In Kemet there were both national and regional deities, sometimes with multiple forms. I thought it might be helpful to write a series of short posts looking at some of these gods and the functions that they served. Where better to start than the inventor of writing?
Probably better known as Thoth, his Greek name, Djehuty was the principal deity at a site called Khemenu in Middle Egypt. However, it is thought that he originated from the Delta because one of the administrative areas there had an ibis as its symbol, and Djehuty was depicted as an Ibis or with the head of an Ibis. One myth relating to his birth was that he sprung from the head of the god Set.
Djehuty played a key role amongst Kemite gods. He was the inventor of writing. He was ‘Lord of the Moon’ and in this capacity he was also seen as the ‘Lord of Time’ and ‘Reckoner of the Years’. This is why he is often depicted holding a scribal palette as seen on the relief below.
His links to the passage to the After Life can be found at the weighing of the heart scenes in tombs and on papyri. Djehuty was also seen as a protector of the god of the After Life: Wsir (Osiris), and this role would later be seized upon by the Greeks.
Djehuty as a Baboon
As noted Djehuty’s centre was at Khemenu, which was also home to a local deity Hedj-wer, who was depicted as a baboon. At some point in the New Kingdom the two deities seem to have merged and from this time we find Djehuty depicted as both an ibis and a baboon. The small faience figure above dates to the Late Period and shows the god holding the Eye of Horus.
Djehuty and the Greek Hermes
Later still, the Greeks saw Djehuty as an equivalent to their god Hermes and in fact the Greeks referred to the city of Khemenu as Hermopolis (the city of Hermes). It is thought that the link between these two deities was that Hermes was seen as a messenger, notably between the worlds of the gods and mortals, and that the Greeks also recognised this role for the more ancient Djehuty.
More commonly known by its Hellenic name of uraeus, the iaret or rearing cobra is synonymous with the goddess of Lower Egypt- Wadjet. The symbol was adopted by the Kemite kings and from the Middle Kingdom the rulers always wore this image on their brows. The iaret served two purposes: first, it referenced the King’s rule over the northern part of Kemet; second, it protected the royal representations and so the king.
On some royal representations from the New Kingdom, the cobra appears with the vulture, representing the goddess Nekhbet, who was the southern counterpart of Wadjet, together the goddesses were referred to as the Two Ladies (Nebet Tawy), which became the title for the Nebty name of rulers. Only one group of rulers wore the double cobra: those of Dynasty 25, who ruled Kemet and Kush simultaneously. It is thought that the dual iaret representing the two regions and that this is why it is only found on male rulers dating to this period.
Royal Women of Dynasty 18
Royal women generally wear a single cobra on their brows; however, when elevated to a goddess, they were awarded the vulture for protection and to recognise their status. This can be seen on the wall painting above where Ahmose Nefertari wears both a vulture and a cobra, representing her royal and divine status.
The first royal female to wear two cobras was Iset, who was the wife of Thutmose (II) Aakheperkare (1492-1479 BCE) and mother of Thutmose (III) Menkheperre (179-1425 BCE). On the statue above the Iset takes the title Mother of the King, and it is possible that the dual cobras were intended to distinguish her in this role as opposed to royal wife; unfortunately not enough statues survive to know whether she consistently wore the dual version of the royal motif.
Royal Wife of Amenhotep Nebmaatra (1388-1351 BCE)- Tiye- wore two cobras and a vulture on her representations. As you can see from the statue above, the cobra and vulture wear their appropriate geographical crowns thus representing the unification of the Two Lands of Kemet. The central figure of a vulture appears because the royal wife wears a full vulture headdress- if you look carefully on the statues above and below you can just seen the feathers of the vulture’s wings sitting on top of her hair.
Even the smallest of representations of this queen bore the same iconography, as illustrated by the small faience figure above. It is possible that Tiye adopted this iconography after the Thirty Year rule of her husband was celebrated- the Heb Sed festival. We know that she initially wore a single iaret and that the famous wooded statue of the royal wife (below) was adapted at some point and the single cobra replaced by two.
Possibly following on from Tiye, Nefertiti who was wife of Akhenaten Neferkheperure-waenre (1351-1334 BCE) in the early part of their reign also adopted the dual cobras, but not the vulture. And on the famous relief (below) the royal wife is shown with 3 cobras around her crown; and one of the royal children plays with one as if it were alive. This changed in the later years when the single cobra was used for her representations.
Royal Women of Dynasty 18
Nefertari, Principal Wife of Rameses Usermaatre-setpenre (1279-1213 BCE) in Dynasty 19 continued the tradition of wearing the double cobra, as seen on the colossal statue below and most of her other sculptures. During this period the double form seems to have been used to distinguish her as the Principal Wife.
Royal Women of Dynasty 25
As noted the Kings of Dynasty 25 wore two cobras on all of their representations, and were the first royal men to do so. The royal women during this period who were associated with the motif also had the elevated role of being the wife of the God Amun/Imen. On the tomb chapel of Amenirdis she and her successor Shepenwepet both wear the crown of the god (above). As goddesses on the relief the two women are shown with the divine vulture and headdress. However, on statuary they were shown with two cobras and a vulture. It seems likely during this later period that the double cobra and vulture were associated with title and role of God’s Wife of Amun/Imen.
Meaning of multiple representations of the iaret
For the male rulers of Dynasty 25 the dual iaret seems to be associated with the two kingdoms of Kemet and Kush, and this is certainly the conclusion that most Egyptologists draw, not least of all because it appears on sculptures in both kingdoms.
The dual iaret seems to have been reserved for royal women who fulfilled a particular role and is actually not at all commonly found. It can be associated with the roles of God’s Wife, Principal Wife of the King, and King’s Mother. Later in the Ptolemaic Period a triple form appeared. What this tradition shows is the careful consideration that went into representing members of the royal family and that this practice was ever-evolving, through until the last resident rulers, their wives and mothers.