DOI Page / Citation link:
https://doi.org/10.11588/diglit.8944#0064
162
ARTHUR J. EVANS
monsters and, to a certain extent, the symbolic column itself, are taken from an
Egyptian solar cycle, and the inference has been drawn that the aniconic
pillars among the Mycenaeans of Cyprus were identified with divinities
having some points in common with the Sun-Gods Ra, or Horus, and Hathor,
the Great Mother.
The rayed sun which in Fig. 41 appears in the field above the confronted
lions, certainly corroborates the view that in the Aegean countries the
aniconic pillars, which appear in a similar conjunction, were also connected
with solar divinities. The pillar here indeed is, as already noted, of a
purely indigenous shape, and cannot itself, like the symbolic Cyprian types
with their reminiscences of palmette capitals and Hathoric scrolls, be
directly traced to an Egyptian prototype. The Nilotic connexion has
nevertheless left its traces in these Mycenaean types. We recall the
frequent appearance in Egyptian religious art of opposed figures in special
association with the solar symbols and pillars of the sun. Thus we
see the squatting, confronted figures of Ra with his hawk's head and Ma
with her feather crest on either side of the Sun-God's obelisk, and in
a b
Fig. 42<r, b.—Lion Suit-outers of Egyptian Solaii Disk.
other cases the figure of the sun's disk on the horizon is supported by two
lions seated back to back (Fig. 42 a and b). To a certain extent the Lions' Gate
scheme may itself be regarded as a combination of these two types. The
column on the altar is a free indigenous translation of the obelisk rising on
its base which l'eally represents the ' Mastaba' or sepulchral chapel. The
back to back position of the two lions is literally reproduced in Figs. 39 and
40, and where, as in Figs. 37 and 41, the bodies of the lions are turned
towards the central pillar, their heads are averted as if in deference to the
same religious tradition. The monsters here are not so much simply adorants
as on the Cyprian cylinders, and therefore regarding the sacred pillar, but are
guardians looking out and away from it for possible enemies. On the Lions'
Gate itself they naturally look forward along the avenue of approach.
It must, in fact, be clearly recognised that the scheme of the pillar
and guardian monsters as it appears in Mycenaean art on the Lions' Gate
and in other kindred designs is, like the Griffins and Sphinxes that often
form part of it, essentially of Egyptian derivation. It is translated into
ARTHUR J. EVANS
monsters and, to a certain extent, the symbolic column itself, are taken from an
Egyptian solar cycle, and the inference has been drawn that the aniconic
pillars among the Mycenaeans of Cyprus were identified with divinities
having some points in common with the Sun-Gods Ra, or Horus, and Hathor,
the Great Mother.
The rayed sun which in Fig. 41 appears in the field above the confronted
lions, certainly corroborates the view that in the Aegean countries the
aniconic pillars, which appear in a similar conjunction, were also connected
with solar divinities. The pillar here indeed is, as already noted, of a
purely indigenous shape, and cannot itself, like the symbolic Cyprian types
with their reminiscences of palmette capitals and Hathoric scrolls, be
directly traced to an Egyptian prototype. The Nilotic connexion has
nevertheless left its traces in these Mycenaean types. We recall the
frequent appearance in Egyptian religious art of opposed figures in special
association with the solar symbols and pillars of the sun. Thus we
see the squatting, confronted figures of Ra with his hawk's head and Ma
with her feather crest on either side of the Sun-God's obelisk, and in
a b
Fig. 42<r, b.—Lion Suit-outers of Egyptian Solaii Disk.
other cases the figure of the sun's disk on the horizon is supported by two
lions seated back to back (Fig. 42 a and b). To a certain extent the Lions' Gate
scheme may itself be regarded as a combination of these two types. The
column on the altar is a free indigenous translation of the obelisk rising on
its base which l'eally represents the ' Mastaba' or sepulchral chapel. The
back to back position of the two lions is literally reproduced in Figs. 39 and
40, and where, as in Figs. 37 and 41, the bodies of the lions are turned
towards the central pillar, their heads are averted as if in deference to the
same religious tradition. The monsters here are not so much simply adorants
as on the Cyprian cylinders, and therefore regarding the sacred pillar, but are
guardians looking out and away from it for possible enemies. On the Lions'
Gate itself they naturally look forward along the avenue of approach.
It must, in fact, be clearly recognised that the scheme of the pillar
and guardian monsters as it appears in Mycenaean art on the Lions' Gate
and in other kindred designs is, like the Griffins and Sphinxes that often
form part of it, essentially of Egyptian derivation. It is translated into