Doktori (PhD) értekezés Roboz Erika Budapest 2021 Pázmány Péter Katolikus Egyetem Bölcsészettudományi Kar Történelemtudományi Doktori Iskola Eszmetörténeti Műhely Műhelyvezető: Dr. Fröhlich Ida DSc. Roboz Erika A lesújtás motívumai a szíria-palesztinai ikonográfiában: az Egyiptom és a levantei régió közti interkulturális kapcsolat bizonyítékai (összehasonlító tanulmány) Dissertatio ad Doctoratum (Ph.D.) Témavezető: Dr. habil. Bácskay András egyetemi docens Budapest 2021 Pázmány Péter Catholic University Faculty of Humanities and Social Sciences Doctoral School of History Intellectual History Doctoral Programme Supervisor: Dr. Ida Fröhlich DSc. Erika Roboz Motifs of Smiting in the Syro-Palestinian Iconography: Proofs of Intercultural Exchange between Egypt and the Levantine Region (A Comparative Study) Dissertatio ad Doctoratum (Ph.D.) Supervisor: Dr. habil. András Bácskay Associate Professor Budapest 2021 Table of Contents PREFACE ........................................................................................................................................................... 1 ACKNOWLEDGMENTS ...................................................................................................................................... 2 CHAPTER 1 – INTRODUCTION: USING THE TOOLS OF ICONOGRAPHY TO DECIPHER THE MULTI-LAYERED MEANINGS OF A MOTIF ................................................................................................................................... 4 1.1. PROBLEMS WITH THE COMPLEXITY OF THE TOPIC: THE CONCEPT OF IMAGES AS MEDIA………………………………………………….4 1.1.1. A brief research history: milestones in the development of the disciplines of modern iconography and iconology – theory and practice………………………………………………………………………………………………………….4 1.1.2. Syro-Palestinian religious iconography in focus: the impact of Othmar Keel and The Fribourg School in a nutshell……………………………………………………………………………………………………………………………………………….6 1.1.3. Applied Methodology and Method schemas “als das Recht (und Fähigkeit zu sehen“ ....................... 9 1.4. THE HYPOTHESIS OF THE PRESENT STUDY………………………………………………………………………………………………………….10 1.5. STRUCTURE OF THE PRESENT STUDY………………………………………………………………………………………………………………..10 1.6. METHODOLOGICAL SCOPE OF THE STUDY AND HANDLING OF THE OBJECT IMAGES……………………………………………………..12 CHAPTER 2 – THE PHARAOH SMITES THE ENEMY – THE DEVELOPMENT OF THE VISUAL CONCEPTION AND ITS MESSAGE AT DIFFERENT LEVELS OF AUTHORITY IN PHARAONIC ART ............................................................ 16 2.1. DESCRIPTION OF THE POSTURE: RESEARCH HISTORY AND A DEFINITIVE DESCRIPTION OF THE FINAL EXECUTION GESTURE AS A DYNAMIC ACT…………………………………………………………………………………………………………………………………………………..16 2.2. DEVELOPMENT HISTORY: PROGRESS TOWARDS A COMPLEX SYMBOL THROUGH THE PERIODS OF EGYPTIAN ART (FROM THE EARLY DYNASTIC PERIOD TO THE END OF THE RAMESSIDE PERIOD)………………………………………………………………………………17 2.2.1. Early Dynastic Period (Archaic Period)……………………………………………………………………………………………17 2.2.2. Old Kingdom………………………………………………………………………………………………………………………………….21 2.2.3. Middle Kingdom…………………………………………………………………………………………………………………………….24 2.2.4. New Kingdom………………………………………………………………………………………………………………………………..26 2.2.4.1. Ramesside Period ........................................................................................................................................ 35 2.2.6. Third Intermediate Period………………………………………………………………………………………………………………47 2.2.7. Closing remarks……………………………………………………………………………………………………………………………..48 2.3. THE “SMITING PHARAOH”: ORDO AB CHAO AS REPRESENTING THE CHARACTERIZED COSMIC TRIUMPH ............................. 49 2.4. TRANSCENDENTAL ASSISTANCE: ENDOWED WITH THE POWER OF THE GODS……………………………………………………………..52 2.5. THE ENEMY: FACES OF ISFET AS OFFERINGS FOR A RITUAL SACRIFICE?.........................................................................55 2.6. MEANING: MAGICAL AND METAPHYSICAL INTERPRETATIONS IN THE ORIGINAL EGYPTIAN CONTEXT………………………………..62 2.7. TRANSMITTERS OF VICTORY: TYPES OF MATERIAL SOURCES AS MOTIF-BEARERS…………………………………………………………63 CHAPTER 3 – TRACKING THE MOTIF BEYOND THE BORDERS OF EGYPT: ADAPTATIONS OF AN ICONOGRAPHIC ELEMENT ........................................................................................................................................................ 66 3.1 EARLY BRONZE AGE (3500–2300 B.C.)…………………………………………………………………………………………………………66 3.1.1. Connections between Egypt and the Syro-Palestinian region in the Early Bronze Age: Introducing Egypt to Syria-Palestine…………………………………………………………………………………………………………………………..66 3.1.2. The absence of the smiting motif…………………………………………………………………………………………………..68 3.2. MIDDLE BRONZE AGE (2300–1550 B.C.)………………………………………………………………………………………………………70 3.2.1. Connections between Egypt and the Syro-Palestinian region in the Middle Bronze Age: the Egyptian influence on the visual appearance of local art………………………………………………………………………………………..70 3.2.1.1. Palestine ...................................................................................................................................................... 70 3.2.1.2. Lebanese coast ............................................................................................................................................ 72 3.2.1.3. Syria ............................................................................................................................................................. 72 3.2.2. The smiting motif in Syria………………………………………………………………………………………………………………73 3.2.2.1. Old Syrian cylinder seals .............................................................................................................................. 73 3.2.2.2. Stelae ........................................................................................................................................................... 88 3.2.2.3. Closing remarks ........................................................................................................................................... 91 3.2.3. The smiting motif in Palestine/Israel………………………………………………………………………………………………91 3.2.3.1. Stamp seals .................................................................................................................................................. 92 3.2.3.2. Cylinder seals ............................................................................................................................................... 95 3.2.3.3. Pottery ......................................................................................................................................................... 96 3.2.3.4. Closing remarks ........................................................................................................................................... 96 CHAPTER 4 – ICONOGRAPHY OF SYRO-PALESTINIAN SMITING DEITIES IN THE LATE BRONZE AGE (1550–1200 B.C.) ............................................................................................................................................................... 97 4.1. CONNECTIONS BETWEEN EGYPT AND THE SYRO-PALESTINIAN REGION IN THE LATE BRONZE AGE: IN THE SHADOW OF RIVAL GREAT POWERS………………………………………………………………………………………………………………………………………………..97 4.1.1. Palestine………………………………………………………………………………………………………………………………………..98 4.1.2. Syria…………………………………………………………………………………………………………………………………………….100 4.2. VARIANTS OF THE SMITING MOTIF IN THE LATE BRONZE AGE SYRO-PALESTINIAN ICONOGRAPHIC CONTEXT .................... 103 4.3 SYRO-PALESTINIAN GODDESSES IN THE SMITING POSITION: THE ICONOGRAPHICAL ATTRIBUTES OF THE ARMED FEMALE DEITY……………………………………………………………………………………………………………………………………………………………106 4.3.1. Anat…………………………………………………………………………………………………………………………………………….106 4.3.1.1. An outline of the divine character of Anat ................................................................................................ 106 4.3.1.2. The smiting motif in the iconography of Anat ........................................................................................... 109 4.3.2. Astarte…………………………………………………………………………………………………………………………………………117 4.3.2.1. An outline of the divine character of Astarte ............................................................................................ 117 4.3.2.2. The smiting motif in the iconography of Astarte ....................................................................................... 121 4.4. SYRO-PALESTINIAN GODS IN THE SMITING POSITION: THE ICONOGRAPHICAL ATTRIBUTES OF THE ARMED MALE DEITY ........ 128 4.4.1. The storm god……………………………………………………………………………………………………………………………..128 4.4.1.1. Storm god of Ḫalab (Aleppo): the smiting Hittite storm god in Syria ........................................................ 128 4.4.1.2 Ba’al and his manifestations ....................................................................................................................... 129 4.4.1.2.1. An outline of the divine character Ba’al ............................................................................................ 129 2 4.4.1.2.2. The smiting motif in the iconography of Ba’al ................................................................................... 132 4.4.2. Reshef………………………………………………………………………………………………………………………………………….138 4.4.2.1. An outline of the divine character of Reshef ............................................................................................. 138 4.4.2.2. The smiting motif in the iconography of Reshef .......................................................................................