Tag Archives: Sculpture

Identity of the Man Found in the Sarcophagus of Palenque

Presumably, in order to preserve the precious archaeological find in its original state, Dr. Alberto Ruz Lhuillier had not unsealed the unearthed sarcophagus for six months since it was discovered (My Gen 2021). And it took archaeologists an additional week of work before they eventually lifted the five-ton beautifully carved lid of the sarcophagus, on 28th November, in 1952 (Ibid.).

Mayan Matryoshka-style

Eventually, it turned out that the inside of the rectangular stone slab of the tomb had been additionally closed off with another smaller slab, attached by means of stone plugs in the holes (Quetzal Resistance 2011; My Gen 2021). The additional and strangely shaped lid ultimately uncovered the final resting place of the dead, whose long and beautifully attired skeleton was lying inside a similarly-shaped coffin (My Gen 2021). As a result, the whole tomb design slightly resembles a set of Matryoshka dolls, where one of a smaller size is placed inside a larger one.

Howard Carter examining the innermost coffin of Tutankhamun. On the whole, there were three coffins, decreasing in size. Exclusive to The Times – The New York Times photo archive, via their online store (1922). Public domain. Photo source: “Tutankhamun” (2021). In: Wikipedia. The Free Encyclopedia.

The interesting shape of the smaller coffin lid, sometimes compared to a body-shape, drew Graham Hancock’s attention (2016:158); he connects it with a specific type of Egyptian coffins with a widen bottom (Ibid.:158). It is a characteristic that also appears in the shape of the coffin under the Temple of the Inscriptions (Ibid.:158). Yet, the Egyptian caskets were made of wood and had wide bases as they were often placed vertically, as if they were standing (Ibid.:158). By comparison, Pakal’s coffin was carved out entirely of solid stone and was arranged horizontally (Ibid.:158). The author therefore wonders why the builders of the sarcophagus took more trouble extending its lower part since it had no practical application (Ibid.:158). Or maybe it was the shape itself, which really mattered? (Ibid.:158); it actually resembles the aforementioned keyhole symbol, but which is turned upside down and with a circle part squashed, looking slightly like an eclipse. Moreover, the Matryoshka-style of Palenque sarcophagus had been also applied in Egyptian royal coffins, such as the set of Tutankhamun’s three coffins, characterized each by a decreasing size (Tyldesley 2016).

Descendant of the race of giants

All the archaeological reports accordingly claim that in the sarcophagus in Palenque, there was found a skeleton of a tall man (My Gen 2021; Hancock 2016:158). Nevertheless, the same scientific sources never give any precise information about the exact measures of the skeleton (My Gen 2021). In my opinion, it is not sufficient to argue that some person is tall or not as such descriptions are quite subjective as they may be based on a personal judgement.

Anthropological Museum of Mexico City. Funerary dress and jewellery of king Pakal of Palenque, seventh century AD. Photo by Wolfgang Sauber – Own work (2008). CC BY-SA 3.0. Photo and caption source: “Kʼinich Janaabʼ Pakal” (2021). In: Wikipedia. The Free Encyclopedia.

Accordingly, such a matter as the height of an individual should be given in detail. In spite of the information missing, some alternative researchers, however, keep trying to calculate an approximate skeleton’s height, basing on equally estimated measurements of the strangely shaped sarcophagus’ cut in stone, which was specially designed for the corpse (My Gen 2021). Such estimates can be only possible to obtain by means of the provided accurate measurements of the main, rectangular lid of the sarcophagus, which are the following: the square slab of the tomb is 30 centimetres (10 inches) thick, 90 centimetres (3 feet) wide and 3,7 metres (12,5 feet) long (Hancock 2016:159). As a result of a mathematical analysis, the skeleton would have belonged to a male measuring well over 2,2 metres in height (over 7,3 feet) (My Gen 2021).

Who was really buried in Pakal’s tomb?

Although the skeleton found inside the sarcophagus is usually recognized as the remains of the king Pakal, his identity has become repeatedly questioned (My Gen 2021; Von Däniken 1991:182).

First doubts arouse mainly due to the inconsistent date of 633 AD., which is the latest among those found on the sarcophagus and so it does not chronologically correspond to the conventional date of Pakal’s death (Von Däniken 1991:182). The doubts have deepened even more together with the results of interdisciplinary identification examination of the skeletal remains from the sarcophagus, which were presented at “a symposium organized by Vera Tiesler and Andrea Cucina for the Sixty-eighth Annual Meeting of the Society of American Archaeology in Milwaukee, Wisconsin, in April 2003” (Wordtrade.com 2021). During the project directed by a specialist in Maya civilization remains, Prof. Vera Tiesler, a wide range of laboratory analyses had been used with comparative data, including archaeological, bioanthropological and epigraphical studies of the Maya culture (Ibid.). Age assessment of the individual was mainly carried out by means of morphological observations and histological methods, including even mathematical approaches applied by paleo-demographers (Ibid.).

Temple of the Foliated Cross in Palenque features mysterious openings in the shape of keyhole. Copyright©Archaeotravel.

Yet, during the conference, there was no mention about results of radiocarbon dating of the bones or whether it had ever been conducted (My Gen 2021; see: Wordtrade.com 2021). It is only known that there was no DNA extraction, which Vera Tiesler explains by the fact of a very poor and fragmentary condition of the studied skeletal remains, which have been hardly preserved in seventy-five percent (Wordtrade.com 2021). As a result, even though the time of the individual’s death is relatively recent in comparison with other analysed skeletal remains from cultures existing before our era, the age determination and other analyses of Palenque skeletal remains may be erratic and inconsistent (Ibid.).

Inconsistent results

Particular results of one of the conducted examinations, however, seem quite reliable and they entirely put the identity of the individual found in the sarcophagus under question. Precisely, it was the analysis of wear on the skeleton’s teeth, which has placed the age of their owner at death as forty years old, which is simultaneously an average lifetime of the ancient Mayas (“Kʼinich Janaabʼ Pakal” 2021). Consequently, it means the skeleton must have belonged to a man forty years younger than Pakal at the moment of his death, when he was eighty years old (“Kʼinich Janaabʼ Pakal” 2021; Hancock 2016:158; My Gen 2021). Such a contradiction may have resulted either by a wrong interpretation of the dates ascribed to Pakal’s lifetime or the fact the skeletal remains do not belong to Pakal at all.

Despite such conflicting results, most scholars have no doubts about the identity of the skeletal remains in the sarcophagus in Palenque and so they reject any possibility it may not be the skeleton of the king Pakal (Wordtrade.com 2021). Probably, in order to achieve a compromise, they have accepted that at the moment of his death Pakal could be either in the low age range, estimated between forty and fifty years, or the highest estimated age of eighty years (Ibid.). But does it bring any final conclusion to the question of age of the skeletal remains and, indirectly, of dating the burial itself?

Temple of the Inscriptions, seen from the Palace side. It is built on the stepped pyramid with nine platforms. Copyright©Archaeotravel.

Such a wide range of an acceptable age for the found skeleton is justified by scholars due to particular challenges in its precise age determination (Wordtrade.com 2021). After Prof. Vera Tiesler the human remains under question cause particular difficulties in their studies, not only because they are extensively fragmented, but also because of the age range of the individual (Ibid.). Skeletal specialists agree that it is highly difficult to precisely estimate skeletal age in case of the dead adults, especially those who were over fifty years old at the moment of their death (Ibid.). This is why the results cannot be more precise or consistent unless some novel and conclusive methods are applied in this context.

Which way leads to the afterlife?

If the conducted examinations of the found skeleton generally fail in determining the identity of the buried individual, is it possible to find out missing answers in the imagery of his sarcophagus? The latter is undoubtedly one of the most fascinating Mayan monuments and is still the subject of a fierce debate even today, which is especially about an intriguing relief on the lid. Despite different interpretations of the scene, scholars generally believe that it depicts a mythological image or the king’s journey into the world of the dead. For the Mayans of the Classic period, the afterlife was located in the underground world filled with water and so it was associated in the earthly world with actual water reservoirs or caves (Eberl 2013:311; see 😊). Accordingly, the dead body of the ruler was to rest in the burial chamber in the centre of the Temple of the Inscriptions, symbolizing an artificial cave and the king’s descent into the earth, by means of the steps leading down to the underworld (Ibid.:311). The stone lid of Pakal’s sarcophagus was therefore intended to recreate his journey to the afterlife (Ibid.:311).

But if this interpretation is correct, and the Mayan underworld was located underground, why does a small pipe of psychoduct led Pakal’s soul from the tomb back to the temple outside it?

The Tree of Life

Cosmological Mythology of the ancient Maya was recorded in the Book of Chilam Balam of Chumayel, a Latin compilation of Mayan texts from the seventeenth and eighteenth centuries (Wagner 2013:288). The act of creation described there was preceded by the destruction of the world by the flood (Ibid.:288), also mentioned by numerous independent sources, such as the “Book of Genesis” in the Bible and the Sumerian epic of Gilgamesh (see😊

Tablet of the cross restored from the Temple of the Cross. Photo by Ineuw (2017). Public domain. Photo source: “Tablet of the Cross restored” (2017). In: Wikipedia Commons.

As the story goes, the very centre of the created world inhabited by the Maya was graphically marked by the Tree of Life, connecting the zenith with the nadir (Hohmann-Vogrin 2013:200). Not without a surprise, such a motif also appears in the Celtic and Scandinavian cultures (see😊. In the Mayan iconography, the central motif of the panel in the Temple of the Cross is a symbolic representation of such a tree that grows from the sacrificial bowl (Wagner 2013:288; see😊 The image must be strongly stylized because it resembles more a cross rather than a tree. After experts, branches covered with flowers grow on its both sides, whereas the two-headed serpent hanging on it symbolizes the eternally green tree and the colour of the centre of the cosmos (Ibid.:288). Additionally, on its highest branch, the god Itzamna sits on the throne, dressed as blue birds (Ibid.:288).

Here I must admit to myself that if I interpreted the relief of the Temple of the Cross myself, I would never have noticed some of the described details without a professional help of specialists.

Hidden birds game

On the sarcophagus from Planeque there are hieroglyphs and more or less abstract images. Starting from the top of the lid positioned in a vertical position, there is found a central motif that was recreated with slight changes on the later and the aforementioned relief from the sanctuary of the Temple of the Cross (Dr. Alberto Ruz Lhuillier in: Von Däniken 1991:187; see😊. In the first place, it is easy to notice a kind of a cross just in the middle, whose arms divide the surface, and metaphorically the world into four parts, and at the same time indicate the four cardinal points with its arms (see: Eberl 2013:314; Von Däniken 1991:186).

A drawing of the lid of the tomb of Maya ruler Pacal the Great. Drawing by Madman2001 – Made it myself based on several drawings References for this description (or part of this) or for the depiction in the file are not provided (2008). CC BY-SA 2.0. Image modified. Photo and caption source :“Temple of the Inscriptions” (2021). In: Wikipedia. The Free Encyclopedia.

According to experts having translated its imagery, a whole ornithological garden can be seen in the relief around the cross, including the Mayan bird Quetzal and the bird Moan, symbolising death (Von Däniken 1991:186-187; Wołek 2012:18). The latter was probably crouching just below the squatting anthropomorphic figure. Indeed, a strongly stylized outline of a pair of eyes and something that looks like a duck bake are visible there. Similar element also appears in the relief of the Temple of the Cross, but no one interprets it there as the bird Moan heralding death …

Furthermore, after a conventional interpretation of the relief from the Temple of the Cross, at the top of the Tree of Life sits the Mayan god Itzamna, depicted once again in the form of a bird (Wagner 2013:282). Its mirror image with small changes was also carved on earlier Pakal’s sarcophagus (see: Dr. Alberto Ruz Lhuillier in: Von Däniken 1991:187). For consistency of the both interpretations, it must be just the same bird in the both representations. But if Itzamna is sitting at the top of the cross, where is Quetzal? Apparently, it is crouching on the head of a man lying under the Tree of Life … (Von Däniken 1991:186). I need to admit that I cannot discern anything there except for elements looking like bird feathers, probably being a part of the lying man’s headgear … Dr. Ruz, in turn, sees Quetzal wearing the mask of Tlaloc and is one of miniature mythological creatures coming out from a two-headed dragon …  (Ibid.:187). Still nothing … I cannot see either the dragon or a creature wearing Tlaloc’s mask and jumping out of any head… Yet, according to translating the lid experts, a proper interpretations of the imagery is only possible when the lid is viewed from a horizontal position … (Von Däniken 1991:188; Wołek 2012:18)

Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

As a matter of fact, most scientists believe that the imagery on Pakal’s sarcophagus should only be interpreted in a horizontal arrangement (Von Däniken 1991:188; Wołek 2012:18). And here is another contradiction. The relief from the Temple of the Cross, which depicts the same main motif, can be only analysed in a vertical position, and the correct positioning of the relief is evidenced by two male figures standing on both sides of the Tree of Life, while it is depicted vertically.

Why is it so that the both images sharing exactly the same elements have been interpreted separately and so incoherently?

Academic and alternative interpretations of the image

Continuing the analysis of the sarcophagus lid from the vertical position, it can be noticed that under the Tree you can see the gaping mouth of the Earth Monster, which grins its teeth dangerously and threatens with its tusks (see: Von Däniken 1991:186-187). This element is missing in the later relief from the Temple of the Cross, likewise the main character of the scene on the sarcophagus. It is a male figure in a reclining position, situated just under the Tree of Life. Some experts claim it is Pakal who at the moment of his death falls into the mouth of the underworld, or of the Earth Monster armed with teeth, to be reborn like the god of corn (Von Däniken 1991:187; Eberl 2013:314).

The Tree of Life itself seems to grow out of the Earth-Monster between its tusks, and pierce the belly of the lying man with its roots. In addition, strange vines appear to grow from the man’s mouth and nose and on the back of his head. Maybe it is the Tree of Life that wants to consume the individual? Others argue that the “creepers” on the back of the king’s head are only part of an intricately pinned up hairstyle or headgear (Von Däniken 1991:187). As I mentioned earlier, some experts notice there the bird Quetzal, which would crouch on the king’s head (Ibid.:186).

‘Or maybe the ruler is inside a large skyrocket and goes into space?’, ask the proponents of the ancient astronaut theory, who support the thesis that ancient peoples around the world had contacts with representatives of a highly developed alien civilization, whom they consequently took for gods (Von Däniken 1991:188; Burns 2012).

And under the influence of such a hypothesis, the “creepers” or headdress ornaments, magically turn into double wires running inside the spacecraft (see: Von Däniken 1991:188; Burns 2012). Such a theory has been successfully instilled by a controversial researcher and author, Enrich von Däniken. By taking a closer look at the lid in an upright position, he has noticed that the figure depicted takes the position of today’s cosmonauts during the launch of a space rocket (Von Däniken 1991:188; Burns 2012). You can also see that the ‘cosmonaut’ is touching some devices with his hands, which look like levers (Von Däniken 1991:188; Burns 2012). His feet rest on some kind of pedals (Von Däniken 1991:188; Burns 2012). And beneath it, you can see what resembles flames and not the teeth of an Earth Monster (Von Däniken 1991:188; Burns 2012). Additionally, the king has something like a breathing apparatus in front of his face (Von Däniken 1991:188; Burns 2012). ‘This element is called’ giver of life ‘,explains Giorgio A. Tsoukalos, one of Däniken’s followers (Burns 2012). ‘So it seems logical that it could be oxygen. It is also logical that in space a man would need a similar breathing mask’, he says (Ibid.).

Following this interpretation of the sarcophagus lid, we may come to the conclusion that the picture presented in it proves the theory of the relationship between the Mayan rulers and aliens. So which interpretation is correct?

New definitions of old truths

Various representations of the bird Quetzal and the Mouth of the Underworld or the Earth Monster, are typical imagery features of the religion and mythology of the Mesoamerican peoples, and therefore also of their art (see😊. As we can see, a similar sarcophagus motif of the cross was also immortalized on a later relief from the Temple of the Cross. But was it meant as the Tree of Life for the Maya?

Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

All such interpretations are found within a framework of modern speculations and guessing, likewise contemporarily invented names given to ancient cultures, their architectural structures and artifacts (Von Däniken 1991:175-176; Hancock 2016:156). The Temple encompassing Pakal’s sarcophagus certainly was not called the Temple of the Inscriptions by the Maya themselves (Ibid.:175-176). In turn, the Earth Monster was imagined as an anthropomorphic-zoomorphic figure mainly by the Aztecs, who worshiped it under the female name Tlaltecuhtli (see😊 The Aztecs, however, were one of the most recent cultures of Mesoamerica, whose development was only interrupted by the Spanish Conquest in the sixteenth century.

By applying the same known matrix of mythological interpretations to all discovered artifacts from the world of ancient cultures in Mesoamerica does not really add anything in determining the real meaning behind them. It only causes that we are stubbornly going around in circles, putting another painting into the same frames. According to archaeologists and art historians, the Maya could create metaphorical representations of nature, which they provided with divine features, as many other ancient cultures around the world did. Then the Earth Monster jaws would be a universal and metaphorical image of the underworld or the gateway to the underworld, in which the Mayans certainly believed and worshiped (see😊. By the time of the Aztecs, such an image could gradually evolve to finally adopt the image of the half human goddess Tlaltecuhtli.

Exclusivity for the truth

On the other hand, the image on the sarcophagus may not originally have been purely symbolic, but with time it took on just such a character; perhaps a Mayan artist initially tried to recreate a scene he had seen or heard about, but he dressed it in images that were understandable to his contemporaries, or to himself.

Temple of the Inscriptions is adjacent to Temple XIII, where another tomb of Palenque was found in 90s of the twentieth century by archaeologists. Yet, it is the sarcophagus from the pyramid of the Temple of the Inscriptions that still attracts most attention. Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

It did not necessarily have to be a spacecraft launch or the maw belonging to a monster that looks as if it had been taken alive from Mayan nightmares. It could have been an image of a phenomenon or truth that once terrified, but at the same time aroused a sort of respect among various inhabitants of Mesoamerica at the time. What was that? We do not know. And perhaps we will never know the truth. Besides, no one can claim exclusivity for the true understanding of the Mayan images, and no diploma or academic degree guarantees their correct interpretation. One would have to arrange a chat with an ancient Maya first. I wonder how the ancients would react to contemporary interpretations of scenes that they once created. Probably their jaw would drop …

The sculptor of the sarcophagus could actually have left a hieroglyphic inscription on its surface, which would identify the man imagined there (see: Von Däniken 1991:182,186). The problem is that some of the hieroglyphs found on the sarcophagus still cannot be deciphered (Von Däniken 1991:186; Hancock 2016:157).

In the Mouth of the Earth Monster

In the central part of  the Temple of the Inscriptions, suspended at the top of the stepped pyramid, there is a series of stairs steeply sloping down from enormous stone slabs of the floor (Hancock 2016:157). The sandstone steps are polished by the soles of millions of tourists visiting Palenque and are now quite slippery, also due to the tropical humidity hovering in the air (Ibid.:157). The stairs lead to the crypt. ‘The Earth Monster’s Mouth’ measures 7 metres in height and 9 metres in length (Ibid.:158). The burial chamber is now separated from the visitors by a heavy grating, and additionally, a usually foggy glass hinders the access to it together with a possibility of seeing the sarcophagus in detail (Von Däniken 1991:184).

Fortunately, in the Anthropological Museum in Mexico City, there is a replica of the sarcophagus, which I was able to successfully photograph, although the inability to use a flash significantly worsened the sharpness of the image (see: Von Däniken 1991:185). Thus you need to have much patience to make a successful shot of this famous and controversial monument. The image itself is also often reproduced in various forms by local Indians who sell them massively to tourists. You can then hang such a woven or painted picture on the wall, of course in a vertical position, and keep trying to solve its mystery for hours after returning home from Mexico.

Featured image: Temple of the Inscriptions is adjacent to Temple XIII, where another tomb of Palenque was found in 90s of the twentieth century by archaeologists. Yet, it is the sarcophagus from the pyramid of the Temple of the Inscriptions that still attracts most attention. Temple of the Inscriptions in front of a mysterious hill, which apparently is not a natural formation. Intricate complex of the Palace in Palenque, with courtyards, chambers and corridors, and four-levelled square tower, possibly used for observing astronomical events. Copyright©Archaeotravel.

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.

BIBLIOGRAPHY:

“Kʼinich Janaabʼ Pakal” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3wDUojb>. [Accessed on 18th June, 2021].

“Tablet of the Cross restored” (2017). In: Wikipedia Commons. Available at <https://bit.ly/3w0x4f3>. [Accessed on 6th June, 2021].

“Temple of the Cross Complex” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3bt35UL>. [Accessed on 14th May, 2021].

“Temple of the Inscriptions” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3gRGiFr>. [Accessed on 14th May, 2021].

“Tutankhamun” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/35NDanJ>. [Accessed on 24th June, 2021].

Burns K. (2012). “The Mayan Conspiracy”. Ancient Aliens; Episode 1 (32); Season 4. Prometheus Entertainment.

Eberl M. (2013). ”Śmierć i koncepcje duszy”. Jawińska M. trans. In Majowie. Niezwykła cywilizacja. [Maya. Gottkonige im Regenwald]. Grube N., Eggenbrecht E., Seidl M. eds. Warszawa: Grupa Wydawnicza Foksal.

Hancock G. (2016). Ślady palców bogów. [Fingerprints of Gods]. Kołodziejczyk G. trans. Warszawa: Amber.

Hohmann-Vogrin A. (2013). ”Jedność w przestrzeni i czasie – architektura Majów.” Jawińska M. trans. In Majowie. Niezwykła cywilizacja. [Maya. Gottkonige im Regenwald]. Grube N., Eggenbrecht E., Seidl M. eds. Warszawa: Grupa Wydawnicza Foksal.

My Gen (2021). “In plain sight: Mayan – Lord Pakal’s Tomb”. In: My Generation; www.MyGen.com. Available at <https://bit.ly/2SH2RmT>. [Accessed on 17th June, 2021].

Quetzal Resistance (2011).”K’inich Janaab’ Pakal-Palenque Dynasty 603 – 683ad”. In Quetzal Resistance. Available at <https://bit.ly/3q7wA4S>. [Accessed on 17th June, 2021].

Tyldesley J. (2016). “8 things you (probably) didn’t know about Tutankhamun”. In: History Extra. The official website for BBC History Magazine and BBC History Revealed. Available at <https://bit.ly/3wUcU71>. [Accessed on 24th June, 2021].

Von Daniken E. (1991). Dzień, w którym przybyli bogowie. 11 sierpnia 3114 roku prz. Chr. [Der Tag, and em die Gotter kamen. 11. August 3114 v. Chr.]. Serafińska T. trans. Warszawa: Wydawnictwo Prokop.

Wagner E. (2013). ”Mity kreacyjne Majów i kosmografia”. Jawińska M. trans. In Majowie. Niezwykła cywilizacja. [Maya. Gottkonige im Regenwald]. Grube N., Eggenbrecht E., Seidl M. eds. Warszawa: Grupa Wydawnicza Foksal.

Wołek I. (2012). “Dookoła świata: Tajemnice Majów. Jukatan – Meksyk”. In: Kurier Powiatowy. Available as PDF. Available at <https://bit.ly/2UipdeZ>. [Accessed on 19th June, 2021].

Wordtrade.com (2021). “Review Essays of Academic, Professional & Technical Books in the Humanities & Sciences: Maya”. In: Wordtrade.com/American History. Available at <https://bit.ly/3cQRcZC>. [Accessed on 18th June, 2021].

White Idols from the Cycladic Islands of the Aegean

It was supposed to be a high-speed ferry ride from Crete (Heraklion Port) to Santorini (Thera), which usually takes around two hours. In our case, the estimated time was disrupted by a sudden storm that broke out at sea. Raging waves ruthlessly played with our boat throughout the whole sea crossing. People were swinging on their feet or wading across the deck of the ferry, which was dangerously shaken in its foundations, together with tearing the screens off the walls. Passengers felt as if they had been on a roller coaster, with their stomach approaching the throat. The lucky ones managed to get to the toilet on time, primarily still available, and others grabbed the last resort, usually one of the paper bags distributed dispassionately by the crew.

My friend sitting next to me got frozen in fear of another stomach contraction, squeezing the edges of the bag in the fingers. The colours of her face kept changing from pale white to green. In the midst of this collective hysteria, apparently I was the only person who felt well. Maybe yet except for the crew, who looked at me in disbelief.

‘Could I go outside?’, I asked hesitantly. ‘I just can’t handle staying inside’.

It was indeed stuffy inside the ferry; all windows and doors were closed tightly. and the atmosphere became more and more unpleasant due to the sick passengers.

In response to my question, two crew members looked at each other and one of them in turn looked at me asking: ‘Don’t suffer from seasickness?’,
‘It looks like no’, I smiled.

An amazing view on the Aegean Sea and the Santorini archipelago from the overbuilt cliffs of the island, in one of its most charming towns, Oia. Copyright©Archaeotravel.

Finally the captain agreed, and after a while I was standing outside, in the crisp sea air, with the rope strongly tied around my waist and firmly attached to the side of the jumping on the waves ferry. The gusts of wind were hitting me with all its force and blowing up the folds of my long and light skirt. The rough sea kept splashing over my face again and again, leaving flecks of salt on my skin and in the long locks of hair, dancing in the breeze.

When we finally got to the port of Santorini, the storm ceased. The sun shone and the earth emanated with an usual peace, as if black clouds never appeared in this area. However, it is known that this volcanic island in particular has experienced the wrath of nature. There was always something happening in Santorini, known in Greek as Thera, and the face of the island has been shaped in equal measure by people and nature (Chabińska-Ilchanka et al. 2015:45).

Oia town (or a village, as some call it) is on the northwest coast of Santorini and it is built on the caldera slope. Copyright©Archaeotravel.

“As its own archipelago, Santorini encompasses the islands of Thíra, Thirassiá, Asproníssi, Palea Kaméni and Nea Kaméni, which all lie in the southern part of the Cyclades, and are the result of [ancient] volcanic activity” (“Cyclades” 2021). Five thousand years ago, there was a thriving center of Minoan civilization on the archipelago (Chabińska-Ilchanka et al. 2015:45). In mid-two thousand BC., a volcano erupted on Thera, or in fact the entire island blew out, as it had grown out of a volcano (Ibid.:45; see: When Gods Turned against the Minoans). The volcanic eruption destroyed everything, not only the island itself and its closest area, but also had a negative impact on the entire world of that time, including the Minoan culture, for which the volcanic eruption was the beginning of the end (Ibid.:45). The volcano itself collapsed into the abyss of the sea but it did not disappear (Ibid.:45).

After the volcanic eruption, the circular shape of the island of Thera had been shaped into a semi-circular crescent, which is clearly visible in the aerial photo taken from the plane. Copyright©Archaeotravel.

After volcanologists monitoring the island, the volcano is going to be reborn and will erupt again in the future (Chabińska-Ilchanka et al. 2015:45). The trace of those dramatic events not only changed the shape of the island, looking now like a crescent, but also made one of the largest calderas in the world, that is to say. the collapsed crater flooded by the waters of the sea (Ibid.:45). It is naturally still active, which may be felt by microseismic activity. At that time, it is possible to observe rings forming on the water. While staying on Satorini, I noticed it once in the morning, while I was reaching for a glass of water on my table. Such a phenomenon is not usually dangerous and does not last long.

On the white roofs of Oia; ts beauty is unprecedented. Copyright©Archaeotravel.

In the port, my friend was still recovering from the seasickness. Surely, I did not look too good either; I was covered from head to toe with flecks of sea salt, and my hair for the same reason formed a kind of stiff and disheveled basket on my head. Additionally, it turned out that the car sent by the hotel did not show up to pick us up from the port. Fortunately, several taxis and buses were waiting for the visitors, and one of the drivers offered to take two emaciated travelers, because our hotel was on his way. He did not take a cent from us. It was probably because we looked like two poor relatives who had managed to finally save enough to go on holidays.

Towns and villages on Santorini are all like taken from postcards. The town of Pyrgos, built at the foot of Mount Profitis Ilias and in the center of hinterland, is one of the hidden gems of Santorini. Life there seems slower and more relaxing. It is also a fantastic place for taking beautiful pictures. Copyright©Archaeotravel.

The towns and villages of the main island are trully picturesque: the former capital of Santorini, Pyrgos, inland (the city’s name sounds almost like my surname, and so my origins may be possibly traced to Greece), seaside Oia in the north or Fira, the charming capital of the island (Chabińska-Ilchanka et al. 2015:45). Although Pyrgos is situated almost in the central island, like most towns on Santorini, it is built up the hill so it is still possible to observe the sea from its highest parts.

Among other things, Oia and Fira are famous for the fact that their buildings descend along the steep shore built by the volcanic eruption almost to the surface of the sea (Chabińska-Ilchanka et al. 2015:45). The buildings of the insular towns look like cubist paintings hung on the deep blue canvas of the sea and the sky (Ibid.:45). The landscape is composed of bright, regular blocks of houses and countless outbuildings, blue domed roofs, miniature terraces, stairs, steps, squares and streets (Ibid.:45). And all this is clustered on small areas, around the hills or cliffs, as if glued together (Ibid.:45). In this picturesque maze, holidaymakers can wander for hours, stepping into tiny galleries, museums, jewelry stores, boutiques and romantic cafes or wine bars (Ibid.:45). The white dry wine produced in Santorini tastes especially good, which is usually chosen by food connoisseurs to go with seafood dishes (Ibid.:45). On the other side, lunch or dinner in a tavern on the cliff, overlooking the endless blue of the sea with the spots of scattered islands, is a pure pleasure (Ibid.:45).

Early forms of the Cycladic idols in the form of a violin. The Museum of Prehistoric Thera, Fira. Copyright©Archaeotravel.
One of a typical female idols of the Cycladic culture in the Archaeological Museum of Thera, Fira. It represents a possibly pregnant woman with her arms under the breast. The features of the face are invisible. The most intriguing is an oval and elongated head. Copyright©Archaeotravel.

From the south of the island, where we were staying, we drove to Fira by a hired car, where we got after a quarter of an hour. Actually, it is a very tiny island. First, we went to the port hugged to the rock face, and from there we climbed to the top of the two hundred meter volcanic cliff on which the city was built (Chabińska-Ilchanka et al. 2015:45). You can get there on the back of a donkey or on foot along the paved path, as we did (Ibid.:45). The two must-see sights in Fira were definitely the Archaeological Museum of Thera and the Museum of Prehistoric Thira. While most of the Minoan frescoes excavated in Akrotiri (the Minoan town destroyed by the volcano) are preserved by the National Archaeological Museum of Athens, they two also boast impressive collections of artifacts found on the island throughout its cultural development, starting from Prehistory. Apart from being one of the center (or an important colony) of the Minoan civilization, the island also housed the so-called Cycladic culture, having developed around the third millennium BC. (the period of Late Neolithic and Bronze Age). Its main objects of art are Cycladic marble figurines, also known as Cycladic idols.

Group of three figurines, early Spedos type, Keros-Syros culture (EC II). Photo by Smial (2006). CC BY-SA 2.5. Colours intensified. Photo source: “Cycladic art” (2021). In: Wikipedia. The Free Encyclopedia.

Idols are objects of art typical of various prehistoric and ancient cultures, particularly from the Paleolithic to the Bronze Age, such as figurines of Venus, various representations of Neolithic goddesses, like the Cypriot Idol of Pomos, or more abstract depictions, including bronze discs from Cappadocia (PWN 2007:156). Most outstanding idols, however, come from the Cycladic culture in the Aegean Sea (Ibid.:156). The turn of the Late Neolithic and Early Bronze Age is a period of rapid development of settlement, trade and many other areas of life (Rutkowski 2009:7). During this period, the most interesting art depicting idols, apart from Crete, comes from the Cycladic islands, whose influences also reached the Minoan civilization (Ibid.:7). The Cyclades belonged in the Bronze Age (from 3000 BC.) to the circle of Aegean cultures (Barucki et al. 2009:170). They constitute the Aegean archipelago of thirty-one islands around the sacred island of Delos, where Apollo and Artemis were born. Hence their name ‘cyclic’ (“Cyclades” 2020).

The largest Cycladic island of all is Naxos, Apart from them, there are also Syros, Santorini, Mykonos, Amorgos, Paros and Antiparos (“Cyclades” 2020). The residential buildings on the Cyclades, except for Thera, are poorly known (Barucki et al. 2009:170). Moreover, the art having developed there was, in comparison to Crete and mainland Greece, of a peripheral character, and many of their products refer to the Minoan art and its famous frescoes (Ibid.:170). In addition to the Minoan Thera, valuable frescoes have been also found on Melos (Filakopi) (Ibid.:170). On the other side, the Cyclades equally produced original and unique of the archipelago works of art, with which this region of the world is now clearly associated (Barucki et al. 2009:170; Rutkowski 2009:7-9).

Together with my friend, who is a historian of art, we came to the island of Santorini to continue our research on the Minoan culture, which we had alrady started on Crete. Our aim was thus to describe the archaeological site of Akrotiri and Minoan artifacts exhibited by the museums in Fira. Nevertheless, the Cycladic culture seemed to me equally attracting. It developed into successive phases, from the Late Neolithic, throughout the Bronze Age, till circa 1050 BC., and although it is slightly older, the Cycladic culture stays in part chronologically parallel to the Minoan civilisation (3000-1100BC), The Cycladic art flourished north of Crete and for me the archipelago of Santorini constituted a symbolical gateway to the islands’ cycle.

On numerous and usually tiny Cycladic islands, small human figures were massively carved; they usually do not exceed a dozen or so centimetres in height (Rutkowski 2009:7). They were made of clay or stone, but most often of snow-white marble, as in the Cyclades (Paros, Naxos) there are deposits of precious marble, from which vases and figurines were made (Barucki et al. 2009:170). While the Cycladic ceramics usually imitated the forms of stone vessels and statuettes (Ibid.:170).

Head of a female figure, Spedos type, Keros-Syros culture (EC II, 2700–2300 BCE; Louvre). Photo by Unknown artist – Jastrow (2006). Public domain. Image cropped and sharpened. Photo source: “Cycladic art” (2021). In: Wikipedia. The Free Encyclopedia.

In Cycladic art, the earliest methods of shaping the human figure were limited to the simplest forms, and it was only from those models that the larger plastic compositions developed (Majewski 1935:23). A characteristic early type is composed by the so-called violin idols (Ibid.:25). They have a long neck, a circular part of the arms, and the lower part modelled in the form of a semicircle by a curved waistline (Ibid.:25). By these means, such figurines resemble the shape of a violin, or, as it is also noticed, the outlines of the island of Cyprus. Such examples are also preserved by the museums of Fira,

Other Cycladic idols mostly illustrate highly simplified but still naturalistic figurative representations; they usually show naked women, also pregnant, with arms folded at the waist level, above the belly, or under their breast, like in the case of a marble female figurine from the island of Paros, preserved by the Museum of Louvre in Paris, France (PWN 2007:56; Rutkowski 2009:7-9). It represents a standing woman with arms folded under her breasts, whose body is characterized by a compact form and a synthesizing interpretation of anatomical details, such as the geometric outline of the breast, resembling two pyramids, and the pubic triangle (Rutkowski 2009:9).

A spectacular panoramic view with the blue domes of the churches, the shore of the main island, the deep caldera and small isles of the archipelago in the distance. The photo was taken from the top of the hill encrusted with the village of Pyrgos in the central part of the island of Santorini. Copyright©Archaeotravel.

Generally, figurines are built on the principle of geometrical parts of the body, usually with an elongated almond-shaped head or one in the form of an upside down triangle, a small, almost rectangular body and usually joined (early examples) or separate legs (PWN 2007:56; Rutkowski 2009:7-9). This is a style that is generally defined as the tendency to synthesize human forms (Barucki et al. 2009:170; Rutkowski 2009:7-9). The Polish researcher, the author of the first monograph on Cycladic art, Kazimierz Majewski (1935), supposes that the mutual relationship of individual parts of the body, i.e. the head, torso and legs, testifies to the application of almost mathematical rules by artists creating these works of fine art (Rutkowski 2009:7,9).

Although only a few figures have traces of polychrome, it is assumed that the natural white surface of the stone, especially the face, was usually enlivened with elements painted with a thick contour line in red; thus the outlines of the eyes and mouth were made (Rutkowski 2009:8-9; Barucki et al. 2009:170). Such a technique may have been also applied to a marble figurine from the Late Bronze Age, found on the island of Amorgos, now in the Museum of Louvre, in Paris (Rutkowski 2009:8). It possibly represents a female head; its schematic almond shape is only identified by an elongated nose (Ibid.:8). The lack of facial features without being underlined by paint gives the sculpture a rather raw expression (Ibid.:8).

It is believed that Cycladic idols may have been related to the sepulchral practices prevailing on the islands, as most of the statuettes come from graves, characteristic of the archipelago, namely of box, tolos and chamber types (Rutkowski 2009:9; Barucki et al. 2009:170).

Pyrgos is the largest and the well-preserved medieval settlement on Santorini, though almost completely omitted by tourists. Thanks to that, the atmosphere in Pyrgos is truly idyllique. This is also why the town offers almost empty mazes of blue-white narrow streets and lanes, sometimes leading under low and long passages. Copyright©Archaeotravel.

The figurines placed in the graves of the dead were usually small (Rutkowski 2009:9). However, the Cycladic artist did not abstain from making large human (female) heads and statues reaching a height of about one and a half meters (Ibid.:8-9). Some researchers believe that such large figures were placed in holy places dedicated to the cults of nature deities (Ibid.:9).

The best-known examples of Cycladic art also include male figurines depicting warriors or characters playing musical instruments (Rutkowski 2009:9). The latter group, including the figure of the Harpist of Keos, are distinguished by a much greater degree of detail in their form and equipment (Rutkowski 2009:9;Barucki et al. 2009:170). There are also some examples with visible facial features, like eyes and a mouth, and even few elements of clothes, such as necklaces.

Cycladic idols, of the FAF type below, in the National Archaeological Museum of Athens. Photo by I, Sailko (2008). CC BY 2.5. Image cropped. Colours intensified. Photo source: “Cycladic art” (2021). In: Wikipedia. The Free Encyclopedia.

During the period of the greatest development of this type of art, that is, in the third millennium BC. there were many workshops, and the stylistic differences between the statuettes make it possible to distinguish artistic individualists, which are referred to by convention, for example, by the name of private collections (Rutkowski 2009:9). The contemporary interest in Cycladic art is evidenced by the fact that a museum has been established in Athens (opened in October 2019), the core of which is the collection of N.P. Goulandris, collecting mainly figurines of Cycladic masters (Ibid.:9). But the admiration for this field of fine arts dates back to the time when in the early twentieth century, artists such as Pablo Picasso or Hans Arp looked for inspiration to express the ‘new’ in form, yet modeled on the works of primitive and ancient art, in which there was a tendency of synthesizing natural forms (Ibid.:9). Thus, in the art of the early Bronze Age, there were achievements that are still valid and admired to this day (Ibid.:9).

We still travelled around Santorini, enjoying its natural though dangerous beauty, which for ages has ideally mingled with the manmade constructions, scattered around the island. Leaving the coast behind, we headed off towards the centre of the island with its charming town, Pyrgos. At each step, apart from numerous traces left by the Minoans, there were tell-tales of the white marble idols. Sometimes, a copy of some sculpture was crouching in front of the door of somebody’s house, another time the idols were sold in souvenir shops for tourists. They all keep welcoming and inviting deeper inside their sacred cyclic kingdom of the tiny islands, dancing on the turquoise waves of the Aegean Sea. … And I have accepted their invitation.

The village of Oia is carved out of Santorini post-volcanic cliffs. From up the roof, I could see the panorama of the deep blue Aegean Sea with the visible shores of the caldera, dotted with tiny islands. Copyright©Archaeotravel.

Featured image: In the wide expense of the Blue Aegean Sea, a group of islands of Santorini stands out in a Greek archipelago. Copyright©Archaeotravel. Copyright©Archaeotravel.

By Joanna
Faculty of History of Art and Archaeology
Cardinal Stefan Wyszyński University in Warsaw, Poland
University College Dublin, Ireland

BIBLIOGRAPHY:

“Eidolon” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2MzgPEb>. [Accessed on 4th February, 2021].

“Cyclades” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3czRVz4>. [Accessed on 4th February, 2021].

“Cycladic art” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3tqwnL3>. [Accessed on 4th February, 2021].

“Kultura cykladzka” (2020). Wikipedia. Wolna Encyklopedia. Available at <https://bit.ly/3pOI9Nm>. [Accessed on 4th February, 2021].

Barucki T. et al. (2009). “Cykladzka sztuka”. In: Sztuka świata. Leksykon A-K, tom 12. [Historia del Arte, vol. 12]. Warszawa: Wydawnictwo Arkady.

Chabińska-Ilchanka, E., Dylewska K., Horecka K., Jaskulski M., Kastelik M. M., Łatka M., Ressel E., Willman A., Żywczak K. (2015) Niezwykłe miejsca świata. Warszawa: Wydawnictwo SBM Sp. zo.o.

Majewski K. (1935). “Figuralna plastyka cykladzka. Geneza i rozwój form”. In: Archiwum Towarzystwa Naukowego we Lwowie, Section I, Volume VI, Book 3. Drukarnia Naukowa we Lwowie.

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 156. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Rutkowski B. (2009). “Sztuka mykeńska i minojska”. In: Sztuka świata, tom. 2 [Historia del Arte, vol. 2]. Warszawa: Wydawnictwo Arkady.

On the Road from Lycia to Ancient Caunus in Caria.

Saklikent Gorge in Lycian Turkey turned out to be just the beginning of water attractions on our holidays (see:). Many more were waiting for us just at the threshold to another ancient region of Anatolia, which is known as Caria.

Through the gateway to Caria. Copyright©Archaeotravel.

Mud baths, Turtle Beach and ancient ruins

One day we travelled from Fethiye for a river cruise to Turtle Beach (Iztuzu Beach), which is situated on the Dalyan coast, already outside the historic Lycia. The natural beauty of the Dalyan delta belongs to another region, which is known as Caria. Nevertheless, various meanders of history leave monuments outside their home country, as it happened in the case of Lycian tombs, scattered also in neighbouring Caria. One of the greatest ancient cities of that region, Caunus (modern area of Dalyan), which was populated by the nation that did not have either the Lycian or Carian origins, witnessed a changeable history of the both countries, and once even found itself within the Lycian borders (see Bean, v.3 1989:142-145). As such the region equally absorbed the way of designing contemporary sepulchral architecture, typical of Lycia but having been strongly influenced by Greece. And although today the Caunus tombs are a well-known tourist attraction, the region of Caria is mostly famous for another tomb belonging to the Seven Wonders of the Ancient Word (Starożytne Cywilizacje 2007:14-15). It was the Mausoleum at Halicarnassus (modern Bodrum), which while was built by Carians, it mostly adopted a Hellenized architectural style (Ibid.:14-15). Unfortunately, it was eventually destroyed during the Middle Ages in earthquakes (Ibid.:14-15).

Most common way to admire the Lycian tombs in Caunus today is to take a boat cruise along the Dalyan River. Like most Lycian tombs (temple and house-tombs), those in Caunus are also carved high in the rock and there is, of course, a possibility to climb up the cliff and examine the tombs closer. Yet, as I was accompanied by less ambitious researchers, I had to limit my curiosity of the monuments to their observation from the River. On the other side, the most important must see (or rather do) for my companions was to plunge in the mud and thermal springs, sunbath on one of the most beautiful beaches in Turkey, the Turtle Beach, and – as its name suggests, look there for sea turtles.

Among celebrities taking a bath in the mud

First the boat took us to the mud and sulfur pools, which are known to give a beautifying effect on the skin (Kaynak 2021). They are situated on the far side of Köyceğiz Lake and attract loads of tourists posing in front of a camera after getting into the mud (Ibid.). As a matter of fact, Dalyan’s mud baths have always been very popular, also among modern Hollywood celebrities (Ibid.). It is even believed that Cleopatra herself would have travelled there to take pleasure by mud bathing (Ibid.), supposedly when she was bored with swimming in milk. Actually, it may not have necessarily been that Cleopatra (there were other ladies bearing the same name in history of the region). Still, it is a prefect advertisement for the site as the Spa for famous queens, especially those known in history for their beauty and sexual appeal. Following Cleopatra’s example, we also covered ourselves in soft and sticky liquid earth, and while waiting for it to dry in the sun, we kept taking photos. It was equally fun to plunge in one of the sulphur pools of a temperature of around forty degrees to clean from the mud (Ibid.). Such a bath, although very pleasant for skin, is not definitely perfect for your nose. It smells just like rotten eggs!

Finally, we were ready to re-take our trip by the River Dalyan; it flew us further along its winding route from Lake Köyceğiz to Dalyan Village, offering on the way a scenic views of pine-clad valleys, its various wildlife and white, rocky cliffs suspended above with the ancient ruins of the Lycian tombs.

Through the gateway to Caria

Before pouring into the Mediterranean Sea, the River brought us to the place from where a rocky cliff rises. It is clustered with the most eye-catching feature of the site: the rock-cut tombs of the ancient city of Caunus (Bean, v.3 1989:146). The city itself is located nearby the necropolis, with its acropolis on the notable crag, south of the rows of the tombs (Ibid.:146-148).

Long walls of Caunus are still visible and impressive; they stretched once from its ancient harbour, which is now a small lake, high up above the river to the precipice of the cliff (Bean, v.3 1989:140-141, 147-148). The site is now over three kilometres from the sea and so accumulated ground is not firm but composed of some soil held by reeds (Ibid.:139-140, 145). It in turn makes a vivid impression as if the solid cliff was floating on a green carpet, unrolled by the river. The ruins are most easily reached by land, passing by a modern Village of Dalyan (Ibid.:146). It is also possible to get there by boat from Köyceğiz Lake (Ibid.:146) but, unfortunately, it was not included in our itinerary.

The tombs seen from Dalyan River

When we were approaching in our boat to the site, I instinctively I pulled out my camera and took some photos of a series of temple-tombs emerging from above the river’s reeds. Then I zoomed the view out, which turned out to be extremely helpful from our position on the River, and then I looked closely at the monuments’ details.

Before pouring into the Mediterranean Sea, the River brought us to the place from where a rocky cliff rises. It is clustered with the most eye-catching feature of the site: the rock-cut tombs of the ancient city of Caunus. Copyright©Archaeotravel.

The tombs are carved in two uneven rows, of which the upper one is composed of typical Lycian temple-tombs and the lower features much simpler and randomly distributed chambers with squared openings (Bean, v.3 1989:146-147). Like in the case of the tombs in Telmessus (Fethiye) or Tlos, some of the monuments, especially the upper ones with a stone passage cut around them, can be reached easier; whereas those in the row below are less accessible (Ibid.:147). I could notice six temple-tombs on the whole but such a number is only included within the first of the five tomb clusters of Caunus that we had just approached on the boat (Ibid.:147-148).

The tombs are carved in two uneven rows, of which the upper one is composed of typical Lycian temple-tombs and the lower features much simpler and randomly distributed chambers with squared openings. Copyright©Archaeotravel.

The four of them, located on the western side of the cliff, barely compose a separate group (Bean, v.3 1989:147). They all  have in their façade two Ionic columns in antis, which are now in most cases partly broken away, and a dentil frieze with a usually undecorated pediment above, featuring acroteria at each of its three corners (Ibid.:147). Only one of the four pediments is carved with reliefs, representing two lions facing each other from the two opposite sides of the fronton (Ibid.:147), nearly with the same refinement as the pair of animals from the Lion Gate in Mycenae (southern Greece). Of course, I could not discern those from below but I rely here on a description by an archaeologist I often refer to in this article, George E. Bean (v.3 1989:146-148).

Such tombs have been dated back to the fourth century B.C., as much as the temple-tombs in Lycia (Bean, v.3 1989:147). Bean (1989:147) also writes that behind the façade of each tomb, there is only a single small funerary chamber, typically with three stone benches for the deposition of the corpses. The three of the tombs also bear inscriptions; although some include Carian words suggesting they are original, other writing is of a later date and so it indicates a re-use of the tombs by the Romans (Ibid.:147). What is more, two of the inscriptions on adjacent tombs claim them for the same three dead (Ibid.:147).

Unfinished tomb

Looking eastwards of the group of the described tombs, there is another one composed of two more monuments carved in the rock, one of which is slightly protruding forwards, against the previous four tombs (Bean, v.3 1989:147). Actually, that group, which is situated closest to Dalyan Village, had grabbed my attention first, especially the tomb on the left side (Ibid.:147). It was not only because it is the most impressive in size of all but also due to the fact it has remained visibly unfinished (Ibid.:147).

By these means, it also helps to understand how such tombs were once constructed, or rather cut out from the rockface (Bean, v.3 1989:147). While the upper parts of it, including the roof with the pediment and the frieze are almost completely carved out, the outlines of the upper shafts of the four columns in antis, together with their capitals, are still imprisoned in squared block of the rock and so look more like pilasters than columns (Ibid.:147). Then, the lower, the less notable is the progress of works; below the upper parts of the columns, the construction is just limited to smoothing and polishing the rockface (Ibid.:147). Accordingly, as it is mentioned above, carving such tombs out of the rock proceeded from up down (Bean, v.3 1989:147; Ching et al. 2010:173). Simultaneously, a much smaller tomb, hidden below in the rock on the right-side of the unfinished monument, is more similar to those from the previous group but far more disfigured, being almost completely deprived of both, its portico or the left part of the roof.

Carian type

Finally, as our boat was slowly moving forward, I noticed another group located a few metres away west from the previous one. It is also composed of less or more preserved smaller temple-tombs above some squared or round openings, looking like pigeon holes (Bean, v.3 1989:147).

At that moment, our boat unfortunately turned away from the soaring cliff with the tombs, heading off to the sea. Although I could not see more the rock-cut monuments from the distance, I know that there are two more clusters of similar type along the cliff-face, and at the most western point of the series, there is a group of tombs, whose style unexpectedly change (Bean, v.3 1989:147). They are called Carian type of tombs and they look like grave-pits cut deep into the solid rock and covered with separate and heavy lids (Ibid.:147). Additionally, they are provided with a group of tiny niches, where votive offerings for the dead were once deposed (Ibid.:147).

Who were the Caunians?

History of the city of Caunus and its inhabitants is as complicated as the described above story of Lycia. Herodotus writes that it was thought the Caunians, like the Lycians, had originated from Crete (Bean, v.3 1989:142). Yet, the ancient historian denies such a belief, claiming they must have been indigenous to their land (Ibid.:142). Judging from their unusual customs and language, which was assimilated to Carian or the other way round, Herodotus strongly differentiates Caunians from both, the Carians and Lycians (Ibid.:142). Simultaneously, Herodotus records that ‘the Caunians imitated the Lycians for the most part’, especially in the way they faced their city’s invaders and fought for freedom (Ibid.:142).

A deep river Calbis (modern-day Dalyan River) probably held the acropolis at its mouth. Copyright©Archaeotravel.

From preserved, though fragmentary records, it is also known that in the Lycian city of Xanthus, there was apparently a cult of a legendary king Caunus, the son of Miletus, who was believed to have founded the city of his name, and although he is said today to be just a fictious character, a memory of such a king had lasted in Caunus till the Roman times Crete (Bean, v.3 1989:142). Simultaneously, the triangular stele from Xanthus says that the Lycians from the city and its surroundings built an altar dedicated to the hero, approximately, in the fourth century BC. (Ibid.:142). Another trace of the hero-king, memory of whom is now covered by the ancient ruins, is the proverbial expression of a ‘Caunian love’, apparently coined in memory of a sad love story (Ibid.:142). Legend has it that Caunus’ sister, named Byblis, loved his brother so passionately that she hanged herself when he left her (Ibid.:142). In Caria, such incestuous relationships were normal and really happened among the royal families in Caria, as much as in other countries of the ancient world. Unfortunately, today it is little known about the hero, whose name is not either mentioned too often by scholars, studying the region (Ibid.:142). Is it Caunus’ punishment for having rejected the woman in love?

How mosquitos made Caunus unpopular

Even though, the sea stretched to the land in antiquity, there still were large areas of marshes, which made the region known as highly unhealthy due to recurring malaria (Bean, v.3 1989:139-140). At the same time, the land of Caunus was very fruitful and bore various fruits, such as figs, which were broadly famous in those days (Ibid.:140). Surely, the Caunians had their fishery as it existed not so long ago opposite the modern Village of Dalyan (Ibid.:141).

Strabo writes the city had got its harbour closed with a chain and dockyards (Bean, v.3 1989::140). Gracefully flowing by, a deep river Calbis (modern-day Dalyan River) probably held the acropolis at its mouth (Ibid.:140-141). According to the records, the River was also provided with a navigable channel from (Köyceğiz) Lake towards the sea (Ibid.:140-141). High above, on the crag, the fort Imbrus was constructed (Ibid.:140-141). Such a description can be easily identified with the modern region of Dalyan, though its landscape has definitely changed throughout ages (Ibid.:140-141). 

Making long history short

In ancient times, Caunus was described as a Carian city, despite its ethnic and cultural distinctions (Bean, v.3 1989:141-142). In the sixth century BC.. the Persian army invaded Lycia and Caria, including Caunus (Ibid.:142). In the following century, after the failure of the Persian invasion of Greece, Caunus was included in the Delian Confederacy (Ibid.:142-143). Following the Peloponnesian War (431–404 BC.), in 387 BC., the coast with Caunus fell again under the domination of the Achaemenid Empire (Ibid.:143). At that time, Caria was ruled by a Persian satrap but a native descendant of Caria rulers, Mausolus (377–353 BC), whose policy made the region strongly Hellenized (Ibid.:143). It was also him, who initiated the project of one of famous constructions, known later as the Seven Wonders of the Ancient World (Starożytne Cywilizacje 2007:14-15). Namely, it was the Tomb of Mausolus at Halicarnassus, also called after Mausolus, the Mausoleum. It was built between 353 and 350 BC. and was unfortunately destroyed in the course of earthquakes, between the twelfth and the fifteenth centuries (Ibid.:14-15). Nevertheless, its name has survived as a present-day term describing an impressive building housing a tomb, a mausoleum (Ibid.:14-15).

Beautiful views offered by a trip by boat. Copyright©Archaeotravel.

Coming back to Caunus, during Alexander the Great’s campaign in 334 BC. together with the whole region it was possibly handed over to Ada of Caria, a sister and a successor of Mausolus (Bean, v.3 1989:143; see: Weapons and Warfare 2018).  After Alexander’s death (323 BC.), the city continuously changed its rulers among the king’s heirs (Ibid.:143-144). Eventually, around 190 BC., Caunus was bought by the Rhodians from the generals of Ptolemy (Ibid.:144). It just happened one year before Caria and Lycia were also joined to Rhodes by the Romans, as a result of the Battle of Magnesia in 189 BC. (Ibid.:144). Those lands had been the Rhodians’ possession between 189 and 167 BC., until the Province of Asia was established by the Roman Empire in 129 BC. (Ibid.:144). Soon after, Caunus became a part of Lycia but in 85 BC., the Romans gave it back to Rhodes due to the fact Caunus had harshly acted in favour of the opponents of Rome (Ibid.:144).

On the whole, Hellenistic times seemed quite unpredictable; cities and countries were juggled in the hands of the contemporary powers (Bean, v.3 1989:145). The situation had not changed much in the Roman times; accordingly, Caunus was once recorded as a free city, another time as undergoing double servitude to Rome and Rhodes (70 AD.) (Ibid.:144-145). By that time, Caunus had already been a fully Hellenized city, which was likely to have forgotten its Carian origins, although it had never been truly colonised by Greece (Ibid.:143-144). Additionally, the trade of Caunus and of other cities in the region located along the coast, had greatly suffered from the silting process separating the cities from the sea by over three kilometres (Ibid.:145-146). Adding the fact that the city was infamous for its unhealthful location, it did not generally attract visitors’ attention or enjoy popularity among philosophers, who usually accused the Caunians of being foolish and so deserving their misfortunes (Ibid.:139-140,145).

Along the River Dalyan. Copyright©Archaeotravel.

Not without a surprise, the situation has entirely changed now; every day, tourists from all over the world come to see the archaeological site, either drawn by a natural beauty of the region, where the sea and river meet or the ruins, nearby which they can take a mud bath. Above all, they all come for the ever-present sun.

Goodbye to Caunus

İztuzu Beach (Turtle Beach) stretches for almost five metres and it is the place where navy blue waves of the Mediterranean meet more turquoise waters of the Aegean. It is situated near Dalyan and for its beauty, it attracts every day great numbers of tourists, who usually enjoy sunbathing and swimming in the warm sea for hours. It is also one of the main areas in the Mediterranean, where loggerhead sea turtles, called Caretta Caretta breed and so there is a chance to encounter them while dragging their shelled bodies on the sand. Personally, I doubted it that turtles would have come out of hiding when there were hordes of people screaming and looking for some to see. Moreover, the species is under a strict protection.

Nevertheless, it was fun to see my little cousins carefully following the turtles’ traces in the sand; knowing they must be very cautious, they patiently kept observing sand holes where the turtles may have laid their eggs. Those, however, had already been abandoned.

After taking a swim in the sea, I was laying in the shadow and looking through the archaeological guide-book I had brought with me for my journey along Lycia and Caria. Its author, the archaeologist George E. Bean helped me to learn about the history of the regions beforehand and understand more about their architecture by comparing his description to what I had found on place. And although I was unable to reach every single corner of each tomb I met on my way, I complemented my own observations with the author’s notes.

The Turtle Beach, where navy blue waves of the Mediterranean meet more turquoise waters of the Aegean. Copyright©Archaeotravel.

When the sun started getting reddish and the sea waters darkened on the horizon, I knew our stay in Caria was almost over. It was high time to come back to Fethiye. Yet, I was happy I could again see the tombs of Caunus on our way back along the River. And what about you? Do you also enjoy this kind of sepulchral architecture?

Featured image: The remains of ancient Caunus in Dalyan (Caria), with its most distinctive landmarks: Lycian rock-cut tombs encrusting high and steep cliffs. Copyright©Archaeotravel.

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.

BIBLIOGRAPHY:

Bean G. E. (1989). Lycian Turkey. An Archaeological Guide, Vol. 4. London: John Murray Publishers.

Bean G. E. (1989). Turkey Beyond the Meander. An Archaeological Guide, Vol. 3. London: John Murray Publishers.

Ching F. D.K., Jarzombek M. M., Prakash V. (2010). A Global History of Architecture. USA: Wiley Publishing. The Second Edition.

Kaynak (2021) “Dalyan Mud Baths”. Available at <https://bit.ly/3sTDcmZ>. [Accessed on 27th April, 2021].

Starozytne Cywilizacje (2007). “Siedem cudów śwata. Starożytne wspaniałości.” In: Starozytne Cywilizacje. MMX International Masters Publishers AB.

Weapons and Warfare (2018). “Ada of Caria”. In: Weapons and Warfare. History and Hardware of Warfare.

The Dancing Parade in the Clouds

The morning light was slowly changing and with it also the aura of the ancient site. The sun was reaching higher, hammering its piercing rays into every corner of the city and the sunlight spilled onto the Main Plaza.

I was slowly walking between crumbling rocks, yet escaping from their still cool shade. I admitted to myself that Monte Alban had already made a huge impression on me. I did not know that it could surprise me even more with anything else. And yet! Wandering around in the vicinity of Building L, at the southeastern edge of the city, I suddenly stumbled upon a strange procession of naked stone creatures of an anthropomorphic shape (see: Hancock 2016:153). They were all carved in relief on a large number of stone monuments, which looked like irregular stelas, some of which were leaning loosely against the wall of the pyramid (Ibid.:153). A strange appearance of the figures intrigued and terrified at once. I was just standing there stupefied while looking at the earliest examples of the so-called Danzantes, standing in front of me. Yet a lot of them were also seen haunting throughout the whole Main Plaza of the city and in the nearby Monte Alban Site Museum (“Monte Albán” 2019).

Who were the Danzantes?

Depiction of a woman whose new born child may have just died or maybe she miscarried when she was pregnant. Was it due to epidemics? Museo de Sitio de Monte Albán. Copyright©Archaeotravel.

A vast sophistication of the engineering methods applied, along with the large-scale astronomy built in the city’s layout, indicate that Monte Alban must have been constructed by equally advanced civilization (Heyworth “The Encrypted …” 2014). Who were they and where did they come from?

Some clues are provided by the mysterious elements I had just encountered at Monte Alban – the Danzantes (Heyworth “The Encrypted …” 2014). These “are a series of [300] iconic reliefs featuring strange, morbid, rubbery [and naked] characters that appear to be diseased [or] deformed. Their message, and purpose, is a complete mystery and they are one of the many encrypted messages scattered around the city” (Ibid.). Still their style, along with the physical appearance of depicted characters seem analogous to representations left by the foremost civilization of Mesoamerica, usually called the Olmecs but also known as the Proto-Mayans. Yet the latter name is not fully correct, as at a certain stage, they developed parallel to the Maya (see:).

The Olmecs and Monte Alban

Mysterious on their own, the Olmecs had inhabited the lowlands of south-central Mexico (the present-day coastline of Veracruz and Tabasco states) as early as in 2000 BC and left their homeland roughly around 500 BC, that is around the time of Monte Alban’s beginnings on the stage of Mesoamerican history.

Is it just a coincidence?

Actually, it is theorised that the Olmecs migrated south (for unknown reasons) and established their new city in the Oaxaca Valley (Heyworth “The Encrypted …” 2014; Heyworth “Are the Danzantes …” 2014). Moreover, yet before Monte Alban was constructed, the Olmecs and the people of San Jose Mogote were involved in mutual trade, by means of which, the farming community developed later into the Zapotec civilisation, who later became credited with monumental architecture, calendrics and the first known form of writing (Ibid.). One slab in Danzantes‘ style was actually found paved in the corridor at San Jose Magote (Heyworth “Are the Danzantes …” 2014). The building where it was found is dated to between 750 BC and 500 BC, when the community of San Jose Magote was about to disappear (Ibid.). The representation of an anthropomorphic character is accompanied there by two glyphs depicted between its legs, meaning Earth (or Motion) and One (in relation to the first day of a 20-day cycle) (Ibid.).

Artistic representations of the Olmecs, and the Danzantes from Monte Alban share, among all, one striking characteristic; they all depict figures of multiple races, namely Negroid, Asian and Caucasian (Childress 2007:14; Heyworth “Are the Danzantes …” 2014).

What is fascinating about this enigmatic civilisation to us modern viewers is how they represented themselves. In addition to [the] Negroid features [of the basalt colossal heads], many artefacts depict individuals who have Oriental or European features. It is therefore very interesting to pay close attention to how the figures are presented – how they dressed; the head gear they wore; the shape of their eyes, nose, ears and mouths; the way they held their hands; and the expressions on their faces. […] Who are these people? Where they isolated villagers or strangers from a faraway land?”

(Childress 2007:14)

The stelae’s representations would accordingly indicate both: solid evidence of an Olmec artistic influence depicted in the stelae of Monte Alban and so an international character of the Olmec civilisation (Childress 2007:14; Heyworth “Are the Danzantes …” 2014).

An academic science has found nothing extraordinary in this regard, although archaeologists have estimated that the reliefs are very old and date from between 1000 and 600 BC. As in many other cases of stone slabs and carvings, this time period was established due to an analysis of the organic matter accumulated in the reliefs, and not on the basis of studies of the granite steles themselves, which cannot be objectively dated (Hancock 2016:154). The slabs were either carved at Monte Alban (conceivably not by the Zapotecs) or brought there from the outside (probably by the Olmecs themselves) (Heyworth “Are the Danzantes …” 2014). Such an assumption comes from the fact that, except for the single example of a similar piece of art found at San Jose Magote, such representations remain unknown in the Oaxaca Valley.

Slain captives or epidemic victims?

The Danzantes means in Spanish dancers in reference to the figures’ poses as they look as if caught in a dancing movement (Heyworth “Are the Danzantes …” 2014).

If they represent members of the Olmec civilization, and the stelae of Monte Alban are its legacy, it must have been a civilization of racial equality. Graham Hancock (2016:153) believes that the proud faces of the enormous heads of the so-called Olmecs from La Venta could not have depicted slaves or the images of slender and bearded men there showed no men with knees bowed to no one; their faces radiate with the dignity of great aristocrats (Ibid.:153).

It seems, however, that in Monte Alban someone has immortalized in stone the story of the Olmecs’ fall. Although the Oaxaca sculptors made portraits of the same civilization whose faces are visible in the Olmec homeland, it is no longer a work of the same character, which is indicated by the incomparably lower level of workmanship of the stelae and the lack of visible strength, power and life force in their iconography that once characterized the Olmecs (Hancock 2016:154). The figures of Monte Alban are naked, some huddled in a fetal position and others stretched limply on the ground, like corpses (Ibid.:154).

Stones of the Dancers, in the Plaza of the Dancers, next to Building L. Photo by Gengiskanhg (2006). CC BY-SA 3.0. Photo and caption source: “Monte Albán” (2019) In: Wikipedia. The Free Encyclopedia.

After the most prominent theory, the slabs symbolise death of slain captives (Heyworth “Are the Danzantes …” 2014). Their closed eyes would actually indicate that they represent the human corpses (Heyworth “Are the Danzantes …” 2014). However, other characteristics, such as their nakedness, deformation of limps, positions displaying possibly an agonising death or the presence of female characters stay against that theory (Ibid.). Robin Heyworth (“Are the Danzantes …” 2014) points out that “with more than 300 anonymous gravestones of sickly looking humans, it would make more sense if they [represent] an epidemic.” Maybe the Olmecs were actually forced to leave their homeland around 500 BC due to some kind of epidemic spreading out and they deliberately abandoned their land for the isolated hilltop, just in the same way as other tribes in the Oaxaca Valley did (Ibid.). Likewise San Jose Magote, which also deserted in around 500 BC) (Ibid.).

Plague and Cloud People

Sitting on one of the blocks of stone crumbling in the center of the city. Copyright©Archaeotravel.

If the Olmecs had been the authors of Monte Alban, they must have chosen that exact site on purpose. Did they look for a shelter against the epidemic, which evidence would be the stelae commemorating people smashed by the disease? (Heyworth “Are the Danzantes …” 2014). In this context the stela from San Jose Magote may have been a warning of the spreading epidemic and the call for evacuation to the hilltop (Ibid.).

Or would Monte Alban be rather an answer to the celestial obsession of its builders and inhabitants? (Heyworth “The Encrypted …” 2014). The Olmecs may have been the architects of Monte Alban. However, as discussed above, they passed on their knowledge to the Zapotecs and also strongly influenced their culture. The latter referred to themselves as the Cloud People as they believed that their ancestors (?) descended from the sky and hence they may have used the city to communicate with them through celestial appearances (Ibid.).

Or maybe two of those factors overlapped and eventually resulted in establishing the city.

Here comes the Teotihuacan Culture!

On the other side, there are also theories on strong relations of Monte Alban with the enigmatic Teotihuacan city, especially in the span of the fourth century AD. (Heyworth “ A Brief History” 2014). For instance, it is believed that there was a small community of Zapotecs who inhabited Teotihuacan (Ibid.). On the other side, some later structures of Monte Alban may have been influenced by Teotihuacán architecture or even been dedicated to that city (Ibid.).

The figures of Monte Alban are naked, some huddled in a fetal position and others stretched limply on the ground, like corpses. Copyright©Archaeotravel.

Interesting is also the fact that both cities simultaneously held their pivotal role in their regions until their dramatic downfall around the eight century AD. (Heyworth “ A Brief History” 2014). Since the origins of people who lived in Teotihuacán are shrouded in mystery (they are just called the Teotihuacan Culture), some authors again recognise the Olmecs as the founders of the city or at least that it was strongly influenced by their culture and architecture (Owen 2000;  Childress 2007:74; Delsol, 2010).

One mystery leads to another

We had already been wandering around the ancient city for two hours, taking notes. The cold had gone away. Now I felt a delicate warmth of sunshine but filled with streams of fresh air. Having climbed down another pyramidal construction, I sat on one of the crumbling blocks of stone. Then I took off my cardigan and put my face out to the sun. ‘What a great feeling to take part in the mystery, yet being so far away from it in time’, I thought.

Today we do not even know how the city was originally called by its architects. Hmm! We do not even know who they actually were: the Olmecs, Zapotecs, aka the Cloud People, the Teotihuacan Culture … ? Moreover, the origins of each of those civilizations themselves still remain unclear! One mystery leads to another …

One mystery leads to another … Copyright©Archaeotravel.

Yet, the legacy of Monte Alban cannot be overestimated. Actually, “much of what we associate with Mesoamerica [today] appears to come from this ancient hilltop sanctuary […] in central Oaxaca” (Strom 2019). It was also in Monte Alban, where archaeologists had found hieroglyphic texts, which have not been deciphered yet (Hancock 2016:154). They are engraved on some of the stelae depicting the various races (Ibid.:154). The researchers considered them to be the oldest writing monuments so far uncovered in Mexico (Ibid.:154). Today, little is known about their authors (Ibid.:154). It is only believed that the people who created Monte Alban were excellent builders and professional astronomers (Ibid.:154).

Featured image: People dying in agony or slain captives? One of mysterious stelas in Monte Alban, representing anthropomorphic figures of intriguing features. Copyright©Archaeotravel.

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.

BIBLIOGRAPHY:

“Monte Albán” (2019) In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/2VdZB13>. [Accessed on 22nd February, 2020].

Childress, H. D. (2007) The Mystery of the Olmecs. Illinois: Adventures Unlimited Press.

Delsol, C. (2010) “Olmecs to Toltecs: Great ancient civilizations of Mexico” In: SFGate. Available at <https://bit.ly/2TbWPHj>. [Accessed on 23rd February, 2020].

Hancock G. (2016) Ślady palców bogów. [Fingerprints of Gods]. Kołodziejczyk G. trans. Warszawa: Amber.

Heyworth, R. (2014) “Monte Alban – Are the Danzantes Evidence for an Epidemic?” In: Uncovered History. Available at <https://bit.ly/37S1vHA>. [Accessed on 22nd February, 2020].

Heyworth, R. (2014) “Monte Alban – Brief History.” In: Uncovered History. Available at <https://bit.ly/2vW9pSS>. [Accessed on 22nd February, 2020].

Heyworth, R. (2014) “Monte Alban – The Encrypted City.” In: Uncovered History. Available at < https://bit.ly/2VdzQ11>. [Accessed on 22nd February, 2020].

Owen, B. (2000) “Mesoamerica: Olmecs and Teotihuacan.” In: World Prehistory: Class 17. Available at <https://bit.ly/2w0YreJ>. [Accessed on 23rd February, 2020].

Strom, C. (2019) “The Zapotecs of Monte Alban – The First Civilization in Western Mexico?” In: Ancient Origins. Available at <https://bit.ly/2HKlo8S>. [Accessed on 23rd February, 2020].

Last Queen in the Valley of the Kings

Hatshepsut’s Mortuary Temple had been finished; it rose unsurpassed in its beauty and solitude on white terraces, surrounded by columns, against the background of a dark massif of mountains (Żylińska 1972-1986:65).

Temple tells a story

Having come back from the land of Punt, the Queen began to decorate the walls of her temple (Żylińska 1972-1986:65). She had her history painted on them, from the moment when her mother, Queen Ahmose, was visited by the god Amun-Re, through her birth, the announcement of her succession to the throne, the history of the trip to Punt, until the day when she would give her divine body under the protection of the goddess Nut, asking her to make place for her among the stars lest she die forever (Ibid.:65-66).

Porticos have pillars reconstructed by archaeologists, decorated on the front with colossal Osirian statues representing the Queen in the form of the god Osiris. Copyright©Archaeotravel.

A transverse ramp led us to the middle level of the temple, with a similar architectural shape to the lower one, but more extensive (Lipińska 2008:161). On both sides of the portico closing the courtyard from the west, there are chapels of collaterally worshiped deities in the temple (Ibid.:161). The Hathor chapel was built on the south side, and the Anubis chapel on the north side (Ibid.:161,163). In the chapel of the goddess Hathor, embodied by Hatshepsut, both pillars and smooth, cylindrical columns topped with so-called Hathor’s capitals were built (Ibid.:164).

The north side of the central courtyard is occupied by a colonnade that was never completed (Lipińska 2008:163). The northern portico is decorated with bas-reliefs illustrating the legend of the divine birth of Hatshepsut (Ibid.:163). The southern portico, on the other hand, is decorated with the highly detailed image of the exotic land of Punt, famous and unusual in the history of ancient Egypt, where the Queen went with a trade expedition (Ibid.:163).

The third story of the Temple has a different spatial layout and here are the main rooms of the monument (Lipińska 2008:164). From the second, central courtyard, we climbed the ramp again (Ibid.:164). At the end of the way up, we were greeted by another terrace with porticoes on either side (Ibid.:164). Porticos have pillars reconstructed by archaeologists, decorated on the front with colossal Osirian statues representing the Queen in the form of the god Osiris; they are five meters high each (Ibid.:164). The entrance is on the axis and leads through a red granite portal (Ibid.:164). It guided us to the inner courtyard, behind which there is a barque shrine, partially carved into the rock and deeper, in the very heart of the temple, there is the sanctuary or the holy of holies (Ibid.:164). On both sides of the inner courtyard there were additionally chapels: on the north side an open courtyard with the altar of solar worship, and on the south side, there was a tomb chapel and two sarcophagi: one for Hatshepsut and the other for her earthly father; these were their sacrificial halls (Lipińska 2008:164; Żylińska 1972-1986:66). For everything that Hatshepsut undertook and everything that she did, she did with her father Thutmose the First in mind, who placed her over his son and appointed her his successor (Żylińska 1972-1986:66).

Hatred Queen

However, not everyone worshiped the Queen as their Pharaoh (Żylińska 1972-1986:67). For the son of Thutmose the Second, Hatshepsut was an ordinary usurper (Ibid.:67). Thutmose the Third hated her with the hatred of all the years spent in the shadow of her divinity (Ibid.:67). He wanted to fill them with the toil of military expeditions, the clamour of battles, the march through the deserts and the glory of the military victory (Ibid.:67).

Deir El Bahari; Hatshepsut’s Mortuary Temple. Photo by Nina Evensen (2015). Colours intensified. Photo source: Free pictures at Pixbay.

Eventually his wish came true (Żylińska 1972-1986:67). The news of the war fell on Egypt like a vulture from high above; Syrian cities revolted against the Egyptian crews, demolished Egyptian holy statues and proclaimed independence from Pharaoh’s rule (Ibid.:67-68). On the day of the Egyptian army’s departure, Hatshepsut handed over the highest military power to Thutmose (Ibid.:68). A few months later, news began coming into Thebes announcing the victory of the Egyptian army (Ibid.:68). All Egypt was in a frenzy of joy (Ibid.:68). It was the first triumph of war in over thirty years that struck and drunk city dwellers like young wine (Ibid.:68). Only mothers cried for their slain sons and worried that their bodies were not properly prepared for the journey to the Land of the Dead and that their souls might not have been brought to the Judgment of Osiris and so died for eternity (Ibid.:68-69).

A view to a sanctuary chamber on the upper platform of the Temple of Hatshepsut, Luxor’s west bank, Egypt. Photo by Przemyslaw “Blueshade” Idzkiewicz (2004). CC BY-SA 2.5. Colours intensified. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Hatshepsut proclaimed Thutmose the Third the co-regent of Egypt, and they were to share power together (Żylińska 1972-1986:69). There were also rumours that he was going to marry Princess Neferure (Ibid.:69). And when people had ceased to worry about the change and to speculate whether the Queen’s stepson would be satisfied with his assigned share of power, Hatshepsut unexpectedly passed away (Ibid.:69). Nobody ever found out under what circumstances she died (Ibid.:69). Yet not long ago, it was still a mystery of history.

Mystery of the history

Moreover, Hatshepsut’s body mysteriously vanished from the sarcophagus she had chosen for herself, and in which she would have given her immortal soul into the hands of the goddess Nut; when the sarcophagus was reopened again, it turned out that the queen’s mummy originally buried there disappeared without a trace (Żylińska 1972-1986:69; Quilici 2007). However, the Hatshepsut’s sarcophagus had never been deposited in her Mortuary Temple, which was rather a cenotaph (Quilici 2007; Lipińska 2008:171). The Hatshepsut’s last resting place was to be in the Valley of the Kings, intended for the Pharaohs (Lipińska 2008:171). This place, due to its seclusion and difficult access, provided a better protection against robbers (Ibid.:171). It is also believed that the choice of the site could equally be influenced by the landscape, above which the mighty triangular peak of El-Kurn has stood, towering over the valley like a colossal pyramid (Ibid.:171).

Site plan of Deir el-Bahari (in French). Drawing by Gérard Ducher (user:Néfermaât) (2006). CC BY-SA 2.5. Drawing and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Already at the beginning of the Eighteenth Dynasty, to which Hatshepsut belonged, the existing way of building a royal tomb and a mortuary temple in one sepulchral complex was given up (Lipińska 2008:171). It was considered that the separation of these two elements may have contributed to a better protection of the tomb, which had since been placed in the distant, hard-to-reach rocks of the mountain massif in Western Thebes (Ibid.:171). These are complexes belonging to both the Valley of the Kings and of the Queens (Pharaohs’ wives). It seems that this chapter in the sacred sepulchral architecture of Egypt was initiated by the second ruler of the Eighteenth Dynasty, Amenhotep the First (Ibid.:171). His son and Hatshepsut’s father, Thutmose the First, on the other hand, introduced the construction of a new type of royal necropolis in the Valley of the Kings, a desert valley on the other side of the massif closing the Deir el-Bahari Valley from the west (Ibid.:171).

Deir el-Bahari with Hatshepsut’s temple, temple of Thutmosis III and Mentuhotep II, West Thebes, Egypt. Above the necropolis complex towers the mighty triangular peak of El-Kurn, like a colossal pyramid, which had probably influenced the choice of the place by the pharaohs. Photo by Nowic (2003). CC BY-SA 3.0. Colours intensified. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

Hatshepsut’s mummy was buried in the tomb labelled today as KV20, the deepest tomb in Egypt, situated over ninety-one metres underground, in the Valley of the Kings (Quilici 2007). “It was probably the first royal tomb to be constructed in the valley, […] distinguished from other tombs in the [area], both in its general layout and because of the atypical clockwise curvature of its corridors. […] KV20 was the original burial place of Thutmose I […] and later was adapted by his daughter Hatshepsut to accommodate both her and her father” (“KV20” 2020).

The Name to be forgotten

After Hatshepsut’s death, no mourning rituals were announced, and no coronation ceremony took place, as if Thutmose the Third had been a Pharaoh since his father’s death (Żylińska 1972-1986:69). Sometime after these events, by the orders of the new Pharaoh, teams of workers began the painstaking work of destroying all traces of Hatshepsut’s existence (Ibid.:69).

Thebes – Temple Dêr el Bahri. Photo by Ephtimios Freres – Rare Books and Special Collections Library; the American University in Cairo, early twentieth century. Public domain. Photo and caption source: “Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia.

In the Sphinx Avenue and in the porticoes on the third-level terrace of her temple, the stonemasons smashed the heads with the face of the Queen, then they threw her statue in coronation garments from a granite base and proceeded to demolish her representations in relief (Żylińska 1972-1986:69). First they hammered her eyes, then they knocked down the uraeus from her forehead, and when they did so, they smashed the statue into thousands of pieces, by throwing it from the height of a two-story building (Ibid.:69). All inscriptions with the name of Hatshepsut were being erased with chisels for many months (Ibid.:70). In their place, engravers carved the name of Thutmose the Third or his son Amenhotep the Second (Żylińska 1972-1986:70; Quilici 2007). Also the papyri with the Queen’s edicts were destroyed, and her painted images were covered with thick layers of plaster (Żylińska 1972-1986:70).

Preserving the name of the dead was essential in ancient Egypt as they would not have been recognised by gods. And if the name of a mummy had been forgotten, they would not have been able to enjoy the Eternal Life and their souls would have disappeared into nothingness. Just in the same way as it was going to happen with the soul of deceased Hatshepsut. Erased from the list of Pharaohs, without a sarcophagus, not prepared for the way to the Land of Osiris, she was to fall apart, disappear from memory and dissolve into emptiness (Żylińska 1972-1986:70).

Thutmose the Third began his reign of Egypt by denying the existence of the last divine Queen of Egypt, who was a Pharaoh (Żylińska 1972-1986:70).

Rebirth of the Pharaoh

Thirty-five centuries later, the remnants of the desecrated statue of the Queen were excavated from the sand layers, as the stonecutters had left them, and a team of archaeologists carefully put them back together, restoring the statue of the divine Hatshepsut to its original shape (Żylińska 1972-1986:69). Similarly, Osiris’ statues with her features were discovered and reconstructed, along with other covered or smashed images of the Queen, who became one of the most famous and colourful, yet mysterious Pharaohs of Egypt (Lipińska 2008:164-166).

Osiris’ statues with Hatshepsut’s features were discovered and reconstructed, along with other covered or smashed images of the Queen. Copyright©Archaeotravel.

Since 1961, the Hatshepsut’s Mortuary Temple has been reconstructed by Polish archaeologists and other specialists, initially under the supervision of a Polish famous archaeologist, Kazimierz Michałowski (Lipińska 2008:165; see: Saint Anne of Nubia – “It Will Make You Speechless”). During the reconstruction of the retaining wall, which is the background for the temple, a terrace carved in the rock was discovered, probably to protect the temple from rock fragments falling down (Ibid.:165). The destruction of the temple was not made entirely by Thutmose the Third himself; It experienced many further destructions, for example, in the Late Period, and was rebuilt in the Ptolemaic and Coptic times (Ibid.:165). The Ptolemaic enlarged the sanctuary of Amun, creating another one behind it, devoted to the cult of the three healer deities (Ibid.:165). Deir-el Bahari was then famous for miraculous healings, where the sick came even from distant Greece (Ibid.:165-166). In the Coptic times, a Christian monastery was built on the upper level of the temple, and the valley owes its name to the monastery: Deir-el Bahari means ‘northern monastery’ (Ibid.:166).

Beside the Stepmother anyway

During the work in the Deir el-Bahari Valley, Polish archaeologists unexpectedly also found the ruins of the temple of Thutmose the Third, located in the vicinity of the temple of Hatshepsut, his hatred stepmother (Lipińska 2008:166). The construction of the Temple of Thutmose the Third began when, at the Pharaoh’s order, the statues of Hatshepsut were smashed and carvings with her names erased from the walls, which was associated with the destruction of all the traces of the reign of the Queen-Pharaoh (Ibid.:166). Although Thutmose the Third was one of the greatest Pharaohs in history, it is ironically, the Mortuary Temple of Hatshepsut, and not the ruins of the Temple of Thutmose the Third, that arouses widespread admiration today, and the very name of the Queen, so shamefully removed, is much more often mentioned by visitors to Deir el-Bahari.

In front of Deir el-Bahri; Hatshepsut’s Mortuary Temple. Photo by Ron Porter (2014). Photo cropped. Colours intensified. Photo source: Free pictures at Pixabay.

The building of Thutmose the Third was situated in the centre of the Valley, obviously on a higher level than the Queen’s temple, despite very unfavourable natural conditions (Lipińska 2008:166). The structure erected had a shape borrowed from both neighbouring temples; those of Mentuhotep the Second and Hatshepsut (Ibid.:166). Tens of thousands of fragments of polychrome reliefs were recovered from the rubble of this, also three-level temple, which was destroyed at the end of the New Kingdom (Ibid.:166). Reconstruction of the wall reliefs allowed to recreate the decoration of the temple after many years (Ibid.:166).

Temples in the Valley of Deir el-Bahari

During the New Kingdom, shortly after the reign of Thutmose the Third, there were three buildings in the Valley of Deir el-Bahari, which must have been once a magnificent complex of architecture harmonizing with the natural landscape of the Valley. At that time, the temple of Mentuhotep had not yet been destroyed (Lipińska 2008:166). Next to it, the temples of Hatshepsut and Thutmose the Third rose in all their majesty (Ibid.:166). The wide processional avenues, running parallel to the bottom of the Asasif Valley, were framed by necropolises with decorated tomb facades (Ibid.:166). As underlined above, the background of the whole necropolis were rock cliffs dominated by the El-Kurn peak with a triangular top resembling a pyramid (Ibid.:166). The rhythm of the horizontal temple porticoes and the sloping ramps of the three temples, each different but consistent with the others in style, must have produced a wonderful effect in the rays of the sun continuously shining from the cloudless sky (Ibid.:166-167). This effect was enhanced by the colour contrasts between the bright brown rocks being the background of the temples, the white and rich polychrome of the buildings, and the green foliage of the trees that used to grow in the lower courtyards (Ibid.:167).

The so-called Hathor chapel on the south side of Temple’s second courtyard. A photographer at work. Copyright©Archaeotravel.

At the foot of the ramp in the courtyard of the Hatshepsut’s Temple, there were also two small pools filled with water (Lipińska 2008:167). Each part of the architectural complex harmonized with each other and with the surrounding environment; they were built gradually over the centuries, and although there is no question of spatial planning, according to scholars, the harmony of the whole complex and the organic connection of the buildings with nature are the main advantages of Deir el-Bahari, as opposed to richer but chaotic buildings in the Amun-Re district of Karnak in Eastern Thebes (Ibid.:167,170).

Hathor looking down from the capitals

I was standing on the south side of Temple’s second courtyard, admiring pillars and columns at the Hathor chapel. They are usually referred to as the Hathor or sistrum columns (The MET 2020). Their capitals show heads of Hathor in the form of a cow on four opposite sides. Each is additionally topped with a naos-sistrum sound-box (Ibid.). Such a capital had been quite typical of Egypt since the beginning of the New Kingdom. Between them, I noticed smooth movements of a photographer nimbly climbing the pillars and columns up and down with a huge camera hanging from his neck. From time to time, he froze in a peculiar pose in his acrobatic dance between the columns, and took a series of pictures of the cow goddess.

Neglected mummy from KV60

Hatshepsut’s story was still on my mind. I was trying to piece it together. Her name was wiped out from the history intentionally, her legacy destroyed, her mummy vanished for centuries (Quilici 2007). Actually, it was officially uncovered in the tomb KV60, located close to the KV20, in 1903 by Howard Carter (Ibid.). It is speculated that Hatshepsut’s mummy had been removed from her original tomb and shifted from place to place for centuries, in order to save it either from grave robbers or a final destruction by the following Pharaohs, taking into account Hatshepsut’s name was being hacked away in the entire Theban region by Thutmose the Third (Ibid.).

Matriarchy had already been over

For some reasons, her image as the Pharaoh must have been removed (Quilici 2007). It was so, along with the names of Senenmut and Hatshepsut’s daughter (Ibid.). By this means, Neferure, Hatshepsut’s desired heir to the throne, would simply vanish from history (Ibid.). Female Pharaoh grooming her own daughter to be her successor to the throne must have been too radical in her plans at the time of patriarchy (Ibid.). This is probably why Neferure’s last resting place is located high in the mountain cliff, In the small opening in the rock, very distant from Thebes and difficult to be found (Ibid.). Moreover, the hacked away name of the Queen was usually being replaced by the name of Thutmose the Third’s son, Amenhotep the Second (Ibid.).

Pillars with the Hathor capitals in the Mortuary Temple, Deir el-Bahri. Photo by Dezalb (2015). Colours intensified. Photo source: Free pictures at Pixbay.

After Kara Cooney, it is possibly the key to the whole campaign against Hatshepsut and severe attempts to destroy her legacy; she and her female heir must have been removed from common memory to avoid a woman descendant to mount the throne in Egypt (Quilici 2007). Therefore the attack on Hatshepsut’s legacy was all about the politics of succession; Thutmose the Third wanted to make sure that the succession remained patrilineal, that it to say, it would be passed down from father to his son (Ibid.). But in order to guarantee a smooth succession, it was essential to remove the Queen and her daughter from history (Ibid.). Eventually, it made Thutmose the Third’s masculine descendants take Hatshepsut’s place (Ibid.).

Tale-tale tooth

Discovered in the first decade of the twenty-first century, the mummy of Hatshepsut has finally found its place among other royal mummies in the Museum of Archaeology in Cairo, Egypt (Quilici 2007). It has her left arm bent in a royal position, the feature typical of deceased Egyptian Pharaohs, and is still well preserved, despite the fact it used to be long transferred from one tomb to another before being finally abandoned and neglected (Ibid.). Identifying the Hatshepsut mummy was only possible by means of an analysis of a tooth found in the canopy box with the Hatshepsut name (Ibid.). Further  studies have also revealed she died at the age between forty and fifty and was killed by an infection in her body (Ibid.).

Walking down the ramp of the Temple. Photo taken by Marek, Copyright©Archaeotravel.

Rescued from oblivion and becoming famous

Owing to the team of specialists, led by the Egyptian archaeologist, Zahi Hawass, the Queen was rescued from oblivion (Quilici 2007). Hatshepsut has regained her position as one of the most powerful women that the world had ever seen on the throne of the Pharaohs (Ibid.).

Since then, the mysterious story of Hatshepsut has attired attention of various scholars and authors, such as an associate professor of Egyptology, Dr Kara Cooney  whose book, The Woman Who Would Be King (2014) greatly underlines Hatshepsut’s legacy.

Author Kara Cooney on Hatshepsut’s Legacy (2014). Kara Cooney, author of “The Woman Who Would Be King” and leading Egyptologist, discusses Hatshepsut, Egypt’s longest reigning female pharaoh and her legacy. Learn more about Hatshepsut at KaraCooney.com. Film source: The Crown Publishing Group, a division of Random House, Inc. In: The Crown Publishing Group Youtube Channel.

Featured image: The Mortuary Temple of the Queen Hatshepsut in Deir El Bahari. Photo by Joanna Gawlica-Giędłek (2017). Free images at Pixabay.

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.

BIBLIOGRAPHY:

“Deir el-Bahari” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/38ldwbX>. [Accessed on 6th January, 2021].

“KV20” (2020). In: Wikipedia. The Free Encyclopedia. Available at <http://bit.ly/3omnZcP>. [Accessed on 6th January, 2021].

Free pictures at Pixbay. Available at <https://bit.ly/2LtkZgc>. [Accessed on 7th January, 2021].

Lipińska J. (2008). Sztuka starożytnego Egiptu. Warszawa: Arkady.

Quilici B. (2007). Secrets of Egypt’s Lost Queen. Starring Kara Cooney and Zahi Hawass. Discovery Channel.

The Crown Publishing Group (2014). “Kara Cooney on Hatshepsut’s Legacy”. In: The Crown Publishing Group, a division of Random House, Inc. In: The Crown Publishing Group Youtube Channel. Available at <https://bit.ly/3pH7BUO>. [Accessed on 3rd February, 2021].

The MET (2020). “Column with Hathor-emblem capital and names of Nectanebo I on the shaft. 380–362 B.C. Late Period”. In Metropolitan Museum. Available at <http://bit.ly/3q1SMfv>. [Accessed on 6th January, 2021].

Żylińska J. (1972-1986). Kapłanki, Amazonki i Czarownice. Warszawa: Państwowy Instytut Wydawniczy.

Sleeping Beauty of the Underworld

Numinous statuettes of Malta from the late Neolithic (3200-2500 B.C.) are one of the unique expressions of the mysterious culture of megalithic builders who abruptly appeared and lived on the Island between 3800 and 2500 BC., scattering around it over twenty constructions, today referred to as temples (Biaggi 1986:131; Magli 2009:49). For this reason the period between around 3500-2500 BC. in Malta is usually “referred to as the Temple Period, during which this small and arid archipelago, composed of Malta, the nearby Gozo, and tiny Comino, [yet by] 3400 BC. [had already witnessed] one of the greatest architectural marvels of all human history, the Ggantija Temple, [believed by academics to be the second oldest temple in the world (just after Göbekli Tepe)]” (Magli 2009:47).

Remains of the colossal statue (originally two metres high) from Tarxien Temple (reconstructed replica) in Malta. It sows only the lower part of a female body with a carved pleated skirt. It is probably the oldest monumental representation of a human being in the region of the Mediterranean, from prehistory. The original statue has been moved to the National Museum of Archaeology in Valetta, Malta. Copyright©Archaeotravel.

What is surprising, the activity of those megalithic masters living in Malta can be archeologically observed merely for one millennium; after this period they disappeared as unexpectedly and mysteriously as they came into being (Ibid.:48). As it is not possible to surely identify a real purpose of the megalithic ‘temples’ erected in Malta, it is not either likely to fully understand the idea of carved figures left in various sacred areas between the megaliths.

Females of prehistory

After Cristina Biaggi (1986:131) prototypes of Maltese figures either belong to the Palaeolithic or the Mediterranean Early Neolithic. Consequently, most of these statuettes are believed to represent females, who are additionally called deities, goddesses or women ascribed of divine powers or a high importance and status (Ibid.:131-138).

“[Some] figures are nude, other clothed, some do not show primary sexual traits, and all are obese” (Ibid.:131). Although each group shares certain characteristics and there are differences between them, their peculiar style of the carving is distinctive of Malta, for no other statuette looking like them has ever been found elsewhere in the Mediterranean (Ibid.:131).

The earliest women in Malta

Female figures of the so-called Grey and Red Skorba Phases represent the earliest Maltese female statues made of clay; they are naked and feature strongly emphasised sexual characteristics (Biaggi 1986:137). They do not look obese as later representations and usually measure up to ten centimetres in height.

Maltese giantesses

With time, Maltese “[depictions] of the numinous tend to increase in size and elaboration or stylisation when a religion becomes entrenched in a society” (Biaggi 1986:137).

The earliest representations of Maltese females. Red Skorba figurine with the visibly underlined breast and pubic. Photo by Hamelin de Guettelet (2008). CC BY-SA 3.0. Photo source: “National Museum of Archaeology, Malta” (2021). In: Wikipedia. The Free Encyclopedia.

Among them, opulent but rather sexless representations of the Maltese divine womanhood probably look like legendary Maltese giantesses, who may have once dragged megalithic stones on their backs (Ibid. 131-137). They were either naked or partially clothed, and carved in various positions: standing, squatting or seated with their legs folded (Ibid.:131-132). Although not numerous, some of those ladies could reach almost three metres in height (Ibid.:132). They all are carved from Globigerina limestone, the local stone commonly used also for constructing the megalithic temples in Malta (Ibid.:131). Yet some figurines were also manufactured of alabaster-like stone, which was definitively imported, possibly from the mainland of modern Italy (Pace 2004:22). Such materials from beyond the archipelago may have had a special significance and value, and so did the objects made of it (Ibid.:22).

Refined sculpture of terracotta

Another group of statues, different in style but contemporary to the ‘giantesses’, are much smaller in size and made of clay; moreover, their physical appearance and attire clearly define females (Biaggi 1986:137). Similarly to the larger statues, they are also either naked or dressed (Ibid.:137). Although the Maltese type of female figures phased various metamorphoses, most of their representations were covered in paint of red ochre (Ibid.:131). Red ochre, “which may have been menstrual blood in its earliest manifestation, is the [colour] of fertility, death and rebirth – the [colour] of the [goddess]” (Ibid.:136).

Lying on a coach in the underworld

“About thirty of [those various] figures, ranging in [style and] size from [ten centimetres] to about [three metres] have been found in the […] Maltese temples and in the Hypogeum” (Biaggi 1986:131; see Maltese History in the Negative).

Figurines found in the Hypogeum. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

Among other Maltese statuettes and carvings, three particular figures have been found in the Hypogeum of Ħal Saflieni (Pace 2004:22). The statues belong to the group of smaller representations and are made of pottery (Biaggi 1986:137; Pace 2004:22). All the three statues are depicted while lying on a couch, possibly covered with a rush grass mattress (Pace 2004:22; Haughton 2009:163). The presence of such a coach seems to be symbolic as it also appears among the other type of female representations (Pace 2004:22). Although it today escapes a clear understanding, in all three cases, the base of the coach is rendered in a refined manner as an arrangement of framework (Pace 2004:22; Information boards in the National Museum Of Archaeology of Malta (Valetta) 2017). One of the carvings depicts something that looks like a fish, whereas the two others show definitely female figures (Information boards in the National Museum Of Archaeology of Malta (Valetta) 2017).

The sculpture exhibited in her own display case is widely known as Sleeping Lady or Sleeping Beauty. Nowadays, this female statue is also the symbol of the Neolithic ideal of femininity in Malta.National Museum of Archaeology in Malta. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

The first one, partially damaged in her lower part, reveals traces of red ochre; the woman is headless or decapitated, and she is lying face down on a coach (Pace 2004:22). The whole carving measures four centimetres height, nine centimetres length and almost six centimetres width (Ibid.:22). In turn, the second female statue has been preserved nearly complete, except some damage made in the area of her breast (Pace 2004:22; Haughton 2009:163). Also the left corner of the couch she is lying on is slightly broken and its shape is more oval in comparison to the previous two, which are more squared. The whole sculpture is seven centimetres high, twelve centimetres long and almost seven centimetres wide (Pace 2004:22). Slight traces of red ochre are also visible on it (Haughton 2009:163). The female figure is depicted in a lying posture similar to the ‘counched’ burial position, typical of an arrangement of the body in prehistoric graves (Pace 2004:22). She looks as if she was peacefully asleep. Thus the sculpture is widely known as Sleeping Lady or Sleeping Beauty. Nowadays, this female statue is also the symbol of the Neolithic ideal of femininity in Malta.

Face to face with mystery

Currently all the three terracotta statues are part of the exhibition in the National Museum Of Archaeology in La Valetta, Malta, where I have had an opportunity to study them, among other Maltese artefacts from the Temple Period. Whereas the two former figures, including the fish-like creature and a woman, lying down on her face, are exposed together in one display glass case, the Sleeping Lady, as the most privileged of all, not only has been provided with her own display case but also with a special room filled only with dimmed light, as if in fear of disturbing her dreams.

Fat but graceful

The Sleeping Lady is a highly refine representation of the reclining, excessively opulent but graceful woman (Pace 2004:22); she is lying on her right side on top of a couch, resting her head probably on a pillow that is slightly sagging under the weight of her head. While her right hand is delicately gripping the pillow, her left hand is resting on the corpulent forearm of her right hand. Like many other female Maltese statues, she is dressed in a bell-shaped skirt with fringes or pleating at the bottom, reaching halfway down the legs (Biaggi 1986:132).

The famous Sleeping Lady of Malta. a clay figurine found in the deep pit leading to the third level of the Hypogeum. National Museum Of Archaeology, Valetta, Malta. Copyright©Archaeotravel.

The Lady’s opulent legs seem to be slightly bent at the knees, so the skirt only reveals their small lower part that looks like two hewn pegs instead of the feet, visible at the edge of the couch. The upper part of the woman’s body is naked, with a rather opulent abdomen in the form of a single roll of fat with a noticeable navel. Her large and full breasts are partially covered with her left arm. In proportion to the Lady’s enormously obese body, especially her excessively modelled bulbous arms, thighs and huge buttocks, whose details are discretely hidden under the material of the skirt, the figure’s hands and head seem extremely minuscule, as if they did not belong to the same person (Ibid.:132). Her face is oval with delicate features: two small horizontal lines resemble closed eyes, “the nose wide with a definite ridge, the mouth [tiny and barely visible]” (Ibid.:132). Her hair is close to the head but long, reaching her arms (Ibid.:132).

Natural and artificial obesity

Obesity of the Maltese statues from the Temples Period, which is also evident in the case of the Sleeping Lady, seems to have been really important as it appears in all contemporary types of female figurines, either clothed or nude, including those with rather asexual characteristics (Biaggi 1986:137-138).

It possibly “implied power, sanctity, [and] strengthened their [aesthetic-symbolic] connection with the temples, which they resembled in shape”. (Ibid.:138). Following “the law of mimetic magic, [obesity may also] have had a magical function to [favour] fecundity, [for example], the growth of vegetation” (Ibid.:138). Nevertheless, Cristina Biaggi (1986:138) assumes that in contract to natural obesity, the artificial overweightness, possibly represented by a far-reaching stylisation of sculpted female representations was “a product of patriarchal culture because it presupposes the loss of woman’s control over her own body, which is not a characteristic of early Goddess worshipping cultures” (Ibid.: 138).

Lady of the Temple Period

Like other Maltese figures, the Sleeping Lady “dates back to the island’s [mysterious] prehistory, specifically to the thousand-year span, [between circa 3500 to 2500 BC.]” (Magli 2009:47). Due to the high quality of the sculpture, and the belief that its image expresses the numinous of an already well-established religion, it is believed to date back to a later period, that is, between 3000 and 2500 BC. (Biaggi 1986:137; Haughton 2009:163). The fact is, however, that the exact date of the figure is unknown and provided dating is merely modern guessing.

The final resting place of the ‘Sleeping Lady’

As mentioned above, “[this remarkable] gem [of Malta] was unearthed in one of the world’s most singular and enigmatic places, the Hypogeum of Hal Saflieni” (Magli 2009:47). Precisely, the statuette was found either in one of the niches of the Hypogeum’s Main Chamber (Zone A) or, more likely, in a nearby deep pit or a cavity (Zone B), also referred to as the Snake Pit (Pace 2004:39,48; Haughton 2009:163) or “the final resting place of the ‘Sleeping Lady’” (Pace 2004:48). The pit is one of numerous examples of a high quality of craftsmanship applied in the Hypogeum (Ibid.:48). The discovery of the Sleeping Lady in that cavity would suggest it “may have once served as a repository of votive offerings” (Ibid.:48). Moreover, alongside the pit, between two decorated pillars, there is a shaft leading to the most mysterious place of the construction, the Third Level (possibly the deepest in the Hypogeum), where visitors are not allowed to descend (Ibid.:48). The ceiling of the elliptical chamber, where the pit is located, is additionally covered in abstract paintings, representing spirals, polygons and plant-like patterns, all made with red ochre (Ibid.:48). Such a decoration equally evokes a rather religious purpose of the site (Ibid.:48). In such circumstances, the terracotta statue may have been deposited in the pit as a burial offering possibly representing death seen as an eternal dream or the afterlife (Pace 2004: 22 Haughton 2009:164).

In the Hypogeum, which is usually interpreted as the subterranean temple of the dead and the necropolis, the deceased were buried accompanied by offerings of significant and religious funerary objects, which also included sophisticated artworks, such as the Sleeping Lady (Pace 2004:22). The meaning of the funerary custom of deposing valuable offerings alongside the dead is unknown but, likewise in other ancient cultures, as Egypt, they were definitely to accompany the deceased in their way to the afterlife and to reveal their high social status in front of their mysterious deities (Ibid.:22).

Is it the Mother Goddess or a priestess?

Along with other figurines from the Mediterranean region, the Sleeping Lady has sometimes been used as a testimony to support the theory of the universalism of the Mother Goddess or the Great Peacemaker Goddess who was worshiped in prehistory (Haughton 2009:163-164). It is a theory advocated by researchers such as Marija Gimbutas and Vicki Noble (Ibid.:164; see Noble 2000). It is the fact that “[the] worship of the Great Goddess was universal from the upper Paleolithic to the late Neolithic in Europe and the Near East, [and the] Maltese goddess figures represented the very stylised visual manifestation of that worship in Malta” (Biaggi 1986:137).

“No one knows if the sculptor who carved [the Sleeping Lady] was inspired by his own beloved or was simply following an established model of an idealised female form” (Magli 2009:47). National Museum of Archaeology in Malta. Photo by Elżbieta Pierzga. Copyright©Archaeotravel.

However, apart from female figurines, there is no other evidence of the universality of this peaceful matriarchy cult, and the finds of weapons and fortifications dating back to the same period weaken the argument reinforced by the contemporary female sculpture (Haughton 2009:164). Moreover, Cristina Biaggi (1986:137) claims that the Sleeping Lady, as much as the other female lying on her face, does not represent a goddess but a priestess “engaged in dream incubation [or] an adept in giving oracles, interpreting dreams, or suggesting cures for illness” (also see: Krzak 2007:85).

Entering an incubation dream

The whole religious rite of falling into an incubation dream may have consisted in the fact that priestesses or priests, or both, went to the tomb, or to a cave or temple, and during their sleep they would obtain divinations from deities or ancestors, or seize their vital forces (Krzak 2007:85). This was considered in classical times in Greece and Rome, where such practices were certified as early as in the second century AD. (Ibid.:85). Aristotle, Diodorus and Pausanias all testify in writing about such cult dreams (Ibid.:85). Apart from Malta, the incubation also played a special role in North Africa, Libya and Sardinia (Ibid.:85). To this day, similar beliefs are found among Berbers in Maghreb and among people in Ireland (Ibid.:85).

This interesting theory tells that the Sleeping Lady – a goddess or not, a sleeping woman or in a trance – possibly points to a place in the Hypogeum, where dreams or visions were interpreted by means of incubation rituals (Haughton 2009:164). Such a dark area underground would be ideal for stimulating similar states and for inducing dreams and visions (Ibid.:164).

Twelve-centimetre masterpiece

But who modelled the figurine? “No one knows if the sculptor who carved [the Sleeping Lady] was inspired by his own beloved or was simply following an established model of an idealised female form” (Magli 2009:47). Giulio Magli (2009:47) “[leans] towards the first hypothesis, because, [as he claims] the sculpture is a masterpiece, the infusion of the creative soul into [hardly twelve] centimetres of [terracotta] statuette”.

Featured image: The clay figure of a reclining lady (Sleeping Lady) was found in one of the pits of the Hypogeum in Hal Saflieni in Malta. It has traces of red ochre paint. Temple Period, 4000 – 2500 BC. National Museum of Archaeology in Malta. Photo by Jvdc (2009). CC BY-SA 3.0. Photo by Jvdc (2009). CC BY-SA 3.0. Photo and caption source: “National Museum of Archaeology, Malta” (2021). 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.

BIBLIOGRAPHY:

“National Museum of Archaeology, Malta” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3uXG194>. [Accessed on 4th March, 2021].

Biaggi C. (1986). “The Significance of the Nudity, Obesity and Sexuality of the Maltese Goddess Figures”. In: Archaeology and Fertility Cult in the Ancient Mediterranean: Papers Presented at the First International Conference on Archaeology of the Ancient Mediterranean, University of Malta, 2-5 September 1985. Bonanno A. ed., pp. 131-13. Amsterdam: Grüner Publishing Co.

Haughton B. (2009). Tajemne miejsca. [Haunted Spaces, Sacred Places], Ferek M. trans. Poznań: REBIS.

Krzak Z. (2007). Od matriarchatu do patriarchatu. Warszawa: Wudawnictwo TRIO.

Magli G. (2009). Mysteries and Discoveries of Archaeoastronomy: From Giza to Easter Island. Praxis Publishing. Ltd.

Pace A. (2004) Malta Insight Heritage Guides: the Hal Saflieni Hypogeum. Paola. Heritage Books & Heritage Malta.

Vicki N.  (2003) The Double Goddess. Women Sharing Power. Rochester, Vermont: Bear & Compony.

Teutonic Order in the Castle of Malbork and its Ghosts

The brick walls of the castle in Malbork always make a great impression on its visitors as they walk among the countless castle red towers, bastions and courtyards, delving deeper into its long corridors and their secrets. We felt just the same gloomy atmosphere when, following the guide, we listened to the history of the castle and of its inhabitants, whose ghosts are said to still live within its chambers and underground. And even though it was a very hot summer day, we got goosebumps when we listened to scary stories of the haunted castle.

From the commander’s castle to the seat of grand masters

As a result of successive re-constructions of the Teutonic seat in Malbork, the complex was modified from the two-part commander’s castle (the Upper and Low Castles) to the three-part headquarters of the Grand Master (Bieszk 2010:106). Accordingly, it was composed of the Upper Castle, Middle Castle and Low Castle, also known as the Outer Bailey (Ibid.:106). Its huge spaces were not only heated by fireplaces and furnaces, but also by the central heating system (hypocaustum); the heated air from the fired stones of the furnace entered the hall, such as the chapter house, through special channels and holes in the floor with covers (Ibid.:107).

The Palace of Grand Masters (Middle Castle). Copyright©Archaeotravel.

Upper Castle and its treasury

In the west wing of the Upper Castle, living quarters for Teutonic dignitaries were expanded (Bieszk 2010:107). There was also a central treasury (Pro100 z MoSTU 2017). The treasury was closely guarded and locked with two doors, and the last one, made of metal, required three keys to be open (Ibid.). They were held each by the Grand Master, Grand Commander and Grand Treasurer (Ibid.). Therefore, the treasure door was only opened in the presence of these three dignitaries (Ibid.). Interestingly, in addition to gold and valuables, the treasury also contained … sweets (Ibid.). Those were gold-coated candies uniquely tasted by the Grand Master (Ibid.). This is the reason why they were guarded so carefully and the treasurer himself personally escorted them, when they were going to be served to the Grand Master (Ibid.).

Marienburg 1900. View of the Upper Castle from the east in 1901 in the neo-Gothic form. The outside wall of presbytery (the eastern part of the church) is adorned with the statue of the Virgin with the Child, slightly visible in the image. Unknown author. This image is sourced from the United States Library of Congress, Public domain. Source: ”Zamek w Malborku” (2020). Wikipedia. The Free Encyclopedia.

Despite all these elaborate safeguards the vault had once been robbed (Pro100 z MoSTU 2017). It was done by bakers who worked in a bakery right under the treasury (Ibid.). Somehow they found out that there was great treasure above them, which supposedly was piled on the floor (Ibid.). So they made a hole in the ceiling in the kitchen, and the gold fell right on their heads (Ibid.). They quickly left Malbork, but the Teutonic Knights unfortunately caught them (Ibid.). They were judged and sentenced to death by hanging (Ibid.). Despite the recovery of the valuables, the treasury soon began to glow empty, because fifty years later the expedition to Grunwald forced the payment of the army of many thousands and the Order never returned to its financial splendour (Ibid.).

Eight-meter high Protector Saint

In the northern wing of the Upper Castle, in turn, the former convent chapel was rebuilt into the largest conventual castle church in the Teutonic state (Bieszk 2010:107). Its tall and long body from the side of the chancel reached twenty meters beyond the perimeter of the castle walls, which consequently distorted the regular, four-sided outline of the Upper Castle (Ibid.:107). Additionally, in 1340, on the eastern facade of the church, a huge, eight-meter-high Gothic figure of the Virgin Mary with the Child was made of artificial colourful stone (Bieszk 2010:107-108; Pro100 z MoSTU 2017).

Unfortunately, the figure was destroyed in 1945 along with the eastern part of the church (Pro100 z MoSTU 2017). In September 2014, its reconstruction began, and its ceremonial unveiling took place in 2016 (Ibid.). 350,000 coloured cubes made of Venetian glass were used to create the mosaic (Ibid.). Among them, there was also glass in which gold flakes were embedded (Ibid.).

Apart from the Gothic statue, the whole church, along with the Chapel, greatly suffered in the last War, and mostly during the successive plunders of the Red Army (Jaśmin 2017).

Chapel of Saint Anne

The church was two-story construction, and under the presbytery there was the Chapel of St. Anne, where eleven grand masters were buried (Bieszk 2010:107). In order to enter the church, one actually needs to go through the chapel of Saint Anna (Jaśmin 2017). At its door, just above one’s head there is a beautifully carved Gothic portal (Ibid.). There are also various dark stories and legends associated with this place that visitors eagerly listen to (Pro100 z MoSTU 2017).

In 1330, the Grand Master, Werner Von Olsern, was deceitfully murdered inside the castle (Pro100 z MoSTU 2017). It is commonly believed that this happened while he was leaving St. Anne’s Chapel, as it was the only place he visited without guards (Ibid.). He was killed by his monastic brother, Jan von Endorf, who the Teutonic Knights claimed insane (Ibid.). However, it is likely that it was a planned assassination (Ibid.). Werner had peaceful intentions towards the Kingdom of Poland and wanted to thoroughly reform the Order, which must have upset the corrupted knights, striving for power and further plunderers (Ibid.).

… and its ghosts

Another story says the Chapel is haunted by ghosts of Teutonic grand masters who were buried there (Pro100 z MoSTU 2017).

The interior of the castle church in Malbork (reconstructed). Photo by Tomasz Walecki (2019). Free images at Pixabay.

In 1650 the Jesuits erected their monastery between the castle church and the south-eastern wing of the Middle Castle (JS 2011). As a result, the western part of the chapel was separated by a wall reaching from its floor to the ceiling (Ibid.). This division covered almost a quarter or a fifth of the entire chapel and joined two opposite windows (Ibid.). In order to obtain a convenient road to the city, a wooden bridge was made on cross-beams (Ibid.). The ends of the beams rest on the sills of both windows (Ibid.). Window openings, which in the Jesuit times were additionally secured with closed shutters, devoid of window frames, now served as doors (Ibid.).

The bridge covered the entire space between the western side wall of the chapel and the wall erected on the eastern side (JS 2011). People’s steps on the wooden bridge made a dull reverberation in the dark and formidable room of the necropolis (Ibid.). The reverberation resembled the thunder of horse horseshoes. For this reason, the bridge was named the Thunder Bridge (Ibid.). In the upper part of the wall separating the chapel of St. Anna, both on the west and east sides, the masons left two small gaps (Ibid.).. Through one of them you could look into the castle cellar, through the other – to the chapel of St. Anna (Ibid.). The openings were opposite each other and were the size of an ordinary brick (Ibid.).

Chapel of Saint Anne in the castle of Malbork. Photo by Diego Delso (2013). CC BY-SA 3.0. Source: ”Zamek w Malborku” (2020) Wikipedia. The Free Encyclopedia.

One day, while carrying out other bricklaying works, one of the workers was ordered to brick up two mysterious holes (JS 2011). He fulfilled the task but on the morning of the next day, both bricks were found to be gone (Ibid.). Another mason completed the same work in less than five minutes (Ibid.). And this time the next morning, the same mysterious openings still existed in the wall (Ibid.). Also, further efforts to brick the holes in the wall did not bring any results (Ibid.). These fruitless works were finally abandoned (Ibid.). Sometime later, one of the Jesuits returned to his cell late. It was already dark, but he noticed some movement right next to the unfortunate holes (Radio Malbork 90,4 2020). Curious as he was, he walked closer (Ibid.). Then he saw the ghostly figures of the grand masters emerge from the crypt and like misty clouds heading towards the castle hall (Ibid.). Therefore, it was believed that the souls of the deceased grand masters of the Teutonic order buried in the tombs of the Chapel of St. Anna passed by these openings at night inside castle for ghostly gatherings (Ibid.).

Today, it is believed that to this day, the ghosts leave the basement of the chapel at midnight and go to one of the castle rooms, where they conduct scholarly discussions until dawn (Ibid.).

Trapdoor of Gdanisko

The already mentioned tower Gdanisko was also rebuilt after 1309; it was connected to the Upper Castle with a covered porch built on the arcades and was additionally provided with a drawbridge (Pro100 z MoSTU 2017; Muzeum Zamkowe w Malborku 2020). In addition to being a tower of the final defence, it was also a toilet with a sanitary function (Pro100 z MoSTU 2017). Instead of today’s toilet paper, in the toilet cabbage leaves were used, which could also be replaced with hay (Ibid.). It was then possible to hide there not only from the invasion but also use it for a personal and intimate retreat (Ibid.).

Marienburg (1890-1900). General view of the castle from the end of the nineteenth century. In the middle, the bastion of Gdanisko is visible. Unknown author. This image is sourced from the United States Library of Congress, Public domain. Source: ”Zamek w Malborku” (2020). Wikipedia. The Free Encyclopedia.

It happened, however, it was the very last place seen by some misfortune knights before their death (Pro100 z MoSTU 2017). The moat near Gdanisko claimed many victims; the inconvenient knights were usually made drunk, and when they went to the toilet to Gdanisko, the trapdoor suddenly opened and they disappeared into the moat (Ibid.).

Middle Castle

The Middle Castle served as the capital of the new monastic state (Bieszk 2010:108). Here were the court residences of the Grand Master and his commander, representative and banquet rooms decorated in a sophisticated way, state offices, a chancellery, archives and central treasury, as well as hotel facilities for guests and the main hospital (Ibid.:108).

Entering the knights’ bedrooms, it can be observed that their beds appear to be quite short (Pro100 z MoSTU 2017). The Teutonic Knights, although not tall, slept in a reclining position (Ibid.). They believed that if they were to lie completely on the bed, they would bring death upon themselves, because it was believed that the death only took those who were lying completely in their beds (Ibid.).

Eating and drinking at will

The western wing of the Middle Castle housed the Grand Refectory, the largest knightly banquet hall in the country that could seat up to four hundred knights at the tables (Bieszk 2010:109). It still amazes with its size and brightness (Ibid.:109). The Refectory had a refined palm ceiling supported in the middle on only three main, slender, granite pillars (Ibid.:109). In addition, it had tall stained glass windows and the aforementioned heating system (hypocaustum) (Ibid.:109). Next to it was a kitchen with a huge stove, from which food was delivered (Ibid.:109). Further there was a pantry and food stores (Ibid.:109).

Malbork Castle, High Castle (A) and Middle Castle (B), ground floor plan. Brockhaus, 1892. Uploaded by the User: Topory (2004). Public domain. Source: ”Zamek w Malborku” (2020). Wikipedia. The Free Encyclopedia.

Sebald Tharsen summons up the devil

The Teutonic knight, Sebald Tharsen, had no moderation in eating and drinking, and he cursed on every occasion (Pro100 z MoSTU 2017; Sekulada.com 2017). One night, returning to his room after a lavishly drunk supper, he called for a man to take off his shoes (Pro100 z MoSTU 2017; Sekulada.com 2017). The servant was asleep, so Sebald began to curse and summoned the devil himself, who appeared immediately, grabbed his boots and pulled them off his legs together with the skin (Pro100 z MoSTU 2017; Sekulada.com 2017). The resulting wounds began to suppurate (Pro100 z MoSTU 2017; Sekulada.com 2017). The unfortunate man lived in terrible torment for almost half a year (Pro100 z MoSTU 2017; Sekulada.com 2017). His death became a warning to the other knights (Pro100 z MoSTU 2017; Sekulada.com 2017). But Sebald’s story apparently did not teach them enough …

Summer Refectory

On the first floor of the Middle Castle there were two most representative halls of the grand masters, where court life took place and official receptions and ceremonial meetings with guests of the Knights took place (Bieszk 2010:110).

The largest of them was the Summer Refectory, considered a wonder of building craftsmanship in the state (Bieszk 2010:110). It had a beautiful, high and extensive palm tree ceiling supported by only one granite column, and two walls filled with large windows with colourful stained glass, giving refined lighting to the room (Ibid.:110). It is worth noting a fragment of a cannonball is stuck in the wall above the fireplace in the Refectory (Ibid.:110). It once belonged to an eighty-kilogram ball from the cannon fired by Polish artillerymen during the siege of Malbork in 1410 (Ibid.:110). There is an interesting story connected with it.

Cannonball above the fireplace

The first information about the unexpected defeat of the Order at Grunwald reached Malbork the day after the battle, on July 16th, 1410 (Bieszk 2010:113). The news of the loss sparked an atmosphere of fear and panic in the castle, where only a small operational crew was stationed (Ibid.:113). The entire elders of the Order had died at Grunwald or fled (Ibid.:113). However, those who survived took control of the situation and the crew of the castle was finally strengthened (Ibid.:113-114). At the end of July, Malbork was besieged by King Władysław Jagiełło along with the Polish-Lithuanian army (Ibid.:113-114).