Royal women-sistrophoroi: to the interpretation of sistrum symbolism un cultic practice of the New Kingdom Period

Abstract

The present article deals with the symbolism of the sistrum in the cultic and ceremonial practice of the New Kingdom period. As a sacred musical instrument, closely associated with Hathor and other goddesses identified with her (Tefnut, Sakhmet, Bastet, Iusaas, Nebet-Hetepet), the sistrum of two types (sSSt and sxm) was widely used in performing various religious rituals and ceremonies. Since the dominant type in the iconography of the king’s wives and mothers of the New Kingdom is their image playing the sistrum/sistra, the author focuses primarily on the main female representatives of the royal family. The article provides a brief overview of iconography, laudatory epithets of royal women and accompanying inscriptions to the use of sistra. A study of official cultic and ceremonial scenes with royal women shaking sistra, allows the author to define three main objects of veneration: a. gods; b. goddesses; c. king. The author also puts into doubt the interpretation widespread in modern Egyptology, according to which, the sexual energy of the supreme deity was stimulated through playing music. Moreover, the absence of the important title “god’s wife/hand” in the protocol of some royal women does not allow reducing their cultic role to the personification of the consort/daughter of a solar deity. A critical approach to this interpretation makes it possible to state that playing sistra was not an exclusively female prerogative and was not limited to the strict opposition “royal woman – god”. Besides, one can conclude that the use of sistra as liturgical objects was a prerequisite for performing offering rituals.