The land of the Hittites

by John Garstang

BOGHAZ-KEUI: THE DIRK-DEITY, CLAD IN LION-SKINS

In the small gallery at Iasily Kaya.

We come now to the last sculptures of the series, which form a group of two figures.[544] The one is great and majestic, resembling on a large scale in all details the youthful figure that stands upon the lioness in the main series.[545] Only in this case the rings in the conical hat are prominent, and seem not to lie wholly between the ribs, but to be bisected by them. The left hand also, which in the other figure holds the double-headed axe, here grasps the upraised right wrist of a smaller figure, which his left arm enfolds about the neck. This smaller figure is in all respects similar to that which we have met with twice previously in the outer chamber,[546] clad in the toga as before, and carrying the lituus reversed in the hand which is free. The curled end of a pigtail is seen behind his shoulder, but this may be judged to belong to the larger figure, on account both of its large scale and position, and because the bare neck of the smaller figure is visible. Both figures are identified by the emblems which accompany them: the greater by the device of a small body and legs, held up as in its counterpart by the outstretched right hand; the smaller one by the composite group placed in the bare space above his head to the right. This is the same as that accompanying the figure mentioned,[547] except for the small central figure which is here replaced by a different symbol, thought by some to be a phallus. The symbols on either side give the impression of uraei crowned with a disk, seen in full face, but the real motive is doubtful.

So many and so various are the hypotheses that have been put forward as to the meaning of these sculptures,[548] that it will prove less confusing perhaps to regard them entirely de novo. We are the more constrained to do so, in that the attention of scholars has been largely focussed on the identification of the deities in the central group, without much consideration of the series as a whole, or its relation to Boghaz-Keui and the Hittite peoples. It seems to us that the whole series must from its composition illustrate one central idea, on which any explanation of individual figures should throw some light. Looking then broadly at the sculptures, it is clear that certain of the figures, notably those with wings, are of divine aspect, representing gods or minor deities.[549] The exalted figures which lead the procession must then be those of gods or of persons held in highest reverence. These are, on the left, firstly, the great male figure borne on the shoulders of two ministers, and behind him two other male figures of like kind but lesser magnitude. On the right are the leading female figure and the youth borne on the backs of lionesses or panthers. Behind these is a pair of female figures, clad like their leader, standing upon the emblem of the two-headed eagle. These two groups are parallel; if the leading figures are those of gods, as we are led to infer, the pair of figures which follow on each side should equally be gods or personages of divine rank. Casting our eyes left and right we find numerous figures clad in like fashion to their leaders, and we conclude that the gods of the Hittites at this stage of their art are represented in their national costumes as they are in human form.[550] The train which follows the goddess and her youthful companion and the female divinities of the double eagle is composed of females, many of whom are denoted by special symbols.[551] In these we see the priestesses of the cult or cults, wearing the dress and simulating the persons of the goddesses.[552] The common costume on the left, excluding certain special figures,[553] is the short tunic characteristic of the Hittite soldiery and people. In these male figures we readily recognise two classes. First, those who mingle with the main procession, and are often denoted by special symbols. These seem to be the priests, though some of the foremost may be demi-gods. Second, those who form a group of twelve at the end of the procession. These may represent the populace[554] taking part in the rites represented.

Where now is the king under whose direction these sculptures were made, and whose figure on the analogy of all the commemorative sculptures of the ancient East should occupy a place and rank second only to the gods? On the main façade he finds no place, for the attendant figures in each case are in pairs, and the youth who follows the leading goddess to the right shows no insignia of royalty, but seems to be grouped naturally with his leader. Looking around, we find facing this scene the majestic figure clad in a toga,[555] accompanied by a whole group of emblems which indicate his rank. He stands alone, exalted and distinguished, yet following as it were in the train of the goddess. In the other procession, to the left,[556] he follows the figures of the lesser gods. In the inner gallery he is embraced by the godlike figure of the same youthful deity who, in the outer gallery, accompanies the goddess; and we are reminded of the Egyptian text[557] which describes the representation of the god of the Hittites embracing their king as the design upon the royal signet which was attached to a treaty.[558] Now this figure is that which is generally regarded as representing the high priest, and not without reason; it reappears without insignia as leading in the act of sacrifice before the bull-shrine at Eyuk,[559] and on two sculptured blocks recently discovered at Boghaz-Keui, we find the same again ministering before the altar.[560] It mattered little what was the object of the cult; the costume was evidently that of the priesthood. Now the same treaty informs us that the great king of the Hittites was also chief priest of the god. The king-priest indeed was a feature of Hittite national life, and in this light we are able to interpret their monuments across the Taurus also.[561] We are led to conclude that such is the explanation of these sculptures, and that in the figures before us we have both chief priest and king. The problem is now much simplified. The kingly figure accompanies both processions: that in which his majesty is most clear is that of the great goddess and her consort; while on the other side he seems to embrace or at least to sanction by his presence the worship of the other deities.

PLATE LXXI

BOGHAZ-KEUI: HITTITE GOD EMBRACING THE PRIEST

In the small gallery at Iasily Kaya Sutekh of the Hittites embracing the great King. (See also [p. 228].)

It is possible, however, that when the minutiæ of the royal insignia, the winged rosette, shall be more thoroughly understood, it will be found that these two kings are not one and the same person. Who then can they be? Why are they associated here together with so many different deities? Who are these deities? What can be the meaning of the whole series of representations?