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The handle http://hdl.handle.net/1887/46027 holds various files of this Leiden University dissertation.
Author: Hoven, C. van den
Title: The coronation ritual of the falcon at Edfu : tradition and innovation in ancient Egyptian ritual composition
Issue Date: 2017-02-16
The coronation ritual of the falcon at Edfu
Tradition and innovation
in ancient Egyptian ritual composition
Proefschrift
ter verkrijging van
de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus Prof. mr. C.J.J.M. Stolker,
volgens besluit van het College voor Promoties te verdedigen op donderdag 16 februari 2017
klokke 13.45 uur
door
Carina van den Hoven geboren te Dordrecht
in 1980
Promotores: Prof. dr. O.E. Kaper Prof. dr. Chr. Zivie-Coche
Promotiecommissie: Prof. dr. L. Coulon Dr. J. van Dijk Dr. I. Guermeur Prof. dr. D. Kurth Prof. dr. M.J. Raven Dr. Chr. Thiers
The coronation ritual of the falcon at Edfu
Tradition and innovation
in ancient Egyptian ritual composition
Thèse de Doctorat
pour l’obtention du titre de
Docteur de l’École Pratique des Hautes Études PSL soutenue publiquement le jeudi 16 février 2017
par
Carina van den Hoven née à Dordrecht, Pays-Bas
en 1980
Directeurs de thèse : Prof. dr. O.E. Kaper Prof. dr. Chr. Zivie-Coche
Pré-rapporteurs : Dr. J. van Dijk Dr. Chr. Thiers
Membres du Jury : Prof. dr. L. Coulon Dr. I. Guermeur Prof. dr. D. Kurth Prof. dr. M.J. Raven
1
TABLE OF CONTENTS 1
ACKNOWLEDGEMENTS 5
1 INTRODUCTION 7
1.1 RESEARCH TOPIC AND SOURCE MATERIAL 7
1.2 AIMS AND OBJECTIVES 14
1.3 THEORY AND METHODOLOGY 16
1.3.1GRAMMAIRE DU TEMPLE 16
1.3.2INTERTEXTUALITY AND INTERICONICITY 17
2 TEXTUAL AND ICONOGRAPHIC ANALYSIS 19
2.1 SCENE 1 19
2.1.1ANOINTING THE SACRED FALCON 20
2.1.2THE HYMN TO THE SACRED FALCON 21
2.2SCENE 2 22
2.2.1PRESENTING THE HH-SYMBOL AND THE anx-BOUQUET 22
2.2.2THE HYMN TO THE SACRED FALCON 23
2.3SCENE 3 25
2.3.1PRESENTING CHOICE PORTIONS OF MEAT 25
2.3.2THE HYMN TO THE SACRED FALCON 27
2.3.3THE INVOCATION TO SAKHMET-WADJET 29
2.3.4THE FINAL APOTROPAIC FORMULA 29
2.4SCENE 4 30
2.4.1FUMIGATING FRAGRANT RESIN 30
2.4.2THE HYMN TO THE SACRED FALCON 31
2.5SCENE 5 32
2.5.1THOTH ENGRAVING THE PALM RIB 33
2.5.2CENSING BEFORE THE GOOD YEAR 34
2.5.3THE INVOCATIONS TO THE GOOD YEAR 34
2.5.4THE FINAL APOTROPAIC FORMULA 36
2.6SCENE 6 37
2.6.1THOTH HOLDING anx AND wAs 37
2.6.2PRESENTING INCENSE AND A SISTRUM TO SAKHMET 38
2.6.3THE INVOCATIONS TO SAKHMET 39
2.6.4THE FINAL APOTROPAIC FORMULA 40
2.6.5THE HYMN TO HORUS 40
2.7SCENE 7 41
2.7.1ONURIS-SHU PIERCING A SNAKE 41
2.7.2PRESENTING THE HH-SYMBOL AND gs-OINTMENT 42
2.7.3THE PROTECTION OF THE BEDROOM AND OF THE HOUSE 45
2.7.4THE FINAL APOTROPAIC FORMULA 46
2.8SCENE 8 47
2.8.1ONURIS-SHU STABBING THE SETH-ANIMAL 48
2.8.2PRESENTING A CORD AND A URAEUS 48
2.8.3THE PROTECTION OF THE BODY 49
2.8.4THE FINAL APOTROPAIC FORMULA 51
2.9CONCLUSIONS 51
2
3 INTERTEXTUAL AND INTERICONOGRAPHIC ANALYSIS 55
3.1SCENE 1 55
3.1.1ANOINTING 55
3.1.1.1 Anointing as a symbol of renewal and regeneration 55
3.1.1.2 Anointing as a means of protection 55
3.1.1.3 Anointing and the confirmation of royal power 56
3.1.1.4 Conclusions 62
3.2SCENE 2 62
3.2.1PRESENTING THE HH-SYMBOL AND THE anx-BOUQUET 62
3.2.1.1 The destruction of enemies and an eternal reign 63 3.2.1.2 The anx-bouquet in relation to the imA-, bAq- and iSd-trees 64 3.2.1.3 The HH-symbol in relation to the anx-Dd-wAs-symbols 65 3.2.1.4 The anx-bouquet in relation to the anx-Dd-wAs-symbols 67
3.2.1.5 Conclusions 69
3.3SCENE 3 70
3.3.1PRESENTING CHOICE PORTIONS OF MEAT 70
3.3.1.1 The destruction of enemies 70
3.3.1.2 The annihilation of enemies and the confirmation of royal power 71
3.3.2THE HYMN TO SCENE 3 72
3.3.3THE INVOCATION TO SAKHMET-WADJET 73
3.3.4THE FINAL APOTROPAIC FORMULA 73
3.4SCENE 4 75
3.4.1FUMIGATING FRAGRANT RESIN 75
3.4.1.1 Fragrant resin and the rising of the renewed sun-god 76
3.4.2THE HYMN TO SCENE 4 76
3.5SCENE 5 77
3.5.1THE SOULS OF PE AND NEKHEN AND THE CONFIRMATION OF ROYAL POWER 77
3.5.2THOTH ENGRAVING THE PALM RIB 79
3.5.3THE GOOD YEAR, RENEWAL AND PROTECTION 81
3.5.4PRESENTING PALM RIBS AND THE sSd-HEAD-BAND 83
3.5.5THE INVOCATIONS TO THE GOOD YEAR 84
3.5.5.1 Dendera, kiosk on the roof 85
3.5.5.2 Edfu, mammisi 85
3.5.5.3 Philae, mammisi 86
3.5.5.4 Dendera, pronaos 86
3.5.5.5 Amheida 87
3.5.5.6 Dendera, Roman mammisi 88
3.5.5.7 Ismant el-Kharab (Kellis), mammisi 88
3.5.5.8 Conclusions 90
3.6SCENE 6 91
3.6.1APPEASING AND INVOKING SAKHMET 91
3.6.2THE INVOCATIONS TO SAKHMET 94
3.6.2.1 Edfu, rooms of the western and eastern staircase 95
3.6.2.2 Dendera, façade of the Naos 95
3.6.2.3 Dendera, Room U 96
3.6.2.4 Dendera, East Crypt I 96
3.6.2.5 Dendera, kiosk on the roof 96
3.6.2.6 Dendera, Roman mammisi 96
3.6.2.7 Dendera, Isis temple 97
3.6.2.8 Kom Ombo, Offering H 97
3.6.2.9 Athribis, Room F1 97
3.6.2.10 Texts closely associated with the invocations to Sakhmet 100
3.6.2.10.1 Appeasing Sakhmet in the pronaos 100
3.6.2.10.2 The chronocrates 100
3.6.2.11 Conclusions 101
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3.6.3THE HYMN TO SCENE 6 102
3.7SCENE 7 103
3.7.1LION-THRONES AND THE CONFIRMATION OF ROYAL POWER 103
3.7.2PRESENTING THE HH-SYMBOL AND gs-OINTMENT 104
3.7.2.1 The HH-symbol as a protective amulet 104
3.7.2.2 Gs-ointment for protection during the night 106
3.7.3THE RITUAL FOR THE PROTECTION OF THE BEDROOM 106
3.7.3.1 The tradition of rituals for protection during the night 106
3.7.3.2 The protection of the bedroom 109
a) Lighting torches 109
b) Tying cloth 113
c) Presenting protective amulets and stone beads 115
d) Drawing protective images and reciting spells 117
e) Anointing with spittle 118
f) Tying and untying a knot 118
g) Conclusion of the ritual 119
3.7.3.3 Conclusions 119
3.7.4THE SPELLS FOR THE PROTECTION OF THE HOUSE 121
3.7.4.1 Edfu, mammisi 123
3.7.4.2 Dendera, South Crypt I 123
3.7.4.3 Dendera, West Crypt I 124
3.7.4.4 Conclusions 124
3.8SCENE 8 125
3.8.1PRESENTING THE URAEUS AND THE WINGED SCARAB 125
3.8.1.1 The uraeus for the protection of the body 125
3.8.1.2 The winged scarab for the protection of the body 126
3.8.2THE RITUAL FOR THE PROTECTION OF THE BODY 127
3.8.2.1 The tradition of rituals for the protection of the body 127
3.8.2.2 The protection of the body 129
a) [Tying a ...] and a uraeus to the head 130
b) Presenting protective amulets 131
c) Tying cloth around the neck 131
d) Presenting protective amulets and stone beads 132
e) Drawing protective images 133
f) Anointing with myrrh and fragrant fat 134
g) Protecting with reed and papyrus and with doum- and date palms 134
h) Tying a knot 134
i) Purifying and spitting 135
j) Drawing images on dishes 135
k) [Purifying] 137
l) Anointing with oil 137
m) Tying and untying a knot 138
n) Breaking painted [dishes] 138
o) Presenting milk 138
p) Conclusion of the ritual 139
3.8.2.3 Conclusions 139
3.8.3THE SPELLS FOR THE PROTECTION OF THE BODY 140
3.8.3.1 Edfu, mammisi 141
3.8.3.2 Conclusions 141
3.9CONCLUSIONS 141
4
4 STRUCTURAL ANALYSIS 147
4.1DISCUSSION OF ALLIOT’S ANALYSIS OF THE RITUAL 147 4.2ANALYSIS OF THE SPATIAL ARRANGEMENT OF THE SCENES 150
4.2.1SCENES 1 AND 2 150
4.2.2SCENES 3 AND 4 151
4.2.3SCENES 5 AND 6 152
4.2.4SCENES 7 AND 8 153
4.3INTERRELATIONS WITH THE DECORATION-PROGRAMME OF WALL I’(NORTH) 154
4.3.1SOUBASSEMENT 154
4.3.2BANDEAU-INSCRIPTIONS AND FRIEZE 158
4.3.2.1 Bandeau du soubassement 158
4.3.2.2 Bandeau de la frise 159
4.3.2.3 Frieze 159
4.3.3THIRD REGISTER 160
4.3.3.1 Western half, scene 1 162
4.3.3.2 Western half, scene 2 163
4.3.3.3 Eastern half, scene 1 168
4.3.3.4 Eastern half, scenes 2a and 2b 169
4.3.3.5 Eastern half, scene 3 172
4.4CONCLUSIONS 174
5 RECONSTRUCTION OF THE RITUAL 177
5.1ESTABLISHMENT OF THE RITUAL SEQUENCE 177
5.2POSITION OF THE SCENES IN THE RITUAL SEQUENCE 180
5.2.1SCENES 1 AND 2 181
5.2.2SCENES 3 AND 4 181
5.2.3SCENES 5 AND 6 181
5.2.4SCENES 7 AND 8 182
5.3 IDENTIFICATION OF THE RITUAL LOCALITIES 183
5.3.1THE Pr-Bik / Pr-Bik-NTry 184
5.3.2THE mArw AND THE sSd n xaw / sSd n siA / sSd n sAb-Swt 189
5.3.3THE RITUAL LOCATIONS OF SCENES 1-8 201
5.3.3.1 Scenes 1 and 2 201
5.3.3.2 Scenes 3 and 4 201
5.3.3.3 Scenes 5 and 6 201
5.3.3.4 Scenes 7 and 8 202
6 SYNTHESIS AND CONCLUSIONS 205
LIST OF FIGURES AND TABLES 219
ABBREVIATIONS 221
BIBLIOGRAPHY 223
APPENDIX 1. GENERAL PLAN OF THE TEMPLE OF EDFU 253
APPENDIX 2. LINE-DRAWINGS 255
APPENDIX 3. TRANSLATIONS 257
APPENDIX 4. SAMENVATTING 297
APPENDIX 5. RÉSUMÉ 303
APPENDIX 6. CURRICULUM VITAE 309
5 ACKNOWLEDGEMENTS
This doctoral dissertation is the result of an international joint PhD-research project carried out at Leiden University and the École Pratique des Hautes Études. The research project was funded by the generous financial support of the Conseil Régional Île-de-France, Prins Bernhard Cultuurfonds, Dr. Catharine van Tussenbroek Fonds, Leids Universiteits Fonds and Leiden University Institute for Area Studies.
I am deeply grateful to my supervisors Olaf Kaper and Christiane Zivie-Coche for the fruitful discussions we had, for their valuable comments on my work and for the encouragement and support they offered. The séminaires organised by Christiane in Paris were not only enjoyable, but also provided a very useful platform for discussing research ideas and gaining insight in the various topics that the other PhD researchers were working on. Olaf Kaper gave me the fantastic opportunity to take part in his fieldwork-project in the Dakhleh Oasis in Egypt for several seasons, as well as to teach various courses at Leiden University (2013-2015 and 2016).
As my research was carried out both in The Netherlands and in France and I would like to thank all the members of the Department of Egyptology at Leiden University for their encouragement and support as well as the members of the Équipe d’Accueil « Égypte ancienne : archéologie, langue, religion » (EA 4519) at the École Pratique des Hautes Études for making me feel most welcome in Paris.
I would like to thank especially Dieter Kurth and the members of Das Edfu Projekt in Hamburg, Wolfgang Waitkus, Andreas Effland and Jan-Peter Graeff for welcoming me in Hamburg and for kindly making available to me a pre-publication version of their work on the translations of Edfou VI.
I am most appreciative of the Netherlands Institute for the Near East (NINO) in Leiden for providing me with a personal workspace and outstanding research facilities. In Paris the library facilities of both the Centre Wladimir Golénischeff and the Collège de France were indispensable. Thanks are also due to the Netherlands-Flemish Institute in Cairo (NVIC) for providing me with the facilities and assistance essential to carry out fieldwork in Egypt.
I would like to thank the members of the Doctorate Committee for their time invested:
Laurent Coulon (École Pratique des Hautes Études), Jacobus van Dijk (Universiteit Groningen), Ivan Guermeur (Centre National de la Recherche Scientifique; Université Paul- Valéry Montpellier 3), Dieter Kurth (Universität Hamburg), Maarten Raven (Rijksmuseum van Oudheden; Universiteit Leiden) and Christophe Thiers (Centre National de la Recherche Scientifique; Centre Franco-Égyptien d’Étude des Temples de Karnak).
Special thanks are due to archaeological illustrator Martin Hense, who very generously helped me with the illustrations in this volume and the design of the cover.
On a personal level I would like to thank all my friends and colleagues in The Netherlands, Egypt and France, and most importantly my father Arie van den Hoven for instilling in me a passion for history and culture and my partner Erik de Heer for his everlasting support and for enabling me to see things in another perspective.
Leiden, September 2016
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