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Set animal
The Set animal
Creature information
Other name(s)Typhonian animal, Typhonic beast, Sha
GroupingTotemic animals
Origin
CountryAncient Egypt
E20
 
E21
 
C7
Depictions of the Set animal
(Gardiner E20, E21, C7)[1](E20, E21, C7)
in hieroglyphs

In ancient Egyptian art, the Set animal, or sha,[citation needed] is the affiliated animal of the god Set. Because Set was identified with the Greek monster Typhon, the animal is also commonly known as the Typhonian animal or Typhonic beast.

Unlike other totemic animals, the Set animal is not easily identifiable in the modern animal world. There is a general agreement among Egyptologists that it was never a real creature and existed only in ancient Egyptian religion. In recent years[as of?], there have been many attempts by zoologists[who?] to find the Set animal in nature. Whether or not the animal existed is currently unknown, yet it had much significance for the Egyptians. The Set animal is one of the most frequently demonstrated animal determinatives.[2]

Some Egyptian texts suggest that Set took the form of a dangerous animal, such as a bull or crocodile.[2]

Hieroglyphic representation

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The Set animal (Gardiner E20, E21,[1](E20, E21)) is one of the portrayals of the god Set. The other common hieroglyph used to represent Set is a seated god with the head of the Set animal.[1](C7)

The linguistic use of these hieroglyphs in the Egyptian language is as the determinative for words portraying "items with chaos", example words related to "suffering, violence, perturbation", and also for "violent storms" of the atmosphere, a "tempest".[3]

According to Egyptologist Richard H. Wilkinson, the first known use of the Set animal was upon the Scorpion Macehead of Scorpion II of Naqada III. It was soon thereafter portrayed mounted upon the serekhs of Seth-Peribsen and Khasekhemwy.[4](pp 66-67, E20, E21)


Egyptians' depictions of the Set animal, sha.
  • Relief with cartouche
    Relief with cartouche
  • Obelisk engraved text
    Obelisk engraved text
  • Obelisk text close-up (see outside the upper right of red box)
    Obelisk text close-up (see outside the upper right of red box)
For further depictions, see Media related to Seth-animal (hieroglyph) at Wikimedia Commons.

Physical characteristics

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The sha is usually depicted as a slender canid, resembling a greyhound, fennec fox, or a jackal, with three distinguishing features: a stiff tail, often forked at the end, which stands straight up or at an angle, whether the animal is sitting, standing, or walking; its ears, also held erect, are usually depicted as squarish or triangular, narrowest at the base and widest at the squarish tops; and a long nose, often with a slight downward curve. It is normally depicted as black, but may also have been reddish.[5][page needed][6][page needed]

The Set animal is usually depicted at rest, either lying down or seated. The shape of the head often resembles a giraffe, causing confusion between the two signs. The general body shape is that of a canine.[2]

Ancient Egypt

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The god Set depicted as a man with a Set-animal head.

Drawings of the sha appear in Egyptian artwork from Naqada III until at least the period of the New Kingdom, a period of some two thousand years. Although sometimes described as a fantastic or composite animal, it was depicted in a realistic manner more typical of actual creatures. The sha is found on the ceremonial Scorpion Macehead dating to Naqada III; on the serekhs of the Second Dynasty kings Seth-Peribsen and Khasekhemwy; in Twelfth Dynasty tombs at Beni Hasan; and, in the form of Set, in the royal cartouches of the Nineteenth Dynasty pharaohs Seti I and Seti II and the Twentieth Dynasty king Setnakhte and his descendants.[4][5][6][7]

Association with Set

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Main article: Set (deity)
Set from Twentieth Dynasty, crowning Ramesses III

The god Set was usually depicted as a man with a head resembling that of the sha, which is why the sha is referred to by Egyptologists as the Set animal or Typhonic beast. When Set was depicted as a human with only the head of the Set animal, he usually had a long, slightly curved nose, and erect ears, squared at the tops. Occasionally he was represented in animal form as the sha itself, with a long, down-turned snout, squared ears, erect forked tail and a canine-like body, although he was also depicted in the form of an onager or as a black pig. Other animals sacred to Set included the antelope, hippopotamus, wild boar, crocodile, and scorpion, all of which represented strength, power, protection, or wildness. The sha was also used as a determinative in the names of Set and the goddess Nut, who may be identified with Nephthys, the wife of Set.[6][5]

Was-sceptres represent the Set animal or Khnum. Was-sceptres were carried by gods, pharaohs and priests as a symbol of power and, in later use, control over the force of chaos (Set). The head and forked tail of the Set animal are clearly present. Was scepters are often depicted in paintings, drawings and carvings of gods and remnants of real was-sceptres have been found constructed of Egyptian faience or wood.

Both the Second Dynasty pharaohs Peribsen and Khasekhemwy, whose serekhs depict the sha, identified themselves as divine manifestations of Set on Earth, as previous kings had identified themselves with Horus. During the Old Kingdom of Egypt, Horus and Set were generally viewed as twin supporters and defenders of the god Ra, head of the Egyptian pantheon, and they were often depicted anointing the king, as the divine source of his authority. The association of Horus and Set probably reflected the reconciliation of a struggle between two royal cults. Following the unification of Egypt, Narmer and the kings of the First Dynasty embraced the worship of Horus, by adopting the Horus name as part of their official nomenclature. This name identified the king as the god's representative on Earth. Seth-Peribsen, however, chose a Set name in place of a Horus name, while Khasekhemwy's royal title invoked both of the great gods, presumably in an attempt to reconcile the followers of each cult.[6]

Disappearance of the Sha

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Although Set was originally viewed as the son and defender of Ra and the Egyptian kings, his reputation among the people declined along with the rise of the cult of Osiris. Originally a vegetation-god, Osiris became one of the pre‑eminent gods of the Egyptian pantheon. Worship in the Osiris cult stressed the role of Set as violence personified: the murderer of his brother and usurper of his throne who, instead of standing alongside Horus, became his eternal enemy. This view of Set was encouraged during the Second Intermediate Period, when Egypt was invaded by the Hyksos from Western Asia. Their god Sutekh became identified with Set;[6] a contrary view holds that Sutekh is an Egyptian name only, and an epithet of Set, and was not the name the Hyksos used for their god.[citation needed]

Set continued to be revered during the New Kingdom. Several kings of the Nineteenth and Twentieth Dynasties had royal names indicating their devotion to Set, and these names were written with a hieroglyphic representation of the god[1](C7) as a determinative. Here, Set is depicted as a seated deity with a Set animal's head.

During the Third Intermediate Period, however, Set was deeply unpopular: his worship was abandoned, and many depictions of him were destroyed or defaced. References to and depictions of the Set animal must have suffered a similar fate.[6][7]

Identification

[edit]

Hieroglyphs and artwork of Set evolved over millennia until becoming standardized, making identification a difficult process; there is debate as to which hieroglyphs actually depict Set and the associated animal.

The sha has no independent mythology associated with it that could aid with identification in either reality or fantasy, outside of its association with Set.[5] Although the Set animal is called the "Typhonic Beast", it is so-named because the Greeks equated Set or Sutekh with their own chaos-monster Typhon.[6] Some Egyptologists speculate that it is a purely fantastic or composite animal, which never existed in nature – the opinion of E.A.W. Budge,[5] among others.[citation needed]

Depictions of the Set animal as an animal appear distinctly canine, but the precise identity of the animal has never been firmly established. It is sometimes described as a jackal or some other wild dog, although the jackal is usually identified with the god Anubis. In connection with Anubis, the jackal is never depicted with the distinguishing features of the Set animal: the stiff, typically forked tail; the squared ears; and the long, slightly curved nose. It is conceivable that these features were added to representations of the jackal as a contrivance to distinguish Set from Anubis. Early representations of the Set animal frequently omit the fork at the end of the tail, or show it resembling a more naturalistic tuft instead, so the idea of the forked tail may have been symbolic rather than intended to show a trait of an actual animal.[6]

Saluki

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A Saluki in pursuit. Note the lofted ears and upwards-slanted tail.

Egyptologist Ken Moss[8] suggested the Set animal is in fact the Saluki, an ancient breed of sighthound. It is one of the oldest breeds of domesticated dog, has a curved snout, and nearly identical body to the hieroglyph, and is native to the region; when the Saluki runs, its ears and tail become vertical. Further it was historic practice and remains common throughout the Levant to crop ears of hunting dogs. The Saluki is also depicted in hieroglyphs with no ostensible connection to Set, suggesting it was well known to ancient Egyptian people.[8]

Other proposed animals

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In addition to the jackal or the Saluki, mentioned above, some scholars have historically suggested the Set animal may be a stylized representation of some other animal, such as an oryx (a type of large white desert antelope), donkey, fennec fox, jerboa, camel, okapi, elephant shrew, aardvark, giraffe, pig, elephant-snout fish or that it might represent a species that was rare and has since become extinct.[9][10][11] Some of the suggested animals would be known to ancient Egyptians, but rarely or never seen.

Since Set was typically depicted as a donkey or as a man with the head of a donkey from the Late Period onwards,[12] it is possible the donkey was the inspiration for the Set animal.

See also

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Citations

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  1. ^ a b c d
    Gardiner, A. H. (1957) [1927 (1st ed.)]. "[full text]" (PDF). Egyptian Grammar: Being an Introduction to the Study of Hieroglyphs (3rd ed.). Oxford, UK: Griffith Institute. pp. 438–548. Archived from the original (PDF) on 22 November 2011 – via Internet Archive (archive.org).
  2. ^ a b c
    McDonald, Angela; Riggs, Christina (2000). Current Research in Egyptology 2000. Oxford: Archaeopress. pp. 75–77. ISBN 1841712078. OCLC 46566993.
  3. ^ Betrò, Maria Carmela (1996) [c. 1995]. "Set, (variant hieroglyph: Set animal)". Hieroglyphics: The Writings of Ancient Egypt (English, hardcover, 1st ed.). New York; London; Paris FR: Abbeville Press. p. 75. ISBN 978-078920232-1. A primer based on Gardiner's sign list, focussing on major signs in seven categories.
  4. ^ a b
    Wilkinson, Richard H. (1992). "Set Animal". Reading Egyptian Art: A Hieroglyphic Guide to Ancient Egyptian Painting and Sculpture. London: Thames and Hudson.
  5. ^ a b c d e
    Budge, E. A. W. (1904). The Gods of the Egyptians. Studies in Egyptian Mythology.
  6. ^ a b c d e f g h
    New Larousse Encyclopedia of Mythology. 1974.
  7. ^ a b
    Quirke, Stephen (1990). Who Were the Pharaohs?: A History of Their Names with a List of Cartouches. New York: Dover Publications. ISBN 9780486265865. OCLC 22273879.
  8. ^ a b Moss, Ken (August–September 2009). "The Seth-Animal: A Dog and Its Master". Ancient Egypt. Vol. 22, no. 1.
  9. ^ Newberry, P.E. (1912). "The Cult-animal of Set" (PDF). Klio. 12 (12): 397–401. doi:10.1524/klio.1912.12.12.397. S2CID 194356108.
  10. ^ Jensen, Adolf Severin (1934). "The sacred animal of the god Set" (PDF). Det Kg. Dnaske Videnskabernes Selskab, Biologiske Meddelelser. 6 (5).
  11. ^ Maret, Pierre de (1 March 2024). "Reconsidering the Seth Animal Conundrum: An African Perspective". Journal of Ancient Egyptian Interconnections. ISSN 1944-2815.
  12. ^ te Velde, H. (1967). Seth, God of Confusion: A Study of His Role in Egyptian Mythology and Religion. Probleme der Ägyptologie. Vol. 6. Translated by van Baaren-Pape, G.E. Leiden, NL: W. Helck / Brill. pp. 13–15.

General and cited references

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Set animal

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The Set animal is a mythical creature from ancient Egyptian , serving as the sacred emblem of the god Set (also known as ), the of chaos, deserts, storms, and foreign lands. It is depicted with distinctive features including a long, curved snout ending in a narrow muzzle, tall square-topped ears that are sharply erect, and an arrow-like or forked tail that stands upright; its body often resembles that of a canine or a composite form with no direct real-world counterpart. First appearing in predynastic artifacts from the late 4th millennium BCE, such as the from , and later on seals like that of Peribsen in the Second Dynasty, the Set animal symbolizes Set's wild and untamed nature, embodying the duality of destruction and protection in Egyptian cosmology. Scholars have long debated its zoological inspirations, proposing influences from animals like greyhounds, donkeys, oryx antelopes, or even agricultural tools such as plows, but it is widely regarded as a purely mythical composite reflecting Set's role in myths like the murder of and battles against chaos forces such as the serpent Apep. Associated primarily with , particularly the cult center at Nubt (Ombos), the animal's imagery underscores Set's patronage of the "Red Land" (deserts) in opposition to the fertile "Black Land" ruled by , highlighting themes of disorder versus order that permeated Egyptian religious and royal symbolism.

Mythological and Symbolic Role

Association with the God Set

The Set animal, known as the sha in ancient Egyptian terminology, served as the primary iconographic emblem of the god Set, frequently appearing as the deity's head in anthropomorphic representations or as the full creature in purely divine forms to embody his essence. This linkage underscores the animal's role as a totemic , distinguishing Set from other gods who were associated with more identifiable beasts like or . In royal and religious , the sha thus functioned as a direct visual proxy for Set's presence and authority. Historical evidence for this close association emerges prominently in the Second Dynasty (c. 2890–2686 BCE), particularly through the serekhs—palace facade emblems—of kings Peribsen and , where the Set animal appears as the standard atop the structure in place of or alongside the . Peribsen's serekhs, found on seals and vessels from his at Abydos ( EA 35597), exclusively feature the sha, signaling the king's identification with Set as a divine patron and protector rather than . 's serekhs (, JE 33896) integrate both the Set animal and , symbolizing a reconciliation of under Set's influential patronage and highlighting the animal's role in legitimizing royal power during a period of political fragmentation. The Set animal's depiction encapsulated Set's core attributes of chaos, deserts, storms, and foreign lands, acting as a concise visual shorthand for his dominion over disruptive forces and marginal realms beyond the Valley's ordered "Black Land." As lord of the arid "Red Land," Set—and by extension the sha—represented the unpredictable power of sandstorms and thunder, often invoked to counter threats like the chaos serpent Apep. This symbolic potency made the animal a potent emblem of Set's ambivalent might, balancing destruction with protective vigor against external perils. Specific textual examples illustrate the sha's integration into Set's mythological role, particularly in protective contexts from onward. In the , spells such as Utterance 215 and Utterance 1145 invoke Set's strength—embodied by the animal—for safeguarding the deceased king, with Utterance 215 ritually addressing Set's testicles as a source of regenerative power while warding off his aspects. Later magical texts, including those compiled by Borghouts, feature the Set animal in spells for against demons and storms, reinforcing its function as a conduit for Set's defensive authority.

Symbolic Meanings and Uses

The Set animal served as a hieroglyphic determinative for abstract concepts embodying disorder and uncontrolled power, such as shA (chaos), Xnn(w) (disturbance), mr(t) (pain or suffering), mn (to suffer), and storm-related terms like nSn, snm, and pxpx, particularly from the First Intermediate Period onward, where its use metaphorically evoked turbulent times and foreign threats. This ideographic role highlighted the animal's association with uncontrollable forces, often appearing in texts like the Admonitions of Ipuwer to denote societal upheaval and external invasions. In practices, the Set animal featured in apotropaic contexts, appearing on wands from the late Middle Kingdom used to ward off malevolent spirits and demons during ceremonies. These wands invoked its strength for protection, as seen in spells where it combats chaos entities like Apep to preserve cosmic order (Ma'at). Funerary texts further illustrated these protective applications, with the Set animal invoked in the to aid the deceased's ascent and defend against serpentine threats in the , portraying it as a forceful ally in spells for and safe passage. Similarly, in the , vignettes and incantations harnessed its power—such as spearing Apep in scenes—to ensure the soul's triumph over destructive forces, blending its ferocity with efficacy for the journey. Culturally, the Set animal encapsulated Set's ambivalent essence: a protective bulwark in , particularly around Nubt (Ombos) and the Fayyum, where it symbolized resilience against desert perils, contrasted with its broader connotation of disruptive chaos in Lower Egyptian traditions. This duality manifested in its portrayal as both a defender upholding balance and an emblem of violent upheaval, reflecting regional variations in reverence for Set's domain over storms and the untamed wilderness. During the period (Second Intermediate Period), the Set animal symbolized foreign rule and divine authority, as the Asiatic rulers elevated Set (as Sutekh) to their patron deity, erecting a temple at and equating him with storm gods like to legitimize their sovereignty over . In Nubian contexts under the 25th Dynasty, it occasionally represented authoritative power in royal iconography, aligning with Kushite pharaohs' adoption of Egyptian divine motifs to assert legitimacy, though often tempered by associations with external or chaotic elements.

Iconographic Depictions

Hieroglyphic Representations

The Set animal, known in Egyptian as š3 or šw, is represented in hieroglyphic script primarily through three Gardiner signs: E20, E21, and C7. The sign E20 depicts the sha in a seated or upright posture, characterized by a slender, canine-like body with a long, curved ending in a slight hook, tall square-tipped ears that fork outward at the top, a bushy tail often shown erect and bifurcated at the end, and elongated legs positioned in a static, vigilant stance; this form emphasizes the animal's alert and composite nature, blending features of a , , and mythical elements. Similarly, E21 illustrates the sha in a recumbent or lying orientation, with the same distinctive head and tail but in a resting pose; both E20 and E21 are oriented to face right in standard usage, though left-facing variants appear in symmetrical contexts. The sign C7 isolates the sha's head, featuring the signature curved muzzle, squared ears, and a short , typically used in profile and serving as a standalone for the deity or animal without the full body. The earliest known attestation of the Set animal hieroglyph appears on the , a ceremonial artifact from the period (circa 3200 BCE), where standards bearing the sha motif flank the figure of King during a , marking its role in early royal iconography and predynastic symbolism. This limestone macehead, discovered at Hierakonpolis and now in the , , provides the first clear evidence of the sign's deployment in a semi-hieroglyphic context, transitioning from purely pictorial standards to formalized script elements. In linguistic functions, the sha hieroglyphs serve as a uniliteral phonetic sign for the /š/ (sh) sound, particularly in words evoking chaos or the divine, and as an ideogram for terms related to Set, such as stẖ or stš denoting the god himself, or š3 naming the animal; for instance, E20 or E21 acts as a determinative in compounds like nšnj ("storm" or "turmoil"), appending to phonetic spellings to specify the concept of disorder, while C7 reinforces divine associations in theophoric names. These roles underscore the sign's dual utility in phonetics and semantics, bridging the god's mythological attributes with everyday scribal notation across Old, Middle, and New Kingdom texts. During the New Kingdom (circa 1550–1070 BCE), hieroglyphic representations of the sha exhibit variations, including more fluid outlines, reflecting evolving artistic styles while retaining core features like the distinctive ears and tail for recognizability.

Artistic and Monumental Appearances

The Set animal appears prominently in predynastic temple reliefs at sites such as and Hierakonpolis, where it is depicted as a standard atop poles carried by attendants or as a guardian figure flanking sacred structures and processional routes. These representations, dating to Naqada II-III (ca. 3500–3100 BCE), emphasize the animal's role in ceremonial contexts, often positioned to ward off disorder in ritual scenes involving elite burials and early urban centers. Monumental examples from the predynastic period include ivory tags excavated at Abydos, suggesting its integration into processional inventories for tomb offerings. Similarly, palettes from predynastic tombs, such as those at Hierakonpolis, feature the animal in dynamic processional scenes, with figures marching in file to convey royal authority and cosmic balance. Artistic styles of the Set animal evolved across periods, with rigid, stylized forms dominating representations (ca. 2686–2181 BCE), as seen in symmetrical, profile-based reliefs on temple walls that prioritize composure over movement. In contrast, Middle Kingdom depictions (ca. 2055–1650 BCE) introduce more dynamic poses, incorporating fluid lines and narrative depth in tomb and temple scenes to heighten the animal's protective and transitional qualities.

Physical Description

Key Features

The Set animal, a distinctive zoomorphic figure in ancient Egyptian , is characterized by a slender, canid-like body form that evokes the lean build and long legs of a or , suggesting an emphasis on speed and endurance suited to arid environments. This elongated torso and lithe limbs contribute to its portrayal as an agile creature, often rendered with minimal musculature to highlight grace rather than bulk. The body is sometimes depicted with tufts of fur in the shape of inverted arrows or "set" signs. The head and facial features of the Set animal are among its most recognizable traits, featuring an elongated, downward-curved that tapers to a narrow point, paired with large, square or rectangular ears standing upright and topped with flat edges. These ears, described as tall and bat-like in profile, project prominently from the skull, while the overall cranial structure appears elongated and angular, with little to no mane or fur ruff around the neck for a streamlined appearance. The eyes are typically depicted as small and alert, reinforcing the animal's vigilant demeanor. A hallmark of the Set animal is its tail, which is rigidly upright and often terminates in a forked or bifurcated end, held stiffly away from the body in a manner that conveys otherworldly tension. This feature, sometimes rendered as arrow-shaped or tufted, contrasts with the fluid tails of other Egyptian animals and underscores the creature's unnatural, composite quality. In terms of overall proportions, the Set animal is consistently shown with a elongated silhouette, its long legs and narrow frame emphasizing swift, striding motion or a poised resting stance, adaptations that align with desert-dwelling predators in ancient artistic conventions. These depictions maintain a balanced yet asymmetrical form, with the head held high and the body slightly arched, prioritizing symbolic agility over realistic anatomy.

Color and Posture Variations

In , the Set animal is most commonly rendered in black or reddish-brown colors, reflecting the materials and conventions used in painting and carving. These hues appear in numerous artifacts, such as wooden statuettes from the Ramesside period where traces of red paint cover the body and yellow accents the face. The posture of the Set animal varies by context and medium, often appearing seated in hieroglyphic signs for stability and symbolism, striding dynamically in narrative scenes to convey movement, or recumbent in protective amulets to suggest repose. Early representations, such as those in the , show the animal lying down, while later forms favor seated or crouching stances. Over time, depictions evolved from the rigid, canonical profiles of to more fluid and naturalistic poses in Ptolemaic art, aligning with broader stylistic shifts in Egyptian . Material choices further shaped these depictions: stone sculptures frequently employed paints for vibrant, multi-toned effects, allowing for detailed color layering on larger monuments, whereas ivory carvings favored incised lines for fine, linear details without extensive pigmentation. An early example is the pink limestone statuette from Mahasna, where subtle engravings define the form without color.

Historical Context in

Early Uses and Prominence

The Set animal emerged in Egyptian iconography during the Predynastic Period, with the earliest confirmed depictions appearing in artifacts from the I phase around 4000–3500 BC. A prominent example is found on the ceremonial macehead of King Scorpion from Hierakonpolis, where the creature stands alongside royal standards, symbolizing early associations with chthonic forces and protective deities in nascent Egyptian cosmology. These representations, often linked to regional cults in such as at Nubt (Ombos), underscore the animal's role as an emblem of power and disorder from the outset of . In the Old and Middle Kingdoms (c. 2686–1650 BC), the Set animal achieved greater prominence in royal , particularly during the Second Dynasty (c. 2890–2686 BC) under Set-worshipping rulers like Peribsen. Uniquely, Peribsen replaced the traditional falcon atop his with the Set animal on seals and stelae, reflecting a deliberate elevation of Set's symbolism in royal legitimacy and possibly regional political tensions between . This period marked a zenith in the creature's integration into elite contexts, appearing on administrative seals that authenticated royal goods and authority. Beyond royal spheres, the Set animal permeated daily and elite culture through practical and symbolic objects, serving as an emblem of power and protection. It featured on cylinder seals and stamp seals for securing documents and containers, as seen in Second Dynasty examples bearing Peribsen's name. In jewelry and amulets, and stone pendants depicting the creature were worn or buried with the deceased, invoking its chaotic yet safeguarding attributes during the Old and Middle Kingdoms. Military standards also adopted the motif, notably as the heraldic emblem for the 11th Nome of (Shashetep), where it topped processional banners to denote territorial and martial prowess. The Set animal's cultural significance peaked during the Hyksos Second Intermediate Period (c. 1650–1550 BC) and persisted into the New Kingdom (c. 1550–1070 BC), with heightened visibility amid foreign influences. At , the Hyksos capital, temples dedicated to Set proliferated, as evidenced by literary accounts of ruler constructing a major sanctuary and performing daily sacrifices, blending the deity with Levantine storm gods like . This era amplified the animal's depictions in monumental and votive contexts, reinforcing Set's role as a patron of foreign rulers and military might before native Egyptian resurgence.

Decline and Disappearance

The rise of the cult during the Third Intermediate Period (c. 1070–664 BCE) contributed significantly to the vilification of Set and the subsequent suppression of his iconography, including depictions of the sha animal, as Set was increasingly portrayed as the antagonist in the , leading to acts of that involved the defacement of his images. This period marked a turning point where Set's role as a protector against chaos was overshadowed by his association with disorder and foreign invaders, prompting the deliberate erasure or mutilation of sha representations in temples and monuments to symbolically neutralize his influence. In the Late Period (664–332 BCE) and into the Ptolemaic era (332–30 BCE), systematic erasures became more widespread, with many sha images removed from temple walls and hieroglyphic inscriptions, reflecting a broader cultural shift that equated Set with external threats like the Persians; intact depictions of the sha animal largely disappeared from official art by the late first millennium BCE, after which such forms ceased in favor of other representations. These erasures were not random but targeted, often involving the chiseling out of the sha's distinctive features to prevent its ritual potency. Under Greco-Roman influences from the Ptolemaic Period onward, Set was syncretized with the Greek monster , but the traditional sha form was largely abandoned in favor of more abstract or hybrid monstrous depictions, leading to the sha's virtual disappearance from iconography by 30 BCE as Egyptian religious practices waned under Roman rule. Archaeological evidence from sites like and reveals surviving fragments of defaced sha images, including over-carved reliefs in the Hall at where at least eight of twenty-eight Seth figures from Seti I's reign (c. 1290–1279 BCE) show deliberate mutilation, likely from first-millennium BCE campaigns, underscoring the ritualistic nature of these destructions to contain Set's chaotic power rather than a complete obliteration of his memory. Similar over-carving appears on cartouches, confirming the pattern of targeted in Theban religious centers.

Modern Scholarly Identifications

The Saluki Hypothesis

The Saluki hypothesis proposes that the Set animal represents a stylized depiction of the , an ancient breed of originating in the and associated with Egyptian culture. This theory was advanced by Egyptologist Ken Moss in his article, where he identifies key morphological similarities between the Set animal and the Saluki, including the creature's slender, athletic build, elongated snout, and upright posture, which align with characteristics of ancient Egyptian sighthounds used for . Moss emphasizes that these dogs were integral to desert nomadic life, mirroring Set's mythological domain over arid regions and chaos. Supporting evidence draws from comparisons between Set animal and predynastic dog breeds. Early artifacts, such as the Gebel Tjauti rock carving (c. 3180 BC) and the King (c. 3100 BC), depict long-legged, narrow-headed canines with erect tails, resembling prototypes rather than the more jackal-like forms associated with . Tomb paintings from onward show similar figures with feathered tails and alert ears, suggesting continuity in artistic representation. The distinctive forked tail of the Set animal is interpreted by as an artistic convention exaggerating the Saluki's naturally curled or feathered tail in a dynamic pose, possibly to symbolize speed or aggression in hunting contexts. The hypothesis's strengths include its explanation of the Set animal's implied agility and desert affinity, as are swift endurance hunters capable of reaching speeds up to 65 km/h (40 mph) across sandy terrains, fitting Set's role as a god of storms, foreigners, and predatory forces. Modern genetic studies suggest the has origins dating back over 5,000 years in the , with basal lineages indicating early development as a . Recent genomic research traces independent origins of traits in regional canid populations without significant later admixture. Criticisms of the Saluki hypothesis center on discrepancies in specific features, such as the Set animal's rigidly square ears and stiff, arrow-shaped tail, which do not perfectly match the 's natural floppy, feathered ears (even if cropped in some traditions) or its flexible, curled tail. Scholars argue these elements may indicate a more stylized or composite form rather than a literal representation, as the Set animal lacks clear osteological correlates in Egyptian faunal assemblages and evolves inconsistently across dynasties.

Alternative Animal Proposals

Scholars have proposed several alternative identifications for the Set animal as a real creature, drawing on its distinctive features such as the curved , squared ears, forked , and slender body, often linking these to desert-adapted mammals beyond canine interpretations. One early identifies the Set animal with a of African swine, particularly or semi-feral , based on comparisons of its greyhound-like form, erect ears, and overall silhouette to wild boars like Sus scrofa. This proposal, advanced by Egyptologist Percy E. Newberry in 1928, highlights resemblances in the animal's posture and features from predynastic depictions, suggesting the sha may represent a stylized or extinct variant of sacred to Set. Another identification posits the donkey (Equus asinus) as the basis for the Set animal, especially evident in Late Period art where Set is depicted with a donkey's head or fully as a donkey, reflecting associations with stubbornness, endurance, and Set's chaotic attributes. Egyptologist Herman te Velde notes that this transformation in , from the New Kingdom onward, implies the donkey's long ears and tail may have influenced the sha's forked tail and upright posture, distinguishing it from earlier hybrid forms. Donkeys were among Set's sacred animals, often linked to his role in storms and foreign lands, supporting this naturalistic reading. Proposals involving antelopes like the oryx (Oryx leucoryx) emphasize the Set animal's agility, long legs, and horn-like ear tips, aligning with the oryx's desert habitat and survival traits that mirrored Set's domain over arid regions. Scholarly comparisons, including those by te Velde, include the oryx among animals evoking Set's wild, untamed essence, with behavioral parallels such as territorial aggression and nocturnal activity. Similarly, the (Orycteropus afer) has been suggested due to its elongated snout for digging, nocturnal desert habits, and insectivorous diet, features that echo the sha's probing posture and association with barren landscapes; this ant-eater comparison appears in overviews of potential prototypes for the Set icon. A 2024 study by Pierre de Maret reevaluates the identification, arguing it as the original real animal basis that evolved into a composite form, supported by iconographic evidence and Seth's attributes. The (Vulpes zerda) represents a variant canid proposal, focusing on its oversized, squared ears for heat dissipation and acute hearing, traits matching the Set animal's alert ears and agile build suited to sandy terrains. Early 20th-century Egyptologists, building on overlaps with iconography but differentiating by the sha's unique tail and snout, viewed the fennec as a plausible model for Set's emblematic creature, given its native North African range and elusive nature. These theories collectively underscore ongoing debates, prioritizing anatomical and ecological fits over singular consensus.

Composite or Mythical Interpretations

Scholars interpret the Set animal as a composite creature, blending anatomical elements from multiple species—including the elongated snout and claws suggestive of an , square-tipped ears reminiscent of a , and a forked tail akin to certain canids—to embody the chaotic and disruptive essence of the god Set. This constructed form underscores the animal's role in symbolizing disorder and otherness, with no single natural species providing a complete match for its hybrid morphology. The mythical status of the Set animal is reinforced by its potential origins as a invention rather than a depiction of an extinct predynastic , as evidenced by the absence of corroborating zoological records or standalone myths outside Set's . Modern Egyptologists emphasize its function as a cryptid-like , designed to visually capture abstract divine attributes without reliance on observable , distinguishing it from totems of other deities. While alternative proposals link it to real animals such as the or , these fail to account for the deliberate incongruities that mark it as non-literal. Early 20th-century scholarship, exemplified by E.A. Wallis Budge's identifications with donkeys or pigs, relied on outdated assumptions and has been critiqued for overlooking the Set animal's artificial design. Contemporary analyses, including those in Teeter's examination of Egyptian religious symbolism, highlight how such composite forms addressed the limitations of naturalistic representation in conveying Set's multifaceted . This approach represents a key innovation in ancient Egyptian , enabling the artistic expression of intangible concepts like cosmic instability through invented .

References

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