Egypt Exploration Society
Anubis and the Lunar Disc
Author(s): Robert K. Ritner
Source: The Journal of Egyptian Archaeology, Vol. 71 (1985), pp. 149-155
Published by: Egypt Exploration Society
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(I49)
ANUBIS AND THE LUNAR DISC
By ROBERT K. RITNER
ON the north wall of the middle colonnade of Deir el-Bahri is sculpted the earliest
representation of a problematic scene.' Here Anubis, bending over a large, smooth
disc, is shown as a participant in the activities surrounding the divine birth of
Hatshepsut (see fig. i). Over a millennium later, the scene reappears in the mammisi
of Nectanebo I at Dendera2 (see fig. 2) and becomes a standard feature in the
Graeco-Roman birth houses. It is found at Edfu,3 Philae,4 and again at Dendera5 in
the temple of Augustus. Although subject to scholarly inquiry since 1896, the
relationship between Anubis and his disc remains obscure, and the disc itself has
been variously identified.
One complication for our understanding of the scene arises from the fact that a
variant tradition is represented at Edfu (see fig. 3). Here, as has been shown by
Daumas, the disc is clearly identified as a tambourine which Anubis strikes to please
Hathor/Isis and her son.6 The relief follows the standard depiction of tambourine
players as shown in the examples collected by Lise Manniche.7 In this representation the disc is quite distinct from the examples at Deir el-Bahri, Dendera, and
This variant
Philae, being smaller and held by a standing-not
bending-Anubis.
in
an
at
Deir
and
Esna.8 The
is
followed
at
el-Medina
tradition
inscription
prominence of Hathor and the special importance of music in her cult may explain
the local modifications at Edfu and Deir el-Medina.9
In contrast to the clear textual evidence regarding the scene at Edfu, the earliest
is accompanied only by ambiguous inscriptions which
example, at Deir elBai,
1 This paper is an expansion of a lecture given by the author at the 1982 general meeting of the American
Research Center in Egypt at Austin, Texas. For the Deir el-Bahri relief see E. Naville, The Temple of Deir
el-Bahari (London, I896), ii, pl. lv, p. 18. See also Porter and Moss (hereafter PM),
349, scene 21.
2 F. Daumas, Les Mammisis de Dendera (Cairo, 1959) (hereafter Daumas, 1959), pls. ii, xxiii, p. II.
3 E.
Chassinat, Le Mammisi d'Edfou (Cairo, 190) (MIFAO i6), pls. xiii (third register), Ixviii, p. 21. See also
PM VI, I73-4, scene 83.
4
Daumas, Les Mammisis des templesegyptiens (Paris, 1958) (hereafter Daumas, 1958), pls. vii. See also PM vi,
224, scenes 182-3.
5 Daumas, 1959, pls. xli a, lix bis, p. I i.
See also PM vi, 104, scenes I 0-6.
Anubis states: 'I offer you the sound of the tambourine' (rdi('i) n'k nhm). See Daumas, 1958, 476-7.
7 L.
Manniche, Ancient Egyptian Musical Instruments (Berlin, I975) (MAS 34), 2-5. One must, however,
delete her reference to Anubis beating a tambourine in the Roman mammisi at Dendera (p. 4). This example is
discussed below. Cf. specifically the row of tambourine players at Dendera in Daumas, 1959, pi. lix.
8 B. Bruyere, Fouilles de Deir el Medineh (1935-I940)
(Cairo, 1948) (FIFAO 20/i), 63-4, and photo in ibid.
(FIFAO 20/3) (Cairo, 1952), 130. Bruyere takes the disc as 'the sun in the horizon'. See also PM II, 406, scene 28.
For Esna see S. Sauneron, Esna, 11 (Cairo, I963), 283, inscription i64b.
9 So Daumas, 1958, 477. Cf., however, Manniche's statement op cit. 5: '[the round tambourine's] presence in
the hands of Anubis and Bes can be explained by the relation of these gods to the world of women', and reported
example of Anubis playing the tambourine in the Ramesside Tomb A 26 at Thebes in Manniche, op cit. 3 and
PM 1, 455.
6
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ROBERT K. RITNER
I50
FIG. I. E. Naville,
FIG. 2.
F.
Daumas,
Les
Mammisis de Dendera, pl. 2
(by kind permission of
IFAO)
The Temple of Deir el-Bahari,
II,
pl. Iv
FIG. 3. E. Chassinat, Le Mammisi d'Edfou, pl. 13
(by kind permission of IFAO)
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AND
ANUBIS
THE
LUNAR
DISC
I5I
speak of the subjugation of foreign lands to the ruler. This ambiguity has invited
speculation. Whereas Naville equated the disc with the moon,10 Blackman (followed
by Frankfort) suggested a sieve used for support by women in labour.11 More
recently, Morenz has preferred a solar identification.12 The original suggestion of
Naville, however, has received convincing support through the analysis by Daumas
of the scene and its accompanying texts at Dendera.13 Here parallel inscriptions from
the temples of Nectanebo I and Augustus demonstrate a clear link between the disc
of Anubis and the moon. In both, the speech of Anubis with his disc is as follows: 'I
have come before the lord of the gods to see the son whom he loves. I have formed his
limbs in life and stability, they being rejuvenated like the moon in the month.'14 The
gift of Anubis to the child is symbolized by the disc of the full moon with its pattern
of cyclical rebirth.
This lunar interpretation has been accepted by Brunner in his study of the birth of
the divine king, and he has attempted to associate the scene with a circumcision
ritual.l5 Directing attention to two birth scenes in which the disc is not present-one
at Luxor of Amenophis III where Anubis appears and the other at Karnak from the
Third Intermediate Period where he may appear-Brunner
argues that the latter
relief with its depictin of circumcision represents the original meaning of the scene.
He would associate the full moon in other examples with the time at which the
operation was performed.
Despitee the abundant suggestions regarding the nature of the disc and its purpose
in the scene, no theories have been put forward to explain the presence of Anubis and
his relation to the lunar disc. Daumas considers the relation 'obscure'16 and Brunner
concurs.17 Neither Bonnet in his Reallexikon,18 nor the Lexikon der Agyptologie
venture an explanation.19
The appearance of a funerary
deity in a birth relief may at first seem surprising,
but the Dendera inscriptions quoted above show that it is in his capacity as guarantor
of rebirth, as the god of mummification, that Anubis is present. Like the lunar disc
which he accompanies, Anubis embodies the Egyptian concept of the transition
from death to life. But while it is the primary function of Anubis to re-form and
10
Naville, op. cit. I8.
11 W. Blackman, Luxor and its Temples (London, 1923), 168-70; The Fellahin of Upper Egypt (London, 1927),
63. See also H. Frankfort, Kingship and the Gods (Chicago, 1948), 386-7 n. 80, and Federn, YNES 19 (1960), 252
n. I I7.
12 S. Morenz, 'Das Werden zu Osiris' (1957) in Religion und Geschichte des alten Agypten (Cologne,
1975),
234-5.
13 Daumas, 1958, 477-8. Daumas (1958, 477) also shows the error in Blackman's theory of the sieve which
shows interior markings in Egyptian art. See also J. Assmann et al., Funktionen und Leistungen des Mythos (OBO
48) (G6ttingen,
14
Daumas,
n. 45.
1982), 49-50
1959, 11 and I I-iy-n-i
m-b;h nb ntrw hr miw s; mr-f qti
15 H. Brunner, Die Geburt des Gotteskonigs (Wiesbaden,
16
Daumas,
1958,
h4rwf m rnh was rnpi mi irh m ;bd.
I964), 164-6.
478.
17
Brunner, op. cit. i65: 'Warum freilich gerade Anubis dem Mond verbunden ist, bleibt dunkel.'
H. Bonnet, Reallexikon der dgyptischen Religionsgeschichte (Berlin, 1952), 45, s.v. 'Anubis'. See also
Assmann et al., op. cit. 46 n. 23 'bleibt dunkel'.
19 B[rigitte] A[ltenmuller], Lexikon der Agyptologie, I (Wiesbaden, 1975), 332, s.v. 'Anubis'.
18
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152
ROBERT
K. RITNER
rejuvenate the limbs of the dead through mummification, the moon's association
with rebirth becomes increasingly prominent in later Egyptian religion through its
identification with Osiris. The link between Osiris and the moon has been postulated
to exist as early as the Pyramid Texts, but this early association is not universally
accepted.20 References in the Coffin Texts have also been cited as proof of this
connection,21 but the clearest evidence for the lunar aspect of Osiris is in the New
Kingdom. Griffiths contends that the fusion begins at this time.22 Funerary texts of
the period reflect the equation of the moon with rebirth, and the dead wish for
'repeating of births like the moon'23 and to be 'rejuvenated like the moon'.24 The
first unambiguous declaration of Osiris as the moon is in a stela of Ramesses IV
dedicated to the god: 'You are the moon in the sky; you rejuvenate yourself
according to your desire and become old when you wish.'25 The conception becomes
popular, and from the Late Period derive various bronze statuettes of the god.26
The funerary wishes of the New Kingdom strongly recall the Dendera texts
detailing the gift of Anubis to the divie child. Indeed, if the lunar disc in these
reliefs is equated with the body of Osiris, then the role of Anubis becomes selfevident. The god does not roll the disc as has been previously suggested, but bends
over the moon/Osiris exactly as he does in more conventional scenes where he tends
Osiris upon his bier. The posture of Anubis-with
torso bent and both arms shown
in front of the Osiris figure-is
directly paralleled in mummification scenes in
painting, relief, and on papyrus27 (see figs. 4, 5, and 6).
The substitution of a symbol for the body of Osiris is well known in Egyptian
representations. The most frequent example of this is the Dd-column which may be
provided with eyes, crowns, etc.28 A specific example of a substitution for the body
of Osiris in a mummification scene is found in the tomb of Khabekhnet (Theban
tomb 2) in which a mammoth ibdw-fish occupies the bier over which Anubis bends29
(see pl. XV, i). The birth reliefs would represent a parallel substitution. If Griffiths
20 H.
Kees, Totenglauben undJenseitsvorstellungen der alten Agypter (2nd edn.) (Berlin, 1956), 145, in regard to
PT 1450 b-e PM. See also P. Derchain, 'Mythes et dieux lunaires en Egypte', in Sources Orientales, 5, La Lune
(Paris, 1962), 44-6, and Bonnet, op. cit. 471-2 s.v. 'Mond'. Denied by J. G. Griffiths, The Origins of Osiris and
his Cult (Leiden, 1980), 239-40.
21
22
CT iv 372 a-b and 373 a-b. See Derchain, op. cit. 44-6.
Griffiths, op. cit. 239-40.
23 Encomium of Horemhab:
Urk. iv, 2161, 6
24
Grapow-Erman, Die bildlichen Ausdriicke des Aegyptischen (Leipzig, I924), 34-5.
25 A.
Mariette, Abydos ii (Paris, I880), 54-5, 1. 5, and M. Korostovtzeff, 'Stele de Ramses IV', BIFAO 45
(I945), 161.
26
Griffiths, 'Osiris and the Moon in Iconography', YEA 62 (1976), I53-9; 0. Masson, 'Quelques bronzes
egyptiens a inscription grecque', RdE 29 (1977), 63-7; E. Graefe, 'Noch einmal Osiris-Lunus', JEA 65 (1979),
171-3; Griffiths, 'The Striding Bronze Figure of Osiris-Icah at Lyon', ibid. I74-5.
27 Painting: Tomb 14 of the Valley of the Kings (Twosret).
See P I/II2, 530, scene 19, side room G, rear wall.
For illustration see R. V. Lanzone, Dizionario di mitologia egizia (Amsterdam, 1974; reprint of Turin, I88I -4),
pil. 30, p. 70. Relief: Philae, Osiris room. Berlin photos. i i60 and 1146. See also Lanzone, op. cit. pls. 261, 265.
Papyri: Standard vignette to BD I 5 . See E. A. Wallis Budge, The Book of the Dead. III. The Papyrus of Ani
(London, 1913), pl. 34 and A. Piankoff, Mythological Papyri (New York, 1957), pl. 22 (Papyrus of
Djed-Khonsu-iuf-ankh
II).
28 Cf. Piankoff,
op. cit. 60, fig. 47; 6i, fig. 48; 63; 42, fig. 27; 41, fig. 26, etc. For discussion see B. Goff, Symbols
of Ancient Egypt in the Late Period (New York, 1979), I78-9.
29 PM
8, scene 20/2. For photo see C. Nims, Thebes of the Pharaohs (London, 1965), i86.
I/I2,
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ANUBIS
FIG.
AND
THE
LUNAR
DISC
153
4. R. Lanzone, Dizionario di mitologia egizia, pi. 30
"~~~~~~~~~~
FIG. 5. R. Lanzone, Dizionario di mitologia egizia, pi. 26i
FIG. 6. Cairo Museum I66. Courtesy
Cairo Museum
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ROBERT
I54
K. RITNER
is correct in dating the origin of the lunar Osiris to the New Kingdom, then the Deir
el-Bahri relief stands at the beginning of the tradition, and is the earliest clear
reference to the fusion.
at Meir (see pl. XV, 2). Examples known to me include New York Inv. 11.155.5,30
Cairo 33.137,
and 33.I4I.31 In each, a gilded and painted canvas
33.138, 33.140,
elevates a disc above his head. This depiction
seems the
figure of Anubis
in
of
that
found
the
birth
reliefs.
Whereas
the
latter
counterpart
portray the
operation of embalming the body of the moon (Osiris) by Anubis, the examples from
the mummy wrappings stress the moment of resurrection; Anubis raises the now
mummified and reborn Lunar Osiris into the heavens. The position of the representafor by virtue of the identification
of the
tion beneath the feet is of significance;
deceased with Osiris, Anubis elevates not only the disc, but also the mummy which
stands above him.
The second group of representations consists of images in which Anubis wears a
prominent disc either behind his head, to form a halo, or atop it.32 Examples from
painted shrouds have been studied by Morenz, who concludes that solar discs,
given indiscriminately to Egyptian deities, are intended33 (see pl. XV, 3). Although
the influence of solar nether world mythology cannot be excluded in these scenes, it
would seem from the foregoing discussion that a lunar association for Anubis is more
the examples in
Moreover,
likely, and would be logical rather than capricious.
painting,34 wall relief,35 and gilded plaster36 in which Anubis wearing the disc
attends the body of Osiris on his bier evoke the mammisi reliefs of Anubis with their
Lunar Osiris imagery, and would favour a lunar rather than solar
associated
interpretation
(see pl. XVI, I). Potential verification of the lunar nature of the disc
worn by Anubis may be found on the marble statue of the god from the port of Anzio
in the Vatican museum
(Inv. 76).37 Though
admittedly
a classical work with
attributes, the statue does show affinity to contemporary
Egyptian
of Anubis by the inclusion of a disc atop the god's head. Beneath the
disc is an indisputable lunar crescent (see pl. XVI, 2).
Egyptianizing
representations
30
Cf. K. Parlasca, Mumienportrats und verwandte Denkmaler (Wiesbaden, 1966), pi. 2, p. 148, for mummy,
but the Anubis figure not mentioned in publication.
31 M. C. C.
Edgar, Graeco-Egyptian Coffins, Masks, and Portraits (Cairo, 1905) (CGC 26), pl. 19, pp. 33-6.
See p. iv for date.
32 Disc behind head: Moscow Inv.
3401 /I Ia 5747 in Parlasca, op. cit., pl. 12; Berlin 1I65 I in Morenz, op. cit.,
pi. 4, smaller figure of Anubis. Atop: Moscow Inv. 4229/I Ia 5749 in Parlasca, op. cit., pi. 35 and Morenz,
op. cit., pl. io; Louvre Inv. no. 3076 in Parlasca, op cit., pl. 6I and Morenz, op. cit., pl. 9; Berlin I i651 (larger
figure of Anubis) in Morenz, op. cit., pi. 3.
34 Ibid., pi.
33 Ibid., p. 234.
4 (Berlin 11651).
35 K. Michalowski, The Art of Ancient Egypt (London, 1969), 428, no. 689 from Kom el-Shukafa.
36 Edgar,
op. cit., pi. 31, pp. 69-72, Cairo 33.215 and 33.2I6.
37 Jean-Claude Grenier, Anubis alexandrin et romain (Leiden, 1977), frontispiece, pl. i6, p. 141.
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ANUBIS
AND
THE
LUNAR
DISC
155
Far from being obscure, the relationship of Anubis to his disc-whether
in birth
or funerary scenes-becomes
at once clear and coherent if the disk is identified with
the moon and Osiris. Sieves and circumcisions are extraneous. In each instance, the
imagery recalls the role of Anubis as the agent of resurrection and as the guarantor of
a repetition of births like Osiris the moon.
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PLATE XV
i. Mummification scene in the tomb of Khabekhnet (Theban Tomb 2)
Courtesy Charles F. Nims
2. Cairo Museum 33.I41
Courtesy Cairo Museum
3. Louvre 3076
Courtesy Musie du Louvre
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ANDfromTHE
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DISC
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PLATE XVI
i. Staatliche Museen zu Berlin, Agyptisches Museum, inv. no. 1651
Courtesy Staatliche Museen
*I
2. Vatican Museum 22840
Courtesy Vatican Museums
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ANUBIS
AND
THE
LUNAR
DISC
