DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.41333#0019
Grazyna Bqkowska
Cracow
Ouroboros on Magical Gems. Some Remarks*
(Plate 1)
Ouroboros - the snake devouring its own tail -
is found frequently in various cultures. It appears in
Egyptian art, and is found in Elam. It was spread in
the Greco-Roman Period, and was used by
Gnostics in their theories. The motif also found its
place in alchemy, and can be traced in modem art.
A snake shedding its skin was considered a symbol
of renewing life, and a snake biting its own tail as
a symbol of eternity - everything ends and begins in
its jaws, symbolising constant periodicity. As with
the Egyptians, also for the later Gnosis, Ouroburos
formed the border of the ordered world - encir-
cling it and thus separating it from chaos. Ouroboros
appears not only in cosmic symbolism. It also had
protective functions, e.g. encircling the symbol of
the nome of Hermopolis or as the fetish of Abydos.
A snake devouring its own tail is also a metaphor
for human life. The ring-shape of Ouroboros signi-
fied completeness - mandala. Its shape refers to
the sn hieroglyph, a symbol for the eternity of the
universe. All things encompassed by it were pro-
tected. An elongated form of sn is the cartouche
encircling pharaohs’ names.
A snake holding its tail in its jaws is depicted fre-
quendy in ancient Egyptian art.1 As a symbol of eter-
nity, it is depicted in the Book of Amduat. It also
appears in the Book of Gates and the Book of Cav-
erns. A snake in a circular form was already depicted
in the art of the Predynastic Period.2 The first typical
* I would like to heartily thank the members of the board
of the Foundation Supporting Independent Polish Sci-
ence and Culture for granting me a scholarship, which
enabled me to carry out the research works on magical
gems; and Mr J. SZYMKIEWICZ, the curator of the
Department of Ancient Art of the National Museum in
Poznan, for permission to publish the described in the
paper gem.
1L. KAKOSY, Uroboros, LA VI, cols. 886-894; E. CIAMPINI,
Precedenti faraonici di un’iconografia magica and
M.G. LANCELLOTTI, II simbolismo del seipente nelle
genime magiche: osservazioni storico-religiose. The Sym-
depiction of Ouroboros dates from the New King-
dom period in a chapel of Tutankhamun's tomb -
a mummy figure whose head and feet are surrounded
by snakes catching their own tails.3 Ouroboros in the
form of a cartouche is depicted on the lid of pharaoh
Merenptah's sarcophagus (1213-1203 BC).4This
snake was identified with the Mhn hieroglyph signi-
fying “The Encircling Serpent’'\5 A snake holding its
tail in its jaws might constitute a symbol of separation
and the imprisonment of an enemy. The Stele of Piye
refers to this, describing the siege of Hierakonpolis
Magna6 A snake devouring its own tail may also have
a negative, self-destructive, aspect - the animal does
not always symbolise positive powers. Occurring in
the form of a snake are Kematef, Wadjit, Thermutis,
and Apophis - the symbol of evil powers and the
eternal enemy of the Sun, as well as the god Seth.
The motif of Ouroboros known from the art of
ancient Egypt was also popular in the first centuries
after Christ. It was depicted on gems, but is also well
known from magical papyri that display connections
with Gnosis. The depictions on magical gems show
a continuation of traditions from the times of the phar-
aohs while displaying new trends in the civilisations
of the Mediterranean world. The period the magical
gems were produced is characterised by not yet fully
recognised cultural and religious changes. The main
production centre of these objects was Alexandria -
a metropolis with mixed cultural influences from all
posium in Verona, Gemme gnostiche e cultura ellenistica,
the materials in the press.
2 W.C. HAYES, The Scepter of Egypt I, Cambridge 1953,
p. 29, fig. 22.
3 A. PIANKOFF, The Shrines ofTut-Ankh-Amon, New York
1955, pi. 48, fig. 41.
4 J. ASSM ANN, Die Inschrift auf dem ausseren Sarkophag-
deckel des Merenptah, MDAIK 28 (1972), pp. 47-73.
5 R.K. RITNER, Uterine Amulet in the Oriental Institute Col-
lection, JNES 43 (1984), pp. 219-220.
6 N.C. GRIMAL, La Stele triomphale de Pi(‘ankh)y an
Musee du Caire, Cairo 1981, pp. 14-15.
13
Cracow
Ouroboros on Magical Gems. Some Remarks*
(Plate 1)
Ouroboros - the snake devouring its own tail -
is found frequently in various cultures. It appears in
Egyptian art, and is found in Elam. It was spread in
the Greco-Roman Period, and was used by
Gnostics in their theories. The motif also found its
place in alchemy, and can be traced in modem art.
A snake shedding its skin was considered a symbol
of renewing life, and a snake biting its own tail as
a symbol of eternity - everything ends and begins in
its jaws, symbolising constant periodicity. As with
the Egyptians, also for the later Gnosis, Ouroburos
formed the border of the ordered world - encir-
cling it and thus separating it from chaos. Ouroboros
appears not only in cosmic symbolism. It also had
protective functions, e.g. encircling the symbol of
the nome of Hermopolis or as the fetish of Abydos.
A snake devouring its own tail is also a metaphor
for human life. The ring-shape of Ouroboros signi-
fied completeness - mandala. Its shape refers to
the sn hieroglyph, a symbol for the eternity of the
universe. All things encompassed by it were pro-
tected. An elongated form of sn is the cartouche
encircling pharaohs’ names.
A snake holding its tail in its jaws is depicted fre-
quendy in ancient Egyptian art.1 As a symbol of eter-
nity, it is depicted in the Book of Amduat. It also
appears in the Book of Gates and the Book of Cav-
erns. A snake in a circular form was already depicted
in the art of the Predynastic Period.2 The first typical
* I would like to heartily thank the members of the board
of the Foundation Supporting Independent Polish Sci-
ence and Culture for granting me a scholarship, which
enabled me to carry out the research works on magical
gems; and Mr J. SZYMKIEWICZ, the curator of the
Department of Ancient Art of the National Museum in
Poznan, for permission to publish the described in the
paper gem.
1L. KAKOSY, Uroboros, LA VI, cols. 886-894; E. CIAMPINI,
Precedenti faraonici di un’iconografia magica and
M.G. LANCELLOTTI, II simbolismo del seipente nelle
genime magiche: osservazioni storico-religiose. The Sym-
depiction of Ouroboros dates from the New King-
dom period in a chapel of Tutankhamun's tomb -
a mummy figure whose head and feet are surrounded
by snakes catching their own tails.3 Ouroboros in the
form of a cartouche is depicted on the lid of pharaoh
Merenptah's sarcophagus (1213-1203 BC).4This
snake was identified with the Mhn hieroglyph signi-
fying “The Encircling Serpent’'\5 A snake holding its
tail in its jaws might constitute a symbol of separation
and the imprisonment of an enemy. The Stele of Piye
refers to this, describing the siege of Hierakonpolis
Magna6 A snake devouring its own tail may also have
a negative, self-destructive, aspect - the animal does
not always symbolise positive powers. Occurring in
the form of a snake are Kematef, Wadjit, Thermutis,
and Apophis - the symbol of evil powers and the
eternal enemy of the Sun, as well as the god Seth.
The motif of Ouroboros known from the art of
ancient Egypt was also popular in the first centuries
after Christ. It was depicted on gems, but is also well
known from magical papyri that display connections
with Gnosis. The depictions on magical gems show
a continuation of traditions from the times of the phar-
aohs while displaying new trends in the civilisations
of the Mediterranean world. The period the magical
gems were produced is characterised by not yet fully
recognised cultural and religious changes. The main
production centre of these objects was Alexandria -
a metropolis with mixed cultural influences from all
posium in Verona, Gemme gnostiche e cultura ellenistica,
the materials in the press.
2 W.C. HAYES, The Scepter of Egypt I, Cambridge 1953,
p. 29, fig. 22.
3 A. PIANKOFF, The Shrines ofTut-Ankh-Amon, New York
1955, pi. 48, fig. 41.
4 J. ASSM ANN, Die Inschrift auf dem ausseren Sarkophag-
deckel des Merenptah, MDAIK 28 (1972), pp. 47-73.
5 R.K. RITNER, Uterine Amulet in the Oriental Institute Col-
lection, JNES 43 (1984), pp. 219-220.
6 N.C. GRIMAL, La Stele triomphale de Pi(‘ankh)y an
Musee du Caire, Cairo 1981, pp. 14-15.
13