalming and the deceased's burial place. It is
n o t a b l e t h a t i n t h e r e c u m b e n t p o s t u r e A n u b i s a l w a ys w e a r s a c o l l a r a n d i n s o m e
c a s e s a l s o w e a r s a l a s h . A s w e h a v e s e e n , l a s h e s w e r e u s e d i n t h e P r e d yn a s t i c
Period to define the intelligible appearance of the human. Therefore, the collar
o f A n u b i s i s e c h o i n g t h e P r e d yn a s t i c i n f l u e n c e a n d , w i t h c a u t i o n , w e c a n s a y
that it is evidence of the god’s appeasement (domestication).
The manifestation of mummification is part of the ritual and the embalming
p r o c e d u r e s , a n d , m o s t o f t h e t i m e , i s i n c l u d e d a s p a r t o f t h e s t o r yt e l l i n g s c e n e
with a beginning and an end. The same applies to other funerary manifestations.
The rebirth scenes might be an alternative mummification depiction, an indirect
outcome of the procedure.
The ''breath of life" gesture is equal to the afterlife passages regarding the
akhification of the dead and is part of the embalming and the opening of the
mouth sequence, while the enthrone posture illustrates his status on the
pantheon, since, most of the time, he is receiving offerings from the deceased.
The standing posture and the protective gesture are two representations that the
god is frequently depicted in, especially during the New Kingdom.
T h e a l t e r n a t i v e r e p r e s e n t a t i o n s g i v e u s a n i n s i g h t t o t h e v a r i a t i o n o f m yt h s a n d
the complexity that existed in Egypt. Anubis pantheistic manifestation and
Hermanubis were the products of the cultural interaction between Greece and
E g yp t . D u r i n g t h e P t o l e m a i c P e r i o d , t h e p a n t h e i s t i c d e i t i e s w e r e p o p u l a r ( e . g .
Serapes, Hathor-Aphrodite, etc.). The ancients believed that the combination of
different divine elements would protect them. In addition, this combination was
efficient for people to accept the differences between the two civilizations,
providing a common ground. The other general manifestations, such as the
embraced gesture and winged posture, are attested, as far as we know, once and
the human-headed depictions are very rare. It is clear that depending on the
m a t e r i a l o n w h i c h t h e i m a g e i s d r a w n , t h e s t r i c t r u l e s o f t h e E g yp t i a n s b e c o m e
123
more elastic, with the result of the figures often being flattened or resembling
c a l i c a t u r e s , w i t h l a r g e h a n d s , h e a d s o r e ye s . F u r t h e r m o r e , w e c a n f i n d d i f f e r e n t
combinations of posture and gesture of Anubis with various accessories, e.g. in
some cases he wears the double crown, while in others the artist chose another
one. This, apart from the religious and political orientation, is also proof of the
artistic freedom.
A n u b i s ’ s e p i t h e t s a r e i n t e r r e l a t e d w i t h h i s r o l e s a n d h i s i c o n o g r a p h y; t h e i r
nature are interdependent and reinforce one another, thus the functional, the
status and the iconographical epithets can be found in his representations.
Therefore, the recumbent posture, which is also the determinate for Anubis’
name and part of his epithet Hry sStA “he who is upon the secrets”, gives
double protection and is used as a warning to the tomb’s intruders.
The role of Anubis is found throughout all of the Afterlife Books and is
estamblished from the Old Kingdom. His roles could be summarized in six
categories:
Embalming the corpse of Osiris and general all dead bodies
Magical power for the deceased’s akhification
Leading the deceased to the Hall of Truth
Judgement of the deceased
Guardian/protection of Osiris and general of the deceased/tomb
Warfare aspect against the evil spirits and Osiris’s enemies
From the above we understand that mostly he was considered as a servant/a
companion of the dead and not as their supreme leader. All of his powers are
linked to his servant status. With his words (magical action), the deceased is
akhified. This action serves to reinforce his obligation first to Osiris and then to
to the deceased. Akhification is the first step of the deceased to the Afterlife;
the embalming is anteceded of akhification and is related to the living world.
E x c e p t f o r P T , w h i c h c i t e s a l l o f h i s r o l e s e q u a l l y, b y r e a d i n g t h e a n c i e n t t e x t s
we might be able say that CT illustrates his entire role but his function as the
god of mummification. BD gives more value in his role during the judgment of
the dead. The other books of Afterlife (Ambuat, BG, BC etc.) represent more his
guardian and protective aspect; the latter might have happened as a result of the
restoration of tradition.
The TTB must be concindered as an entirel y separated literary form. It is
difficult to identify with one kind of interpretation; it most likely combines
124
m o r e t h a n o n e : a p o l i t i c a l , t r a d i t i o n a l / r e l i g i o u s a n d s o c i a l / p s yc h o l o g i c a l . I t i s
very interesting that all adventures of Bata, regarding the human involvement,
happened at the daily hours and during the night hours Bata is reborn and the
gods intervene into the tale.
The same applies to the Jumilhac Papyrus too, since it is comprised of different
adventures of the gods, Anubis and Horus, with innvocations and new story
l i n e s . I n b o t h c a s e s , w e a r e n o t s u r e i f t h e y a r e a n c i e n t m yt h s a n d l e g e n d s o r a r e
placed in the general spirit of the time. Furthermore, regarding the Jumilhac
P a p yr u s , w e m u s t n e v e r f o r g e t t h a t i t w a s w r i t t e n d u r i n g t h e P t o l e m a i c P e r i o d , i n
w h i c h n e w m yt h s o r a c o m b i n a t i o n o f o l d e r o n e s a n d n e w h i e r o g l y p h i c s
appeared. Τhis may have happened either because the Greeks wanted to import
their own cultural elements or because they did not correctly understand the
E g yp t i a n c o s m o g o n i e s . T h e J u m i l h a c P a p yr u s ’ s t o r i e s o f a s i n g l e g o d - h e r o
(contests) could be considered ethnographic parallel to the adventures’ series
t h a t c a n b e f o u n d i n a n c i e n t G r e e k h e r o ’ m yt h s , s u c h a s H e r c u l e s , T h e s e u s o r
O d ys s e u s ( C h a r t 4 ) . I n a d d i t i o n , t h e s e s t o r i e s s h o w s t h e i n f l u e n c e o f t h e
H e l l e n i c c i v i l i z a t i o n o n t h e E g yp t i a n w o r l d .
I t i s l o g i c a l f o r A n u b i s , w i t h h i s P r e d yn a s t i c r o o t s , t o h a v e f e a s t s a n d d i v i n e
buildings to be worshiped. Few temples and shrines are known and preserved;
o t h e r s a r e m e n t i o n e d i n t e x t s b u t n o n e o f t h e i r s i t e s i s i d e n t i f i e d ye t , a s i t
happens in the case of Lahun’s temple. With further research and excavation, we
will come across new evidence to fill in the gaps of his origin and generally of
h i s s t o r y.
Chart 4. Story’s Construction
125
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