The Hedgehog Goddess Abaset

Walid shaikh al arab the hedgehog goddess abaset

Abstract the egyptian goddess abaset was a minor hedgehog-deity. her presence was attested only in the 26 th dynasty (656-525 bc). she was solely venerated on the eastern fringe of el-bawiti, the capital of bahariyya oasis, which is situated far from the nile Valley. this paper aims at presenting a reliable interpretation for the name of the goddess abaset. it focuses on the history and the development of her cult. the ancient egyptian depicted abaset in an anthropomorphic form. the crown of hedgehog was specific to abaset; it is a key element in the identification of the goddess, especially if the scene was not labelled with her name. the exact reason for this iconography is unclear. the occurrence of the images of abaset and the use of her legends was restricted to specific location, i. e. el-bawiti.

Keywords abaset, re-horakhty, hedgehog, el-bawiti, bahariyya oasis

1 I. Introduction

abaset was an ancient egyptian minor hedgehog-deity, whose traces have survived only in the 26th dynasty (656-525 bc). she was merely worshiped on the eastern fringe of (el-bawiti ϲτϳϭΎΒϟ΍) )2, the capital of bahariyya oasis, which is located far from the nile Valley. the reading and the meaning of her name have been debated.

interestingly, abaset was unknown until the late Period (656-332 bc) and even no evidence indicates that she was represented permanently among the deities of the egyptian pantheon. in the 26th dynasty (656-525 bc), the fame of abaset increased remarkably and thus she was included in the egyptian pantheon.

1 i am thankful to Paola davoli, department of humanities, university of salento, lecce 1 (italy), for her help in publishing this paper. 2 (el-bawiti ϲτϳϭΎΒϟ΍ )) is is the the capital capital and and the largestthe largest settlement settlement of the bahariyyaof the Bahariya oasis situated Oasis situated in the Egyptian Western in thed egyptian Western desert.

ägyptischen Götter und Götterbezeichnungen 1

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ägyptischen Götter und Götterbezeichnungen

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abaset has received a small attention in religious, historical and prosopo- graphical discussions. a few publications explored her nature. the egyptian pioneer scholar ahmed Fakhry was the first to attract the attention of re- searchers to this goddess in the late years of the first half of twentieth century, when he published his spectacular book about the tomb of BA-n-ntyw3. this book has two scenes of the goddess abaset4. in 2002, christian leitz5 also ad- dressed the goddess abaset in his valuable lexikon. Five years later and in his illustrated dictionary, L’Egypte ancienne et ses dieux, Jean-Pierre corteggiani6 wrote a short review on abaset based on the two scenes where the goddess was depicted in the tomb of BA-n-ntyw7. Finally in their paper «the representation of the hedgehog goddess abaset at bahariya oasis», hend sherbiny and hussein bassir8 read and analyzed the two scenes of the goddess mentioned in the publication of ahmed Fakhry. they concluded that «through the textual association of abaset with isis by the implications of the name and epithets, abaset may have shared connections with osiris as well. therefore, through her relationships with re and osiris, abaset may have represented the cycle of life and death at bahariya oasis». this paper aims to present a reliable interpretation of the ancient egyptian name of the goddess abaset, to identify and explain the main moments of her iconography evolution, to shed light on her personality throughout her appellations, to define her different aspects, to highlight the relationship that unites abaset and other deities, to understand the reasons for the presence of such relationship, and finally to point out the history and the development of her cult.

the study is basically divided into two major parts: corpus and synthesis (results and discussion)

3 the reading and the meaning of this name are still uncertain: see h. sherbiny-h. bassir, The Representation of the Hedgehog Goddess Abaset at Bahariya Oasis, «Jarce» 50 (2014), pp. 174-176. 4 a. Fakhry, Bahria Oasis, Vol.1, The Egyptian deserts, cairo 1942, pp. 78-79, 83-84 and figs. 35, 41. 5 ch. leitz, Lexikon der ägyptischen Götter und Götterbezeichnungen ii, ola, 111, leuven, Paris-dudley 2002, p. 88c [1-2]. 6 J.-P. corteggiani, L'Égypte ancienne et ses dieux: dictionnaire illustré, Paris 2007, p. 8. 7 about the tomb of the local notable BA-n-ntyw, see infra, p. 92, note 18. 8 h. sherbiny-h. bassir, The Representation cit., pp. 171-189. the goddess was depicted in the tomb of BA-n-ntyw7. Finally in their paper «The Representation of the Hedgehog Goddess Abaset at Bahariya Oasis », Hend Sherbiny and Hussein Bassir8 read and analyzed the two scenes of the goddess mentionned in the publication of Ahmed Fakhry. They concluded that «through the textual association of Abaset with Isis by the implications of the name and epithets, Abaset may have shared connections with Osiris as well. Therefore, through her relationships with Re and Osiris, Abaset may have represented the cycle of life and death at Bahariya Oasis». This paper aims to present a reliable interpretation of the Ancient Egyptian name of the goddess Abaset, to identify and explain the main moments of her iconography evolution, to shed light on her personality throughout her appellations, to define her different aspects, to highlight the relationship that unites Abaset and other deities, to understand the reasons for the presence of such relationship, and finally to point out the history and the development of her cult.

The study is basically divided into two major parts: documents and synthesis (discussion and results). The Hedgehog Goddess Abaset 85

II. Documents II. Corpus

First document : First document The first document comes from the tomb no. 1 which is situated at the site of Fama 9. It is one the first document comes from the tomb no. 1 which is situated at the site 10 10of, ael- village ণãrra cur- (ΓέΎΤϟ΍) , a village currently falls within the administrative (ةراحلا) of Fama9. it is one of six sites at theof village six sites of el-Ḥãrra at the village 11 . ϲτϳϭΎΒϟ΍), , the capitalcapital of Bahariyya Oasisطيوابلا)) rently falls within the administrativedivision division of of el-Bawiti el-bawiti

of bahariyya oasis11. The tomb consists of a well-cut vertical shaft (A), which descends vertically through the rocky

the tomb consists of a well-cutground vertical toshaft a depth(a), which of 160 descends cm under vertically the ground level. The western wall of the vertical shaft (A) 12 through the rocky ground to a depthhas ofan 160 entrance cm under leading the ground to level.the chamber the (B), which is rectangular with four square pillars 12 western wall of the vertical shaft (a) has an entrance leading to the chamber (b), which is rectangular with four7 About square the pillars tomb ofbearing the local its notableceiling. BA-n-ntyw an acci- , see infra, p. , note . 8 dental collapse may have caused HtheEND damage SHERBINY on -HtheUSSEIN roof. B smallerASSIR, The auxilary representation cit., pp. 171-189. 9 Fama (ΎϣΎϓ) is located at 7 km southwest of the village of El-ণãrra Γ(έΎΤϟ΍) and at 3 km north-ZHVWRIǥ$LQHO-Maল৮WǥD rooms, which were cut during the roman Period (30 bc-642 ad), are attached on the northern, the southern and the ( ΔϋϮτϘϤϟ΍Ϧϴϋeastern walls ). of chamber (b). an entrance 10 The village of El-ণãrra (Γ έΎΤϟ΍) is a small village situated on the road leading to the village of El-Bahnasa, Beni located on the western wall of chamber ã (b), leads to the ã main burial chamber ã ã Mazar, Minya. It lies about 22 km east of the townã of el-Bawiti ( ϲτϳϭΎΒϟ΍ ), the capital of Bahariyya Oasis and about ã (c). it measuresãã ã 190×190 cm. its ceiling is lower than that of columned hall 13 km east of the village Mandisha ( ΔθϳΪϨϣ ). El- ণ ãrra contains several archaeological sites as follow:ǥ Ain el-Wãdi

(b) (fig. 1). (ϱΩ΍Ϯϟ΍Ϧϴϋ ), ǥ$LQ*HGƭG ΪϳΪΟϦϴϋ ), ǥAin el-Zawia ( Δϳϭ΍ΰϟ΍Ϧϴϋ ), ǥAin el-Ma ল৮WǥD ΔϋϮτϘϤϟ΍Ϧϴϋ ), ǥAin el-Zawia (Ϧϴϋ

Δϳϭ΍ΰϟ΍ ), and Fama (ΎϣΎϓ ). 11 For more readings on Bahariya Oasis, see F. B LISS , Die ägyptischen Oasen . Bd 2, Oasenleben: die ägyptischen Oasen Bahriya und Farafra in Vergangenheit und Gegenwart , Beiträge zur Kulturkunde 23, Bonn 2006, pp. 33- 7 7 7 7 7 34; F. C OLIN , Qasr Allam. A Twenty-Sixth Dynasty Settlement , «EA» 24 (2004), pp. 30 ±33; FARID ATIYA-JENNY 7 77 7 J OBBINS , The silent desert. I, Bahariya & Farafra Oases , Cairo 2003; J. W ILLEITNER , Die ägyptischen Oasen: 9 (ΎϣΎϓ) is located at 7 km southwest of the village of El- ã in derand lybischen at 3 km ã Wüste , Mainz ã 2003, pp. ã 89 ± 91; ãC. V IVIAN , The Western Desert of (ةراحلا) is located at 7 km south-west Städte, of the Tempelvillage ofund el-Ḥãrra Gräber (اماف) Fama ã (ΔϋϮτϘϤϟ΍Ϧϴϋ ã ). ,ã Egypt: An Explorer's Handbook , New York 2002, pp. 174±212; A.J. MILLS, Western Desert, in D.B. REDFORD .(ةعوطقملا ã نيع) north-west of ‛ain el-Maḳṯt‛a 1 10 ã ã , is a smallThe Oxford village encyclopediasituated onã the of road Ancient leading ã Egypt to theã III, Oxford-New York-Paris, 2001, pp. 497 ± 501; J. BAINES -J. M ALEK (ةراحلا) the village of el-Ḥãrra ã ã ãã village of el-bahnasa, beni Mazar, Minya. it lies about 22 km east of the town of el-bawiti Cultural Atlas ã of Ancient Egypt ã, New York 2000, p. 187; G. C ASTEL ã -P. TALLET , /HVLQVFULSWLRQVG¶(O ã -Harra, ΔθϳΪϨϣ ). El- ã ã ã ã ã ã ).(ةشيدنم) ϲτϳϭΎΒϟ΍ ), , the the capitalcapital of of bahariyyaBahariyya oasis and about 13 km east of the village Mandisha (يوابلا)) riya, Dakhla, Farafraۊoasis de Bahareya, «BIFAO» 101 (2001), pp. 99 ± 136; L.L. GIDDY , Egyptian Oases: Ba ain ã ã ã gedĩd‛ ,( ,(يداولا ϱΩ΍Ϯϟ΍Ϧϴϋ)نيع) ã el-Ḥãrra contains several ããã archaeological sites as ãfollow: ‛ain el-Wãdi and Kharga during pharaonic Times , Warminster 1987, pp. 15-16; AHMED FAKHRY, Bahrija, Oase, in LdÄ I, .(ΎϣΎϓ.(اماف)) and Fama ,( عوطقملا ΔϋϮτϘϤϟ΍Ϧϴϋنيع) ain el-Maḳṯt‛a‛ ,( ,وازلا Δϳϭ΍ΰϟ΍Ϧϴϋ نيع)) ain el-zawia‛ ,( ,(دج ΪϳΪΟϦϴϋنيع) col. 601-604; 1 A HMED ägyptischen FAKHRY Oasen, The . Oases ägyptischen of Egypt. Oasen Vol.. ägyptischen II, Bahriyah and Farafraägyptischen Oases , Cairo 1974; ID., 11 ägyptischen ägyptischen Oasen . ägyptischen Oasen . Oasen . ägyptischen ägyptischen ägyptischen ForO more readings on bahariya oasis, see F. bliss , Die ägyptischen Oasenä. Bd 2, Oasen- riaO. . Oasis. , Vol.1O and OII, Theägyptischen ägyptischen ägyptischen Egyptian Deserts , äCairo 1942 and 1950.ä ä äۊägyptischen Oasen . ägyptischen Oägyptischen ägyptischen ägyptischen BaOasen Oasen Oasen leben: die ägyptischen Oasen Bahriya und12 Farafra in Vergangenheit und Gegenwart , Beiträge O OOO ä Thisäää entrance is located at the bottom of the burial shaft (A). JENNY zur Kulturkunde 23, bonn 2006, pp. 33-34; F. colin , Qasr Allam. A Twenty-Sixth Dynasty Set- ägyptischen Oasen: JOBBINS , The silent desert. I, Bahariya & Farafra Oases , Cairo ägyptischen 2003; J. W Oasen:ILLEITNER ägyptischen , Die ägyptischen Oasen: ägyptischen Oasen: Oasen: tlement, Sä«ea» 24 (2004), pp. 30-33;ä F arid a tiya-Jenny Jüobbins , The silent desert. I, Bahariya ägyptischenSä Oasen: Sä ä Städte, ägyptischenägyptischen ägyptischenTempel Sää und üOasen: Oasen: GräberOasen: in derä lybischenü Wüste , Mainz ü 2003, pp. 89 ±91; C. V IVIAN , The Western Desert of & Farafra Oases , cairo 2003; J. Willeitner , Die ägyptischen Oasen: Städte, Tempel und Sä ä SäSäSä ü äää üüü Egypt: An Explorer's Handbook , New York 2002, pp. 174 ±212; A.J. M ILLS , Western Desert , in D.B. R EDFORD , iVian Gräber in der lybischen Wüste , Mainz 2003, pp. 89-91; c. V The , The Oxford Western encyclopedia Desert of Egypt:of Ancient Egypt III, Oxford-New York-Paris, 2001, pp. 497 ±501; J. BAINES -J. MALEK, ills An Explorer's Handbook , new york 2002, pp. 174-212; a.J. CulturalM , Western Atlas of Desert Ancient , in Egypt d.b. , New York 2000, p. 187; G. C ASTEL -P. TALLET, /HVLQVFULSWLRQVG¶(O -Harra,

riya, Dakhla, Farafraۊ r edFord , The Oxford encyclopedia of Ancient Egypt iii, oxford-new oasis de Bahareya, york-Paris, «BIFAO» 2001, pp. 101 (2001), pp. 99 ±136; L.L. GIDDY , Egyptian Oases: Ba Ä 497-501; J. b aines -J. M alek, Cultural Atlas of Ancient Egypt , and new Kharga york 2000, during p. 187; pharaonic g. c as - Times, Warminster 1987, pp. 15-16; AHMED F ÄAKHRY , Bahrija, Oase Ä , in LdÄ I, Ä

tel-P. t allet , Les inscriptions d’El-Harra, oasis Ä de Bahareya, col. «biFao» 601-604; 101 A HMED (2001), Ä ÄF Ä AKHRY pp. 99- , The Oases of Egypt. Vol. II, Bahriyah and Farafra Oases , Cairo 1974; ID.,

.ria Kharga Oasis , duringVol.1 and pharaonic II, The Egyptian Deserts , Cairo 1942 and 1950ۊ l.l. g iddy , Egyptian Oases: Baḥriya, Dakhla, Farafra Ba and ;136 12 Times , Warminster 1987, pp. 15-16; a. F akhry , Bahrija, Oase , Thisin LdÄ entrancei, col. 601-604; is located a. at F theakhry bottom , of the burial shaft (A). The Oases of Egypt. Vol. ii, Bahriyah and Farafra Oases, cairo 1974; id., Baḥria Oasis, Vol.1 and ii, The Egyptian Deserts, cairo 1942 and 1950. 12 this entrance is located at the bottom of the burial shaft (a). bearing its ceiling. An accidental collapse may have caused the damage on the roof. Smaller auxalary rooms, which were cut during the Roman Period (30 BC-642 AD), are attached on the northern, the southern and the easternWalid walls shaikh of chamber al arab (B). An entrance located on the western 86 wall of chamber (B), leads to the main burial chamber (C). It measures 190×190 cm. Its ceiling is lower than that of Columned Hall (B) (=fig. 1).

It is noteworthy that the burialFig. 1.chamber Plan of(C) Fama is the onlytomb place no. containing 1. mural painted scenes and inscriptions in the tomb.(design The scene by of Walid the Eastern shaikh wall al13 VKRZVWKHWRPE¶VRZQHUUDLVLQJKLVarab) hands in a worship attitude, followed by his wife. She raises the right hand behind the shoulder of her husband protecting him, while her left hand is alongside her body (= fig. 2).

it is noteworthy that the burial chamber (c) is the only place containing mural painted13 To the left ofscenes the tomb visitor. and inscriptions in the tomb. the scene of the eastern wall13 shows the tomb’s owner raising his hands in a worship attitude, followed by his wife. she raises the right hand behind the shoulder of her husband protecting him, while her left hand is alongside her body (fig. 2).

13 to the left of the tomb visitor. The Hedgehog Goddess Abaset 87

Fig. 2. shows the owner14 raising his hands in worship, followed by his wife. (Photograph by Walid shaikh al arab) The scene continues on the southern wall, where an offering table is represented in front of a group of seven deities consisting of two pairs of divinities followed by a triad: - Re-Horakhty and Abaset (figs. 3, 4 and 5): Re-Horakhty is represented in human form with IDOFRQ¶VKHDG+HLVGHSLFWHGVWDQGLQJ with the right leg advanced. He wears a short kilt-shendjet thewith scene belt. Oncontinues its back, a long on ceremonialthe southern tail is attached. wall, Hewhere holds aan was offering-scepter in thetable right is hand represented in front of a group of seven deities consisting of two pairs of divinities followed by a triad: 14 The names RIWKHWRPE¶VRZQHU and his wife are not known. - re-horakhty and abaset (figs. 3, 4 and 5): re-horakhty is represented in human form with falcon’s head. he is depicted standing with the right leg advanced. he wears a short kilt-shendjet with belt. on its back, a long ceremonial tail is attached. he holds a was-scepter in the right hand while his left hand grasps an ankh-sign. he wears a long tripartite wig, topped by a solar disk. he is followed by the goddess abaset (figs. 3, 4, 5, 8 and 9).

14 the names of the tomb’s owner and his wife are not known. 88 Walid shaikh al arab

- khepri and Maat (fig. 6): khepri and Maat are shown behind the goddess abaset. the image of khepri is badly damaged, but his head is survived. three columns of inscriptions are written before him reading from left to right. behind khepri, there is the iconography of the goddess Maat, where exclusively remains her head with her distinctive symbol of the ostrich's feather in the solar disk (fig. 6).

- atum,while isishis left (?) hand and grasps nephthys, an ankh-sign. He they wears are a long depicted tripartite wig, behind topped by the a solar goddess disk. He Maat. only theis followeddouble by crown the goddess subsists Abaset (figs. from 3, 4, 5, the 8 and god 9). atum's figure, who is identified - Khepri and Maat (fig. 6): Khepri and Maat are shown behind the goddess Abaset. The image of through Kheprithe accompanyingis badly damaged, but text.his head traces is survived. of Three a figure columns of of inscriptionsa goddess are writtencan be seen before him reading from left to right. Behind Khepri, there is the iconography of the goddess next to theMaat, representation where exclusively remains of atum.her head withthe her solar distinctive disk symbol flanked of the ostrich's by two feather cow in horns crowns the solar goddess' disk (fig. 6). figure. there are no traces for her accompanying text. she - Atum, Isis (?) and Nephthys, they are depicted behind the goddess Maat. Only the double could becrown isis subsists or hathor from the god(?). Atum's immediately figure, who is afteridentified the through goddess the accompanying image, text.there are traces ofTraces goddess of a figure nephthys of a goddess iconography can be seen next towith the representation accompanying of Atum. Thetext, solar which disk men- flanked by two cow horns crowns the goddess' figure. There are no traces for her accompanying tions hertext. name She could (fig. be Isis7). or behind Hathor (?). nephthysImmediately after are the the goddess leavings image, there of area tracestext ofthat may goddess Nephthys iconography with accompanying text, which mentions her name (fig. 7). have beenBehind related Nephthys to are the the leavingsprevious of a text scene. that may have been related to the previous scene.

Fig. 3. the god re-horakhty preceded by an offering table and followed by the goddess abaset. (Photograph by Walid shaikh al arab) The Hedgehog Goddess Abaset 89

Fig. 4. Facsimile of Re-Horakhty preceded by an offering table and followed by the goddess Abaset. (Drawing by Walid Shaikh al Arab Fig. 4. Facsimile of re-horakhty preceded by an offering table and followed by the goddess abaset. (drawing by Walid shaikh al arab)

Fig. 5. the god re-horakhty followed by the goddess abaset. (Photograph by Walid shaikh al arab) 90 Walid shaikh al arab

Fig. 6. the god khepri followed by the goddess Maat. (Photograph by Walid shaikh al arab)

Fig. 7. the god atum followed by isis and nephthys. (Photograph by Walid shaikh al arab) ,WVKRXOGEHQRWHGWKDWWKHORZHUSDUWRIWKHVFHQHRQWKHVRXWKHUQZDOOGRHVQ¶WILWSHUIHFWO\ with the upper one. This lower portion was shifted several centimeters from its exact and proper position, moreover it inclines slightly down as one proceed towards the west. This inclination resulted in the movement of the lower part of the god's body from its correct place to the backward and the presence of an illogical space between the upper and lower parts. This can be explained as follows: the artist, who decorated the tomb, was in a hurry to finish it As a result for this urgency, the artist wrongly placed the draft from which he performed the figures of this lower part15 and the draft was inclined down as we proceed west. Another opinion may suggest WKDWWKHSDLQWRIWKLVSDUWPD\KDYHIDOOHQDQGLWVUHVWRUDWLRQZDVQ¶WYHU\DFFXUDWHZKLFKUHVXOWHG in the imbalance in this scene.

15 The sketch was wrongly placed under its suitable position. The Hedgehog Goddess Abaset 91

it should be noted that the lower part of the scene on the southern wall doesn’t fit perfectly with the upper one. this lower portion was shifted several centimeters from its exact and proper position, moreover it inclines slightly down as one proceed towards the west. this inclination resulted in the movement of the lower part of the god’s body from its correct place to the backward and the presence of an illogical space between the upper and lower parts. this can be explained as follows: the artist, who decorated the tomb, was in a hurry to finish it. as a result for this urgency, the artist wrongly placed the draft from which he performed the figures of this lower part15 and the draft was inclined down as we proceed west. another opinion may suggest that the paint of this part may have fallen and its restoration wasn’t very accurate, which resulted in the imbalance in this scene. the goddess abaset (figs. 3, 4, 5, 8 and 9) is depicted in an anthropomorphic form. she wears a tight dress. the details of her dress are almost lost. she is shown striding with her right leg. she wears a tripartite wig which is painted in black, leaving her ears exposed. the uraeus diadem surmounts her headdress; the cobra seems ready to attack anyone who dares to disturb her. the head- Fig. 8. The goddess Abaset dress is bound with a vulture cap having a PhotographFig. 8. theby Walid goddess Shaikh abaset al Arab 16 (Photograph by Walid shaikh al arab) low modius colored in yellow , topped by

15 the sketch was wrongly placed under its suitable position. 16 there was not basic color term for the yellow in the ancient egyptian language although it occurred as a pigment from the prehistoric times. in art, yellow pigment was often used to represent the metal gold nbw which was not only associated with the sun, but also was the flesh 16 There was not basic color term for the yellow in the Ancient Egyptian language although it occurred as a pigment of the gods, see g. robins, Color Symbolism, in d.b. redFord, The Oxford encyclopedia cit., from the prehistoric times. In art, yellow pigment was often used to represent the metal gold nbw which was not i, p. 292; h.g. Fischer, Varia Aegyptiaca. 1. Yellow-skinned Representations of Men in the Old only associated with the sun, but also was the flesh of the gods, see G. ROBINS, Color Symbolism, in D.B. Kingdom, «Jarce» 2 (1963), pp. 17-22. REDFORD, The Oxford encyclopedia of Ancient Egypt, I, ??????????, p. 292; H.G. FISCHER, Varia Aegyptiaca. 1. Yellow-skinned Representations of Men in the Old Kingdom, «JARCE» 2 (1963), pp. 17-22. 17 The ancient Egyptian did not have a term for «blue» which was not part of the original system of color symbolism found in texts, although it became the most prestigious paint color, see ROBINS, Color Symbolism cit., p. 292; H. KEES, Farbensymbolik in ägyptischen religiösen Texten, «Nachrichten der Akademie der Wissenschaften in Göttingen, phil.-hist. Klasse» 11 (1943), pp. 413-479. 92 Walid shaikh al arab her remarkable hedgehog headdress in blue17 suggesting lapis lazuli “xsbD”. her left arm is represented alongside her body, with the hand that may grip the generic ankh-sign, while she holds in the right hand a papyrus staff commonly depicted with other goddesses. the text which accompanies the deity was un- fortunately lost.

Fig. 9. Facsimile of the image of the goddess abaset,

southernSecond wall, document main columned hall (c). (drawing by Walid shaikh al arab)

The second document presents a scene on the wall of the tomb of Bannentiu18, who was one of the local nobles during the 26th Dynasty (664-525 BC). As a significant scene in understanding Second document 18 The tomb of Bannentiu is one of the Saite monuments at Bahariya Oasis which includes the tombs of Qarat Qasr Salim: tombs of DjedAmuniwefankh and Bannentiu, the Qasr Allam settlement, the tombs of Qarat al-6XEÕWRPEV the second document presents a scene recorded on the west wall of the tomb of bannentiu18, who was one of the local nobles during the 26th dynasty (664-

17 the ancient egyptian did not have a term for «blue» which was not part of the original system of color symbolism found in texts, although it became the most prestigious paint color, see robins, Color Symbolism cit., p. 292; h. kees, Farbensymbolik in ägyptischen religiösen Texten, «nachrichten der akademie der Wissenschaften in göttingen, phil.-hist. klasse» 11 (1943), pp. 413-479. 18 the tomb of bannentiu is one of the saite monuments at bahariyya oasis which includes the tombs of Qarat Qasr salim: tombs of djedamuniwefankh and bannentiu, the Qasr allam settlement, the tombs of Qarat al-subı: tombs of badiastarte, thaty, tanefertbastet, badiisis, The Hedgehog Goddess Abaset 93

525 bc). as a significant scene in understanding the development of the cult of the hedgehog goddess at bahariyya oasis and the only complete inscription re- ferringthe to development the goddess, of the itcult deserves of the hedgehog closer goddess attention. at Bahariyya the Oasis entrance and the onlyof the complete left side- burial inscriptionchamber referring divides to thethe goddess, scene it on deserves the west closer wallattention. of pillaredThe entrance hall of theinto left two side- parts. burial chamber divides the scene on the west wall of pillared hall into two parts. On the left side, on thethere left are side, two representations there are twofor the representations owner of the tomb in for different the attitudesowner19 ofraising the his tomb arms inin dif- 19 20 ferent adorationattitudes in frontraising of eight his deities arms20: Re-Horakhty, in adoration Abaset, in Atum,front Isis, of eightKhepri, deitiesHeka, Sekhmet,: re-horakhty,B anebdjedetabaset,21 atum, (fig. 10). isis, khepri, heka, sekhmet, banebdjedet21 (fig. 10).

Fig. 10. The representation of Atum, Isis, Khepri, Heka, Sekhmet, Banebdjedet22. Fig. 10. the representationAfter: AHMED of FAKHRY atum,, Bahria isis, Oasis, khepri, Vol.1 cit. heka,, p. 80 sekhmet, (fig. 36). banebdjedet22.

After: ahMed Fakhry, Bahria Oasis, Vol. 1 cit., p. 80 (fig. 36).

of Badiastarte, Thaty, TanefertBastet, BadiIsis, Naas, and Djedkhonsuiwefankh, and the four shrines of Ain Al- Muftella. For more readings about the Saite monuments at Bahariya Oasis, see K. Jansen-Winkeln, Inschriften der naas, andSpätzeit. djedkhonsuiwefankh, Teil IV. Die 26. Dynastie, Wiesbaden and the 2014, four pp. shrines 1113-1117 of (667), ain 1125-1130 al-Muftella. (679-680); For F. L ABRIQUEmore ,readings Le FDWDORJXH GLYLQ GH µ$\Q DO-Mouftella. JeX[ GH PLURLU DXWRXU GH ³FHOXLTXLHVWGDQV FH WHPSOH´, «BIFAO» 104 about the(2 004),saite p. monuments336; D. ARNOLD at, Temples bahariya of the oasis,Last Pharaohs see ,k. New Jansen-Winkeln, York-Oxford 1999, p. Inschriften 88; WAFAA EL -SderADEEK Spätzeit., Twenty-Sixth Dynasty Necropolis at Gizeh: An Analysis of the Tomb of Thery and its Place in the Development of a Teil IV. DieSaite 26.Funerary Dynastie art and ,Architecture Wiesbaden, Beiträge 2014, zur Ägyptologie,pp. 1113-1117 5, Wien (667), 1984, pp. 1125-1130 173-174, 190; PM(679-680); VII, pp. 299± F. l - briQue, Le308; catalogueFAKHRY, The Oasesdivin of de Egypt. ‘Ayn Vol. al-Mouftella. II cit., p. 64; FAKHRY Jeux, Bahria de Oasismiroir, Vol.1 autour cit., pp. de49-63, “celui 65-93, qui99, 123, est dans 148, 152; G. STEINDORFF, Durch die Libysche Wüsternold zur Amonsoase, Land und Leute XIX, Bielefeld-Leipzig, ce temple”1904,, «biFao» p. 135, fig. 101. 104 (2004), p. 336; d. a , Temples of the Last Pharaohs, new york- oxford19 1999, The first p. representation 88; W. el which-sadeek is executed, Twenty-Sixth on the sketch Dynastyof an offering-table Necropolis shows a atsmall Gizeh: figure ofAn the Analysis tomb of owner kneeling and raising his arms, while the second one performed on a grand scale, depicts him in standing the Tomb positionof Thery with hisand arms its raised. Place in the Development of Saite Funerary art and Architecture, 20 Two of the eight deities are to the left of the door while the other six being to the right. akhry beiträge21 zur Ägyptologie, 5, Wien 1984, pp. 173-174, 190; PM Vii, pp. 299-308; F , The for more readings about this god, see WALID SHAIKH AL ARAB, The Iconography of the God Banebdjedet, akhry Oases of«Faculty Egypt. of Vol.Tourism ii andcit., Hotels p. 64; Magazine, F Fayoum, Bahria University» Oasis 72, (2013),Vol.1 pp. cit., 64-87; pp. G. 49-63, HART, The 65-93, Routledge 99, 123, 148, 152;Dictionary g. steindorFF of Egyptian, GodsDurch and dieGoddesses Libysche, ???????? Wüste 2005, pp.zur 44-45; Amonsoase R.H. WILKINSON, Land, The und Complete Leute GodsXiX, and biele- Goddesses of Ancient Egypt, ????????? 2003, pp. 192-193; LGG II, p. 683b-685A. feld-leipzig,22 This illustrarion 1904, p.is painted135, fig.on the 101. west wall of Columned Hall, tomb of BA-n-ntyw. 19 the first representation which is executed on the sketch of an offering-table shows a small figure of the tomb owner kneeling and raising his arms, while the second one performed on a grand scale, depicts him in standing position with his arms raised. 20 two of the eight deities are to the left of the door while the other six being to the right. 21 For more readings about this god, see W. shaikh al arab, The Iconography of the God Banebdjedet, «iJhth» 7/2 (2013), pp. 64-87; g. hart, The Routledge Dictionary of Egyptian Gods and Goddesses, london 2005, pp. 44-45; r.h. Wilkinson, The Complete Gods and God- desses of Ancient Egypt, new york 2003, pp. 192-193; ch. leitz, LGG ii, p. 683b-685a. 22 this illustrarion is painted on the west wall of columned hall, tomb of BA-n-ntyw. 94 Walid shaikh al arab

the image of the goddess abaset shows her in anthropomorphic form wearing a headdress, which consists of a heavy braided tripartite wig leaving the ears exposed. it is bound with a vulture cap having a low modius, surmounted by her remarkable hedgehog headdress painted in blue. there is an uraeus on the forehead.The image she of the wears goddess a tightAbaset tunicshows herpainted in anthropomorphic in red23. her form tunic wearing is aheld headdress, by two which consists of a heavy braided tripartite wig leaving the ears exposed. It is bound with a shouldervulture strapscap having that a low cover modius, her surmounted breasts. by hershe remarkable also wears hedgehog a headdressusekh-collar, painted in two bracelets,blue. There and is two an uraeus anklets. on the she forehead. raises She her wears right a tight hand tunic behind painted thein red shoulder23. Her tunic of is re- horakhtyheld by intwo the shoulder gesture straps ofthat protection cover her breasts. while She heralso wearsleft arma usekh is-collar, represented two bracelets, along and two anklets. She raises her right hand behind the shoulder of Re-Horakhty in the gesture of her sideprotection (figs. while 11 her and left 12). arm is represented along her side (figs. 11 and 12). in frontIn front of ofand and over over the headhead of of Abaset, abaset, there there are three are short three columns short ofcolumns hieroglyphic of hi- eroglyphicinscriptions inscriptions (1-3) reading fro(1-3)POHIWWRULJKW ĸĻ reading from left to right (←↓).

(1) (2) (3) 24 (1Dd) Dd mdw mdw in in aba aba-- (2st)st nTrtnTrt aAt aAt (3)nb(t) nb(t) pt Hmt-nTrt pt Hmt-nTrt24 (1)Words to be spoken by Aba(2)set Great goddess, (3)Lady of the sky, *RG¶VZLIH

23 the red color-dSr was one of the four basic color terms-km, HD, dSr and wAD which was written with a hieroglyph that represented a flamingo. it was considered a very potent color; hot and dangerous23 The red color- but dSralso was life-giving one of the andfour basicprotective. color terms- it iskm ,both HD, dSrthe andcolor wAD of which blood, was a written substance with a that hieroglyph that represented a flamingo. It was considered a very potent color; hot and dangerous but also life- relates togiving life andand protective. death, Itand is both of thefire, color which of blood, may a substance be beneficial that relates or to destructive.life and death, and it ofis fire,also which a color frequentlymay given be beneficial to the or sun,destructive. which It is may also a becolor red frequently at its risinggiven to orthe sun,at its which sitting. may be in red egyptian at its rising orart at men its sitting. In Egyptian art men were generally depicted with red skin, indicating their vitality and during were generallycelebrations depicted people would with paint red their skin, bodies indicating with red ocre their and wearvitality carnelian, and forduring more readingcelebrations about the peoplered would paintcolor andtheir its bodiessymbolism with in Ancient red ocre Egypt, and see RwearOBINS ,carnelian, Color Symbolism for cit.,more p. 292; reading G. PINCH about, Red Things:the red The color and its symbolismSymbolism of Colourin ancient in Magic egypt,, in W. V seeIVIAN r DobinsAVIES, ,ColourColor and Symbolism Paintings in Ancientcit., p.Egypt 292;, London g. P 2001,inch p., Red 184; J.G. GRIFFITHS, The Symbolism of Red in Egyptian Religion, in Ex Orbe religionum, Leiden 1972, pp. 81- Things: 90.The Symbolism of Colour in Magic, in W. ViVian daVies, Colour and Paintings in An- 24 cient Egypt 1mt-nTr, london was a banal2001, epithet p. 184; carried J.g. by many griFFiths goddesses, Thefrom Symbolismthe New Kingdom of Red (1550 in BC Egyptian ±1077 BC) Religion to the , Greco-Roman Period (30 BC-641 AD); Ast, Ast-m-BHdt, 1At-mHyt, 1wt-1r, 3rskt, 5dt and 6fnwt, in Ex Orbesee LGG religionum V, p. 136(b-c);, leiden Wilson. 1997,1972, A Ptolemaicpp. 81-90. Lexikon, p. 646; Wb III 78, 14-15. 24 1mt-nTr was a banal epithet carried by many goddesses from the new kingdom (1550 bc –1077 bc) to the greco-roman Period (30 bc-641 ad); Ast, Ast-m-BHdt, 1At-mHyt, 1wt- 1r, 3rskt, 5dt and 6fnwt, see LGG V, p. 136(b-c); P. Wilson, A Ptolemaic Lexikon: A Lexico- graphical Study of the Texts in the Temple of Edfu, ola, 78, leuven 1997, p. 646; Wb iii 78, 14-15. The Hedgehog Goddess Abaset 95

Fig. 11. drawing of two figures of bannentiu raising his arms in adoration to re-horakhty and abaset25. after: Fakhry, Bahria Oasis, Vol.1 cit., p. 78 (fig. 35).

25 This drawing is mentioned also in the publication of HEND SHERBINY- HUSSEIN BASSIR, The representation cit., p. 183 (fig. 12) and Vera von Droste zu Hülshoff, Der Igel im alten Ägypten, HÄB, 11, Hildesheim 1980, p. 94 (fig. 35). Fig. 12. bannentiu raises his arms in adoration to re-horakhty and abaset.

25 This drawing is mentioned(Photograph also in the publication by Walid of HEND shailh SHERBINY al- H arab)USSEIN BASSIR, The representation cit., p. 183 (fig. 12) and Vera von Droste zu Hülshoff, Der Igel im alten Ägypten, HÄB, 11, Hildesheim 1980, p. 94 (fig. 35).

25 this drawing is mentioned also in the publication of hend sherbiny- hussein bassir, The Representation cit., p. 183 (fig. 12) and Vera von droste zu hülshoff, Der Igel im alten Ägypten, hÄb, 11, hildesheim 1980, p. 94 (fig. 35). 96 Walid shaikh al arab

Third document

Finally, the goddess abaset is shown on the southern west pillar26 of the pillaredThird hall document of the tomb of bannentiu. at the top of the scene, two uraei flanked the wingedFinally, solar the goddess disc. Abaset directly is shown underneath, on the southern westa decor, pillar26 of otherwise the pillared hall very of the original, tomb of Bannentiu. At the top of the scene, two uraei flanked the winged solar disc. Directly shows uthenderneath, representation a decor, otherwise of very a pairoriginal, of shows deities, the representation the god ofbanebdjedet a pair of deities, the and god the goddess abaset.Banebdjedet they and the are goddess looking Abaset. Theyto theare looking south to thein souththe indirection the direction of the the tomb tomb en- entrance. trance.

Fig. 13. Drawing for the god Banebdjedet followed by the goddess Abaset After: FAKHRY, Bahria Oasis, Vol.1 cit., p. 83 (fig. 41)27. Fig. 13. drawing for the god banebdjedet followed by the goddess abaset 27 26 after: Fakhry, Bahria Oasis, Vol.1 cit., p. 83 (fig. 41) The first pillar to the left of tomb visitor. 27 This figure is mentioned also in the publication of HEND SHERBINY-HUSSEIN BASSIR, The representation cit., p. 186 (fig. 15) and VERA VON DROSTE ZU HÜLSHOFF, Der Igel im alten Ägypten, HÄB 11, Hildesheim, 1980, p. 94 (fig. 36). the god banebdjedet (figs. 13 and 14) is represented in hybrid form, ram headed human form. he is depicted standing with the right leg striding forward. he wears a short kilt-shendjet with belt. on its back is attached a long cere-

26 the first pillar to the left of tomb visitor. 27 this figure is mentioned also in the publication of hend sherbiny-hussein bassir, The Representation cit., p. 186 (fig. 15) and Vera Von droste zu hülshoFF, Der Igel im alten Ägypten, HÄB 11, hildesheim, 1980, p. 94 (fig. 36). The Hedgehog Goddess Abaset 97 monial tail. he holds a was-scepter in the right hand and an ankh-sign in the The god Banebdjedet (figs. 13 and 14) is represented in hybrid form, Ram headed human left form.hand. He he is depicted wears standinga long withtripartite the right wig leg stridingtopped forward. with twoHe wears massive a short twisted kilt-shendje hornst andw aith sun-disk. belt. On its back is attached a long ceremonial tail. He holds a was-scepter in the right hand and an ankh-sign in the left hand. He wears a long tripartite wig topped with two massive twisted Mythologically,horns and a sun-disk. the god banebdjedet was supposed to have represented the soul of osiris. in late Period, this association was widened to four manifesta- Mythologically, the god Banebdjedet was supposed to have represented the soul of Osiris. In tionsLate – Period,as the this soul association of re, wasosiris, widened shu to fourand manifestations geb – an aspect±as the soul of hisof Re, nature Osiris, Shuwhich 28 addedand significantlyGeb- an aspect of to his his nature importance which added significantly. in this scene, to his importance the god28 banebdjedet. In this scene, the rep- resentsgod Banebdjedet the soul ofrepresents the god the soulre-horakhty. of the god Re-Horakhty.

Fig. 14. The god Banebdjedet followed by the goddess Abaset. Photograph by Walid Shaikh al Arab Fig. 14. the god banebdjedet followed by the goddess abaset.

28 (Photograph by Walid shaikh al arab) WILKINSON, The Complete Gods cit., p. 192.

the goddess abaset (figs. 13 and 14) is depicted in an anthropomorphic form wearing a tight tunic with two shoulder starps. accessories that the goddess wears include usekh-collar, two bracelets and two anklets. she raises the

28 Wilkinson, The Complete Gods cit., p. 192. 98 Walid shaikh al arab right hand behind the shoulder of banebdjedet in the gesture of protection The goddess Abaset (figs. 13 and 14) is depicted in an anthropomorphic form wearing a tight whiletunic the with left two armshoulder is alongside starps. Accessories her body. that thethe goddess youthful wears faceinclude of usekh the -collar,goddess two is framedbracelets by anda heavy two anklets. tripartite She raises wig theleaving right hand the behindears visible. the shoulder the of wig Banebdjedet is surmounted in the gesture of protection while the left arm is alongside her body. The youthful face of the goddess is withframed a vulture by a heavy cap tripartite having wig a leavinglow modius, the ears visible. topped The by wig her is surmounted significant with hedgehog a vulture headdress.cap having thea low uraeus modius, istopped on the by herforehead significant of hedgehog the goddess. headdress. The uraeus is on the forehead of the goddess.

inIn front front of andand over over the thehead head of the ofgoddess the goddess Abaset, one abaset, short column one shortof inscriptions column (1) of 29 inscriptionsreading from (1) left toreading ULJKW ĸĻ from29. left to right (←↓) .

!"# (1)DdDd mdw inin abaaba$s[t]-s[t]! (1)Words to be spoken by Abas[et]

Only one side of each pillar is painted. These sides are the ones to right and left of the person crossing the central corridor. The four scenes represent four gods, who firstly ruled Egypt: Banebdjedet (remplaces the god Re-Horakhty), Shu, Geb and Osiris. Every deity was followed byonly his consort one side (fig. 14).of each pillar is painted. these sides are the ones to right and left of the person crossing the central corridor. the four scenes represent four gods, who firstly ruled egypt: banebdjedet (remplaces the god re-horakhty), shu, geb and osiris. every deity was followed by his consort (fig. 14).

29 It is noteworthy that the text, which accompanies the goddess Abaset is not complete. This can be explained as follows: the scribe, who was in charge of writing the text, was in a hurry to accomplish it. Therefore, he made an error by not completing her accompanying text. Another opinion may suggest that the space in front of and over the head of the goddess was not enough to write the supposed full text of the goddess Abaset.

29 it is noteworthy that the text, which accompanies the goddess abaset is not complete. this can be explained as follows: the scribe, who was in charge of writing the text, was in a hurry to accomplish it. therefore, he made an error by not completing her accompanying text. another opinion may suggest that the space in front of and over the head of the goddess was not enough to write the supposed full text of the goddess abaset. The Hedgehog Goddess Abaset 99

Fig. 15. The painted scenes on the four pillars of columned hall, tomb of Bannentiu. Schema by Walid Shaikh al Arab Fig. 15. the painted scenes on the four pillars of columned hall, tomb of bannentiu. (schema by Walid shaikh al arab)

III. Discussion and Results

The archaeological work which formerly carried out on the main cult center of the goddess Abaset at el-Bawiti, the capital of the Bahariyya Oasis, has been little or not published. So it will III.then Results be necessary and to Discussionwait for new archaeological work to be undertaken on the proposed site of Abaset's cult center, so that we can know better not only her geographical implantation, but also otherthe facets archaeological of this divinity work and thuswhich to better formerly define carriedthe nature out of onher thepersonality main cultand centerher worship. Morover Further excavations and studies of collections with Egyptian and Levantine ofobjects the goddess will inevitably abaset turn atout el-bawiti, the development the of capital her cult ofproposed the bahariyya here. oasis, has been little or not published. so it will then be necessary to wait for new archaeological Thework paleography to be undertaken of the name onof thethe goddess proposed Abaset site is attestedof abaset’s only twice; cult one center, of them so is that weincomplete can know30. In thebetter complete not version,only her the namegeographical was written withimplantation, complete phonetic but signsalso other facets andof thisthe determinative divinity and of feminine thus to divinities better define [Gardiner the natureH8]. of her personality and her worship. Morover further excavations and studies of collections with egyptian30 See supra ,and p. note levantine objects will inevitably turn out the development of her cult proposed here.

III. Discussion and Results III. Discussion and Results III. Discussion and Results The archaeological work which formerly carried out on the main cult center of the goddess The archaeological work which formerly carried out on the main cultAbaset center at of el-Bawiti, the goddess the capital of the Bahariyya Oasis, has been little or not published. So it will The archaeological workAbaset which at el-Bawiti,formerly carriedthe capital out ofon the the Bahariyya main cult Oasis, center has of beenthe goddess little or notthen published. be necessary So itto will wait for new archaeological work to be undertaken on the proposed site of Abaset at el-Bawiti, the capitalthen be of necessary the Bahariyya to wait Oasis, for newhas beenarchaeological little or not work published. to be undertaken So it will Abaset'son the proposed cult center, site ofso that we can know better not only her geographical implantation, but also then be necessary to waitAbaset's for new archaeologicalcult center, so workthat we to canbe undertakenknow better on not the only proposed her geographical site of other implantation, facets of this but alsodivinity and thus to better define the nature of her personality and her Abaset's cult center, so otherthat we facets can knowof this better divinity not only and herthus geographical to better define implantation, the nature but ofalso herworship. personality Morover and Further her excavations and studies of collections with Egyptian and Levantine other facets of this divinity and thus to better define the nature of her personality and her worship. Morover Further excavations and100 studies of collections withWalid Egyptian shaikhobjects al arabwill and inevitably Levantine turn out the development of her cult proposed here. worship. Morover Furtherobjects excavations will inevitably and studies turn outof collections the development with Egyptian of her cult and proposed Levantine here. objects will inevitably turn out the development of her cult proposed here. The paleography of the name of the goddess Abaset is attested only twice; one of them is The paleography of the name of the goddess Abaset is attested only twice; one of them is the paleography of the name of the goddess30 abaset is attested only twice; The paleography of the name of the goddess Abaset is attested only twice; one of them30 is one of them is incomplete . in theincomplete complete version,. In the the completename was version,written the name was written with complete phonetic signs incomplete30. In the complete version, the name was written with complete phonetic signs incomplete30. In the complete version, the name was written withwith complete complete phonetic phonetic signssigns and and the the determinative determinative ofof feminine feminine divinities [Gardiner H8]. and the determinative of feminine divinitiesdivinities [gardiner[Gardiner h8]. H8].

and the determinative of feminine divinities [Gardiner H8]. The 30meaning of the name of the goddess Abaset is still mysterious. No clear explanation has the meaning of the name of the goddess abaset is still mysterious. no clear31 See supra, p. note 31 30 See supra, p. note explanation has been providedbeen yet. provided Firstly, ahmed yet. Firstly, Fakhry Ahmedread her Fakhry name as read her name as «µ$EµDV» and he refered only to 30 See supra, p. note «‘ab‘as» and he refered only to one graphical form of her name: . 32 one graphical32 form of her name: . Then in 1980, von Droste zu Hülshoff read her then in 1980, von droste zu hülshoff read her name as abast 33 name33 as abast. In 2002, Christian. Leitz read the name of the goddess as abast and he did in 2002, christian leitz read the name of the goddess as and he 34 not offer any translation for his abastsuggestion. 34Then Pascal Vernus in 2005 read the name of the did not offer any translation for his suggestion. then Pascal Vernus in 2005 35 read the name of the goddessgoddess as abas.t. asin abas.this illustrated. In dictionary,his illustrated Jean-Pierre dictionary, Jean-Pierre Corteggiani, read her name as corteggiani,35 read her nameÂbâset. as Âbâset. Finally Finally in in 2014, hendHend sherbiny Sherbiny and and Hussein Bassir gave for the first time an hussein bassir gave for theLQWHUSUHWDWLRQIRUWKHJRGGHVV¶QDPH7KH\LQGLFDWH first time an interpretation for the goddess’ name. d that her name is probably consisted of two they indicated that her nameparts: is probably ab and Astconsisted, and ofthey two translated parts: ab andthe Astname, as «praising Isis» or «boasting Isis»36. and they translated the name as «praising isis» or «boasting isis»36. All the previous studies have not exactly determined the meaning of the name of the goddess all the previous studiesAbaset. have not Therefore, exactly determined one can proposethe meaning that ofits the grammatical structure consists of two parts: the word name of the goddess abaset.aba therefore,, followed one canby thepropose substantive that its grammatical st. The paleography of the term aba can be found in the structure consists of two parts: the word aba, followed by the substantive . dictionary of Dimitri Meeks in the formst of a verb «se glorifier: ³boast´, être fier: ³to be the paleography of the term aba can37 be found in the dictionary of dimitri 38 proud´» and a noun «vantardise: ³boastfulness37 ´, exagération: ³exaggeration´» . The graphic Meeks in the form of a verb «se glorifier: “boast”, être : “to be proud”» and a noun «vantardise: “boastfulness”,forms of aba exagération: also appear “exaggeration”» in the dictionary38. the of Leonard H. Lesko in three forms; a verb «to aba boast», an adjective «boastful, arrogant, boasting, haughty», and a noun «boast, boasting, graphic forms of also appear in the dictionary39 of leonard h. lesko in three forms; a verb «to boast», anexaggeration» adjective «boastful,. The arrogant, calligraphy boasting, of haughty», the same term also occurs in the repertoire of Penelope 40 and a noun «boast, boasting,Wilson exaggeration» in the39 shape. the calligraphy of abfier and of aba the same. Finally term the different graphic forms of aba appear in the also occurs in the repertoireregister of Penelope of Adolf Wilson Erman,in the shape Hermann of ab and Grapow, aba40. Wörterbuch der ägyptischen Sprache, in the configuration of a verb «prahlen: ³to boast´», or a noun «prahlerei: ³boasting, boastfulness´, Übertreibung: ³exaggeration´»41. Therefore, one can translate the name as a ³the woman who boasts of (her beauty)´42 or ³the boastful woman´43. 30 see supra, p. 98, n. 29. 31 Fakhry, Bahria Oasis i cit., p. 78.It is evident that the main epithets of the goddess Abaset GRQ¶Windicate her different aspects 32 Von droste zu hülshoFF, Der Igel cit., p. 93, n. 2. 33 ch. leitz, LGG, ii, ola, 111,and p. roles 88c [1-2]. that the deity was able to play in the Ancient Egyptian pantheon. Abaset held the banal 44 45 34 P. Vernus, Hérisson, in P. Vepithetsernus-J. yofoyotte «nTrt, Bestiaire aAt des: Pharaonsgreat goddess», Paris 2005, pp., «nb(t) pt: mistress of heaven» , «Hmt-nTrt: 145-146. 35 corteggiani, L’Égypte ancienne cit., p. 8. 36 h. sherbiny-h. bassir, The Representation cit., pp. 180-181. 37 d. Meeks, Année lexicographique Egypte ancienne, tome 3, 1979, p. 45 [79.0451]. 38 d 31 i ., Année lexicographique, tomeFAKHRY 1, 1977,, Bahria p. 61 Oasis [77.0613]; I cit., p.and 78. tome 3, 1979, p. 45 [79.0452]. 32 39 VON DROSTE ZU HÜLSHOFF, Der Igel cit., p. 93, note 2. l.h. lesko, A Dictionary of33 Late Egyptian, berkeley 1982, p. 64. C. LEITZ, LGG, II, OLA, 111, p. 88c [1-2]. 34 P. VERNUS, Hérisson, in P. VERNUS-J. YOYOTTE, Bestiaire des Pharaons, Paris 2005, p. 145-146. 35 CORTEGGIANI, L¶Égypte ancienne cit., p. 8. 36 HEND SHERBINY-HUSSEIN BASSIR, The representation cit., pp. 180-181. 37 D. MEEKS, Année lexicographique Egypte ancienne, Tome 3, 1979, p. 45 [79.0451]. 38 ID., Année lexicographique, Tome 1, 1977, p. 61 [77.0613]; and Tome 3, 1979, p. 45 [79.0452]. 39 L.H. LESKO, A Dictionary of Late Egyptian, Berkeley 1982, p. 64. 40 P. WILSON, A Ptolemaic Lexikon: A Lexicographical Study of the Texts in the Temple of Edfu, OLA, 78, Leuven 1997, p. 147. 41 Wb. I, p. 177, 17-22. 42 In this case it is a verbal sentence including a sDm=f form: aba: verb and st: substantive used as subject. 43 ,W¶VDVLPSOHQRPLQDOVHQWHQFHFRPSRVHGRIaba: logical adjectival predicate and st: substantive used as logical subject. 44 For more readings about this common epithet, see LGG IV, 562B-563A. 45 About this this popular nomination, see LGG IV, 49A-50B. The Hedgehog Goddess Abaset 101

Finally the different graphic forms of appear in the register of adolf erman, hermann grapow, Wörterbuch deraba ägyptischen Sprache, in the configuration of a verb «prahlen: “to boast”», or a noun «prahlerei: “boasting, boastfulness”, übertreibung: “exaggeration”»41. therefore, one can translate the name as a “the woman who boasts of (her beauty)”42 or “the boastful woman”43. it is evident that the main epithets of the goddess abaset don’t indicate her different aspects and roles that the deity was able to play in the ancient egyptian pantheon. abaset held the banal epithets of «nTrt aAt: great goddess»44, «nb(t) pt: mistress of heaven»45, «Hmt-nTrt: god’s wife»46, which she shares with many other goddesses. it is significant that the epithets which were held by abaset are known only from the 26th dynasty. in the 26th dynasty, the fame of the goddess abaset remarkably increased and she acquired popularity that allowed her to appear alongside the great deities of the ancient egyptian pantheon. the historical development of her cult was characterized by her relationship with other deities, particularly the solar deity, re-horakhty, with whom she eventually formed a divine couple. as for the iconography of the goddess abaset, she was represented in an anthropomorphic form. she wore heavy three-part wig surmonted with a vulture cap, topped by a remarkable hedgehog. the reason for this iconography is unclear. it is significant that the representation of abaset before the 26th dynasty was unknown. the hedgehog crown was specific to abaset. it is a key element and an identification index for the goddess, especially if he image was not labelled with her name. the occurrence and use of the images of goddess abaset seem to be geo- graphically restricted. her traditional main cult center, el-bawiti revealed the only known documents where the goddess appears. Finally, the representations of abaset precisely with her remarkable hedgehog crown reflect her mythological character. the mores of hedgehog, the little

40 cit., P. Wilson, A Ptolemaic Lexikon cit., p. 147. 41 Wb. i, p. 177, 17-22. 42 in this case it is a verbal sentence including a sDm=f form: aba: verb and st: substantive used as subject. 43 it’s a simple nominal sentence composed of aba: logical adjectival predicate and st: substantive used as logical subject. 44 For more readings about this common epithet, see LGG iV, 562b-563a. 45 about this this popular nomination, see LGG iV, 49a-50b. 46 For further reading about this banal title, see supra, p. 94, n. 24. 102 Walid shaikh al arab nocturnal insectivorous, which only goes out for hunt when the sun disappears, its ability to see and move at night, and that to take the appearance of a ball ra- diant with spikes to defend itself, are probably enough to explain this link with the sun. these particularities of the animal may be interpreted as those of a kind of nocturnal star replacing that of the day. the fact that the goddess temet, the female counterpart of the heliopolitan solar demiurge, is represented in the sanctuary of the temple of hibis in el-kharga oasis, under the aspect of what can only be a hedgehog curiously swaddled, seems to confirm this possibility47.

IV. Conclusion

in representational works abaset is usually depicted as a goddess in com- pletely human form. the hedgehog crown was specific to abaset; it is a key element and an identification index for the goddess, especially on appearing without inscription. the exact reason for this iconography is unclear. it is significant to note that the representation of abaset is known only from the 26th dynasty. a little-known goddess abaset seems to have been associated with the solar deities, but her exact nature and roles are uncertain. in the 26th dynasty the goddess abaset is attested alongside the great deities of the egyptian pantheon e.g. the solar god re-horakhty with whom she eventually formed a divine couple.

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47 corteggiani, L'Égypte ancienne cit., p. 8.