The festival of the goddess Renenutet was one of the main ancient Egyptian harvest festivals celebrated during the harvest period. Meanwhile, the nature of its implementation is still poorly understood. The article reconstructs the ritual and symbolic program of the holiday based on the analysis of tomb images, architectural and decorative design of temple complexes of the New Kingdom era.

Keywords: Ancient Egypt, Renenutet, Nepri, Osiris, Amon-Ra, Amduat, Deir el-Bahri.

THE ANCIENT EGYPTIAN FEAST OF RENENUTET

The festival of the goddess Renenutet was one of the most important harvest festivals in Ancient Egypt. The investigation of the festival scenes from the Theban private tombs helps to reconstruct the ritual and symbolic programs of the feast and shows up its relationship with the cults of the gods Neper, Osiris, and Amun-Re. An important aspect of the festival is its connection with the funeral cult, with the myth of the subterranean journey of the Sun god and his rebirth at dawn.

The comparison of the festival scenes with the architectural and decorative design of the mortuary temple of Hatshepsut at Deir el-Bahari has revealed that the festival of Renenutet took part in this temple. The festival culminated in the rituals held in the chapel dedicated to the solar deities. Perhaps in some temples such chapel could be installed on the roof of the granary that may be associated with the ritual hnm itn ("the unity with the solar disk ") when the sunrays illuminated the grain. The symbolic meaning of the ceremony was the birth of the god of grain Neper - this event was celebrated on the first day of the Season of the Harvest.

Keywords: Ancient Egypt, Renenutet, Neper, Osiris, Amun-Re, Amduat, Deir el-Bahari.

In Ancient Egypt, Renenutet was worshipped as the goddess of fertility, harvest, and flooding of the Nile. In addition, it correlated with the Uraeus snake, which protected the Pharaoh from enemies by releasing flames into their eyes (Broekhuis, 1971; Leibovitch, 1953, p. 76-71; Beinlich-Seeber, 1984, Kol. 232-233; Collombert, 2005-2007, p. 23-24). As a rule, Renenutet was depicted as a cobra or a woman with the head of a cobra nursing a baby (Figure 1). Renenutet was often identified with the goddesses Hathor and Isis, the mother of Horus. Another aspect of Renenutet was associated with the funeral cult. She provided the deceased with food and was referred to as the "mistress of the robes" in which the mummy was wrapped (Broekhuis, 1971, p. 79).

Since the Middle Kingdom, Renenutet has been the most popular goddess in Fayum. Here farmers built chapels for her, made offerings to her, asking for help in their work. In the area of Medinet Madi, located on the southern outskirts of Fayum, during the reign of Amenemhat III and Amenemhat IV (XII dynasty), a temple was built in honor of Renenutet, Sobek and Khor [Vogliano, 1936-1937; Naumann, 1939, S. 185-189; Bresciani, 1980, Kol. 1271-1273].

MIRONOVA Alexandra Vadimovna-Candidate of Art History, Associate Professor of the State Academic University of Humanities.

Aleksandra MIRONOVA - PhD (in Art History), Associate Professor, State Academic University for Humanities, Moscow.

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Since the eighteenth dynasty, the cult of Renenutet has spread to Thebes, Abydos, and Giza (Beinlich-Seeber, 1984, Kol. 233-234; Jauhiainen, 2009, 141-142). According to temple and tomb inscriptions from the New Kingdom era, the festivals of Renenutet were celebrated on the 27th of the third month of the sowing season [TT 48; Urk. IV, 1907. 9], on the 25th and 27th of the fourth month of the sowing season 1 (in the conditional formula, respectively, "III prt 27", "IV prt 25" and "IV prt 27"; so it is accepted further) [TT 38; Urk. IV, 1640. 1-7; Schott, 1950, N 128-129]. The last month of the sowing season was named Rnnwtt in honor of the goddess. Another Renenutet festival occurred on the 1st day of the harvest season (I smw 1) [Schott, 1950, N 132-133]. According to the calendar of Ramesses III of Medinet Abu, at the same time offerings were made to Amun-Ra and the statue of "King of Upper and Lower Egypt, Usermaater Meriamon". Among the offerings mentioned are bread, wine, beer, incense, fruits, flowers [Medinet Habu, 1934,63; El-Sabban, 1992, p. 158].

Scenes of the festival of Renenutet are found in private tombs in Thebes and are part of scenes showing the gathering and counting of the harvest. Thus, on the northern wall of the pillared hall of the tomb of the "chief scribe of Amun" of the XVIII dynasty, Neferhotep (TT 49; al-Khokha), scenes of grape harvesting and pressing are presented [Porter and Moss, 1994, p. 93 (15-16); Davies, 1933, pl. XLVIII]. We see that the workers were standing on the vat and crushing the grapes with their feet, holding on to the ropes (Figure 2). These ropes were tied to a crossbar supported by two thin papyrus columns. From the vat, the juice flowed through holes in large tanks and then poured into jugs. A small shrine with an image of the goddess Renenutet is shown next to the pressure vat, which was honored by winemakers in gratitude for a good harvest [Davies, 1933, p. 37].

Figure 1. The goddess Renenutet. The tomb of Khaemkhet (TT 57) [Leibovitch, 1953, p. 82, fig. 1].

The scene of the Renenutet sacrifice can be found in the tomb painting of the "Amun grain accountant" Jeserkaseneb (TT 38; XVIII dynasty). The owner of the tomb is depicted offering burnt offerings in front of the images of Amun-Ra and Renenutet, who is described here as the "good lady of the double granary" (sps nbt snwty) [Porter and Moss, 1994, p. 69 (3), 44 (plan); Wreszinski, 1923, Taf. 142]. The text refers to offerings "on the day of grain counting, in the 4th month of the sowing season, day 27, in the New Land [of Amon] and" to one whose face is turned to the earth (?) "(i.e., Renenutet. - AM)" [Davies, 1963, p. 4, pl. II].

Apparently, episodes of the Renenutet festival are also represented on the western wall of the vestibule of the tomb of Sennefer, nomarch of Thebes, " caretaker of the granary, fields and gardens of Amun "(TT 96, Sheikh Abd el-Qurna; time of Amenhotep II) [Porter and Moss, 1994, p. 198; Davies, 1929, fig. 8]. The southern side of the wall shows the garden of Amun-Ra with vineyards and ponds. The lower scenes are almost completely lost; apparently, there were scenes of grape pressure and Renenutet sacrifice (Porter and Moss, 1994, p. 198 (4)). In the northern part of the western wall, there is an image of a fenced courtyard, where there are barns filled with grain (Fig. 3). In the left part of the composition, you can see the doorway, on which cartouches with the name of Amenhotep II are inscribed. The door opens to a narrow staircase that leads to a road that runs around the corner of the building.

1 The Egyptian calendar year was divided into three seasons (bottling, sowing, and reaping-iht, prt, and smw, respectively)of 4 months out of 30 days. To 12 such months, the Egyptians added 5 days, which eventually gave a 365-day calendar year.

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granaries. Above the largest granary is a shrine where the Pharaoh makes offerings and incense burning. Most likely, the sanctuary was dedicated to Amun-Ra (Davies, 1929, p. 49).

It is noteworthy that on the sides of the staircase passage there are snakes with their heads facing the entrance. Apparently, these are the snakes that preyed on the rodents that lived in the barns. Snakes were associated with the goddess Renenutet, the patroness of the reapers (Angenot, 2007, p. 25). According to N. Davies, sculptural images of such snakes adorn the railing of the ramp leading to the upper terrace of the funeral temple of Hatshepsut in Deir el-Bahri (Figure 9) [Davies, 1929, p. 42; Porter and Moss, 1972, p. 343]. On the back of each snake is placed a figure of a falcon, and the entire group probably represented the cobra Buto, the goddess of northern Egypt, and the sacred falcon Behudti, the god of the southern city of Edfu [Mathieu, 1961, pp. 234-235]. On the one hand, such a composition symbolically represented the unity of Egypt. On the other hand, it could indicate the role of the Uajit cobra as the mother of the baby Hora or its wet nurse, protecting the Hora from Seth in the Delta thickets (Fischer-Elfert, 1986, Kol. 907-908).

In the Deir el-Bahri temple, snake figures are located on either side of the road leading to the upper terrace, where the sanctuary of Amun-Ra was located (Porter and Moss, 1972, plan XXXV). Apparently, the Valley Festival ceremonies dedicated to Amon-Ra were held in this place (Bell, 1997, p. 136-137). Thus, the snakes symbolically guarded the festive procession heading to the sanctuary of the god. Perhaps the same can be said of the serpent figures from Sennefer's tomb: they guarded the road towards the chapel of Amun-Ra.

According to the mural, the chapel was located at the top of a barn, with a staircase leading up to it, where servants carried various sacrificial offerings. According to N. Davies, this scene combines two plans: in reality, the oratory of Amun-Ra stood behind the barn, as shown in the scenes of the tomb of Anen (TT 120; time of Amenhotep III) [Porter and Moss, 1994, p. 234 (1); Davies, 1929, fig. 7]. As an argument to H. Davis cites the fact that the height of the walls of grain silos usually did not exceed the height of the platform from which the workers poured the grain. In order for the figure of the Pharaoh to appear above the largest mountain of grain, it would be necessary to build a separate staircase, which the researcher deeply doubted [Davies, 1929, p. 44, 46].

Fig. 2. Winery. Top right is the Renenutet Chapel. The Tomb of Neferhotep (TT 49) (Davies, 1933, pl. XLVIII).

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Meanwhile, we should not exclude the possibility that the chapel was actually located on top of the granary tower. As various ancient Egyptian models of grain silos show, they may have had a flat roof with a rather long staircase leading up to it (Figure 4). Workers climbed a ladder and poured grain through holes in the roof. A similar scene is represented, in particular, on the southern wall of the long corridor of Sennefer's tomb, following the vestibule [Porter and Moss, 1994, p. 198 (11); Angenot, 2007, fig. 6]. After the grain was threshed and sifted, the workers placed it in baskets, hoisted them on their shoulders, and went up to the roof of the barn to pour the grain into it. Perhaps the Renenutet festival scene depicts just such a granary, on the roof of which a small chapel was installed. In this case, it appeared just above the pile of grain, which, apparently, had a special symbolic meaning.

The motif of climbing the stairs to the sanctuary is found in various festivals dedicated to the cult of the sun god2. So, during the New Year festival, the Pharaoh and the priests went up to the roof of the temple, carrying a statue of the main temple god. In Dendera, they carried a statue of Hathor, which they placed in the chapel (Porter and Moss, 1991, p. 100-101, 94 (plan)the next day, the veil was removed from the statue, and the rays of the sun illuminated the image of the goddess. This rite was called "union with the solar disk" (hnm itn) [Chassinat and Daumas, 1935, pl. 184, 206-208] .3

3. Grain storage facilities of Amon. Tomb of Sennefer (TT 96) (Davies, 1929, fig. 8).

2 For example, the New Year's Holiday, the Opet holiday [Fairman, 1954, p. 183-184; Daumas, 1982, kol. 466-472].

3 For the meaning and nature of the hnm itn rite, see [Assman, 1999, p. 72].

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The ceremony of removing the veil from the statue was called " opening the face "(wn-hr). In a hymn called "opening of the face" from the Greco-Roman temple of Esna, it is mentioned that Khnum, the god of fertility and giver of the Nile flood, gave birth to the goddess Renenutet in the 1st month of the harvest season (Sauneron, 1962, p. 159). This observation suggests that the "union with the sun disk" ritual, which included the "opening of the face" ceremony, may have been part of the Renenutet festival. Apparently, it was held just in the sanctuary installed on the roof of the granary. Moreover, the chapel was located in such a way that the sun's rays penetrated through the holes in the roof and illuminated the grain poured into the barn. This motif resembles the design and decoration of the eastern chapel of Osiris, located on the roof of the temple of Hathor in Dendera (Porter and Moss, 1991, p. 96). On the ceiling of the chapel's interior, there is a hole (light well) through which the sun's rays passed (Porter and Moss, 1991, p. 100). On the walls of the well are scenes of the resurrection of Osiris lying on a bed [Porter and Moss, 1991, p. 100 (78-82); Mariette, 1873, pl. 69-70]. Thus, the rays of the sun, which illuminated the images of Osiris, "joined" with the body of this god, reviving it.

Since Osiris was associated, among other things, with grain, the "union" of the rays with the image of Osiris can be understood as the rebirth of the fertile forces of nature. It is known that the main rite of the Osiric holidays, celebrated from the 20th to the 30th of the last month of the flood season [Schott, 1950, p. 89-90], was the production of a figure of Osiris from sand and grain, which was symbolically buried and resurrected by pouring water over the form [Loret, 1882, p. 43-57]. Eventually, the grain grew out of the mold, which signified the resurrection of Osiris after his burial.

The grain god Nepri, who was considered the son of Renenutet, was often associated with Osiris. Nepri was associated with a funeral cult and was called "living after death". He was revered as a food giver who helped the deceased to revive after his burial [Leibovitch, 1953, p. 74-75; Derchain-Urtel, 1982, Kol. 454; Leitz, 2002, p. 195]. Nepri was depicted either as a baby being suckled by Renenutet (Figure 7), or as an obese man holding bundles of ears of corn in his hands. The birthday of this god was celebrated on the 1st day of the harvest season (I smw 1), on the same day as the feast of Renenutet (Schott, 1950, N 132; Broekhuis, 1971, p. 63).

Apparently, the Nepri festival was the final part of the Renenutet festival and was celebrated in the solar chapel on the roof of the granary. After filling the barns, the Pharaoh entered the chapel and prayed to Amon-Ra. The sun's rays penetrated through the holes in the roof, which meant "the unity of the solar disk" with Nepri, embodied in the grain. The result of this rite seems to have been the birth of Nepra.

Speaking about the hnm itn ceremony in the context of the Renenutet festival, let's pay attention to the scene of sifting grain from the tombs of Jeserkaseneb (TT 38) and Nakht (TT 52).

4. Model of the granary from the Aswan tomb. VI Dynasty [British Museum, EA 21805] 4.

4 For a description of the monument, see the British Museum website, URL: https://www.britishmuseum.org/explore/high-lights/highlight_objects/aes/p/painted_wooden_model_of_a_gran.aspx.

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A vessel is shown between workers shoveling ground grain, and above it, probably, a bunch of ears of corn woven in the shape of a crescent (Fig. 5) [TT 38: Davies, 1963, pl. II; TT 52: Davies, 1917, pl. XVIII-XX]. According to N. Davies, the vessel and a bunch of ears of corn represent offerings made to the goddess Renenutet on the first new moon of the harvest season (Davies, 1917, p. 63-64). It is possible that the bundle of ears of corn itself is a kind of doll that was stored until the next season; such a doll was found in a grain storage facility in Illahun [Capart, 1925, p. 290-292]. It is known that in European countries "grain dolls" were made from sheaves and hung in barns and houses to attract good luck during the harvest [Fraser, 1980, ch.XLV].

The image of grains falling to the ground evokes associations with the sun's rays emanating from the symbol of the goddess Renenutet and illuminating the grain. Here we recall the motif of reviving Nepri and Osiris with the rays of the sun. Thus, the scene of sifting grain symbolically echoes the scene of offerings made by the Pharaoh in the chapel of the solar cult.

The rituals of sacrifice and "union with the solar disk" had a pronounced Osiric aspect, which corresponded to the character of Renenutet associated with the funeral cult. In this capacity, Renenutet became close to Meretseger ("loving silence"), the goddess of the Theban necropolis, the protector of the dead (Valbelle, 1982, Kol. 79-80]. Like Renenutet, Meretseger was depicted as a snake or a woman with the head of a snake. She was considered the "lady of the West", the mistress of the mountain peak that rises above the necropolis. Perhaps the images of mountains of grain in the scenes of the Renenutet festival were an allusion to the rock mass above the tomb. In this case, the rite of hum itn, apparently performed on the roof of the granary, was aimed at reviving the deceased, who was identified with Osiris and Nepri. It is no accident that scenes of the Renenutet festival are found exclusively on the walls of tombs. Does this mean that the festival itself was held only on the west bank of the Nile? To understand this question, it is necessary to find out the nature of the sanctuaries depicted in the festive scenes.

In reliefs of the tomb of the "caretaker of barns" Khemkhet (TT 57; Sheikh Abd el-Qurna; time of Amenhotep III), the sanctuary of Renenutet looks like a small structure with two columns topped with hathoric capitals (Porter and Moss, 1994, p. 114 (8);

Fig. 5. Grain screening. The Tomb of Naht (TT 52) [Davies, 1917, pl. XX].

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Wreszinsky, 1914, Taf. 198]. Renenutet is depicted as a woman with the head of a cobra, sitting on a throne and nursing a baby Nepri (Figure 1). The accompanying inscription refers to "the sacrifice of all good things for Renenutet, the lady of the barn, on the 1st day of the 1st month of the harvest season, on the birthday of the grain god Nenri."

Mountains of grain are depicted at the base of the sanctuary, so that the throne of the goddess is visually raised above ground level (recall the scene from the tomb of Sennefer, where the sanctuary is also located above the mountains of grain). The Renenutet chapel itself, with its hathoric columns, resembles a building located on the roof of the temple of Dendera, where New Year's rituals were performed (Cauville, 1995, p. 65-66). Can we then assume that the statue of Renenutet was erected on an elevated place, in the chapel of Hathor? In this case, another question arises: how did this sanctuary relate to the chapel of Amun-Ra, which was apparently located on the roof of the granary? Consider the images of these chapels in the scenes of the harvest festival in the tomb of Amenemhat, Surer, who bore the title " overseer of the fields of Amun "(TT 48; al-Hoha; time of Amenhotep III) [Porter and Moss, 1994, p. 87-91; Save-Soderbergh, 1957, p. 41-43].

The scenes of interest are located on the southern wall of the multi-columned portico of the tomb (Porter and Moss, 1994, p. 88 (3); Save-Soderbergh, 1957, pl. XLI-XLII). The sanctuary of Renenutet is shown on the right side of the wall, and Amona - Ra is shown on the left. Between these scenes are placed two figures of Amenhotep III, standing with their backs to each other and facing respectively towards the sanctuary of Renenutet and Amon-Ra. Next to the figure of the king facing the sanctuary of Renenutet, there is an inscription: "On the 27th day of the third month of the sowing season, this day... [for Amun], may he make an offering of life like Ra for ever and ever" [Save-Soderbergh, 1957, p. 42, pl. XLII; Davies, 1929, p. 48]. Among the offerings were sheaves of grain and bundles of ropes used to measure the fields; these bundles of ropes were decorated with the heads of rams, the sacred animals of Amun.

To the right of the sacrificial offerings is the sanctuary of Renenutet, decorated with Hathoric columns. Inside the chapel are figures of two goddesses. One of them is represented as a cobra-headed woman and is called "Renenutet, lady of the barn"; she sits on a throne and feeds the young Pharaoh with her milk. According to N. Davies, the image of Renenutet with a baby is related to the motif of the birth of the grain god Nepri, whose birthday was celebrated by I smw 1 (Davies, 1929, p. 49). Here, the infant bears the name of the reigning king, which indicates the latter's connection with the grain god.

Behind the Renenutet nurse is an image of a cobra sitting on the sign "gold" (nbw); this sign is placed between two hands, indicating Ka. In front of the cobra is a small figure of Amenhotep III, who is under the protection of the goddess. Thus, in one sanctuary there were two images of Renenutet, reflecting the functions of the goddess as a nurse and protector of the god Nepri and the Pharaoh.

It is noteworthy that there is no statue of Amun-Ra in the Renenutet chapel, although the sacrifices were intended for him as well. There is no such statue in the chapel of Amun-Ra, shown to the left of the Renenutet oratory (Fig. 6). This chapel has the appearance of an empty opening, resembling a door or window. A staircase leads to the opening, along which the Pharaoh climbs, making incense. Behind him, apparently, is the owner of the tomb, holding a fan in his hand (Save-Soderbergh, 1957, pl. XLI). As noted by N. Davies, the empty doorway may have been a symbol of the god of scattered light (Davies, 1929, p. 49). Thus, the scene in the tomb of Amenemhat Surer has the same symbolic meaning as the scene in the tomb of Sennefer: the rays of the sun illuminated the grain, animating the god Nepri, and the solar aspect of this motif is particularly pronounced here.

As J. believed. Goyon, originally the holiday of Renenutet was more associated with the idea of a seasonal rebirth of the sun, rather than with the agricultural cycle (Goyon, 2003, p. 63, 65). This idea is answered by the entry of the calendar list of the Greco-Roman time from the Karnak temple of the goddess Mut, where the following documents are kept:-

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some information about the celebration of Renenutet (Sauneron, 1983, Cols. 29-32; Spalinger, 1993, p. 173-175; Klotz, 2009, p. 103-104). The text says that "Ra repeated (his) births" and Mut "gives birth to light (sww) in the temple of Mut". In honor of Mut, the ritual of "divine birth" (msw-ntr) was performed and the festival of Renenutet was celebrated in the palace and "throughout the land", "starting from sunset on the last day (of the sowing season) until the 1st day of the harvest season". The text goes on to say: "Her Majesty (i.e. Mut. - AM) appears (in the procession) as the good Renenutet (Rnnt nfrt), on the right and left of the king of Upper and Lower Egypt, "" worship the sun and moon on the day when she hides [her son?] from the gods."

6. Amenhotep III in the granary. Tomb of Amenemhat Surer (TT 48) (Davies, 1929, fig. 10).

The above text is an important evidence that rituals in honor of Renenutet were performed not only on the west bank of Thebes, but also on the east, in the temple complex of Karnak. An important place in the festival was given to the cult of the solar deity. According to D. Klotz, the expression "Ra repeated (his) birth" is similar to that often used in relation to the infant Khonsu, a lunar deity [Klotz, 2009, p. 104]. Since the text directly identifies Mut with Renenutet, the god Khonsu is related to the god Nepri, the son of Renenutet, especially since some epithets of Khonsu bring him closer to the image of Nepri: "lord of food" , "lord of provisions, giving to everyone according to his desire" (nb hrw, di n mr.f) [Urk. VIII, N 183g; Goyon, 1983, p. 53; Klotz, 2009, p. 100].

It is clear from the inscriptions of the temple of Mut that one of the ceremonies of the festival of Mut/Renenutet, held in Thebes under the Ptolemies, was the "divine birth" of Khonsu. The Theban version of the Book of the Origin of Eternity, which dates from the Greco-Roman period, refers to the holding of this ceremony in the building of the mammisi temple (hwt-nmit, "house of birth"). [Herbin, 1994,р.55, 163-166,441; Goyon, 1983, p. 64; Klotz, 2009, p. 104-105]. Apparently, the word" birth house " meant the Honsupaheroda Temple, built to the northeast of the Mut Temple (Porter and Moss, 1972, p. 270, plan XIV; Klotz, 2009, p. 99). Since, according to the text, Khonsu was associated with the gods Ra and Nepri, the "birth of Khonsu" ceremony was analogous to the "birth of Nepri" festival held by I smw 1. So, the Nepra festival could have been celebrated in the mammisi of the temple. Let us now try to determine more precisely the location of the various chapels depicted above.

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in the scenes of the harvest festival, and based on this, restore the sequence of rituals of the festivals of Renenutet and Nepri.

* * *

As the images of the harvest festival in the tomb of Amenemhat Surer show, the shrines of Renenutet and Amon-Ra were located at a distance from each other. This is also indicated by the scenes in the tomb of Khnummes (TT 253; El-Hoha, the time of Thutmose IV-Amenhotep III) [Porter and Moss, 1994, p. 337 (2); Davies, 1929, fig. 9]. In the right part of the composition, the Pharaoh's offering is shown in the sanctuary, apparently installed on the roof of the granary (Fig. 7). In the upper-left corner of the stage is an oratory with Hathoric columns; above them are a pedestal and bundles of papyri on sacrificial tables. Most likely, on the pedestal was placed the image of Renenutet, for which the papyri were intended. Apparently, the sanctuary of Renenutet was set on a flat surface and did not have a staircase, unlike the sanctuary of Amon-Ra.

The nature of the image of these oratories and their location relative to each other resemble the premises of the temple of Hatshepsut in Deir el-Bahri. In the southern part of the second terrace of the temple is the chapel of the goddess Hathor (Porter and Moss, 1972, p. 350, plan XXVI (1)). In the northern part of the third terrace there is an altar sanctuary dedicated to the cult of solar deities (Porter and Moss, 1972, p. 362 (116), plan XXXVI (4)). The sanctuary itself is a stepped platform, similar to the one depicted in the scenes of the Renenutet festival. Similar altars are found in various ancient Egyptian temples, such as the Karnak temple of Ahmenu Thutmose III (Porter and Moss, 1972, p. 122, room XXXV; Barguet, 1962, p. 291). It is noteworthy that in the eastern wall of the altar sanctuary of the Ahmenu temple there is a window opening through which the rays of the sun penetrated into the oratory. It is possible that such a sanctuary is represented in the tomb of Amenemhat Surer (Figure 6).
With regard to the Hathor Chapel of the Deir el-Bahri temple, I note that the columns of this room were decorated with Hathoric capitals, similar to the capitals of the columns of the sanctuary of Renenutet. It is interesting that in the upper part of the columns of the Hathor chapel there are images of a falcon standing on the back of a cobra - a plot familiar to us from the design of one of the temple ramps. On the walls of the chapel, the goddess Hathor is depicted as a cow protecting the Pharaoh and feeding him with her milk [Naville, 1901, pl. LXXXVII, CIV, CV]. We remember this motif from the Renenutet festival scene in the tomb of Amenemhat Surer.

The iconographic similarity of the images of Hathor and Renenutet suggests a close relationship between the cults of these goddesses, who were considered the protectors of the deceased, their nurses in the afterlife. In the relief of the temple of Medinet Madi, there is an image of the daughter of Amenemhat III, Neferuptah, who faces the goddess Renenutet and holds a sistrum decorated with the head of Hathor 5. The shaking of this instrument was intended to "appease Renenutet". It is known that the same rite was performed in honor of Hathor and was aimed at pacifying the fierce temper of the goddess. According to the Ramessid ostracon inscription, Hathor offerings were made on IV prt 28, i.e., the day after the Renenutet offerings were made (Cerny, 1935, Cairo 25780, 8; Schott, 1950, N 130). It is possible that the celebration of the goddesses was held on the same day, since the festival of Renenutet continued, apparently, until the beginning of the harvest season.

From all of the above, it seems that the festival of Renenutet could have been held in the temple of Hatshepsut. To test this assumption, you should find out

3 Drawing of the relief image is available on the website of the University of Pisa http://www.vhlab.itabc.cnr.it/FIRB/MM/MM_web/MM_tempioA_decorazione.html.

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connection of the Renenutet festival with the holidays celebrated in this temple. Chief among them was the Valley Festival, held on the new moon of the 2nd month of the harvest season (II smw) and dedicated to the cult of Amun-Ra and the funeral royal cult (Schott, 1950, N 150; Graefe, 1986, Kol. 187).

During the festival, the statue of the god was moved from the east bank, from the temple of Karnak, to the west bank. Such a crossing from one bank to the other symbolized the sunset on the western horizon, his entry into the afterlife and the beginning of a night voyage along the underground river [Schott, 1952, S. 12-13; Frank-Kamenetsky, 1917, p. 56]. It was believed that during the journey of Amun-Ra, all the deceased came out of their tombs and greeted the sun god, who poured out a gracious light on them [Schott, 1952, pp. 32-33]. The meaning of the holiday was to establish a connection between the living and the deceased, a kind of family unity, where the ancestors re-entered [Bell, 1997, p. 136-137]. For this purpose, the Egyptians visited the tombs of their deceased relatives and spent the whole night there, performing sacrifices, performing dances and taking intoxicating drinks [Bell, 1997, p. 137; Schott, 1952, p.82-84].

The Valley Festival was celebrated both in the temple and in private Theban tombs. The same can probably be said about the Renenutet festival. Another common feature of the feasts is the establishment of a burnt offering and the offering of flowers. During the Festival of the Valley, flowers were placed near the shrine of the Deir el-Bahri temple, where the statue of Amun-Ra was kept all night. During this time, the flowers were "imbued" with the life-giving power of God, after which the Egyptians bought them from priests and offered them to their deceased ancestors in tombs [Bell, 1997, p. 137].

The offering of flowers was also significant during the Renenutet festival. As various tomb scenes show, papyrus flowers wrapped in bindweed were brought to the shrines of Amun-Ra and Renenutet. In a 19th-dynasty stele, there is an image of Thutmose IV offering these flowers to Renenutet, depicted as a woman with the head of a snake (Figure 8). This type of offering is quite understandable, since Renenutet was identified with Ouajit, the patroness of the North, where papyrus mainly grew. In addition, this plant was associated with Hathor, who came out of the papyrus thicket in the form of a cow to meet the deceased. The offering of papyri and bindweed was supposed to propitiate the goddess and help the deceased safely cross to the west bank.

7. The granary of Amun: on the top left, the sanctuary of Renenutet, on the right, the solar altar. Tomb of Khnummes (TT 253) [Davies, 1929, fig. 9].

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Bindweed flowers facing the sun also correlated with the motif of rebirth of the deceased, who will be able to perceive the gracious rays of the sun god during his journey through the afterlife [Aufrere and Lopez-Moncet, 2001, p. 39-78]. It is not surprising, therefore, that the ceremonies of the Renenutet festival, as well as the Valley festival, were depicted on the walls of tombs. Moreover, in Sennefer's tomb, scenes of the Valley festival are located opposite the wall with images of grain harvesting and purification, which were directly related to the Renenutet festival [Porter and Moss, 1994, p. 199 (15)]. Perhaps the ritual programs of both holidays were largely similar. In this case, there is reason to believe that during the festival of Renenutet, the statue of the goddess, like the statue of Amun-Ra, during the festival of the Valley visited various funeral temples located on the western bank of Thebes.

According to the calendar list from Medinet Abu, on the day of the festival of Renenutet, offerings were made to Amon-Ra and the statue of Pharaoh. These ceremonies took place in temples, in the estates of nobles and in tombs, where people asked the gods for help to their deceased relatives. Renenutet offerings could be made either in a separate chapel or in the open courtyard of a temple or manor. The image of such a courtyard, enclosed on all sides by a wall, can be found in the relief of one tomb in Tell el-Amarna (time of Amenhotep IV) [Wreszinski, 1923, Taf. 395]. In the courtyard there is a stele flanked by two snakes with a female head. The stele is located on a high pedestal, resembling a chapel in shape. Not far from the stele are placed scales designed, apparently, to measure the harvest. The wall surrounding the courtyard has doorways that lead to other small courtyards filled with vats of wine.

8. A stele depicting Thutmose IV offering papyrus flowers to the goddess Renenutet. XIX dynasty. Deir el-Medina [Hart, 2005, p. 135].

In a number of tomb scenes, the figure of Renenutet is placed near the images of entrance openings. Perhaps this shows the special connection of Renenutet with this place. Images of serpents guarding the path are found in the scene of the fourth hour of the Book Amduat ("The Book of What is in the Other World"), which describes the night journey of the sun god [Hornung, 1963, Taf. 4]. At the fourth hour, Ra entered a dark valley called the " Cave of the West "(Figure 9). Here began the domain of the god Sokar, the patron saint of Rosetau, the Memphis necropolis. Sokar's abode was guarded by gods and sentinel serpents; the place was deserted, so the Sun boat was pulled by the dead by a rope. The boat, which took the form of a snake, descended into the depths of the earth, which is conveyed in the form of a stepwise descending path. As can be seen from the tomb paintings of Thutmose III (KV 34), the road went through a gate called "sharp" (mds). To pass them safely, you had to cast certain spells.

In the valley of the fourth hour of Amduat, sacraments were performed for the resurrection of the dead and the rebirth of the sun god. This is indicated by the scene of the second register, where Thoth is depicted passing the healed Eye of Ujat to the Choir. Behind Thoth is the mummy of the god Osiris, whom the Horus, according to the myth, is supposed to allow to swallow his eye and thereby resurrect it [Mathieu, 1996, p. 195-196].

It is noteworthy that the scene of the fourth hour is located next to the stairway leading to the burial chamber. The three kinks of the Duat road are like zer-

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three flights of stairs leading to the burial chamber (Roehrig, 2007, p. 125; Richter, 2008, p. 82-83). Thus, the path of the Sokar monastery was associated with an inclined road along which the sarcophagus with the body of the Pharaoh was carried (Richter, 2008, p. 83). In addition, this road itself, like the Duat path, was symbolically guarded by snakes.

It is possible that the staircase depicted in the tomb of Sennefer, guarded by snakes, just correlated with the path of the Duat, leading to the depths of the underworld. The ramps at Hatshepsut's funeral shrine in Deir el-Bahri may have had the same significance. In this case, the ceremonies of the Renenutet festival held here were associated with ideas about the afterlife journey of the Sun and the deceased, their gradual rebirth at dawn. It remains now to find out the procedure for conducting the rituals of the Renenutet festival in the space of the Hatshepsut temple.

9. Scene of the 4th hour of Amduat's Book [Hornung, 1963, Taf. 4].

Apparently, the first part of the festival began in the 20s of IV prt and took place in the Hathor chapel, located on the south side of the second terrace of the temple. There was a statue of Renenutet holding the infant Nepri on her lap. Burnt offerings were offered in front of the statue, and papyrus flowers entwined with bindweed were offered to them. The meaning of these sacrifices was to propitiate the goddess, who came out to meet the deceased and escorted him to the afterlife. Perhaps the image of Amun-Ra was also placed in the oratory of Hathor, which meant the meeting of the sun god with Renenutet, who guarded his way to the Duat.

Then the procession of priests probably left the oratory of Hathor and went up the ramp to the upper, third, terrace of the temple, carrying statues of Renenutet and Amon-Ra. Such a procession was likened to both a funeral procession and the overland advance of the Sun through the fourth valley of the Duat.

The upper terrace of the temple of Hatshepsut is an open space surrounded on all sides by a colonnade. This place was called the "festive hall" or " festive courtyard "(wsht-hb (y)t), accessible to the public during various holidays [Arnold, 1962, p. 109]. It is noteworthy that at the base of the columns

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The courtyard features figures of Nile deities in the form of an obese man holding various offerings in his hands (Porter and Moss, 1972, p. 358; Wysocki, 1980, fig. 2, 4). This iconography is characteristic of the god Hapi, the lord of the annual flood of the river. Hapi was considered the "lord of Nepri", so the images of these deities were similar in many ways. This remark suggests that in the space of the "festive courtyard" of the temple, ceremonies were held related to various harvest festivals, among which the holidays of Renenutet and Nepri were particularly significant.

The main rituals were probably performed in the sanctuary of Amun-Ra, located in the western part of the terrace (Porter and Moss, 1972, plan XXXVII (1)). On the walls of the sanctuary there is an image of a milk tank and a procession of people carrying torches (Porter and Moss, 1972, p. 365 (132); Naville, 1906, pl. CXLII). Most likely, these scenes were related to the ritual of lighting torches and extinguishing them in milk tanks, which meant the safe return of the deceased to Hathor, "The Lady of the West" (Wiebach, 1986, p. 288; Graindorge, 1993, p.77-79).

Taking into account the inscription of the Karnak temple of Mut, it can be assumed that the rituals in the sanctuary of Amun-Ra began at sunset on the last day of the sowing season and lasted until sunrise the next day, 1 smw 1. The role of Renenutet in these rituals is clear from the painting of the tomb of the priest Nahtamon (TT 335; Deir el-Medina; XIX dynasty). Consider the scenes depicted on the walls of the corridor leading to the burial chamber [Porter and Moss, 1994, p. 403 (19-20); Bruyere, 1926, fig. 94, 96-98].

On the south wall of the corridor, Nahtamon and his wife, Nebuemsheset, are depicted entering the gate of the Duat. On the opposite wall, we see the couple facing east, facing the rising sun. They worship the sun disk supported by two donkeys. The accompanying text of this scene deals with the rising of the sun and the feeding of the "beloved child" by the goddesses Renenutet and the Two Ladies (i.e., Nekhbet and Ouajit).

On the roof of the corridor, the goddess Nut is represented; at her feet - the Theban hill and a pyramid-shaped tomb. In various Ramessid tombs, Nut was depicted, as a rule,on the vault of the burial chamber in the form of a naked female figure swallowing the sun disk in the evening and giving birth to it at dawn. 6 Probably, the image of Chickpeas in the tomb of Nahtamon also correlated with this motif, although this is not directly indicated in the painting. Thus, the narrow corridor of the tomb of Nahtamon symbolized the Duat, where the sun god made a nocturnal journey accompanied by the deceased. In the east, the sun was born, a baby fed by the goddesses Renenutet and the Two Ladies.

Apparently, the sanctuary of Amun-Ra in the Deir el-Bahri temple can also be considered as an analog of the Duat. In the context of the Renenutet festival, the entrance of the priests to this oratory at sunset symbolized the sunset in the west, and the exit from it-the resurrection of God in the east. Thus, the ceremonies held in the sanctuary were aimed at reviving the sun god, making a night journey through the Duat. Given the inscription in the tomb of Nahtamon, it can be assumed that the chapel of Amun-Ra contained both a statue of Amun-Ra and a statue of Renenutet nursing a baby.

According to the reliefs of the temple of Dendera, when the sun was born at dawn from the body of Nut, it sent its rays to the image of Hathor, which meant the renewal of the life forces of the goddess [Cauville, 1995, p. 61]. This motif was the basis of the ritual "union with the solar disk". Perhaps, in the temple of Hatshepsut, it was held in a solar altar. In the same temples where there were granaries, a solar chapel was probably installed on the roof of the granary. It is characteristic that in the tomb scenes there is no statue of any deity in the solar altar. Usually there is either a sacrificial altar (tomb of Sennefer), or a stele with the image of a winged solar dis-

6 See, for example, the tomb paintings of Ramesses IV (KV2); Ramesses VI (K. V9) [Porter and Moss, 1964, p. 500, 512; Neugebauer and Parker, 1960, pl. 34-35; Piankoff, 1954, pl. 149-153, fig. 130].

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ka (tombs of Anen, Khnummes), or an empty window opening (tomb of Amenemhat Surer). It seems that during the harvest festival, in principle, a statue of the god was not placed in the solar altar. Was it ubiquitous?

As mentioned earlier, the purpose of the rites performed in the altar was the birth of the grain god Nepri. From the inscription of the Karnak temple of Mut, we remember that the rite of" divine birth " (msw-ntr) may have taken place in the mammisi temple, the "house of birth". In the temple of Hatshepsut, the image of Mammisi is found in the reliefs of the northern part of the second terrace, where the legend of the divine birth of Hatshepsut from Amun-Ra and Queen Yahmes is displayed [Porter and Moss, 1972, p. 348-349 (17-20); Naville, 1896, pl. 47-53]. In one scene, we see Yahmes sitting on a long bed and holding a baby in her arms (Naville, 1896, pl. 51). On either side of her are various goddesses who were wet nurses and midwives. Another scene in front of Yahmes depicts the goddess Hathor feeding Hatshepsut with her milk (Naville, 1896, pl. 53). We have seen this story on the reliefs of the Hathor chapel of the Deir el-Bahri temple. Thus, the motif of feeding the Pharaoh is depicted in different rooms of temples, which confirms the idea of the king's renewal, receiving divine power and vitality.

It is noteworthy that reliefs with scenes of the birth of the queen are located almost under the solar altar (Fig. Perhaps this was a special meaning: the sun's rays descended on the infant Hatshepsut, filling it with life-giving power. In the context of the holidays of Renenutet and Nepri, this plot corresponded to the illumination of grain by the rays of Amon-Ra. The ceremony celebrating the" union " of the sun with grain could take place in the solar altar of the Deir el-Bahri temple. It celebrated not only the birth of the god Nepri, but also the pharaoh, who was associated with Nepri and was referred to in a number of New Kingdom texts as "the food of the land" (Leibovitch, 1953, p.110).

Perhaps the solar altar of the temple of Hatshepsut was considered as a kind of mammisi, where the birth of the Pharaoh and various gods was celebrated. Given the connection between the solar altar and the scenes of Hatshepsut's birth, it can be assumed that during the festival of Renenutet, statues of Amun-Ra and Renenutet were placed in the altar sanctuary. In this case, the presence of these statues in the sanctuary corresponded to the subjects of the reliefs of the second terrace of the temple, where the marriage of the god Amon and Queen Yahmes is shown. It is possible that during the harvest festival, the sacred marriage of Amon-Ra and Renenutet was celebrated in the solar altar; from this union Nepri and Pharaoh were born.

The nature of the rites that took place in the solar altar was mentioned above: the pharaoh or nobleman offered the gods the fruits of the harvest; these sacrifices were placed on the altar and completely burned. This type of sacrifice was in keeping with the character of Renenutet, who, like Ujat, used her flames to frighten away the enemies of Ra and the king. In addition, the Sarcophagus Texts mention Nepri as the god of the "smoking grain" (npr hty), who "lives after death" and takes the soul of the deceased "to see that person, wherever he is, in my form, in my form, in my wisdom, the offerings of the living 7"(ART 99). Probably, in this case, it is said about the possibility of sending the soul of the deceased to various places with the help of fragrance or smoke, contributing to its visual manifestation and contemplation of the one who causes this soul.

It follows from the above that the burnt offering in the context of the festivals of Renenutet and Nepri was related to both the solar cult and the funeral cult, establishing a connection between the earth and the sky, between the living and the deceased. This rite was probably associated with the lighting of the lamp, which is mentioned in the inscriptions of one of the scenes of Hatshepsut's birth (Naville, 1896, p. 16-17). This ritual was performed during such significant events as birth, celebration of the royal jubilee,

7 For the category, see [Hodjash and Berlev, 1982, p. 72, n. h]. According to A. O. Bolshakov," it is a designation of a dead person, which characterizes him as having some kind of otherworldly life " [Bolshakov, 2001, p. 97].

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New Year. In addition, it had a funereal character and was aimed at reviving the deceased, protecting him from evil forces [Naville, 1896, p. 16-17]. According to the text of the 137th chapter of the Book of the Dead, the fire of the lampstand was the fire of the Eye of Horus 8.

From the time of the Middle Kingdom, a document has come down to us indicating that the lighting of a fire in honor of the deceased was carried out in a special part of the temple (this text refers to the northern side) [Refiner, 1918, p. 79; Leibovitch, 1953, p. 110]. As payment to the priests for performing the ritual, relatives of the deceased brought 1 hekap of9 barley of the first harvest. Since the rite of lighting the lamp was associated with the grain offering, it could be included in the programs of various harvest festivals, such as the holidays of Renenutet and Nepri.

As can be seen, during the harvest season, at least three ceremonies were performed in the solar altars of various temples: "union with the solar disk", burnt offering and lighting of the lamp. Their task was to revive Nepri, Osiris, and the deceased, who was to be resurrected in the other world like a sprouting grain.

In general, the program of the festival associated with the cult of Renenutet is presented as follows. The main holiday of Renenutet was probably celebrated on the 20th of the fourth month of the sowing season. The first part of the festival took place in the sanctuary dedicated to the cults of Renenutet and Hathor. Here, rituals were performed to appease Renenutet, summon her to help with the harvest, and protect the sun god and the departed from evil forces during their journey to the afterlife. The second part of the festival probably occurred on IV prt 30 and included rituals in the sanctuary of Amun-Ra; in this place, the rebirth of the sun god, the renewal of his vital forces, was celebrated. I smw 1 ceremonies began in the solar altar, where the birth of the gods Nepri, Osiris and the resurrection of the dead in the other world were celebrated.

10. Layout of the second and third terraces of the Hatshepsut Temple in Deir el-Bahri (Pawlicki, 1999, p. 154).

8 The vignette shows the goddess Api, who in the form of a hippopotamus lights a fire in a jar of incense; in the vignette from the Saite version, there is an image of the deceased sitting in front of two burning lamps [Naville, 1886, pl. 151].

9 1 hekat-a measure equal to 4.785 liters.

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LIST OF ABBREVIATIONS

Urk. IV - Sethe K. Urkunden des 18. Dynastie. Abteilung IV. Leipzig, 1906.

Urk. VIII - Sethe K. Thebanische Tempelinschriften aus griechisch-romischer Zeit / Ed. O. Firchow. Abteilung VIII. Berlin, 1957.

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