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Bes
A depiction of Bes based on various sources
Name in hieroglyphs
D58S29F28
Major cult centerHermopolis, but worshipped everywhere
SymbolOstrich feather
Genealogy
ParentsMin (god) (in some myths)
SiblingsTaweret
ConsortBeset, Taweret

Bes (/ˈbɛs/; also spelled as Bisu, Coptic: Ⲃⲏⲥ, Ⲃⲏⲥⲁ, Arabic: ويصا, romanized: Wīssa), together with his feminine counterpart Beset, is an ancient Egyptian deity, of Kushite/Nubian or Nehesi C-Group culture origin [1] worshipped as a protector of households and, in particular, of mothers, children, and childbirth. Bes later came to be regarded as the defender of everything good and the enemy of all that is bad.[2] According to Donald Mackenzie in 1907, Bes may have been a Middle Kingdom import from Nubia [3] and his cult did not become widespread until the beginning of the New Kingdom, but more recently several Bes-like figurines have been found in deposits from the Naqada period of pre-dynastic Egypt, like the thirteen figurines found at Tell el-Farkha.[4]

Worship of Bes spread as far north as the area of Syria and as far west as the Balearic Islands (Ibiza) in Spain, and later into the Roman and Achaemenid Empires.[5]

Origin

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Beset
A Statuette of Beset
SymbolOstrich feather
ConsortBes
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People in Upper Egypt started venerating Bes long before people in Lower Egypt indicating a Nubian origin. The word “bes” means “cat” in Nubian, suggesting a possible Nubian or southern origin of Bes, bes was regularly depicted with feline features.[2] Bes's Sub saharan features also indicate a Kushite or C group origin, as well as The late introduction into egypt during the middle kingdom,The feathered cown was also a common dress in ancient Kush that bes is commonly depicted with, It's also possible that the name Bes originated from one of two hieroglyphs: "bs", meaning "flame", possibly in connection to Re, and/or "bz", meaning "to be initiated" or "to introduce" possibly in reference to masks apparently used in the cult of the god.[2]

Bes is first mentioned in the Pyramid Texts, but seems to have been best known and most widely worshiped in the Middle Kingdom. Evidence of Bes worship in some capacity exists into Coptic Egypt, with the latest evidence being a jug depicting Bes found in Tell Edfu dating to the 10th century CE.[6]

Worship

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Egyptian composite capital with a Bes capital above it, in the Dendera Temple complex (Egypt)

Bes was a household protector, becoming responsible– throughout ancient Egyptian history– for such varied tasks as killing snakes, fighting off evil spirits, watching after children, and aiding women in labour by fighting off evil spirits, and thus present with Taweret at births.[7][8][9]

Images of the deity, quite different from those of the other gods, were kept in homes. Normally Egyptian gods were shown in profile, but instead Bes appeared in full face portrait, ithyphallic, and sometimes in a soldier's tunic, so as to appear ready to launch an attack on any approaching evil. He scared away demons from houses, so his statue was put up as a protector.[2] Since he drove off evil, Bes also came to symbolize the good things in life– music, dance, and sexual pleasure.[2] In the Middle Kingdom, Bes is depicted on a variety of objects, including masks, amulets, infant feeding bottles, and magic knives.[2] In the New Kingdom, tattoos of Bes could be found on the thighs of dancers, musicians and servant girls.[10]

Later, in the Ptolemaic period of Egyptian history, chambers were constructed at Saqqara, painted with images of Bes and his female counterpart Beset, thought by Egyptologists to have been for the purpose of curing fertility problems or general healing rituals.[9]

Like many Egyptian gods, the worship of Bes or Beset was exported overseas. While the female variant had been more popular in Minoan Crete, the male version would prove popular with the Phoenicians and the ancient Cypriots.[11]

At the end of the 6th century BC, images of Bes began to spread across the Achaemenid Empire, which Egypt belonged to at the time. Images of Bes have been found at the Persian capital of Susa, and as far away as central Asia. Over time, the image of Bes became more Persian in style, as he was depicted wearing Persian clothes and headdress.[5]

Iconography

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Figurines

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Modern scholars such as James Romano - Egyptologist and former Curator of Egyptian Art at the Brooklyn Museum - claim that in its earliest inception Bes was a representation of a lion rearing up on its hind legs.[12] After the Third Intermediate Period, Bes can be found on a variety of household objects including furniture, toiletries, infant feeding bottles, game pieces, and more beginning in the Middle Kingdom.[2][9]

Tattoos

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As mentioned above, Bes is also seen depicted in tattoos. Wall art from the 19th Dynasty found at the workman's village of Deir El-Medina depicts a tattoo of a dancing Bes on the thigh of a female musician playing her instrument.[2]

Jugs

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Pottery Jug Depicting Bes, 5th Century BCE

Jugs, vases, and other storage containers represent the majority of pottery containing Bes iconography. The depiction of an anthropomorphic head on jugs is a style predominately found in West Asian pottery, suggesting that there may be influence from the Syro-Palestinian region.[6] Further supporting the possibility of West Asian influence is tomb 1300 of the Mayana cemetery near Sedment dating from the Second Intermediate Period that contains both vases depicting Bes and five small faience jugs almost certainly of Palestinian origin. This, along with other objects likely of West Asian origin indicates that the occupant likely maintained contact with Palestine, and as such the West Asian style Bes jug may have been manufactured there.[6]

Painted storage jars depicting Bes have also been found in the site of Amarna dating to the late 18th Dynasty, in addition to a multitude of jars found in Deir el-Medina.[6] In addition to these jars as well as aforementioned depictions on bedroom paraphernalia, faience baby bottles have been found in el-Lisht, further showing Bes as a protector of children.[6]

Traces of Peganum harmala, and Nimphaea nouchali var. caerulea were identified in an Egyptian ritual Bes-vase, of the 2nd century BCE.[13]

[edit]
[edit]
  • Bes was sometimes depicted with blue skin
    Bes was sometimes depicted with blue skin
  • Amulet depicting the god Bes, blue Egyptian faience, between 1540 and 1076 BC, New Kingdom. Museo Egizio, Turin.
    Amulet depicting the god Bes, blue Egyptian faience, between 1540 and 1076 BC, New Kingdom. Museo Egizio, Turin.
  • Amulet of Bes; 1070–712 BC; faience; height: 3.7 cm; Metropolitan Museum of Art (New York City)
    Amulet of Bes; 1070–712 BC; faience; height: 3.7 cm; Metropolitan Museum of Art (New York City)
  • Bes and Beset; 664–332 BC; limestone; height: 31.7 cm, width: 22.5 cm; Louvre
    Bes and Beset; 664–332 BC; limestone; height: 31.7 cm, width: 22.5 cm; Louvre
  • Cypriot statuette of Bes; late 6th – early 5th century BC; limestone; overall: 14 × 8.3 × 7 cm; Metropolitan Museum of Art
    Cypriot statuette of Bes; late 6th – early 5th century BC; limestone; overall: 14 × 8.3 × 7 cm; Metropolitan Museum of Art
  • Statuette of Bes; 525 BC; bronze; Late Period, Dynasty 27 or later; overall: 8 × 3.5 × 2.2 cm; Cleveland Museum of Art (Cleveland, Ohio, USA)
    Statuette of Bes; 525 BC; bronze; Late Period, Dynasty 27 or later; overall: 8 × 3.5 × 2.2 cm; Cleveland Museum of Art (Cleveland, Ohio, USA)
  • Cosmetic container; 525–404 BC; faience; height: 9.2 cm, width: 4.4 cm; Metropolitan Museum of Art
    Cosmetic container; 525–404 BC; faience; height: 9.2 cm, width: 4.4 cm; Metropolitan Museum of Art
  • Stela of Bes; 4th century BC-1st century AD; painted limestone; height: 38.7 cm, width: 17.7 cm; Metropolitan Museum of Art
    Stela of Bes; 4th century BC-1st century AD; painted limestone; height: 38.7 cm, width: 17.7 cm; Metropolitan Museum of Art
  • Bell in the form of Bes; 332-30 BC; cupreous metal; height: 6.3 cm, diameter: 4.6 cm; Metropolitan Museum of Art
    Bell in the form of Bes; 332-30 BC; cupreous metal; height: 6.3 cm, diameter: 4.6 cm; Metropolitan Museum of Art
  • Fresco from the Temple of Isis in Pompeii depicting Bes, in the Naples National Archaeological Museum (Italy)
    Fresco from the Temple of Isis in Pompeii depicting Bes, in the Naples National Archaeological Museum (Italy)
  • Bes as depicted on a column capital from the Dendera Temple complex, Roman Period
    Bes as depicted on a column capital from the Dendera Temple complex, Roman Period
  • Bes depicted on a column at the temple of Esna
    Bes depicted on a column at the temple of Esna

Bibliography

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bes

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from Grokipedia
Bes was an ancient Egyptian revered as a protector of households, particularly safeguarding women during , infants, and children from malevolent forces such as snakes and demons. Depicted as a short, bandy-legged dwarf with leonine attributes—including a mane, ears, tail, and often a headdress—Bes was typically shown in a frontal pose with a , mask-like grimace or expressive face, emphasizing his dual role as a fierce and joyful companion. His combined dwarfish and animalistic features, such as a potbelly and pendulous breasts, symbolizing both apotropaic power and regenerative fertility tied to the . Emerging prominently in the New Kingdom around the BCE, with possible earlier roots in and influences from or Punt, Bes gained widespread popularity during the Late Period (circa 700 BCE) and persisted into Roman times, spanning nearly three millennia of veneration. Unlike major state gods with grand temples, Bes was primarily a , absent from formal temple cults but omnipresent in domestic worship among non-elite Egyptians, where his figurines were placed in wall niches, altars, or everyday objects like feeding bottles, makeup containers, and jewelry for ritual protection. He was frequently paired with the hippopotamus goddess in birth-related contexts, together invoking spells and amulets to ensure safe deliveries and ward off dangers during liminal moments like birth and sleep. Bes's multifaceted attributes extended beyond protection to include associations with , , and merriment, often portrayed wielding knives against , playing a , or dancing to bring joy and dispel fear in the home. Ancient Egyptians viewed individuals with , like Bes, as inherently magical, sometimes elevating them to high , which reinforced his role as a benevolent yet formidable guardian. His imagery appeared on cippi stelae for rituals, pilgrim flasks, and even extended beyond Egypt to , the , , and Roman military contexts, adapting as a symbol of apotropaic power in multicultural settings.

Etymology and Origins

Name Derivation

The name Bes is possibly derived from the ancient Egyptian word besa, a meaning "to protect" or "to guard," reflecting the deity's fundamental apotropaic function in warding off evil and safeguarding households, women in , and children. However, some scholars propose an alternative etymology linking it to a Nubian word besa or bes meaning "," which may relate to Bes's and feline attributes and suggest southern influences. This linguistic root underscores Bes's role as a benevolent yet fierce guardian, a consistent across his depictions from the Middle Kingdom onward. However, Bes functions more as a generic or collective term in Egyptian religious practice rather than a proper name for a single entity, emerging relatively late—likely during the New Kingdom—as a label for a class of similar dwarf-like protective figures, potentially encompassing up to ten distinct but related demons or deities. Earlier attestations of these figures, dating back to , employ different designations that highlight specific attributes; for instance, the prototype is often called Aha, translating to "," emphasizing martial prowess against chaotic forces. Additional epithets associated with Bes include Haty, Hity, or Hatiti, which may derive from terms denoting "the dancer," alluding to the lively, performative aspects of his , such as rhythmic gestures and musical accompaniment in protective rituals. The modern scholarly convention of using "Bes" as a unified name is thus a simplification, not reflective of the fluid, multifaceted in ancient Egyptian texts and .

Historical Introduction to Egypt

Ancient Egypt's history, spanning over three millennia from the unification under around 3100 BCE to the Roman conquest in 30 BCE, is characterized by periods of stability and innovation in religion, where deities evolved to address both cosmic order (ma'at) and personal concerns. The religion was polytheistic and animistic, with gods embodying natural forces, human experiences, and protection against chaos, often integrated into state cults and household practices. Early dynastic periods (, c. 2686–2181 BCE) focused on solar and funerary deities like and , as evidenced in that mention protective figures akin to Bes under names like Aha, "The Fighter," though without distinct . The Middle Kingdom (c. 2050–1710 BCE), following the instability of the First Intermediate Period, marked a shift toward personal piety and domestic religion, as non-elite Egyptians sought accessible protectors amid social upheavals and limited temple access. It was during this era that Bes began to emerge as a recognizable , with the earliest confirmed artistic representations appearing in Dynasty 13 (c. 1803–1649 BCE), such as a from the Walters Art Museum depicting him in a protective stance. Scholars debate Bes's origins, with some attributing him to indigenous Egyptian traditions linked to revered for magical qualities, while others propose influences from Nubian or Sudanese cultures due to his leonine and grotesque features, though non-Egyptian theories from have been largely refuted. By the New Kingdom (c. 1550–1070 BCE), a time of imperial expansion and cultural synthesis, Bes's cult flourished, becoming integral to as a guardian against evil, snakes, and perils of childbirth, with images adorning homes, amulets, and birthing rooms across . This period's prosperity and interactions with foreign lands, including , likely contributed to his widespread adoption, as seen in Deir el-Medina workers' villages where he symbolized familial protection. Bes's veneration persisted through the Late Period (c. 664–332 BCE) and into Ptolemaic and Roman times, adapting to syncretic influences while retaining his core role in popular religion, distinct from elite temple worship.

Role and Attributes

Protective Functions

Bes served as a prominent protective in , primarily averting evil influences and safeguarding vulnerable individuals in domestic settings. His role focused on warding off malevolent spirits, demons, and dangers associated with daily life, particularly emphasizing the security of households and the well-being of their inhabitants. This protective function emerged during the Middle Kingdom and gained widespread popularity from the New Kingdom through the Roman Period, reflecting his integration into everyday religious practices rather than formal temple worship. A central aspect of Bes's protective duties involved and maternal care, where he guarded women during labor and postpartum recovery, as well as infants from harm. Depictions of Bes appear on birth beds and in birth houses at sites like and , symbolizing his active intervention to repel evil spirits that could threaten and . Bes masks were used during deliveries in domestic settings to invoke his fearsome presence, which was believed to scare away demons through his features and brandished weapons, such as swords or snakes. Over 380 Bes vessels and numerous ivory magic wands from the Middle Kingdom further illustrate his use in rituals to protect against complications and venomous threats. In household contexts, Bes ensured safety during and routine activities, countering nightmares, illness, and perils. Amulets, figurines, and tattoos bearing his were common in bedrooms and on furniture, serving as apotropaic devices to maintain and repel chaos. His association with , particularly playing the , amplified this role by mimicking the joyful cries of baboons greeting the sun, thereby invoking solar renewal and scaring away nocturnal evils. Bes also extended protection to the broader cosmic order, acting as a guardian for the sun god Re against underworld enemies and symbolizing regeneration in solar cult contexts from the New Kingdom onward. Bes's protective efficacy was often enhanced through with other deities, such as , the hippopotamus goddess of childbirth, and , forming composite figures that amplified defenses for women and children. In funerary contexts, dwarf figures akin to Bes, as invoked in spells like the (Spell 164), shielded the deceased from similar threats, underscoring his versatile role across life stages. This multifaceted guardianship made Bes indispensable in personal piety, with his imagery permeating artifacts from the New Kingdom to the Late Period.

Associations and Family

Bes was primarily associated with , the hippopotamus goddess of and , forming a complementary pair in ancient Egyptian household religion. Together, they served as apotropaic deities protecting women during labor, warding off evil spirits, snakes, and demons to ensure safe delivery and family prosperity. This partnership is evident in domestic shrines, wall paintings, and amulets from the Middle Kingdom onward, where their images were placed side by side for ritual invocation. Bes also functioned as a guardian for the child (), shielding the vulnerable infant god from threats until puberty, a role that extended metaphorically to human children. In musical and celebratory contexts, Bes was linked to , the goddess of joy and music, and her son Ihy, where he performed dances and played instruments to appease Hathor's fiercer aspects during festivals, such as those at . These associations highlighted Bes's dual nature as both a fierce protector and a bringer of merriment. Bes had a female counterpart named Beset, who shared his leonine and dwarfish features and protective functions, often appearing in similar apotropaic roles alongside him in iconography and spells. Additionally, Bes shared iconographic and thematic ties with Ptah, the Memphite creator god, through the dwarf form known as Pataikos ("little Ptah"), which depicted Ptah in a stance akin to Bes's—crouched and snake-slaying—emphasizing regeneration, craftsmanship, and household defense. While not a direct familial relation, this overlap reflected Bes's integration into broader Memphite theology as a liminal, demonic guardian deity.

Iconography

Physical Appearance

Bes was typically depicted as a , grotesque figure embodying a fusion of and traits, characteristic of his role as a protective in ancient Egyptian . His body is portrayed with dwarfish proportions, featuring a large head, protruding belly, short bowed legs, and a stocky, muscular build that emphasized his earthy, fertility-associated nature. This squat form, often shown in a frontal pose unusual for Egyptian , allowed Bes to directly confront and ward off malevolent forces, as seen in figurines from the Middle Kingdom such as the Aha-Bes from Western Thebes, which measures approximately 6¾ inches tall and includes painted details like encircling snakes. The deity's facial features further accentuated his hybrid, apotropaic appearance, combining a mane, rounded ears, and tail with a wrinkled grimace, protruding , bushy beard, and long, unkempt hair that conveyed both ferocity and playfulness. In many representations, Bes exhibits a snarling or smiling expression with exaggerated elements like a prominent and large ears, evoking a sense of the to deter evil spirits; for instance, Late Period limestone stelai show him with a raised knife and assertive posture, highlighting his warrior-like vigilance. Occasionally, female variants or androgynous depictions include pendulous breasts, underscoring associations with nurturing and . Variations in attire and accessories reflected contextual roles, with Bes sometimes naked to symbolize and intimacy in domestic settings, or clad in a , leonine skin, or plumed crown for more formal . Artifacts like New Kingdom amulets and Ptolemaic-era bottles molded in his likeness often incorporated additional motifs, such as wings or udjat eyes, enhancing his magical potency, though the core physical form remained consistent across periods from the Middle Kingdom onward. This enduring visual schema, blending the grotesque and the guardian, distinguished Bes from more anthropomorphic Egyptian gods and popularized his image in everyday objects.

Symbolic Elements

In ancient Egyptian iconography, Bes is characterized by a distinctive frontal posture, which deviates from the typical profile views of deities and emphasizes his apotropaic role in directly confronting malevolent forces. This en face depiction, often with a protruding and bulging eyes, serves to intimidate and repel spirits, embodying a deliberate "ugly" aesthetic designed for protective efficacy rather than aesthetic beauty. Bes's leonine attributes, including a mane, rounded ears, tufted , and occasionally a skin, symbolize ferocity and predatory power, drawing on the lion's reputation as a guardian against threats to households and vulnerable individuals. These animalistic features combine with dwarfish proportions—a large head, potbelly, and short bowed legs—to create a , hybrid form that amplifies his role as a fierce yet approachable protector, particularly for women in and young children. The dwarfish elements also evoke and good fortune, contrasting the aggression to balance terror with benevolence. Commonly held objects in Bes's representations include snakes, knives, or swords, which signify his dominion over chaos and venomous dangers; grasping serpents, for instance, represents the subjugation of harmful creatures and diseases, while blades underscore his warrior-like defense against demons. Musical instruments such as tambourines, harps, or flutes highlight his association with joy, dance, and ritual music, linking him to deities like and promoting harmony in domestic life. A plumed or feathered crown on his head often denotes solar regeneration and possible Nubian origins, while accompanying motifs like lotuses or evoke rebirth and protection during life's transitions. In later Graeco-Roman periods, wings—sometimes doubled—appear on Bes figurines and amulets, symbolizing swift intervention and enhanced protective reach, often tied to solar cults and guardianship; these may incorporate foreign influences, such as gazelle heads suspended from the wings, to broaden his apotropaic scope against devils and the deceased's perils. Such elaborate symbols collectively reinforce Bes's liminal function, bridging birth, daily life, and death through a multifaceted centered on warding off harm and fostering prosperity.

Worship and Cult Practices

Centers and Geographical Spread

The worship of Bes in was predominantly domestic and apotropaic, lacking dedicated temples or formal priesthoods, which distinguished it from state-sponsored cults of major deities. Instead, his images appeared in household contexts across the Nile Valley, integrated into everyday protective practices rather than centralized ritual centers. Archaeological evidence indicates widespread distribution from onward, with early representations in and the period predynastic sites like Tell el-Farkha. By the Middle Kingdom, Bes figurines and amulets were common in domestic settings at sites such as el-Lisht, while New Kingdom examples proliferated in workers' villages like and the royal city of Akhetaten (). In the Late and Ptolemaic Periods, Bes's presence extended to temple complexes and specialized chambers, though still without exclusive cult sites. Reliefs and paintings of Bes adorn the walls of the temple at , associating him with , and incubation chambers dedicated to healing and childbirth—featuring his grotesque imagery—have been identified at . Further evidence comes from border regions, including the Eastern Delta site of Tell el-Ghaba in the , where Bes amulets suggest his role in protecting against foreign threats, and at , reflecting cultural exchanges. Even into Coptic times, his iconography persisted, as seen on a 10th-century from Tell . These finds underscore Bes's ubiquity in both elite and popular , from the Delta to . Beyond , Bes's cult spread through trade, military expansion, and , particularly from the New Kingdom into the Late Period and Hellenistic era. Phoenician traders adopted and disseminated his imagery across the Mediterranean, with artifacts appearing in and the , while Persian Achaemenid influences carried representations to sites like in modern . Roman adoption transformed Bes into a protector, with depictions in military contexts extending his reach throughout the empire, including as far west as the at , where Punic-Egyptian syncretic amulets have been excavated. This geographical expansion highlights Bes's adaptability as a guardian in diverse cultural milieus.

Rituals Involving Bes

Bes figurines and images were integral to household rituals in ancient Egypt, particularly from the Middle Kingdom onward, where they served as focal points for personal devotion in domestic shrines. These rituals typically involved placing small statues or reliefs of Bes in wall niches, on altars, or under beds to invoke his protective powers against evil spirits, snakes, and nightmares. Daily offerings of food, , or libations were presented to the , accompanied by prayers seeking and for the family, reflecting his role as a guardian of the home accessible to non-elites without temple mediation. Such practices emphasized an intimate, reciprocal relationship between worshippers and Bes, often integrated into everyday life rather than formal temple ceremonies. In rituals related to and , Bes was frequently invoked alongside to ensure safe delivery and . During labor, a Bes might be placed near the woman as part of magical spells to ward off dangers, with Bes invoked for in ancient Egyptian rituals. These ceremonies, conducted in the home, involved amulets or images of Bes to avert supernatural threats, underscoring his apotropaic function in women's and children's lives. Bes's association with joy and merriment extended to these rites, where music and dance were performed to maintain positive energies and repel malevolent forces, as depicted in domestic wall paintings from sites like . Ptolemaic and Roman-era rituals involving Bes often centered on Bes vases—ceramic vessels bearing his effigy—used to hold complex concoctions for oracular and healing purposes. Chemical analysis of a 2nd-century BCE Bes vase from the Tampa Museum of Art revealed residues of psychoactive plants like (containing and for inducing visions) and caerulea (with narcotic alkaloids), mixed with , , fermented fruits, , and , suggesting a ritual brew reenacting the Myth of the Solar Eye where Bes pacifies the goddess with a drugged beverage. These vessels facilitated incubation rituals in dedicated "Bes Chambers" at sites like , where participants consumed the mixture to enter trance-like states for prophetic dreams and divine communication, as attested in ancient and historical accounts. Such practices highlight Bes's evolving role in esoteric and , blending protection with mystical insight across social strata.

Artifacts and Representations

Amulets, Figurines, and Tattoos

Amulets depicting Bes were among the most common protective artifacts in , crafted primarily from and designed to safeguard households, particularly women during and children from malevolent forces. These small pendants or charms typically portrayed Bes as a squat, dwarf-like figure with leonine ears, mane, and tail, often wearing a plumed headdress and holding symbolic items such as knives or the sa-sign for . Dating to the Third Intermediate Period (ca. 1070–712 B.C.), such amulets were worn as jewelry or placed in homes and tombs to invoke Bes's apotropaic powers against illness, , and evil spirits. Scholarly analysis highlights their role in personal piety, with materials like glazed chosen for their durability and vibrant colors to enhance magical efficacy. Figurines of Bes served as household guardians, frequently positioned at entrances, bedposts, or near birthing areas to ward off nightmares, pests, and supernatural threats. Made from materials including , terracotta, , and , these statuettes ranged from a few centimeters to larger decorative pieces, often showing Bes in dynamic poses—dancing, playing music, or brandishing weapons—to emphasize his dual fierce and joyful nature. Popular from the Late Period (ca. 715–332 B.C.) through the Roman era, they were integral to domestic practices, sometimes paired with vessels like feeding bottles for infants or cippi stelae inscribed with spells for added protection. Archaeological evidence from sites like reveals their widespread use in workers' villages, underscoring Bes's accessibility as a non-elite . Tattoos of Bes represent a personal form of devotion and protection, primarily among women, with iconographic and physical evidence attesting to their application on the body during the New Kingdom. Scholar Ludwig Keimer identified five examples of Bes tattoos on the thighs of women, several from , depicted in tomb paintings and on wooden bed figurines showing female musicians or dancers. These tattoos, created using pinpricks with natural inks, likely served prophylactic purposes, invoking Bes's guardianship during , sleep, and daily life against demonic influences. By the New Kingdom, such figural tattoos evolved from earlier geometric patterns, blending Egyptian and Nubian traditions, as seen in a stylized Bes motif on a Nubian from Aksha. This practice empowered women in ritual roles, possibly as healers or performers, embedding divine protection directly into the skin.

Vessels and Household Items

Bes, the ancient Egyptian protective , was frequently represented on vessels and various household items to invoke his apotropaic powers in domestic settings. Ceramic vessels known as Bes vases, often mold-formed and featuring the god's grotesque face or full effigy in relief, were produced from the New Kingdom (c. 1550–1070 BCE) onward, with peak popularity during the Late Period (664–332 BCE) and Ptolemaic era (332–30 BCE). These vases, typically small (around 4–20 cm in height) and made of fine clay, served practical functions such as holding liquids, including possibly fermented beverages, products, or medicinal concoctions, while their decorative elements emphasized Bes's role in , during , and warding off . Residue analyses from examples like a Ptolemaic Bes vase have revealed traces of psychotropic plants (e.g., and caerulea), alcohol, and even human saliva, suggesting ritual or household uses tied to healing, oracular dreams, or psychoactive rituals. Such vessels have been recovered from residential contexts across , underscoring their integration into everyday life rather than solely elite or temple environments. Beyond vases, Bes images adorned other pottery forms, including wheel-thrown jars with handles and cylindrical necks, where his visage provided ongoing protection for stored goods or beverages in the home. For instance, a New Kingdom Bes jar from clay, featuring the deity's characteristic leonine features and protruding tongue, exemplifies how such items blended utility with symbolism to safeguard household provisions. In broader household applications, Bes motifs appeared on cosmetic containers and ointment jars, linking the god to , , and women's daily routines. Household furniture and personal items also bore Bes carvings to ensure protection during rest and daily activities. Wooden headrests (weres), used as elevated supports for the head during sleep, often featured engravings of Bes's face on the curved top or stem from the New Kingdom (c. 1550–1070 BCE) onward, invoking his guardianship against nightmares and spirits in the vulnerable state of slumber; headrests themselves date back to (c. 2686–2181 BCE) but those with Bes proliferated in later periods. Similarly, legs and supports were sculpted in the form of Bes figures, as seen in New Kingdom examples where the deity's squat, muscular body formed sturdy, protective bases for furniture, symbolizing stability and warding off harm in sleeping quarters. mirrors, essential for applying cosmetics, commonly had handles or backs decorated with Bes alongside , combining themes of beauty and divine safeguarding; these were widespread from the New Kingdom through the Ptolemaic Period. Such representations on intimate household objects highlight Bes's role as a ubiquitous domestic guardian, extending his influence from elite tombs to ordinary homes.

Legacy

Influence in Other Cultures

The worship of Bes extended beyond ancient Egypt through trade networks, cultural exchanges, and conquests, particularly during the first millennium BCE, influencing Mediterranean, Near Eastern, and North African societies. In the Phoenician world, Bes was enthusiastically adopted as a protective deity associated with fertility, music, and household safeguarding, with artisans producing amulets, figurines, and decorative items featuring his distinctive leonine, dwarfish form. This adoption is evident in Carthaginian contexts, where Bes was venerated alongside other Egyptian gods like Isis and Osiris, reflecting broader Egyptian religious penetration into Punic culture via maritime trade. A notable example is the Phoenician naming of Ibiza (Ybshm or Iboshim, meaning "Island of Bes"), where his image appeared on coins minted between 350 and 200 BCE, often depicted wielding a snake and mace, symbolizing protection and ritual power. In the Greek sphere, Bes's iconography appeared in eastern regions like and during the 7th and 6th centuries BCE, primarily through Egyptian imports and local imitations in sanctuaries and tombs, influencing popular religious beliefs centered on fertility and apotropaic (evil-averting) rituals. Terracotta figurines and amulets of Bes, often linked to and Kore cults, contributed to the development of local "fat-bellied demons" in art, blending Egyptian motifs with indigenous daemon figures and satyrs, such as similarities to Pan's bearded, cloven-hoofed appearance. This is documented in archaeological finds from Ialysos on , where Bes representations integrated into Greek votive practices, highlighting his role in cross-cultural household protection. Roman adoption of Bes was widespread across the , with his image adapted to local tastes, including depictions as a legionnaire in military attire on terracotta figures, underscoring his protective function in domestic and martial contexts. Artifacts like flasks and amulets bearing Bes spread via trade to sites in , the , and even , demonstrating his appeal as a "companion" deity in everyday life. In the Achaemenid Persian Empire (c. 550–330 BCE), Bes's imagery underwent "Iranianization," appearing on jewelry, seals, and vessels in a frontal, hirsute dwarf form that resonated with local protective deities, as seen in artifacts from Egyptian-influenced workshops in . Nubian cultures also incorporated Bes, with bead strings featuring his head found in burials at , indicating his role in funerary and protective rites south of . Bes's legacy persisted into later periods, subtly shaping through his grotesque, hybrid features—such as cloven feet, tails, and leonine traits—which influenced medieval depictions of the in mosaics like those in Florence's (c. 1280 CE) and Torcello Cathedral's (Byzantine era). This indirect influence underscores Bes's enduring cross-cultural impact as a symbol of both benevolence and the uncanny. In , Bes features prominently as a recurring character in Rick Riordan's series (2010–2012), where he is depicted as a loyal, humorous dwarf who protects the young protagonists Carter and Sadie Kane from threats, drawing on his traditional role as a household guardian while adapting him to a modern setting. In comic books, Bes appears as a member of Marvel Comics' Ennead, the collective of Egyptian gods in the Earth-616 universe, portrayed as the god of luck and probability with the ability to manipulate chance in battles against cosmic threats. Within tabletop role-playing games, Bes is included in the Egyptian pantheon of Dungeons & Dragons as a chaotic neutral deity of luck, music, and protection, often invoked by characters seeking fortune or safeguarding against misfortune in campaigns inspired by ancient mythologies. Bes also serves as a boss enemy in the multiplayer video game (2011), appearing in the Egyptian-themed "Tomb of the Ancients" dungeon alongside other deities like Nut and , embodying his fierce protective traits in a pixelated, action-oriented context. Additionally, Bes's iconic grotesque, leonine visage has influenced modern representations of the Christian in popular media, with his snarling features, protruding tongue, and hybrid form echoed in illustrations, films, and cartoons depicting as a mischievous or terrifying figure.

References

  1. https://www.ashmolean.org/article/bes-ancient-egyptian-god-fighter-dancer-companion
  2. https://www.britishmuseum.org/learn/schools/ages-7-11/ancient-egypt/ancient-egyptian-gods-and-goddesses
  3. https://mars.gmu.edu/bitstreams/1dfc29a4-1fe7-480b-ab04-5c3c76292df4/download
  4. https://www.academia.edu/82119023/The_god_Bes_at_Tell_El_Ghaba_a_site_in_the_ancient_egyptian_eastern_border
  5. https://jaauth.journals.ekb.eg/article_48140_319a43394276bcbf483cae15ae2b2503.pdf
  6. https://www.worldhistory.org/Bes/
  7. https://henadology.wordpress.com/theology/netjeru/bes/
  8. https://ancientegyptonline.co.uk/bes/
  9. https://www.[academia.edu](/page/Academia.edu)/38930604/Proto_Slavic_b%C4%9Bs%C5%AD_devil_Egyptian_god_Bes_vs_an_Indo_European_root
  10. https://thecuriousegyptologist.com/2022/03/14/bes-the-tambourine-shaking-snake-strangling-protector-of-children/
  11. https://www.academia.edu/122369749/Bes_Reimagined_An_Egyptian_Deity_in_the_Achaemenid_Empire
  12. https://jaauth.journals.ekb.eg/article_192787_5823b123eb7dfa41a34691c8a324b24a.pdf
  13. https://media.glyptoteket.dk/rails/active_storage/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBBajAzIiwiZXhwIjpudWxsLCJwdXIiOiJibG9iX2lkIn19--e245a97138a115cab0dbc836de6cfe2bebcf6748/Bes_ENG.pdf?disposition=attachment
  14. https://www.academia.edu/40086483/The_Protective_Role_of_Bes_image_for_Women_and_Children_in_Ancient_Egypt
  15. https://pubmed.ncbi.nlm.nih.gov/16380966/
  16. https://www.ngv.vic.gov.au/essay/pataikos-slayer-of-snakes/
  17. https://www.mdpi.com/2076-0752/9/2/51
  18. https://www.researchgate.net/publication/337832538_THE_ICONOGRAPHY_AND_FUNCTION_OF_WINGED_GODS_IN_EGYPT_DURING_THE_GRAECO-ROMAN_PERIOD
  19. https://escholarship.org/uc/item/7s07628w
  20. https://www.nature.com/articles/s41598-024-78721-8
  21. https://www.metmuseum.org/art/collection/search/548301
  22. https://asia-archive.si.edu/object/F1907.386
  23. https://journals.openedition.org/bifao/296?lang=en
  24. https://www.liverpoolmuseums.org.uk/artifact/bes-jar-3
  25. https://www.mfab.hu/artworks/18850/
  26. https://learn.ncartmuseum.org/artwork/headrest/
  27. https://www.bbc.com/culture/article/20130619-how-the-devil-got-his-looks
  28. https://sebastianpanatt.substack.com/p/the-gods-of-carthage
  29. https://www.ibizahistoryculture.com/articles/the-story-of-bes-part-two
  30. https://www.academia.edu/43418487/Representations_of_the_demon_god_Bes_in_East_Greece_Samos_Rhodes_during_the_7th_and_6th_centuries_BC_and_their_influence_on_popular_religious_beliefs_Bes_and_the_fat_bellied_demons
  31. https://rickriordan.com/character/bes/
  32. https://www.marvel.com/teams-and-groups/ennead-heliopolitans
  33. https://forgottenrealms.fandom.com/wiki/Bes
  34. https://www.realmeye.com/wiki/bes
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