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Hemhem crown
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| Hemhem | |
|---|---|
 The hemhem crown, based on depictions from antiquity | |
| Details | |
| Country | Ancient Egypt, Nubia, Ancient Persia |
Hemhem crown was an ancient Egyptian ceremonial headgear. The hemhem crown consisted of three atefs (which may be called a triple atef[2]), two uraei, two ram's horns, and three to six solar disks. The first appearance of the hemhem crown is during the reign of Akhenaten in the 14th century BC, appearing as an alternative to the atef crown, and it underwent development between the 18th and 21st dynasties. Gods like Heka,[3] Isis,[4] and Osiris also appeared with the hemhem crown, and during the Greco-Roman period, solar deities were also depicted wearing it in some temples.[5]
Later the hemhem crown was shown on the images of non-Egyptian rulers, such as Nubians Natakamani, Arnekhamani or Silko of Nobadia.[6] A bas-relief at Pasargadae depicting a "Winged Figure" or "Winged Genius" with the hemhem crown indicates the proliferation of Egyptian paraphernalia.[2] This evidence indicates that the hemhem crown had passed into Iranian iconography, likely through an intermediary as opposed to directly from Egyptian sources, this being usually identified as North Syrian or Phoenician art[7] where it was commonly associated with divine beings.[8]
Etymology
[edit]The Egyptian word "hemhem" means "to shout", "cry out", possibly indicating that the hemhem crown represented a battle horn or war cry,[6] although it was also donned on festive occasions.[9]
History
[edit]The hemhem crown was first seen in the 18th Dynasty, and was worn during significant ceremonies. The symbolic interpretation behind this crown was to boast the power of the Pharaoh.[10] An early appearance of the hemhem crown was during the reign of Akhenaten as seen in a relief from his tomb at Amarna.[3] Tutankhamun was depicted wearing the hemhem crown on the inlay of a throne found in his tomb.[10] This crown was often depicted on kings during the Ptolemaic Dynasty.[11]
The crown was eventually transplanted into Syrian and Iran contexts, where it underwent further adaptations in light of the political needs of the time.[12] The Pasargadae figure depicted with the hemhem crown has been variously associated with many figures. In the past, it was more common to identify the figure with Cyrus the Great[13] but more recent work indicates that this is not the case[7][14] with identifications opting instead towards a god like Mithra[12] or something between a man and a god.[7][14] The depiction itself indicates the proliferation of Egyptian paraphernalia.[2]
Features
[edit]
The crown is set on top of a pair of long spiral ram's horns, and it is commonly seen with a cobra on either side of the crown.[15] It was created with reeds and ostrich feathers, along with feathers from many other birds. The hemhem was the Triple Rush Crown, and was worn tilted towards the back of the head – contrary to how crowns are normally worn.[3]
Another type of hemhem crown has three falcon birds in place of the three sun disks. This type of crown signifies the reign over Lower Egypt; the combination of the sun disks and the falcon shows the power over Lower Egypt along with Upper Egypt. The hemhem crowns occur more frequently from the time of Ptolemy VI onwards. The symbols on the crown, such as reeds and uraeuses signify a later time period. The more intricate the carvings on the crown, the later the time period of the crown. Falcons and horn imagery are not part of the early Ptolemaic period and are rarely depicted in hieroglyphs during that time period. Many other features of the crown, such as feathers from different animals, are all found in different time periods. Each feather added on the hemhem crown has significance to its time period. The form of the crown was constantly changing according to the time period; different items would be added on or taken off, or the shape of the crown would change. The crown was often depicted along with the nemes – the striped headcloth – and just as each time period had its significance, so did the collaboration of the nemes and the hemhem crown.[16]
Gallery
[edit]-
Modern depiction of a pharaoh wearing a Nemes with a Hemhem crown on top -
a relief of Mandulis, a god depicted with a hemhem crown -
a status of a god wearing a hemhem crown, possibly Harpocrates -
a relief from the temple of Kalabsha, the center right god is wearing a hemhem -
See also
[edit]References
[edit]- ^ Stronach & Gopnik 2009.
- ^ a b c Goebs 2013.
- ^ a b c (June, 2014) Crowns of Egypt. Land of Pyramids.Retrieved on 10/08/2014. From http://www.landofpyramids.org/crown-of-egypt.htm
- ^ Azzopardi 2023, p. 72–73.
- ^ Ismail 2019, p. 49–51.
- ^ a b Lobban 2003, p. 364.
- ^ a b c Sekunda 2010, p. 268–271.
- ^ Boyce 2015, p. 60.
- ^ Vassilika 1989, p. 90.
- ^ a b (n.d.) The Hemhem Crown. Arty Factory. Retrieved on 10/08/2014. from http://www.artyfactory.com/egyptian_art/egyptian_crowns/hemhem_crown.htm Archived 2017-08-10 at the Wayback Machine
- ^ Reshafim, K. (n.d.) Divine and Royal headdresses and Crowns. Pharaonic Egypt. Retrieved on 10/08/2014. From http://www.reshafim.org.il/ad/egypt/crowns/ Archived 2018-07-01 at the Wayback Machine
- ^ a b Soudavar 2012, p. 49–52.
- ^ Curzon 2018, p. 75.
- ^ a b Stronach 2010, p. 6–9.
- ^ (n.d.)Ancient Egyptian Crowns/Headdresses. Architecture Around the World. Retrieved on 10/08/2014. From http://buffaloah.com/a/archsty/egypt/crowns/crowns.html
- ^ Vassilika 1989.
Sources
[edit]- Azzopardi, George (2023). The Roman Municipia of Malta and Gozo: The Epigraphic Evidence. Archaeopress Publishing Limited. ISBN 978-1-80327-615-1.
- Boyce, Mary (2015). A History of Zoroastrianism, Zoroastrianism Under the Achaemenians: Volume 2. Brill. ISBN 978-90-04-29390-8.
- Curzon, George Nathaniel (2018) [1892]. Persia and the Persian Question, Volume 2. Cambridge University Press. ISBN 978-1-108-08085-9.
- Goebs, Katja (2013). "Crowns, Egyptian". In Bagnall, Roger S.; Brodersen, Kai; Champion, Craig B.; Erskine, Andrew (eds.). The Encyclopedia of Ancient History. Wiley.
- Ismail, Fatma Talaat (2019). Cult and Ritual in Persian Period Egypt: An Analysis of the Decoration of the Cult Chapels of the Temple of Hibis at Kharga Oasis. Yale Egyptology. ISBN 978-1-950343-11-9.
- Lobban, Christian A. (2003). Historical Dictionary of Ancient and Medieval Nubia. Scarecrow Press. ISBN 978-0-8108-6578-5.
- Sekunda, N.V. (2010). "Changes in Achaemenid Royal Dress". In Curtis, John; Simpson, John (eds.). The World of Achaemenid Persia: History, Art and Society in Iran and the Ancient Near East. I.B. Tauris. pp. 255–272. ISBN 978-0-85771-801-3.
- Soudavar, Abolala (2012). "Astyages, Cyrus and Zoroaster: Solving a Historical Dilemma". Iran. 50 (1): 45–78. doi:10.1080/05786967.2012.11834712.
- Stronach, David; Gopnik, Hilary (2009). "PASARGADAE". Encyclopedia Iranica.
- Stronach, David (2010). "Solomon at Pasargadae: Some New Perspectives". Bulletin of the Asia Institute. 24: 1–14. JSTOR 43896116.
- Vassilika, Eleni (1989). Ptolemaic Philae. Peeters Publishers. ISBN 978-90-6831-200-3.
Further reading
[edit]- David Stronach, Pasargadae: A Report on the Excavations Conducted by the British Institute of Persian Studies from 1961 to 1963: Volume 1, 1978.
- Sandra Collier, The Crowns of Pharaoh: Their Development and Significance in Ancient Egyptian Kingship, 1996.
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Hemhem crown
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Terminology
Etymology
The term "hemhem" derives from the ancient Egyptian word ḥmḥm (often vocalized as hemhem), which signifies "to shout," "cry out," "roar," or "scream," including connotations of a war cry or the sound of thunder.[7] This linguistic root is attested as early as the Middle Kingdom, with references in verbal forms denoting loud exclamations or roars, as documented in hieroglyphic vocabularies.[7] In the context of Egyptian texts, "hemhem" frequently evokes auditory symbols of power, such as triumphant shouts in battle or ritual proclamations, linking it to divine authority and protective forces that "cry out" against chaos.[5] This establishes an auditory-symbolic connotation for the crown, interpreted by scholars as representing a battle horn or war cry that proclaims royal or divine dominance. Such usages appear in ritual and mythological descriptions, where the term underscores invocation of gods or celebration of victory, aligning with broader themes of sonic proclamation in pharaonic iconography.[5] The term's application to the crown evolved in hieroglyphic inscriptions beginning in the 18th Dynasty, coinciding with its ceremonial adoption, and persisted through later periods in temple reliefs and royal depictions, often written with determinatives evoking sound or headgear.[5][7] This development reflects the word's adaptation from a general verbal root to a specific nominal designation for elaborate headgear, emphasizing its role in evoking triumphant or invocatory cries. The triple atef structure serves as a visual embodiment of this shouting motif in representational art.[5]Variants and Designations
In Egyptological literature, the Hemhem crown is designated as a type of triple Atef crown, featuring ram's horns supporting three bundles of papyrus or reeds surmounted by solar disks, flanked by ostrich feathers, distinguishing it from the single Atef crown associated with Osiris or other variants seen in certain divine representations.[5][8] This nomenclature emphasizes its elaborate, multi-tiered structure as an evolution of the Atef, primarily worn in ceremonial contexts by deities like Heka and Horus, as well as pharaohs during the New Kingdom and later periods.[5] The term "Hemhem" derives from the ancient Egyptian phonetic transliteration ḥmḥm, rendered in hieroglyphs as a repetition of signs denoting a reed leaf or similar element, reflecting its formal designation in temple inscriptions and royal iconography.[9] Modern scholarly references often employ variants such as "hem-hem" or simply "triple Atef," with occasional descriptions as a "hemhem tiara" to highlight its ornate, crown-like form in artistic depictions.[10]Historical Development
Origins in the New Kingdom
No evidence supports the hemhem crown's appearance in the New Kingdom. The crown originated in the Late Period (c. 664–332 BCE), with early examples including bronze headdresses from sites like Thonis-Heracleion, dating to the end of the 5th to beginning of the 4th century BCE. These artifacts, often attached to statues of child deities such as Harpocrates, feature the characteristic ram's horns, papyrus bundles, solar disks, and uraei, emphasizing solar and protective symbolism.[1][2]Usage in Later Egyptian Periods
The hemhem crown gained prominence in the Late Period and continued into the Ptolemaic era (332–30 BCE), appearing in temple reliefs, bronze sculptures, and votive figures. It was associated with youthful deities and used to legitimize rulers. On the coffin of the priest Nespahertahat from Thebes (21st Dynasty, though earlier uses are debated), a central scarab deity is depicted wearing the hemhem crown, but confirmed widespread adoption occurred later in elite and funerary contexts.[11] Child deities such as Harpokrates were portrayed wearing the hemhem crown with the nemes in votive statuettes from this period onward.[2] In the Ptolemaic era, the hemhem crown was adopted by rulers to embody Hellenistic-Egyptian syncretism, particularly in temple iconography. Ptolemy XII Auletes (r. 80–58 BCE) is shown wearing the hemhem crown in reliefs at the Temple of Kom Ombo, receiving symbols of life from deities and underscoring his legitimacy as pharaoh.[12] This usage affirmed the Ptolemaic dynasty's divine mandate, adapting the crown as a marker of solar authority in multicultural contexts.[13] The crown's role extended into Greco-Roman temple rituals, worn by pharaohs—including Ptolemaic rulers and Roman emperors—in ceremonies reinforcing divine kingship and solar renewal. At temples like Kom Ombo, dedicated to Sobek and Haroeris, it symbolized the pharaoh's mediation between gods and cosmos, ensuring order through offerings and processions evoking rebirth and protection.[14] This application linked the ruler to deities like Ra and Osiris, highlighting the crown's significance in affirming sovereignty amid cultural transitions.Influence in Neighboring Cultures
The hemhem crown spread to the Nubian kingdoms through Egyptian trade and conquests, particularly during the Late Period and 25th Dynasty, integrating into Meroitic royal iconography.[15] In the Meroitic period, temple reliefs depict kings wearing adapted versions, symbolizing divine kingship. Arnekhamani (c. 235–218 BCE), an early adopter, is shown with the hemhem crown—featuring uraei with was-signs—before Apedemak's shrine in the Lion Temple at Musawwarat es-Sufra.[16] Natakamani (c. 1st century CE) appears with a variant including a trapeziform base and winged sun disk in reliefs from the Lion Temple and Amun Temple at Naga, affirming royal authority in Nubian sacred spaces.[17] The hemhem crown influenced Near Eastern art, appearing on winged figures at Pasargadae in Achaemenid Persia (6th century BCE), transmitted via Levantine intermediaries before the Persian conquest of Egypt.[18] At Gate R, a four-winged male figure wears the triple atef form, blending Egyptian symbolism with Persian motifs for protection and order.[19] This reflects Achaemenid acculturation of Egyptian iconography for imperial legitimacy.[18] In later Nubia, the hemhem crown's legacy persisted into the Christian era, adapted under rulers like King Silko (c. 6th century CE), whose Kalabsha inscription integrates pharaonic imagery with Christian motifs.[20] Silver crowns from Ballana necropolis (5th–6th century CE) incorporate hemhem-like features—ram's horns and solar disks—alongside Byzantine influences, evidencing evolution in post-Meroitic Nubian Christian contexts.[21] These artifacts underscore the crown's role in expressing kingship continuity amid religious change.[22]Physical Characteristics
Components and Structure
The Hemhem crown is fundamentally structured as a triple Atef crown, comprising three vertical bundles of papyrus or reeds surmounted by solar disks and mounted upon a pair of curving ram's horns that form the foundational base, flanked by ostrich feathers.[1][23] This elaborate configuration elevates the Atef's characteristic ostrich feather elements—typically a pair flanking the white crown of Upper Egypt—into a form with three papyrus or reed bundles, creating a towering, symmetrical headdress that emphasizes verticality and multiplicity.[24] Flanking the central structure are two uraei, or rearing cobras, positioned on either side of the ram's horns, which serve to frame and protect the bundles.[23][25] Often, solar disks are incorporated atop each of the three bundles, resulting in three primary disks, though variants may include additional disks at the bases or on the uraei themselves, totaling up to six for enhanced solar emphasis.[24][1] In some variants, particularly from the Late Period onward, the crown's design incorporates elements such as falcon heads emerging from the structure, while retaining the core papyrus or reed bundles flanked by ostrich feathers, forming a more composite form that integrates avian and vegetal motifs.[25][1] These adaptations maintain the overall profile of the bundles, evoking a dynamic, protective enclosure. The crown is frequently depicted in conjunction with the nemes headdress, a striped cloth worn beneath it to secure the elaborate upper elements.[14] Preserved examples typically measure 15–25 cm in height.[1][2]Materials and Construction
The hemhem crown utilized a mix of organic and metallic materials to achieve its elaborate, multi-tiered form. The structural frame, particularly in preserved examples from statues and ceremonial artifacts, was typically crafted from bronze, providing durability and a luminous appearance through gilding techniques.[1][2] Papyrus or reed bundles formed the prominent vertical elements of the triple atef design, flanked by ostrich feathers attached to the frame; these were represented as stylized elements in artistic reliefs, with real materials in physical constructions.[26] The base of the crown incorporated bundles of reeds or papyrus stalks, which served as the foundational supports for the bundles and other components.[5] In more elaborate ceremonial variants, these reed or papyrus bundles were reinforced with linen wrappings to maintain shape and stability during use. Construction involved soldering to join metal parts like the ram horns, solar disks, and uraei, while feathers were secured through weaving or lashing techniques. Such methods are evident in surviving Ptolemaic replicas, including bronze statuettes where the crown's elements were cast and assembled using lost-wax processes.[27]Symbolism and Associations
Symbolic Interpretations
The Hemhem crown's design encoded profound symbolic meanings rooted in ancient Egyptian cosmology, emphasizing the pharaoh's divine power and cosmic order. Its components, including ram horns, solar disks, and uraei, collectively represented the monarch's triumph over chaos and role as a mediator between earthly and divine realms. These elements drew from established iconographic traditions, where each motif conveyed layered significances of vitality, protection, and renewal without direct ties to specific historical contexts.[28] The ram horns encircling the base of the Hemhem crown symbolized strength and fertility, evoking the enduring power to overcome disorder and ensure prosperity. In Egyptian iconography, ram horns were associated with virility and abundance, qualities essential for the ruler's ability to maintain cosmic balance and propagate life across the land. This motif underscored the crown's role in portraying the pharaoh as a forceful entity capable of subduing chaos, much like the natural resilience of the ram in arid environments. The etymology of "hemhem," meaning "to shout" or "cry out," reinforced this triumphant symbolism, suggesting a vocal assertion of dominance.[29][28][5] The solar disks adorning the crown's tiers represented dominion and eternal renewal, capturing the sun's cyclical journey as a metaphor for unending vitality and order. Positioned in multiples—often three atop the Atef-like structures—these disks denoted the multiplicity of divine aspects, such as the sun's triumph over nocturnal darkness, thereby amplifying the pharaoh's authority as a steward of ma'at (cosmic harmony). This layered arrangement highlighted the crown's evocation of regenerative forces, positioning the wearer as an embodiment of celestial perpetuity.[30][31] The flanking uraei, depicted as rearing cobras, served as emblems of protection against adversaries, embodying the pharaoh's unyielding royal authority and function as unifier of Upper and Lower Egypt. These serpents signified sovereignty and divine safeguarding, with their dual placement evoking the harmony of the Two Lands under a single ruler. By spitting fire to repel threats, the uraei reinforced the crown's protective aura, ensuring the monarch's legitimacy and the realm's stability.[32][33][34]Linked Deities and Concepts
The Hemhem crown held primary associations with solar deities such as Ra, often depicted in representations of the solar child emerging from a lotus, symbolizing the daily rebirth of the sun and renewal of kingship.[5] This connection underscored themes of resurrection, particularly through its links to Osiris, the god of the underworld and regeneration, where the crown's elaborate structure evoked the triumph over death and the cyclical renewal of divine order.[5] Artifacts, such as a magical gem from the Roman period, portray Osiris as a bandaged mummy wearing the Hemhem crown while holding a scepter, reinforcing its role in contexts of eternal life and pharaonic legitimacy.[35] In the Late Period and extending into the Ptolemaic era, the crown appeared in temple iconography linked to Heka, the deity embodying magical power and protection.[5] These associations highlighted the crown's function in rituals for safeguarding the pharaoh and invoking restorative forces, as seen in depictions of Heka as a child god donning the Hemhem crown alongside symbols of authority like the crook, flail, and ankh.[36] Such imagery in Late Period temples emphasized healing and protective magic, aligning the wearer's vitality with divine intervention against chaos.[37] Conceptually, the Hemhem crown tied into the ideology of divine kingship, affirming the pharaoh's semi-divine status as a mediator between gods and humanity while upholding ma'at, the principle of cosmic harmony and justice.[5] Child god figures, often identified with Horus or Harpocrates (son of Osiris and Isis), wore the crown in royal contexts, linking it to the heir's prospective rule and the perpetuation of ordered kingship.[2] The solar disks integrated into the crown's design further symbolized this equilibrium, representing the sun's life-giving order essential to pharaonic renewal.[2]Representations and Legacy
Depictions in Art and Iconography
The hemhem crown appears in temple wall reliefs at major Theban sites such as Karnak, where it adorns deities like Amun in scenes involving pharaohs such as Ramesses II and Sety I during ritual offerings to gods like Amun-Re, Mut, and Khonsu.[38][39] In these scenes, the crown is often integrated with elements like ostrich feathers, uraei, and solar disks, painted in blues, greens, and golds to emphasize its solar and regenerative symbolism.[38] The reliefs, originally carved in raised style and later adapted to sunk relief under Ramesses II, feature the headdress in ceremonial contexts that underscore the pharaoh's divine authority.[38] In Greco-Roman period representations, the hemhem crown appears in stylized forms on portraits and statues, blending Egyptian motifs with Hellenistic influences to assert cultural continuity and divine legitimacy for rulers and elites.[40] These depictions portray the crown on deities or deified figures, with elongated plumes and radiant elements amplifying its association with rebirth and cosmic power in a syncretic religious landscape.[41] Iconographic conventions for the hemhem crown emphasize side-view profiles that prominently display the flanking uraei and ostrich feathers, ensuring visibility of protective and solar attributes in two-dimensional art across media.[1] Such shifts reflect broader artistic adaptations to political and religious changes, maintaining the crown's role in signifying pharaonic and divine renewal.[41]Notable Artifacts and Examples
One of the earliest known depictions of the hemhem crown is on the inlay of a throne from the tomb of Tutankhamun (KV62, c. 1323 BCE) in the Valley of the Kings, showing the king wearing it. This demonstrates the hemhem's role in New Kingdom royal iconography, among the over 5,000 objects recovered. A key Ptolemaic instance appears in the relief of Ptolemy XII Auletes at the Temple of Kom Ombo (c. 1st century BCE), portraying the king with a detailed hemhem crown incorporating falcon motifs on either side. Carved in the temple's sandstone walls during his reign (80–51 BCE), this depiction integrates the crown with uraei and solar disks, illustrating the dynasty's use of traditional Egyptian regalia to assert legitimacy amid Greco-Roman influences.[12] Nubian adaptations of the hemhem crown are evident in the temple complex at Naqa, particularly in reliefs associated with Queen Amanitore's era (c. 1st century CE). Excavations at the Lion Temple (Temple 1200) uncovered loose blocks featuring the god Apedemak with remnants of the hemhem crown, including ram horns and feather elements, adapted to Meroitic styles while retaining core Egyptian solar symbolism to emphasize royal and divine power in Kushite religious contexts.[42] Bronze hemhem crowns from Thonis-Heracleion (c. 4th century BCE), attached to statues of child Horus, exemplify Late Period craftsmanship and were recovered from submerged sites.[1]References
- https://commons.wikimedia.org/wiki/File:Ptolemy_XII_Auletes_-_185.jpg