In ancient Greek literature, an idol means aneidolon plural: eidola or eidolons. Accordingly, it is an image, apparition, phantom, ghost. It stands either for a spirit-image of a living or dead person or a shade or phantom lookalike a human being. In art, idols are cult figurines with simplified or geometric shapes, mainly female representations made, among others, of wood, clay, ivory, marble or bronze. They appear across the ancient world, mostly from the Paleolithic to Late Antiquity. Nevertheless, the term ‘idols’ is usually applied in relation to the Cycladic culture (ca. 3200–ca. 1050 BC.).
It was once believed that only thanks to the Divine Consort – the Queen, the royal power could rest in the hands of the king – her husband (Żylińska 1972-1986:56; see: Noble 2003:79-84). It was also a remnant of matriarchal times that Pharaohs shaved their beard to resemble their feminine consorts; when the king-warrior replaced the divine Queen in the performance of sacred rites, he put on women’s dresses and had his face close shaved (Ibid.:56). At a time when in Egypt the Pharaohs were fully in power, in accordance with the old tradition, they still close shaved, but to emphasize their masculinity – because the patriarchal time had already come – they additionally wore an artificial beard, together with their coronation garments (Ibid.:56-57).
Royal Wife and goddess by birthright
Also, Thutmose the First, the third pharaoh of the Eighteenth Dynasty in the times of the New Kingdom, had his face close shaved (Żylińska 1972-1986:57). He became a Pharaoh thanks to his marriage to his half-sister, in whose veins divine blood flowed and whose offspring also had divine origins (Ibid.:57). For no matter who the queen of Egypt was married to, the god Amon-Re was considered the father of her children (Żylińska 1972-1986:57; see Noble 2003:79-84). The child of the Queen Ahmose and the god Amun-Re was a girl (Żylińska 1972-1986:57). She was given the name Hatshepsut. On the other hand, Thutmose the First had also a son with the concubine, whose name was Thutmose as well (Ibid.:57). Those events possibly took place at the turning of the fifteenth century BC.
Mortuary temples in western Thebes
I was just thinking about the life of an extraordinary Egyptian queen. Jadwiga Żylińska (1972-1986:56-70) tells her story like a fairy tale, which, however, really happened.
We had already landed on the west bank of the Nile. In a few minutes we were to reach Deir el-Bahari, a valley near the famous Valley of the Kings (“Deir el-Bahari” 2020). It is a complex of mortuary temples and a part of the Theban Necropolis in the Upper Egypt (Ibid.). The so-called mortuary temples erected in Western Thebes can be divided into two main groups: terraced temples and temples with a classical arrangement (Lipińska 2008: 160; see: Miracle of the Sun). Among the terraced temples, the oldest and largest is the Temple of Queen Hatshepsut (Ibid.:160). It was built under the influence of the construction of the Mortuary Temple of Nebhepetre Mentuhotep the Second, erected during the reign of the Eleventh Dynasty, which ruled at the end of the third millennium BC. (Ibid.:160). In turn, the temple of Queen Hatshepsut was a model for others, later sepulchral edifices (Ibid.:160).
Surviving for eternity
Our bus was rocking on the way to our next destination, and my mind again went back to the Eighteenth Dynasty and Hatshepsut herself. At that time, the capital of Egypt was in Thebes. After the Hyksos were driven out of the land of the Pharaohs (see: The World Ended When Gods Turned against the Minoans), the city returned to its former glory and grew in splendour with each passing year (Żylińska 1972-1986:57). Hatshepsut often sailed from the east bank of the Nile, where the palace was located, to the West Thebes, where the dead reigned (Ibid.:57-58). She wanted to see if the work on the tomb being erected for her earthly father had already progressed (Ibid.:58). It was the only time when the inhabitants of the commercial district and the port could see the tall, long-legged and motionless-faced Pharaoh’s divine daughter (Ibid.:58).
Seeing the tomb erected by the Chief Royal Architect, Ineni, Hatshepsut thought that a mortuary temple should also be built for herself (Żylińska 1972-1986:58). That one would survive for eternity when there was no more trace of her on earth (Ibid.:58).
My thoughts were interrupted by the whistle of the opening doors of the bus. When we got out of it, a long train with six-seat carriages came to take us to the foot of the Mortuary Temple of Hatshepsut.
Successor of her father
When Hatshepsut turned twenty-four, Thutmose the First announced her as his successor (Żylińska 1972-1986:58). The celebration took place in Karnak, in the temple of Amun-Re (Ibid.:58). It was followed by her marriage to her sick and weak half-brother, Thutmose the Second, who was seven years old (Ibid.:59). Three years later, Thutmose the First died and the new royal couple began reigning together over a united Egypt (Ibid.:59). Yet, although Hatshepsut was just a Great Royal Wife, it was clear that Egypt was ruled mainly by her (Ibid.:59).
Just after starting her reign over Egypt, the Queen immediately began erecting her mortuary temple in the Nile Valley, on the west side of Thebes (Żylińska 1972-1986:59).
The Alley of Sphinxes
The train slowly coiled like a snake just before the road leading to the Temple. By order of the Queen, it was erected directly opposite the district of Amun-Re, on the eastern side of the Nile (Lipińska 2008:160). The Alley of Sphinxes once led to the sanctuary, each with Hatshepsut’s face (Żylińska 1972-1986:66). Now there is no trace of the Alley, except for one or two partially reconstructed sphinxes … (Dr Andrzej Ćwiek in PAP – Nauka w Polsce, Zdziebłowski 2008).
‘The alley of sphinxes was about 500 m, or 1000 Egyptian cubits long. Based on the recorded databases, we assume that there were about 70 sphinxes. The alley was 6 meters wide, and the distance between the statues was about 17 m’, explains Dr Andrzej Ćwiek, a member of Polish-Egyptian archaeological and conservation mission (PAP – Nauka w Polsce, Zdziebłowski 2008).
The creator of the funerary complex of Hatshepsut, Senenmut, designed a building on a monumental scale (Lipińska 2008:160). He was Hatshepsut’s favourite and the chief architect of the Queen’s works in Deir el-Bahari (Żylińska 1972-1986:64; Lipińska 2008:160). Senenmut “first enters the historical record as the ‘Steward of the God’s Wife’ (Hatshepsut) and ‘Steward of the King’s Daughter’ (Neferure). […] After Hatshepsut was crowned Pharaoh, Senenmut was given more prestigious titles and became high steward of the king” (“Senenmut” 2020).
Moreover, some of archaeological evidence supports the idea that he had an emotional connection with the Queen and there was an intimate relationship between them (Quilici 2007). One of the traces supporting this hypothesis is definitely Senenmut tomb, placed just beneath the Hatshepsut’s Mortuary Temple, and ambiguous representations and writings inside it (Ibid.). Although Senenmut was the government official, he was just of low commoner birth, and so such a relation with the Queen-Pharaoh, who was perceived as an incarnation of gods on earth would be outrageous to the public at that time (Ibid.). Still, there is no decisive evidence that such an affair took place at all (Ibid.).
Prosperity of Egypt in stone
When we were standing in front of the Temple, before our eyes a high sand cliff rose. At its foot, the irregular and jagged shapes of rocks turned into a geometric arrangement of ramps, successive terraces and porticoes, rising and climbing upwards. The temple, although largely reconstructed by archaeologists, is remarkable and still arouses admiration among visitors; It was built of local white limestone beautifully harmonizing with the natural colour of the rocks, and its well-balanced porticoes are supported either on pillars or on polygonal columns of several types (Lipińska 2008:164). A real feast for the eyes!
From the entrance to the courtyard to the main sanctuary in the heart of the complex is 240 meters in a straight line, and the width of the central courtyard exceeds 100 meters (Lipińska 2008:161). The difference in levels between the lower courtyard and the highest storey of the temple is over 15 meters (Ibid.:161). According to the classical temple plan, the temple complex began with the lower temple, also built on terraces, almost completely ruined today (Ibid.:161). A one kilometre long avenue led to it, guarded once by the mentioned sphinxes (Lipińska 2008:161; Żylińska 1972-1986:66). The main temple had no pylons, only a stone gate in a wall of white limestone surrounding the courtyard (Lipińska 2008:161). The entire structure is situated on three successive levels: the lowest one is a courtyard closed on the west side with porticoes, between which a sloping ramp leads to the middle level (Ibid.:161). The northern portico has a badly damaged decoration depicting hunting and fishing, and the southern portico shows a unique scene of the transport of two obelisks ordered by the Queen in Aswan, and floated by a large barge to Thebes (Ibid.:161). One of these obelisks still stands in the Temple of Karnak (Ibid.:161).
‘The Queen also donated to the expansion of the Temple of Karnak itself,’ recalled Menes, our guide (Lipińska 2008:161; Quilici 2007). There, on a granite obelisk covered with a thick layer of electrum (a mixture of gold and silver), she had the following words inscribed (Żylińska 1972-1986:66; Brier 2017).
“I have thought of what people shall say, [when they see the monuments I have founded]. Don’t say my words are exaggerations but say how like her it is, to be true to her father”.
Time Trips (2021).
At that time, for a daughter to be considered as not worse than a son, she had to be twice as good as him (Żylińska 1972-1986:66).
As the Egyptologist, Kara Cooney, states it is well shown in stone that Hatshepsut brought prosperity to the country (Quilici 2007). Not only did she greatly contribute to the growth of the Temple of Amon-Re in Karnak, but also she actually founded Luxor Temple (Ibid.).
She had brought peace and abundance
The reign of Hatshepsut therefore took place in peace, time spent on daily duties and pleasures of common Egyptians, and the growth of the Queen’s power through the foundation of monumental temples and the establishment of and strengthening trade contacts, including such relations with Caphtor (possibly Crete), and with the legendary land of Punt. It is probably thanks to the Queen’s help that the inhabitants of the Nile Delta, fleeing the effects of the volcanic eruption on Thera, found rescue and refuge in Thebes. Yet, it is unknown if the recorded disaster had been caused by the volcano or if it had happened at all at that time, as Hatshepsut’s reign was rather a period of prosperity (see: The World Ended When Gods Turned against the Minoans).
Years later, people got used to such affluence and common wealth, resulting from long-term peace (Żylińska 1972-1986:60). There was no hunger or thirst in any part of the country, livestock multiplied in abundance, the children of Egyptians were born on the Nile, no one lacked grain, oil, or honey (Ibid.:60). Memories of the Pharaohs’ war expeditions faded into oblivion and slowly, like all past events, became legendary (Ibid.:60). Similar stories were also told to little Thutmose, Thutmose the Second’s son, born of a concubine like his father (Ibid.:61). He listened to similar stories with bated breath and burning face, and in his heart a longing for the glory of war and a thirst for conquest was born (Ibid.:61).
Arranged miracles of Amun-Re
At that time, the priests of Amun-Re in Karnak gained more power and influence, including such matters as the appointment to the throne of Egypt (Lipińska 2008:134). The best example illustrating their dominance happened the case of the son of Thutmose the Second (Ibid.:134). Although Thutmose the Third’s father was the Pharaoh, his mother was not the Great Royal Wife but the lesser lady of the Harem (Ibid.:134). So he had no right to the throne, but he was the only male descendant of the king who died, leaving behind only a legitimate daughter, Neferure (Ibid.:134). At first, the priests of Karnak thought that the boy was more suitable to be a ruler, and ‘arranged’ a miracle; during the procession in the pillared hall of the temple of Amon-Re, the god’s statue stopped in front of the boy hiding in the shadows of the pillars and appointed him as the successor of his deceased father (Ibid.:134).
Thutmose the Third took over the throne but it did not prevent the priests from coronating the widow of Thutmose the Second, Hatshepsut, just a few years later (Lipińska 2008:134). To justify the crowning of Hatshepsut, the priests composed a song about her divine origins, according to which the god Amon-Re himself, taking the form of Thutmose the First, visited his holy wife and conceived the daughter (Ibid.:134). When she was born, the god introduced her to all the gods as the future ruler of Egypt (Ibid.:134). The priests of Amun-Re probably understood the Pharaoh did not have to be a man, especially when the Hyksos were eventually defeated and the country needed peace (Żylińska 1972-1986:59). On the whole, there seems to be a trace in this tangled story of the existence of two factions among the priests of the Temple of Amun in Karnak, one supporting Thutmose the Third and the other, Hatshepsut (Lipińska 2008:134-135).
False beard of the Pharaoh-Queen
Hatshepsut had been crowned the Pharaoh at Karnak (Żylińska 1972-1986:61). During the ceremony, she appeared in a ritual outfit, in a diadem with a uraeus, which has always stood for ‘goddess’ and was strongly linked to royalty in Egypt (Żylińska 1972-1986:61; Noble 2003:83-84). In her hands in turn she held a golden whip and a staff, both crossed on her breast (Żylińska 1972-1986:61). According to the repeated ritual, she had a false beard attached to her face, which actually was a double mystification, but she was not aware of it (Ibid.:61). The patriarchy had already left its mark on people’s minds and there was no turning back to the old values. By attaching a false beard, the woman now imitated the man to be honoured and become the Pharaoh, the female incarnation of Horus (Ibid.:61).
On the same base of the obelisk founded by Hatshepsut, the carving also reads (Brier 2017):
“I erected them for my father Amun. They could be seen from the other side of the Nile, their tips gleaming in electrum” (Brier 2017).
It is true that “Hatshepsut used her obelisks as a form of propaganda[?] [Nevertheless, she had never tried to] pass herself off as a man. She calls herself the female Horus—female falcon—meaning she [was] the king, although she [was] female” (Brier 2017).
But Hatshepsut was also the earthly incarnation of Horus’ divine wife, Hathor. The name Hathor means ‘House of Horus’ which embodies the whole idea of a divine wife giving her husband the right to the crown (Lipińska, Marciniak 2006:161; see Noble 2003:79-84). Hathor – the goddess of beauty and love – was often pictured as a cow or a woman with cow horns on her head, between which a solar disk was placed (Lipińska, Marciniak 2006:161-162; see Noble 2003:79-84). Such attributes not only emphasized her role as the mother feeding her nation (cows have always been extremely valuable in this part of the world), but also the fact that she was of extraordinary beauty.
How’s that? Beautiful? Cow ?’, I once asked my Egyptian guide.
‘Have you seen the cow’s eyes? They are large and deep framed with a veil of long lashes’, explained Menes.
I tried to remember a picture of a cow’s head from my childhood, which I spent in the countryside. There were two good lasses, although I never paid much attention to their ‘wonderful’ eyes.
‘When a man says you look like a cow, it will be the biggest compliment,’ promised the guide.
I smiled. I would like to see the expressions of European women hearing similar compliments.
At first people thought that Hatshepsut, that is to say, Horus and Hathor in one person, would be a regent until her daughter Nefrure grew up and married her half-brother Thutmose in due time, who would be thus granted the throne (Żylińska 1972-1986:61). But it soon became apparent that Hatshepsut did not intend to rule in anybody’s name but her own (Ibid.:61). She herself probably planned to prepare her daughter for the future role of the Pharaoh of Egypt (Ibid.:61). Thutmose, on the other hand, was given military training; he was to become a military commander, maybe even a general, but he was to stay away from Thebes and reigning in Egypt (Ibid.:61). Meantime, his divine stepmother strengthened her power and undertook commercial activities, including a prominent expedition to the Land of Punt.
Offerings from Punt
Punt, a legendary land often associated with today’s Somalia, was apparently beyond the fourth Nile cataract and further than Niya (a kingdom in northern Syria), where the foot of an Egyptian soldier never reached (Żylińska 1972-1986:64; Lipińska 2008:163).
A famous expedition of Hatshepsut to the land of Punt was a successive exploration of that land by Egyptian pharaohs (Żylińska 1972-1986:64-65). At the time of the Fifth Dynasty, there was apparently the very first expedition from Egypt reaching Punt, when Egyptian ships entered its distant ports (Żylińska 1972-1986:64; Irwanto 2019:4). Such far-reaching trade journeys had systematically repeated till the Eighteenth Dynasty (Irwanto 2019:4). But Hatshepsut’s expedition was a commercial journey of an even larger propaganda scale and political significance than earlier journeys in the Fifth, Sixth, Eleventh and Twelfth Dynasties of ancient Egypt (Żylińska 1972-1986:61; Irwanto 2019:4).
Punt, a legendary land often associated with today’s Somalia, was apparently beyond the fourth Nile cataract and further than Niya (a kingdom in northern Syria), where the foot of an Egyptian soldier never reached (Żylińska 1972-1986:64; Lipińska 2008:163).
At the time of Hatshepsut, in addition to the sailors, several court scribes and painters were to accompany the queen so that they could describe the whole expedition and depict it in pictures (Ibid.:64). At the rising Moon, five thirty-oar boats left the Red Sea harbour and headed south (Ibid.:64). The expedition lasted two years and returned to Thebes at the time of harvests with unbelievable treasures (Ibid.:64). The Dukes of Punt mistook the Egyptian expedition for the messengers of heavens and fell on their faces before Hatshepsut (Ibid.:65). The Egyptians prudently held the hostages, and then proceeded to exchange goods: piles of fresh incense, precious myrrh trees, ebony, ivory gold, cinnamon leaves, antimony, baboons, vines, dogs and leopard skins (Ibid.:65). In return, the Queen of Egypt offered them innumerable piles of coloured beads, various fabrics, daggers with decorative handles, painted vessels, two chairs and a multitude of hatchets, both suitable for cutting trees and killing cattle and people (Ibid.:64).
The expedition returning from Punt was welcomed in Thebes with excitement and feverish curiosity, and news of the imported riches and wonders of Punt, the divine land from which the Egyptian goddess Hathor hailed, fired the imaginations of residents of the palace as well as the commercial district (Żylińska 1972-1986:65).
But in this general mood of joy, there was no exultation accompanying the return of the victorious army, that incomparable triumphant intoxication aroused by the soldiers riding on the chariots of war and the long columns of prisoners following them (Żylińska 1972-1986:65). Possibly, similar masculine attitudes of contemporary Egyptians led to the times, when the name of the female Pharaoh, Hatshepsut, was soon to be forgotten.
Featured image: Hatshepsut’s temple. Deir el-Bahari with temples of Hatshepsut, Thutmosis III and Mentuhotep II, Luxor, Egypt. Photo by Ian Lloyd – lloydi.com (2006). CC BY-SA 3.0. Colours intensified. Photo source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.
By Joanna Faculties of English Philology, History of Art and Archaeology; University of Silesia in Katowice, Poland; Cardinal Stefan Wyszyński University in Warsaw, Poland; University College Dublin, Ireland.
“Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/38ldwbX>. [Accessed on 6th January, 2021].
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Brier B. PhD (2017). “Erecting an Obelisk: A Monument of Egyptian Grandeur”. In: The Great Courses Daily. From the Lectures Series: The History of Ancient Egypt. Available at <http://bit.ly/3hNZwdL>. [Accessed on 6th January, 2021].
Free pictures at Pixbay. Available at <https://bit.ly/2LtkZgc>. [Accessed on 7th January, 2021].
Irwanto D. (2019). Land of Punt: In Search of the Divine Land of the Egyptians. Bogor: Indonesia Hydro Media.
Lipińska J. (2008) Sztuka starożytnego Egiptu. Warszawa: Arkady.
Noble V. (2003). The Double Goddess. Women Sharing Power. Rochester, Vermont: Bear & Compony.
PAP – Nauka w Polsce, Zdziebłowski Sz. (2008) “Rozpoczyna się kolejny sezon badań Polaków w Deir el-Bahari w Egipcie“. In: Nauka w Polsce. Ministerstwo Nauki i Szkolnictwa Wyższego. Available at <http://bit.ly/2Xfyti8>. [Accessed on 7th January, 2021].
Quilici B. (2007). Secrets of Egypt’s Lost Queen. Starring Kara Cooney and Zahi Hawass. Discovery Channel.
Time Trips (2021). “The Inscription on Hatshepsut’s Obelisk”. Based on the translation by Amir Hussein. In: Timetrips.co.uk. Available at <http://bit.ly/2JQb9o9>. [Accessed on 6th January, 2021].
TV db; Administrator (2019). “16:9 Screencap #60792152 of the documentary Secrets of Egypt’s Lost Queen, directed by Brando Quilici (2007). In: Discovery Channel Documentaries. TV db. Available at <http://bit.ly/3hRnTaC>. [Accessed on 7th January, 2021].
Żylińska J. (1972-1986) Kapłanki, Amazonki i Czarownice. Warszawa: Państwowy Instytut Wydawniczy.
Tin-glazed faience vessels, often decorated with colorful painting decorations, occurring in the greatest number in Moravia, Slovakia, but also in Switzerland, Tirol and Transylvania, roughly from the mid-sixteenth century to the beginning of the eighteenth century. The vessels and utensils were made by wandering craftsmen of the Anabaptist sect who were harshly persecuted and usually driven out of the countries because of their radical religious beliefs.
“Anabaptism […] is a Christian movement which traces its origins to the Radical Reformation. […] The movement is seen by outsiders as another offshoot of Protestantism, although this view is not shared by Anabaptists, who view themselves as a separate branch of Christianity. […] The name Anabaptist means ‘one who baptizes again’, [which refers to their beliefs] that baptism is valid only when candidates freely confess their faith in Christ and request to be baptized. This believer’s baptism is opposed to baptism of infants, who are not able to make a conscious decision to be baptized” (“Anababtism” 2021).
The Habanic pottery made by Anabaptists was usually spherical and melon-shaped but polygonal apothecary bottles, plates and platters were also manufactured. In the painting decoration, cobalt or colorful floral motifs were applied. Such an ornamentation seem to be a folk version of plant painting decorations used on Italian Majolica.
Featured image: Pottery from a small factory in Modra, Slovakia. In the seventeeth century, the first potters’ guilds began to appear in Modra (the first one was established in 1636). Among them, there were potters from the Anabaptist sects who came from Switzerland, and who made the so-called Habanic ceramics. Photo by Limojoe (2013). CC BY-SA 3.0. Colours intensified. Photo source: “Ceramika z Modrej” (2020) In: Wikipedia. Wolna Encyklopedia.
“Anababtism” (2021) In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2N5baFX>. [Accessed on 9th February, 2021].
“Ceramika z Modrej” (2020) In: Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3rCRvMs>. [Accessed on 9th February, 2021].
PWN (2007). Słownik terminologiczny sztuk pięknych, p. 145. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.
From Latin ‘cross-bearing orb’ or ‘the orb and cross” is an orb (globus) surmounted by a cross. Together with a sceptre, the globe-shaped insignia with the cross on top constitute royal regalia; “[the cross represents Christ’s dominion over the orb of the world, literally held in the hand of an earthly ruler” (“Globus cruciger” 2021).
As a matter of fact, the globe as the insignia first appears in ancient Rome on the coins of Augustus the Second (first century AD.), where the top of the globe was crowned with a statue of the goddess of victory, Nike. From Rome, the custom of using the ‘globus’ spread to Byzantium, and then it was adopted in all royal monarchies of Europe. In Christianity, the goddess of victory was gradually replaced with a cross, usually the Greek one with equal arms. Nevertheless, the pagan symbol is still present after the Edict of Milan in 313. In Poland, the royal apple was probably known from the beginning of the thirteenth century.
It has been a Christian symbol of authority since the Middle Ages, used on coins and in Christian iconography as a symbol of royal power; it is held in the left hand of Jesus Christ the King or Mary the Queen of Heaven. One of the most famous images of Christ as the King of the World wielding the royal apple was painted by Leonardo da Vinci in the Renaissance; it is widely known as Salvator Mundi (circa 1500) and depicts the royal apple as the ‘celestial sphere’ of the heavens.
In medieval and modern documents, and sometimes in professional literature, the term specifying the process of construction, reconstruction or renovation, together with all the equipment needed for it, such as material stocks, staff of employees (architects, craftsmen, helpers, administration), along with the organizational and financial side of the whole project.
There are different types of this type of the process, depending on the type of building being erected. There are thus fabrica ecclesiae (the process of building a church), fabricca palatii (the process of building a palace).
Featured image: La Sagrada Familia in the process of its construction, c. 1915. Photo uploaded by Templo Expiatorio de la Sagrada Familia (2013). CC BY-SA 3.0. Photo source: “Sagrada Família” (2021). In: Wikipedia. The Free Encyclopedia.
“Sagrada Família” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3aiTpuK>. [Accessed 11th July, 2018].
PWN (2007). Słownik terminologiczny sztuk pięknych, p. 108. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.
A type of Indian temple, mainly Buddhist, in the form of an elongated rectangular hall, divided by rows of pillars (Bhaja) or columns (Ajanta) into the main nave with a semi-circular apse, where the reliquary in the form of a stupa rises; it replaces the altar typical of the time of Ashoka (Aśoka) (circa 268 – 232 BC.). Two lower (side) aisles are composed of standing in one row pillars, primarily carved without capitals or bases (Bhaja), creating a circuit (ambit) around the stupa in the apse. The pillars/columns equally play a constructional function by supporting the mass of the barrel vault of the carved temple, which is decorated with ribs of arched timber beams.
Structures of this type are very monumental and decoratively sculpted and painted. The same model was repeated in a free standing temples of rectangular layout. In the rock-cut temples, the highly elaborated stonework is also visible in its façade, which creates a massive entrance; it opens to the outside of the rock with a horseshoe-shaped opening, also forming a kind of eaves. The stone facade happens to be richly sculpted and always closely imitates wooden elements of contemporary buildings both, inside and outside the temple; at the entrance there is a porch with a large ogee window, known as kudu or gavaksha, and a gallery comprised of balustrades forming balconies and blind lucarnes (dormer windows) with lattice railings.
According to Percy Brown, the prototype of Chaitya is to be found in sanctuaries belonging to the Ajivika sect associated with Jainism and Vaishnavism. Chaitya temples were carved in rock or built as free-standing constructions of stone, brick or wood. The wooden chaityas are known only from excavations, due to the perishable material. However, rock-cut temples with some wooden elements, which had been created since the third century BC., can be still found in Karla, Ajanta, Bhaja and Ellora caves. Yet, the actual date of the appearance of such temples is debatable and some scholars move it forwards in time to the first century BC. Since the first century AD. this type of temples had still developed, gradually enriching itself with new elements and ornaments, the evolution of which had continued until about the sixth century AD.
Featured image: Timber ribs on the roof at the Karla Caves; the umbrella over the stupa is also made of wood. Photo by Vatsalbhawsinka (2017). CC BY-SA 4.0. Colours intensified. Photo source: “Chaitya” (2018). In: Wikipedia. The Free Encyclopedia.
“Chaitya” (2018). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3oC2R1k>. [Accessed 30th January, 2021].
Auboyer J. (1975) Sztuka Indii [Les arts de l’Indes et des paysindianisés], pp. 56-57. Krzywicki J. trans. Warszawa: Wydawnictwa Artystyczne i Filmowe.
PWN (2007). Słownik terminologiczny sztuk pięknych, p. 80. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.
In the Muslim architecture of the Middle East, Maghreb and Spain, the outer monumental gateway in the walls surrounding the cities, residential houses and some public buildings. It is made of stone and fortified, normally flanked by two towers with battlements. Yet its central entrance is intricately decorated with various types of rich and multicoloured ornaments and calligraphy. The main structural element of such a gate is a horseshoe arch, also called the Moorish arch and the keyhole arch. It can take either rounded or, more often, pointed form. Less common in similar gates are Moorish arches with the so-called lobed form.
Most outstanding examples of such gateways can be found, for example, in the south of Spain (Andalucia), such as Antigua Lateral Gateway to the Great Mosque of Cordoba, and in royal cities of Morocco (see: Within the Walls of Imperial Cities). Such fortified gates were also incorporated into the ancient walls of Jerusalem, and referred to as the ‘bab’ after the Arab’s invasion in the seventh century, which is accurately recorded in the mosaic map of Jerusalem in Madaba church, in modern-day Jordan (see: The Holy Land Translated into a Mosaic).
In plural: abacuses or abaci; from Latin: abacus; from Greek: ábaks.
A square plate constituting the uppermost part of the capital (head) of a column. In the Doric order, the abacus together with the echinus form the actual capital; in Ionic and Corinthian orders, it is a thin profiled and decorated plate; in Ionic and Composite orders, the sides of the abacus are recessed and decorated with a rosette. In the arcade system, in late antique and medieval art, the abacus often turned into impost.
Featured image: Doric capital of the Parthenon from Athens with a squared plate of abacus. Photo by Codex (2012). CC BY-SA 3.0. Photo source: “Classical order” (2020). In: Wikipedia. The Free Encyclopedia.
“Abacus (architecture)” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3c4f9gk>. [Accessed 22nd January, 2021].
“Classical order” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/364embC>. [Accessed 22nd January, 2021].
Koch W. (2009) Style w architekturze. Arcydzieła budownictwa europejskiego od antyku po czasy współczesne. [Baustilkunde], pp. 16, 424. Baraniewski W., Kunkel R., Omilanowska M., Sito J., Zięba A., Żak K. trans. Warszawa: Świat Książki.
PWN (2007). Słownik terminologiczny sztuk pięknych, p. 1. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.
We were on the way to Cenote Ik Kil, located in the northern centre of the Yucatán Peninsula and about five minutes (3,2 km) south from Chichén Itzá (“Ik Kil” 2020). Today, it is part of the Ik Kil Archaeological Park and is publicly accessed for swimming and cliff diving (“Ik Kil” 2020; David 2020). Its water level is about 26 metres (85 ft) below ground level; It has got about 60 metres (200 ft) in diameter and is about 48 metres (157 ft) deep (“Ik Kil” 2020).
Swimming in cenotes is always at one’s own risk; there are no lifeguards, and only life vests are available (David 2020). This is why one needs to feel really comfortable swimming out of their depth to enjoy this experience (Ibid.).
Cenote Ik Kil
Around the cenote, there is a well organised tourist infrastructure with two restaurants serving typical Mexican food, changing rooms with lockers and showers, shady areas for relaxing, conveniently placed viewing areas of the cenote, and even cottages for hire to stay overnight (“Ik Kil” 2020; David 2020). To get to a swimming platform with the wooden stairs, there is a carved stone stairway that leads down (“Ik Kil” 2020; David 2020). Still there are three diving platforms beside the pool as well (David 2020). The cenote is open to the sky so visitors are not enclosed, like in cave cenotes, which yet gives another invaluable experience (“Ik Kil” 2020; David 2020). To avoid doing any harm to the cenote ecosystem, the visitors intending to swim must first take a shower to remove all the cream and dirt off of their skin (David 2020). It is not either allowed to touch stones or tree roots around the well (Ibid.).
Luckily, when we got on-site, there were not so many people swimming in the cenote. The water was really fresh, crystal-clear and chilly, which gave a cooling relief from Mexican sunshine (David 2020), even in February. From time to time, I felt tiny fishes nicely nibbling my skin. I swam to the centre of the water circle and I looked up into the open roof section. The view was breathtaking with all those plant strings and tree roots cascading down from the roof edges into the water (Ibid.), and the foliage covering the damp stones of the well just intensified the effect of swimming in the jungle.
Maw of the underworld that holds the underground waters
I dived in to the abyss of the well and I found myself in a completely different world once again. Echoes of people’s voices heard above suddenly fell silent and I felt alone, as if on the threshold to the unknown, underwater realm, existing – as the Maya believed – parallel to the real one (Prager 2013:279).
It was ruled by dangerous deities, such as the rain Mayan god Chaak (Aztec’s Tlaloc), and dwelled by various mythical creatures being the gods’ helpers (Prager 2013:279; Brady 2013:299; Tuszyńska 2007:62-63; “Xibalba” 2020). Some of them personified significant forms of the landscape: mountains, caves and cenotes (Brady 2013:299). In Mayan inscriptions, scholars identify wide-open jaws of Centipede (Sak Baak Chapaata), symbolizing cenotes as the ‘maw of the underworld (or of the Earth Monster) that holds the underground waters’ (Ibid.:299; also see the drawing a: “Maw of the underworld from Pakal’s sarcophagous”. In:Schele and Mathews (1998). Drawing source: Ramos Ponciano M. E., Ball J. W. (2017). Not only cenotes, but also underwater lakes in caves, are the natural models of this mythical place, inhabited by both, animals, such as frogs, lizards, water snakes, scorpions, and more grotesque creatures, like gnomes, souls of the forest and short people, dwarfs (Prager 2013:279).
Divine dwarfs in cenotes
Dwarfs not only performed various administrative functions and entertained the ruler at pre-Columbian royal courts, but also played an important role in the mythology of the Maya, who believed in the classical and post-classical periods that the four dwarfs were tasked with raising the vault of heavens.
The Olmecs also knew of the image of the four dwarfs supporting the sky, where dwarfs were equally pictured, like stone atlases, supporting the structure of the altar, possibly representing the vault of heavens (Prager 2013:278-279). The Maya even saw two dwarfs in the firmament, symbolizing undiscovered constellations (Ibid.:279). Midgets, as much as hunchbacks, cripples and albinos were viewed by the Maya and other pre-Colombian cultures as supernatural beings through their physical infirmities (Ibid.:278). They were all also regarded, like Maya rulers were, as messengers of the divine world and a means of contact with it (Ibid.:278). As such, the dwarfs are often depicted as companions of gods, including the sun and maize deities (Ibid.:279). This explains why in art, the Mayan kings considered divine, were also depicted in the company of midgets; the ruler performing religious rituals imitated the gods and became the center of the real world and the underworld (Ibid.:278).
Mayans thus believed that dwarfs come from outside the real world and actually are divine and supernatural beings (Prager 2013:279). They dwell in the underworld or ‘place of fright’, Xibalbà, which is as much sacred as dangerous (Tuszyńska 2007:34,36; “Xibalba” 2020). In the Maya’s opinion, the boundaries and the portals to this world can be found in overgrown holes in the forest, dark caves, deep ravines, and also in shimmering water mirrors overgrown with dark green water lilies, or just in deep cenotes, like this one I was just swimming in (Tuszyńska 2007:36; Prager 2013:279). Such wells were perceived as symbolical corridors between the earthly land and underworld (Tuszyńska 2007:37).
More about dwarfs
The history of the Mayan dwarfs, however, does not end here; I have also read that among the Maya’s offerings found in the caves, there have been also found querns for producing corn flour, which was possibly related to the Mayan belief that the first world was inhabited by dwarfs, saiyam unicoob, who built the first stone cities (Tuszyńska 2007:26; Brady 2013:305). The first world was deprived of the Sun (Tuszyńska 2007:26). When it was finally created and shone for the first time, it turned the dwarfs into stone, and their images can now be seen in many ruins (Ibid.:26). The donors probably wanted to pay tribute to them by similar offerings (Brady 2013:305).
After the Maya, dwarfs took part in “a rite of passage in which [they] assist the soul of the [privileged] deceased into the domain of the dead, [the underworld], from which it would eventually be reborn in the royal lineage, [just as the maize god died in the underworld and resurrected. Similarly,] maize sprouts again in the cycle of nature’s renewal” Art (Institute Chicago 2020). This is possibly why dwarfs are often seen in art while accompanying the maize god (Prager 2013:279; Institute Chicago 2020).
Crunchy nachos and human bones
After one hour of swimming in the underworld, I woke up from a daydream, as if revitalized. I was sitting in one of the on-site restaurants. The waiter has just brought a basket full of crunchy nachos and a saucier of juicy guacamole. It was a pleasant feeling to join archaeology and mythology with a tourist attraction and delicious Mexican food.
‘Why did not you tell me?!’, my friend asked reproachfully, sitting at my table, and pulling a wicker basket with nachos towards her.
‘About what?’, I asked surprised.
‘That THEY pulled people down HERE in the water to sacrifice them!’, she explained. ‘But it is better I have found it out not earlier than I got into the water’, she added without waiting for my explanation.
Indeed, the research of archaeologists confirmed the thesis that the Maya offerings were not only composed of products made of jade, shells, flint and ceramics, but there were also sacrifices of humans (Tuszyńska 2007:37; Brady 2013:305; Dzikowska 2013:201). Diego de Landa also mentions human offerings given by the pilgrims to the Cenote Sagrado in Chichén Itzá (Brady 2013:305). Since the arrival of the Conquistadors, stories have circulated about human sacrifice practiced by the Maya (Tuszyńska 2007:37). Chroniclers of that time mention that children and young women were thrown into the water (Tuszyńska 2007:37; Brady 2013:305). However, according to the researchers, the excavated human remains do not always indicate sacrifices (Tuszyńska 2007:37). In many cases it turned out that in most cases humans were thrown into the water after their death, and this concerned both men and women of a different age (Ibid.:37). It supports a hypothesis that the remains of ancestors and important personalities were thrown into the waters of the cenotes, because they symbolized the primeval ocean in the moment of the creation of the world (Ibid.:37). In this way, the dead were reborn to a new life (Ibid.:37).
Burials or human sacrifice?
There are many other hypotheses about human skeletons found in cenotes (Tuszyńska 2007:37). One of them states that they could be burial places (Ibid.:37). The best example of such a water cemetery is the Cenote Tankah (Quintana Roo), where the walls were marked by the Maya with glyphs of darkness and the planet Venus (Ibid.:37). Both glyphs are associated with night and death, but also with life and rebirth (Ibid.:37). Assuming that the cenotes were symbolic entrances to the world of the dead, Xibalbà, the hypothesis of natural burial chambers in cenotes is justified (Ibid.:37).
According to a related theory, human bodies were placed in cavities that were naturally hollowed in the walls of the well and emerged in periods of drought (Tuszyńska 2007:37; Dzikowska 2013:201). And droughts were actually the main reason for the human sacrifice to appease Chaak, the rain god (“Ik Kil” 2020). Such dry spells were the greatest in the ninth and tenth centuries AD., and when they finally passed away, the water flooded the bodies of the victims thus deposited (Dzikowska 2013:201).
In the Cenote Tankah, scattered bones belonging to one hundred and eighteen human skeletons were found (Tuszyńska 2007:37). Two hundred and fifty skeletons have been uncovered at Cenote Sagrado of Chichén Itzá (Dzikowska 2013:201). ItzáIk Kil cenote was equally sacred to the Mayans who used it for various offerings, including human sacrifice to their rain god, Chaak (“Ik Kil” 2020). Consequently, apart from numerous pieces of jewellery, archaeologists and speleologists have found human bones also in the deep waters of this cenote (Ibid.).
‘Next time, we are going to snorkel in the sea’, decided my friend, devouring the last nachos. ‘And I hope not to find any human bones’.
Touching history by accident
I smiled to myself. It is difficult not to touch the past in such places as Mexico, where the present is continuously being filtered through the ancient heritage, whose remnants are so tangible at each step taken by a modern visitor, even if they are quite unconscious of such significant ancient influences.
Featured image: Entrance to Dos Ojos Cenote, near Tulúm in Mexico. Photo by Dag Lindgren (2007). CC BY-SA 3.0. Image cropped. Photo source: “Sistema Dos Ojos“ (2020). In: Wikipedia. The Free Encyclopedia.
By Joanna Faculties of English Philology, History of Art and Archaeology. University of Silesia in Katowice, Poland; Cardinal Stefan Wyszyński University in Warsaw, Poland; University College Dublin, Ireland.
“Cenote” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/2L9bXVb>. [Accessed on 30th December, 2020].
“Ik Kil” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/3pyPobr>. [Accessed on 30th December, 2020].
“Sistema Dos Ojos“ (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/354EZN7>. [Accessed on 2nd January, 2021].
“Xibalba” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/2JBW21v>. [Accessed on 2nd January, 2021].
Brady J. E. (2013). ”Odkrywanie ciemnych sekretów – archeolodzy w jaskiniach Majów.” Jawińska M. trans. In Majowie. Niezwykła cywilizacja. [Maya. Gottkonige im Regenwald]. Grube N., Eggenbrecht E., Seidl M. eds. Warszawa: Grupa Wydawnicza Foksal.
David (2020). “Cenote Ik Kil, Chichen Itza: Ultimate Guide (2020)”. In: The Whole World is a Playground. Available at <http://bit.ly/2WUdFfM>. [Accessed on 30th December, 2020].
Dzikowska E. (2013). Tam, gdzie byłam. Meksyk. Ameryka Środkowa. Karaiby. Wydawnictwo Bernardinum.
Free images at Pixabay. Available at <https://bit.ly/3fTQX0u>. [Accessed on 30th June, 2021].
Latin American Studies (2020). “Maya Dwarfs”. In: The Maya. Latin American Studies. Available at <http://bit.ly/3rKBQvn>. [Accessed on 1st January, 2021].
Oleg Och (2011). “Cenote Chichi de los Lagos. Homun. Yukatan by Televisa Bicentenario”. In: Oleg Och Youtube Channel. Available at <https://bit.ly/3rFAfXS>. [Accessed on 30th December, 2020].
Prager Ch. (2013). ”Nadworne karły – towarzysze władców i wysłannicy podziemnego świata.”Jawińska M. trans. In Majowie. Niezwykła cywilizacja. [Maya. Gottkonige im Regenwald]. Grube N., Eggenbrecht E., Seidl M. eds. Warszawa: Grupa Wydawnicza Foksal.
Ramos Ponciano M. E., Ball J. W. (2017). “Eccentric Caches of Buenavista del Cayo: Contextual Analysis and Cosmological Significance“. Thesis for: M.A. Advisor: Joseph W. Ball; Jennifer Taschek; Seth Mallios. SDSU Mopan-Macal Triangle Archaeological Project. In: ResearchGate. Available at <http://bit.ly/3o9Nde6>. [Accessed on 1st January, 2021].
Tuszyńska B. (2007). ”Mitologie świata: Majowie”. In: Rzeczpospolita. Kraków: Drukarnia Narodowa SA.
In the late afternoon, we found ourselves on the threshold of Wadi Rum. Known also as the Valley of the Moon (“Wadi Rum” 2020), this magic land is located in the southern part of Jordan, close to the border with Saudi Arabia, and about forty kilometres east of Aqaba (Chabińska-Ilchanka et al. 2015:265).
Lawrence from Arabia
Today, Wadi Rum is a home to Jordan Bedouins, who are Arab semi-nomadic people inviting visitors to their fairy-tale kingdom. One of the most famous guests to Wadi Rum was undoubtedly T.E. Lawrence (1888–1935), also known as Lawrence from Arabia (Biography 2014-2015). He was a British military officer and archaeologist greatly involved in Middle Eastern affairs and in the Great Arab Revolt (Ibid.). In the years 1917-1918, Lawrence travelled through Wadi Rum several times describing his enchantment at the entrance into the Valley as follows (“Wadi Rum” 2020):
“The hills on the right grew taller and sharper, a fair counterpart of the other side which straightened itself to one massive rampart of redness. They drew together until only two miles divided them: and then, towering gradually till their parallel parapets must have been a thousand feet above us, ran forward in an avenue for miles. The crags were capped in nests of domes, less hotly red than then body of the hill; rather grey and shallow. They gave the finishing semblance of Byzantine architecture to this irresistible place: this processional way greater than imagination.”
Lawrence, T.E. 1935:351
Iram of the pillars
We climbed onto one of the three off-road cars and started our journey through sandy and rocky oranges of the desert. The sun was still hanging high but the night falls there in the nick of time. It automatically brings a sudden cold that replaces the daytime sun heat. In such conditions warm clothes are a must.
In its fascinating past, Wadi Rum must have been inhabited by many various cultures whose distinctive traces are still visible today (“Wadi Rum” 2020).
It is likely that it receives its name from Iram of the pillars, which is usually described as a lost city, region or tribe mentioned in the Quran (Ibid.). Cut into the sandstone and granite rock, it includes an area of approximately seventy-four thousand hectares of amazing landscape, distinguished by extraordinary natural and cultural value (Chabińska-Ilchanka et al. 2015:265; “Wadi Rum” 2020). The natural environment consists mainly of the typical though stunning desert landscape with a varied topography (Chabińska-Ilchanka et al. 2015:265). There are sandy plains, cliffs, gorges and even caves and rocky landslides (Ibid.:265). An interesting diversification of that landscape are natural rock formations in the form of arches, bridges and arcades (Ibid.:265).
Within this area, groups of pre-historic petroglyphs have been found at several sites (Chabińska-Ilchanka et al. 2015:265). The rock drawings most likely come from twelve thousand years ago and prove the existence of settlement in this desert area since prehistoric times (Ibid.:265). Due to cultural landscape and its natural values, in 2011 the protected area of Wadi Rum was entered on the UNESCO World Cultural and Natural Heritage List (Ibid.:265).
Among the rock carvings that were found in Wadi Rum, there are twenty-five thousand figurative representations and twenty thousand characteristic signs looking like inscriptions that could constitute the first attempts to create a writing (Chabińska-Ilchanka et al. 2015:265; Mohammad 2015). The former usually represent people and animals, whereas among the latter, there are North-Arabian scripts: Nabatean, Islamic (Kufic), Arabic and mostly the so-called Thamudic inscriptions (Chabińska-Ilchanka et al. 2015:265; Mohammad 2015; “Wadi Rum” 2020; “Thamudic” 2020).
The Thamud belonged to ancient Arabian tribes occupying the north-western Arabian peninsula between the late eighth century BC and the fourth century AD (“Thamud” 2020). “They are mentioned in contemporary Mesopotamian, Classical, and Arabian sources” (Ibid.). It does not mean, however, all the petroglyphs from Wadi Rum were made by that tribe (“Thamud” 2020; “Thamudic” 2020). Actually, the name Thamudic was invented by nineteenth-century scholars for major part of inscriptions covering a huge area from Syria to Yemen (“Thamudic” 2020). “[Such inscriptions belong to a large group of] Ancient North Arabian (ANA) alphabets which have not yet been properly studied” (Ibid.).
Many petroglyphs from Wadi Rum, however, are ascribed to Nabateans, an ancient nomadic Arab people who emerged between the fourth and second century BC and held their independence till the annexation of their territory to the Roman Empire in 106 AD (“Nabataeans” 2020). Nabateans are also said to be creators of Petra and although they surely inhabited the site, there is much doubt regarding the original builders of the city. It is, however, another story …
In tranquil and shaded Ain Shalaaleh, on the south side of Wadi Rum, there is the head of a Nabatean rock-cut aqueduct, which is close to Rum village and the remains of the Nabatean temple (Mohammad, “Confusion (….)” 2015).
Lawrence wrote that “[on] the rock-bulge above were clear-cut Nabathaean inscriptions, and a sunk panel incised with a monogram or symbol. Around and about were Arab scratches, including tribe-marks, some of which were witnesses of forgotten migrations: but my attention was only for the splashing of water in a crevice under the shadow of the overhanging rock. I looked in to see the spout, a little thinner than my wrist, jetting out firmly from a fissure in the roof, and falling with that clean sound into a shallow, frothing pool, behind the step which served as an entrance. Thick ferns and grasses of the finest green made it a paradise just five feet square.” (Lawrence 1935, p.355).
Images for communication
“Petroglyphs are images created by removing part of a rock’s surface by incising, pecking, carving, and abrading with something like a stone chisel. Inscriptions are characters [created just] in the same way as petroglyphs. Most petroglyphs [in Wadi Rum] were made on cliff faces, [large] rocks, and boulders” (Mohammad 2015).
The content of the petroglyphs and other artifacts found in the area are a source of knowledge about the social change and lifestyle of prehistoric desert tribes in the Arabian Peninsula (Chabińska-Ilchanka et al. 2015:265). “The illustrations of people show human figures holding bows and arrows” (Mohammad 2015). By their side, there is a large number of drawings representing animals, such as camels, ibexes, and horses (Ibid.). “[Alongside] all these figures are [enigmatic] symbols like lines and circles. Experts [assume] that they are instructions and messages left by [prehistoric] people [to communicate]. Some of them [may be] about giving directions to find hidden springs, [whereas others] about updating each other on things like who visited the area last. Altogether, these engravings [are believed] to provide an insight into the development of human thought [as] a pattern of pastoral, agricultural, and urban human activity” (Ibid.).
Scorpions were already asleep
We got off the car and approached one of the multiplied rocks. Its reddish surface was carved with intriguing images.
At first sight I could discern some animal figures, mostly camels. Yet some were rather difficult to guess. Whereas some camels were depicted in movement with funny forked tails, others were standing still and the one had an inscription inside its body. The biggest one with its long neck looked like a giraffe. Only its single visible hump indicated that it was a dromedary after all. There were also a few primitively drawn human figures with outspread arms and legs, who may stand for Neolithic members of a nomadic tribe. Those were quite similar to Neolithic human representations from northern Africa. Most intriguing, however, were strange symbols depicted around the recognized characters – one looked like a mountain peak – and inscriptions accompanying the whole scene. ‘I wish I could stay here longer and make drawings’, I thought while taking a thousand of pictures. Pushed by curiosity and in search of further images, I slipped under the rock ledge above the carvings. After a while I found there some traces of petroglyphs but mostly fragmented inscriptions. ‘You are a peeping type of a person’, said our Bedouin guide smiling. ‘It’s good that scorpions are already asleep’, he added.
It was pitch-dark when we finally reached back our camp. The electrical lamps illuminated a row of large tents waiting for tired visitors. We had just arrived to Jordan and Wadi Rum turned out to be our gate to its treasures.