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Shaushka, the Traveling Goddess Graciela GESTOSO SINGER

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Shaushka, the Traveling Goddess Graciela GESTOSO SINGER Shaushka, the Traveling Goddess Graciela GESTOSO SINGER Traveling gods and goddesses between courts was a well-known motif in the ancient Near East. Statues of gods and goddesses served as symbols of life, fertility, healing, prosperity, change, alliances and sometimes represented the “geographical” integration or the “ideological” legitimization of a territory. The Amarna Letters reveal the jour- ney of the goddess Shaushka to the Egyptian court of Amenhotep III. Akkadian, Hurrian, Hittite, and Ugaritic texts reveal the role played by this goddess in local pantheons, as well as in various foreign courts during the second millennium BCE. She was known as the goddess of war, fertility and healing and statues of the goddess were used in rituals performed before military actions, to heal diseases, to bless marriage alliances and assist births. This pa- per analyses the role of this traveling goddess in the Egyptian court of Amenhotep III. El viaje de estatuas de dioses y diosas entre cortes de grandes reyes fue un recurso conocido en el Cercano Oriente antiguo. En la Antigüedad, las estatuas de ciertos dioses y diosas fueron símbolos de vida, fertilidad, curación, prosperidad, cambio, alianzas y, en algunos casos, representaron la integración “geográfica” o la legiti- mación “ideológica” de un territorio. Las Cartas de El Amarna revelan el viaje de la estatua de la diosa Shaushka hacia la corte egipcia durante el reinado de Amenhotep III. Textos acadios, hurritas, hititas y ugaríticos indican el rol cumplido por esta diosa en panteones locales, así como en diversas cortes extranjeras durante el II milenio a.e. Fue reconocida como la diosa de la guerra, fertilidad y curación. Estatuas de esta diosa son empleadas en rituales realizados ante acciones bélicas, enfermedades, alianzas de matrimonio y nacimientos. El presente trabajo se propone analizar el rol de esta diosa en la corte egipcia durante el reinado de Amenhotep III. Keywords: Shaushka, Amarna, alliances, marriages. Palabras clave: Shaushka, Amarna, alianzas, matrimonios. accordance with the spirit of “broth- ing to the rules of “hospitality” between In erhood”, great kings sent special- kings of the same rank, and entertained with ists, such as physicians, exorcists, architects, banquets as well as compensated with gifts2. and craftsmen, among others, to the courts The king and the court that provided the of their “brothers”1. But on special occasions specialist earned prestige, but in many cases they sent statues of gods and goddesses in risked losing the expert to the hands of his order to heal or protect royal peers, as well colleague in a remote court3. In some cases, as blessing their new wives. In general, these even the best specialist was not enough to foreign specialists were well received accord- alleviate the pain of a king or save a queen 1 Zaccagnini, 1983: 249-256. 2 Beckman, 2013: 207. 3 Liverani, 1990: 228. TdE 7 (2016) — Páginas: 43-58 Recepción: 10/10/2016 - Admisión: 25/10/2016 Graciela Gestoso Singer — [email protected] Centro de Estudios de Historia del Antiguo Oriente / Pontificia Universidad Católica Argentina / Buenos Aires / Argentina http://doi.org/10.25145/j.TdE.2016.07.03 43 TdE 7 (2016).indb 43 31/3/17 17:00 TdE72016 in childbirth4, in cases such as these, when Ishtar. Shaushka was the name of the Hur- medicine failed, kings turned to prayers and rian Ishtar and her name is derived from the divine statues. Hurrian root for “The Great/Magnificent The delivery of statues of gods and god- One”6. During the Sargonic reign, she was desses between the courts of the great kings a very important deity and was worshiped in was known in the ancient Near East. In an- her manifestation of Ishtar-Annunītum. The tiquity, statues of certain gods and goddesses influence of this goddess was probably due were symbols of life, fertility, healing, pros- to the Hurrian presence in the North of Syr- perity, change, alliances and, in some cases, ia during the Sargonic Empire. represented the “geographic” integration or Three main cults related to Ishtar of Ninev- “ideological” legitimation of a territory to eh, Ishtar of Assur, and Ishtar of Arbela are a particular worldview. Akkadian, Hurrian, known (after ca. 1100 BCE) to have existed Hittite, and Ugaritic texts indicate the im- in Assyria. Lambert7 studied Late Assyrian portant role played by the goddess Shaush- religious texts, in order to determine if they ka in local pantheons, as well as in various were three different goddesses or different foreign courts during the second millenni- manifestations of the same deity. For exam- um BCE. The Amarna Letters mentioned ple, two different deities are mentioned in the journey of the statue of the goddess the “Hymn to Assurbanipal”: the “Queen Shaushka to the Egyptian court during the of Nineveh, who put me on the throne of reign of Amenhotep III (ca. 1388-1351 BCE). my father,” and the “Lady of Arbela, who The present paper intends to analyse the role regularly granted me acts of favours dur- of this goddess in the Egyptian court. ing my reign”; the text indicates the dis- tinctiveness and specific functions fulfilled by each of these goddesses8. Also, during 1 | The Goddess Shaushka the reign of Shamshi-Adad I, the goddess Ishtar of Nineveh would have had a small The goddess Shaushka (var. Shaushga, temple or shrine in Assur9. Representations Shausha, Shawushka) was a Hurrian god- of this goddess highlighted her warrior ap- dess. The earliest mention of the goddess is pearance, standing on a lioness. The list of in a text dated to the fourty-sixth year of the Babylonian deities referred only to Ishtar of reign of Shulgi, and records the offerings of Nineveh. During the reign of Assurbanipal, lamb that the goddess Shausha of Nineveh this goddess would have had a small temple was receiving in her temple5. She would lat- or shrine for special rituals in the city of As- er be called Shaushka and identified with sur10. Moreover, Assyrian texts reveal that 4 For the sister of Hattusili, see Bo 652: Vs. 8-Rs. 1. 5 “Text from Drehem”, in Beckman, 1998: 1. 6 Wegner, 1981: 24-25; 1995; Beckman, 1998: 2, n. 14; Bellucci, 2012: 46. 7 Lambert, 2004: 35. 8 Porter, 2004: 41-44. 9 Lambert, 2004: 36. 10 Library of Assurbanipal, 80-7-19, 152 + 81-2-4, 188, in von Soden, 1974-1977: 37-45. 44 TdE 7 (2016).indb 44 31/3/17 17:00 Shaushka, the Traveling Goddess Graciela Gestoso Singer Ishtar of Assur, in Assur, received the booty ful, aggressive, vengeful goddess who was re- captured in the city of Nuzi. Ultimately, the jected by a hero12. Her symbol was a lioness, patron goddess of the city was Ishtar and an animal that was generally associated with not the god Assur. It was only, during the fertility, and war13. This goddess embodies second millennium BCE that the Kingdom contradictions, since she represents order and of Assyria flourished under the protection of chaos, love and war, while at the same time the god Assur. transcending them14. In the Babylonian pan- At the Hurrian pantheon, the goddess is theon, she was the divine personification of found together with other main gods, such Venus, in its two aspects, as the Morning Star, as the god of storms Teshub, the solar god providing love, and as the Star of the Night, Shimige, the lunar god Kusuh, and Kumarbi. causing war. She was also associated with rit- Her centre of worship was Shamukha, prob- uals related to sexuality and her cult included ably located in the northern area of the Eu- sacred prostitution in the city of Uruk. As well phrates. Usually, this deity was identified with as the Sumerian goddess Inanna, the Akkadi- the Akkadian-Babylonian goddess Ishtar, the an-Babylonian Ishtar, and the Syrian Astarte, goddess of love and war. In Hurrian, Akka- Hurro-Assyrian Shaushka/Ishtar of Nineveh, dian and Assyrian texts she is mentioned as was worshipped as the Lady of Heaven15. Shaushka of Nineveh, who was worshipped According to Hurrian mythology, Shaush- in that city for more than fifteen centuries11. ka was the daughter of Anu, the god of the In Mitanni, Shaushka/Ishtar of Nineveh sky, or of Sin, the god of the moon. In some was the main goddess during the reign of Hittite texts, Teshub, the god of storms ap- Tushratta. Associated with the goddess Ishtar, pears as her brother or her husband16. In she was worshipped as the goddess of love, Hattusa, Shaushka of Nineveh was a hy- fertility, marriage, and war. Her multi-faceted postases of the goddess Ishtar of Hatti, and paradoxical appearance is reminiscent of associated with magic, as opposed to the the ancient Sumerian goddess Inanna, who traditional Akkadian goddess Ishtar, who was associated with Ishtar, and who accord- was rarely related to incantations. In Hatti, ing to the “Epic of Gilgamesh” met opposite Shaushka was associated with the goddess characteristics, being a maternal and com- Anzili (Enzili)17, and in general was accom- passionate goddess before the destruction of panied by two Hurrian attendants or musi- humanity by the flood. She was also a lust- cians, Ninatta and Kulitta18. In general, she 11 Beckman, 1998: 8. 12 Harris, 1991: 263-264. 13 For the Hittite ivory from Megiddo (thirteenth BCE), see Alexander, 1991: 163, fig. 2. In Hatti, Shaush- ka was associated with a creature called awiti, a kind of sphinx (both male and female) or a winged lion/ lioness, as is shown in several Anatolian seals (Bellucci, 2012: 55-56). 14 Vanstiphout, 1984: 232-233. 15 Black-Green, 1992: 108-109; Frymer-Kensky, 1997: 102-103; Lambert, 2004: 35.
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