‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬

‫ﺩﻭﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ) ‪ ( wpst‬ﻓﻰ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ‬

‫♦‬
‫ﺩ‪.‬ﺴﻬﻲ ﻤﺤﻤﻭﺩ‬

‫ﻅﻬﺭﺕ ﻫﺫﻩ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﺩﺀ ﻤﻥ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻭﺴﻁﻰ ﻭﺍﺴـﺘﻤﺭﺕ ﺤﺘـﻰ ﻨﻬﺎﻴـﺔ‬
‫ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨﺎﻨﻰ ﺍﻝﺭﻭﻤﺎﻨﻰ ‪،‬ﻭﻗﺩ ﻝﻌﺒﺕ ﺩﻭﺭﹰﺍ ﻫﺎﻤﹰﺎ ﻓﻰ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ ‪،‬ﻭﻋﻠﻰ‬
‫ﻭﺠﻪ ﺍﻝﺘﺤﺩﻴﺩ ﻓﻰ ﺃﺴﻁﻭﺭﺓ "ﻋﻴﻥ ﺭﻉ"‪،‬ﻜﻤﺎ ﺒﺩﺃ ﺩﻭﺭﻫﺎ ﻴﺘﺒﻠﻭﺭ ﻓﻰ ﺍﻝﻜﺘﺏ ﺍﻝﺠﻨﺯﻴﺔ ﻓﻰ ﻋﺼﺭ‬
‫ﺍﻝﺩﻭﻝﺔ ﺍﻝﺤﺩﻴﺜﺔ ‪،‬ﻭﺃﺼﺒﺢ ﺘﺼﻭﻴﺭﻫﺎ ﺃﻜﺜﺭ ﺍﻨﺘﺸﺎﺭﺍ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻌﺎﺒـﺩ ﻓـﻰ ﺍﻝﻌـﺼﺭ‬
‫ﺍﻝﻴﻭﻨﺎﻨﻰ ﺍﻝﺭﻭﻤﺎﻨﻰ ‪،‬ﻭﻗﺩ ﺍﺭﺘﺒﻁﺕ ﺒﻨﻅﺭﻴﺔ ﺍﻝﺨﻠﻕ ﻭﺍﻝﻭﻻﺩﺓ ﺍﻝﻤﻠﻜﻴﺔ ﻓﻰ ﺫﻝﻙ ﺍﻝﻌﺼﺭ‪.‬‬
‫ﺇﺸﻜﺎﻝﻴﺔ ﺍﻝﺒﺤﺙ ‪:‬‬
‫ﺩﺭﺍﺴﺔ ﻫﺫﻩ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻓﻰ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ ﻭﺘﺤﻠﻴل ﺩﻭﺭﻫﺎ ﺍﻷﺴﻁﻭﺭﻱ‪.‬‬
‫ﺃﻫﺩﺍﻑ ﺍﻝﺒﺤﺙ‪:‬‬
‫ﺩﺭﺍﺴﺔ ﻁﺭﻕ ﻜﺘﺎﺒﺔ ﺍﻻﺴﻡ‪.‬‬ ‫‪-١‬‬
‫ﺩﻭﺭ ﺍﻹﻝﻬﺔ ﻓﻰ ﺍﻝﻨﺼﻭﺹ ﺍﻝﺩﻴﻨﻴﺔ ﻭﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺎﻝﻤﻠﻜﻴﺔ ‪.‬‬ ‫‪-٢‬‬
‫ﺩﺭﺍﺴﺔ ﺘﺼﻭﻴﺭ ﻤﻨﺎﻅﺭ ﺍﻹﻝﻬﺔ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻘﺎﺒﺭ ﻭﺍﻝﻤﻌﺎﺒﺩ‪.‬‬ ‫‪-٣‬‬

‫♦‬
‫ﻤﺩﺭﺱ ﺍﻵﺜﺎﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ – ﺒﻘﺴﻡ ﺍﻹﺭﺸﺎﺩ ﺍﻝﺴﻴﺎﺤﻲ ﺃﻜﺎﺩﻴﻤﻴﺔ ﺍﻝﻤﺴﺘﻘﺒل‪.‬‬

‫‪- ٥٣٦ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫ﻴﻬﺩﻑ ﻫﺩﺍ ﺍﻝﺒﺤﺙ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﻭﺘﺤﻠﻴل ﺩﻭﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﻓﻲ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻝﻤﺼﺭﻴﺔ‬
‫ﺍﻝﻘﺩﻴﻤﺔ ‪،‬ﺤﻴﺙ ﻅﻬﺭﺕ ﻫﺩﻩ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﺩﺍﻴﺔ ﻤﻥ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻭﺴﻁﻰ ﻭﺍﺴـﺘﻤﺭﺕ ﺤﺘـﻰ‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨﺎﻨﻲ ﺍﻝﺭﻭﻤﺎﻨﻲ ‪،‬ﻭﺴﻭﻑ ﻴﺘﻨﺎﻭل ﺍﻝﺒﺤﺙ ﻋﺩﺓ ﻨﻘﺎﻁ ﺍﻷ ﻭﻫﻰ ‪:‬‬
‫ﺃﻭﻻ‪ :‬ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺃﻝﻘﺎﺒﻬﺎ‪.‬‬
‫ﺜﺎﻨﻴﺎ‪ :‬ﺩﻭﺭﻫﺎ ﺍﻷﺴﻁﻭﺭﻱ ﻭﺍﻝﺩﻴﻨﻲ‪.‬‬
‫ﺜﺎﻝﺜﺎ‪:‬ﺘﺼﻭﻴﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻘﺎﺒﺭ ﻭﺍﻝﻤﻌﺎﺒﺩ‪.‬‬
‫ﺃﻭﻻ‪ :‬ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺃﻝﻘﺎﺒﻬﺎ‪:‬‬
‫‪ -١‬ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ‪:‬‬
‫ﺒﻤﻌﻨﻰ ﻴﺤﺭﻕ ﻭ ﺍﻝﺫﻯ ﻴﺸﻬﺩ ﻤـﻥ‬ ‫ﻴﺸﺘﻕ ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ‪١‬ﻤﻥ ﻓﻌل ‪wps‬‬
‫ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﺤﺩﻴﺜﺔ‪ ٢‬ﻭﻋﻠﻰ ﻫﺩﺍ ﻴﺘﺭﺠﻡ ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﻤﻌﻨﻰ" ﺍﻝﺘﻲ ﺘﺤﺭﻕ"‪،‬ﺃﻭ "ﺍﻝﺤﺎﺭﻗﺔ"‪،‬ﻭﻗﺩ‬
‫ﺭﻓﺽ"ﺯﻴﺘﻪ" ﺩﻝﻙ ﺍﻝﺘﻔﺴﻴﺭ ﻭﻴﺭﻯ ﺃﻨﻪ ﻤﺸﺘﻕ ﻤﻥ ﺍﻝﻜﻠﻤﺔ ‪ wpt‬ﺒﻤﻌﻨﻰ ﻴﺴﺘﻌﻴﺭ ﻤـﻀﺎﻓﹰﺎ ﺇﻝﻴـﻪ‬
‫ﺍﻝﺒﺎﺩﺌﺔ ‪،s‬ﺒﺎﻝﺭﻏﻡ ﻤﻥ ﺃﻥ ﺃﻭل ﺩﻝﻴل ﻝﻜﺘﺎﺒﺔ ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﻤﺨﺼﺹ ﺍﻝﻨﺎﺭ‪.٣‬‬
‫‪-‬ﻁﺭﻕ ﺍﻝﻜﺘﺎﺒﺔ‪:‬‬
‫‪-‬ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻭﺴﻁﻰ‬
‫‪bA wpst٤‬‬
‫‪wpst5‬‬
‫‪wpst6‬‬
‫‪-‬ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﺤﺩﻴﺜﺔ‬

‫‪wpst7‬‬
‫‪-‬ﻋﺼﺭ ﻤﺘﺄﺨﺭ‬

‫‪wpst wrt8‬‬
‫‪-‬ﻋﺼﺭ ﻴﻭﻨﺎﻨﻰ ﺭﻭﻤﺎﻨﻰ‬
‫‪1‬‬
‫‪Jacobus van Dijk,Wepest in: L A V I,1986,Col.1218-1220.‬‬
‫‪2 WbI, p.305 ,8.‬‬
‫‪3‬‬
‫‪Osing, Die Nominalbildung des Agyptischen, 2 Vols, , Mainz, 1976,872 n.1415.‬‬
‫‪4‬‬
‫‪CT I,378a.‬‬
‫‪5‬‬
‫‪CT I, 399 a.‬‬
‫‪6CT I,383,a.‬‬
‫‪7‬‬
‫‪A. Piankoff,Le Livre des Quererts in: BIFAO 43,1945 pl.XCVIII.‬‬
‫‪8‬‬
‫‪Ibid.pls.XCVIII.‬‬

‫‪- ٥٣٧ -‬‬

١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬
wpst9 (‫)ﻭﺒﺴﺕ)ﺍﻝﺤﺎﺭﻗﺔ‬١
١٠
wpst (‫ ﻭﺒﺴﺕ)ﺍﻝﺤﺎﺭﻗﺔ‬٢
Wpst 11 (‫ ﻭﺒﺴﺕ)ﺍﻝﺤﺎﺭﻗﺔ‬٣
12
Wpst (‫ ﻭﺒﺴﺕ)ﺍﻝﺤﺎﺭﻗﺔ‬٤
Wpst 13 (‫ ﻭﺒﺴﺕ)ﺍﻝﺤﺎﺭﻗﺔ‬٥
Wpst-imt 14 ‫ﺒﻭﺘﻭ‬- ‫ ﻭﺒﺴﺕ‬٦
15
Wpst m wabt ‫ ﻭﻋﺒﺕ ﻓﻲ ﺃﺒﺘﻭﻥ‬-‫ﻭﺒﺴﺕ‬٧
16
Wpst wrt ‫ ﻭﺒﺴﺕ ﺍﻝﻌﻅﻴﻤﺔ‬٨

Wpst wrt Hna ‫ﻭﺒﺴﺕ ﺍﻝﻌﻅﻴﻤـﺔ ﻤـﻊ‬- ٩

.sn.s 17 ‫ﺇﺨﻴﻬﺎ‬
18
Wpst Spst ‫ﻭﺒﺴﺕ ﺍﻝﻨﺒﻴﻠﺔ‬- ١٠
Wpst m tA n tm ‫ﻭﺒﺴﺕ ﻓﻲ ﺩﻨﺩﺭﺓ‬١١
19

Wpst Dw qd 20
‫ﻭﺒﺴﺕ ﺫﺍﺕ ﺍﻝﻁﺒﻊ ﺍﻝﺴﻴﺊ‬١٢
Wpst Dw od m ‫ﻭﺒﺴﺕ ﻤﻊ ﻋﻴﻨﻬﺎ ﺍﻝﻤﺤﺭﻗﺔ‬١٣
irt.s 21
:‫ﺘﺤﻠﻴل ﻁﺭﻕ ﺍﻝﻜﺘﺎﺒﺔ‬
9
J. Cl. Goyon,Textes Mythologique II"Le revelatios du mystere des Quatre Boules in:BIFAO
75,1975,35.9.21,Col.29. 4-10.
10
D Mammsis,119,8 .pls 61 , E Mammsis,167,2 pls 43.2.
11
G.Benedite,Le Temple de Philae,MMAf 13,paris,1893,87,13 .
12
Ibid,.72,10.
13
LD IV,74 b.
14
Debod, ,83,25 5.
15
Ibid.,p.83.255 .
16
Dakke,171,&399.
17
Ko,563.
18
D I,125,3.
19
D V,133,7.
20
E II,15,620.
21
Benedite,op-cit.,p.81,14

- ٥٣٨ -
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫ﻤﻥ ﺘﺤﻠﻴل ﻁﺭﻕ ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﺨﻁﻴﺔ ﻷﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻴﺘﻀﺢ ﻤﺎﻴﻠﻰ‪:‬‬
‫ﻨﺭﻯ ﺃﻥ ﺃﻭل ﻅﻬﻭﺭ ﻷﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻜﺎﻥ ﺒﺎﺴﻡ ‪ bA wpst‬ﺒـﺩﻭﻥ ﻤﺨـﺼﺹ ﺍﻹﻝﻬـﺔ‬
‫‪،‬ﻭﺃﻴﻀﺎ ﻨﺭﻯ ﻅﻬﻭﺭﻫﺎ ﺒﻤﺨﺼﺹ ﺍﻹﻝﻪ ﻭﻝﻴﺴﺕ ﺍﻹﻝﻬﺔ ﻭﺫﻝﻙ ﻓﻰ ﻨﺼﻭﺹ ﺍﻝﺘﻭﺍﺒﻴﺕ ‪CT‬‬
‫‪.I, 399‬ﺒﻴﻨﻤﺎ ﻓﻲ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﺤﺩﻴﺜﺔ ﻨﺭﻯ ﻤﺨﺼﺹ ﺍﻝﻜـﻭﺒﺭﺍ ﺍﻝﺨـﺎﺹ ﺒﺎﻹﻝﻭﻫﻴـﺔ‬
‫ﻭﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﻨﻌﺕ ﺍﻝﻌﻅﻴﻤﺔ‪.‬ﺃﻤﺎ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨﺎﻨﻰ ﺍﻝﺭﻭﻤﺎﻨﻰ ﻨﺠﺩ ﺘﻨﻭﻉ ﻜﺜﻴﺭ ﻓﻰ ﻁـﺭﻕ‬
‫ﺍﻝﻜﺘﺎﺒﺔ ﻭﻴﻤﻜﻥ ﺘﻘﺴﻴﻤﻬﺎ ﺇﻝﻰ ﻋﺩﺓ ﻤﺠﻤﻭﻋﺎﺕ ‪:‬‬
‫ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻷﻭﻝﻰ ‪(١:٥):‬‬

‫ﺘﺘﺸﺎﺒﻪ ﻜﺘﺎﺒﺘﻬـﺎ ﻤـﻊ ﻨـﺼﻭﺹ‬ ‫ﺘﺘﻨﻭﻉ ﻁﺭﻕ ﺍﻝﻜﺘﺎﺒﺔ ﻓﺭﻗﻡ )‪(١‬‬

‫ﻜﺘﺒـﺕ‬ ‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺒﺎﻻﻀﺎﻓﺔ ﺍﻝﻲ ﻤﺨﺼﺹ ﺍﻹﻝﻭﻫﻴﺔ ‪،‬ﺒﻴﻨﻤـﺎ ﺭﻗـﻡ )‪(٢‬‬

‫ﺒﺘﻜﺭﺍﺭ ﻋﻼﻤﺘﻲ ﺍﻝﻘﺭﻥ ‪+‬ﺍﻝﻁﺎﺌﺭﺒﺎﻻﻀﺎﻓﺔ ﺍﻝﻲ ﺍﻝﻌﻼﻤﺔ ﺍﻷﺤﺎﺩﻴﺔ‪،‬ﻭﻓﻰ ﺭﻗﻡ )‪ (٣‬ﻜﺘﺏ ﺒﺫﻝﻙ‬
‫ﻭﻷﻭل ﻤﺭﺓ ﻓﻰ ﻁﺭﻴﻘﺔ ﻜﺘﺎﺒﺔ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻨـﺭﻯ ﻤﺨـﺼﺹ ﺍﻝﺤﻴـﺔ‬ ‫ﺍﻝﺸﻜل‬
‫ﺍﻝﺒﺎﺼﻘﺔ ﺍﻝﻠﻬﺏ ﻭﻫﻭ ﻤﻥ ﻀﻤﻥ ﻭﻅﺎﺌﻑ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺍﻝﺩﻴﻨﻴﺔ ﻭﺍﻝﺘﻰ ﺴﻭﻑ ﻴﺭﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻨﻬﺎ‬
‫ﻓﻰ ﻤﺘﻥ ﺍﻝﺒﺤﺙ‪.‬‬
‫ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺜﺎﻨﻴﺔ‪:‬‬
‫ﻴﺭﺘﺒﻁ ﺍﺴﻡ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﺎﻝﻨﻌﻭﺕ ﺍﻝﺘﻰ ﺘﺘﺼﻑ ﻤﻌﺒﻭﺩﺍﺕ ﺃﺨﺭﻯ ﺍﻝﺘﻰ ﺘﺘﺤﺩ ﻤﻌﻬﺎ ﻭﺒﺴﺕ‬
‫)ﺭﻗﻡ ‪( ، ١٣ ، ١١، ١٠، ٩، ٨‬ﻭﺘﺘﻨﻭﻉ ﺘﻠﻙ ﺍﻝﻨﻌﻭﺕ ﻤﺎﺒﻴﻥ ﺼﻔﺎﺕ ﺨﻴﺭﺓ ﻭ ﺸﺭﻴﺭﺓ‪.‬‬
‫ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻝﺜﺎﻝﺜﺔ‪:‬‬
‫ﻴﺭﺘﺒﻁ ﺍﺴﻤﻬﺎ ﺒﻤﻨﺎﻁﻕ ﺠﻐﺭﺍﻓﻴﺔ )‪(١٢، ٧، ٦‬‬
‫‪-٢‬ﺃﻝﻘﺎﺏ ﻭﺒﺴﺕ‪:‬‬
‫‪٢٢‬‬

‫‪Wpst nbt nbjt Hnwt nbi‬‬

‫ﻭﺒﺴﺕ ﺴﻴﺩﺓ ﺍﻝﺸﻌﻠﺔ‪ ،‬ﺴﻴﺩﺓ ﺤﻭﺕ ﻨﺒﻴﺕ‬
‫‪٢٣‬‬

‫‪Wpst nbt nbi m snmt‬‬

‫ﺴﻴﺩﺓ ﺍﻝﺸﻌﻠﺔ ﻓﻰ ﺒﻴﺠﺔ‬
‫ﺜﺎﻨﻴﺎ‪ :‬ﺩﻭﺭﻫﺎ ﺍﻷﺴﻁﻭﺭﻱ ﻭﺍﻝﺩﻴﻨﻲ‪.‬‬

‫‪22‬‬
‫‪G.Benediteop-cit., ,p.81,13‬‬
‫‪23‬‬
‫‪Ibid.p.,75‬‬

‫‪- ٥٣٩ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬

‫‪ -١‬ﺍﻝﺩﻭﺭ ﺍﻷﺴﻁﻭﺭﻱ‪.‬‬
‫ﺃ‪-‬ﺃﺴﻁﻭﺭﺓ ﻋﻴﻥ ﺭﻉ‬
‫ﻝﻌﺒﺕ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﺩﻭﺭﹰﺍ ﻫﺎﻤﹰﺎ ﻓﻰ ﺃﺴﻁﻭﺭﺓ "ﻋـﻴﻥ ﺭﻉ" ﻭﺘﺭﺠـﻊ ﺃﺼـﻭل‬
‫ﺍﻷﺴﻁﻭﺭﺓ ﺇﻝﻰ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻭﺴﻁﻰ ﻭﻤﻥ ﺍﻝﻤﺭﺠﺢ ﺃﻨﻬﺎ ﻜﺘﺒﺕ ﻓﻲ ﺒﺩﺍﻴﺘﻬﺎ ﻓﻲ ﺍﻝﺘﻌﻭﻴﺫﺓ‬
‫ﺍﻝﺨﺎﻤﺴﺔ ﻭﺍﻝﺴﺒﻌﻭﻥ ﻤﻥ ﻨﺼﻭﺹ ﺍﻝﺘﻭﺍﺒﻴﺕ‪ ،‬ﻭﺘﺭﻭﻯ ﺍﻷﺴﻁﻭﺭﺓ ﺃﻥ ﺍﻹﻝﻪ ﺭﻉ ﻗﺩ ﺃﺼـﺒﺢ‬
‫ﻤﺴﻨﺎ ﻭﺃﻥ ﺭﻋﻴﺘﻪ ﻤﻥ ﺒﻨﻰ ﺍﻝﺒﺸﺭ ﺘﺄﻤﺭﻭﺍ ﻋﻠﻴﻪ ﻓﺎﺴﺘﻨﺠﺩ ﺒﺎﻝﻤﻌﺒﻭﺩﺓ ﺤﺘﺤﻭﺭ ‪،‬ﻭﺍﻝﺘﻰ ﺘـﺴﻤﻰ‬
‫ﻋﻴﻥ ﺭﻉ ﻝﻠﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻝﺒﺸﺭ ﺒﻨﻴﺭﺍﻨﻬﺎ ﺍﻝﻐﺎﻀﺒﺔ )ﻭﺒﺴﺕ(ﻓﺩﺒﺭ ﻭﺴﻴﻠﺔ ﺇﻨﻘﺎﺫ ﺍﻝﺒﺸﺭ ﻭﺫﻝـﻙ‬
‫ﺒﺘﻘﺩﻴﻡ ﺸﺭﺍﺏ ﺍﻝﺠﻌﺔ ﻤﻀﺎﻓﺎ ﺇﻝﻴﻪ ﻤﺴﺤﻭﻕ ﺍﻝﻁﻔل ﺍﻷﺤﻤﺭ ﻤﻥ ﺇﻝﻔﻨﺘﻴﻥ ﻓﺼﺎﺭ ﻴـﺸﺒﻪ ﺍﻝـﺩﻡ‬
‫ﺍﻝﺒﺸﺭﻯ ﻓﺸﺭﺒﺘﻪ ﺤﺘﺤﻭﺭ ﻭﺜﻤﻠﺕ ﻭﺘﻤﻜﻥ ﻤﻥ ﺇﻨﻘﺎﺫ ﺍﻝﺒﺸﺭﻴﺔ‪ ٢٤‬ﻭﺒﻌﺩ ﺫﻝﻙ ﺃﺭﺴل ﺍﻝﻤﻌﺒـﻭﺩ‬
‫ﺸﻭ ﻝﻴﺄﺘﻲ ﺒﻌﻴﻨﻪ )ﺤﺘﺤﻭﺭ( ﻭﻴﻬﺩﺃ ﻤﻥ ﻏﻀﺒﻬﺎ )ﺒﺎ ﻭﺒﺴﺕ (‪ ،٢٥‬ﻭﺃﺼﺒﺢ ﻴﺴﻤﻰ ﻤﻨﺩ ﺍﻝﺤﻴﻥ‬
‫ﺃﻭﻨﻭﺭﻴﺱ )ﺃﻱ ﺍﻝﺫﻯ ﻴﺤﻀﺭ ﺍﻝﺒﻌﻴﺩﺓ ( ‪ ،‬ﻭﻓﻴﻤﺎ ﻴﻠﻲ ﺍﻝﻨﺹ ﺍﻝﺩﺍل ﻋﻠﻰ ﺫﻝﻙ‪:‬‬

‫‪CT378b‬‬

‫‪ ٢٤‬ﺴﻠﻴﻡ ﺤﺴﻥ ‪:‬ﺍﻷﺩﺏ ﺍﻝﻤﺼﺭﻱ ﺍﻝﻘﺩﻴﻡ –ﺍﻝﻘﺼﺹ ﻭﺍﻝﺤﻜﻡ ﻭﺍﻝﺘﺄﻤﻼﺕ ﻭﺍﻝﺭﺴﺎﺌل‪-‬ﺍﻝﺠﺯﺀ ﺍﻷﻭل‪ -‬ﻁ‪-٢‬‬
‫‪ ١٩٩٠‬ﺹ‪٨١:٨٤‬‬
‫ﺴﺠﻠﺕ ﺍﻷﺴﻁﻭﺭﺓ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﻤﻘﺒﺭﺓ ﺍﻝﻤﻠﻙ ﺴﻴﺘﻰ ﺍﻷﻭل ﻤﻥ ﺍﻷﺴﺭﺓ ‪ ،١٩‬ﻭﺠﺩﺭﺍﻥ ﻤﻘﺒﺭﺓ ﺭﻋﻤـﺴﻴﺱ‬
‫ﺍﻝﺜﺎﻝﺙ ﻤﻥ ﺍﻷﺴﺭﺓ ﺍﻝﻌﺸﺭﻭﻥ ‪،‬ﻨﺎﻭﻭﺱ ﺘﻭﺕ ﻋﻨﺦ ﺃﻤﻭﻥ‪.‬‬
‫‪ ٢٥‬ﺃﺩﻭﻝﻑ ﺃﺭﻤﺎﻥ‪ ،‬ﺩﻴﺎﻨﺔ ﻤﺼﺭ ﺍﻝﻘﺩﻴﻤﺔ‪،‬ﻨﺸﺄﺘﻬﺎ ﻭﺘﻁﻭﺭﻫﺎ ﻭﻨﻬﺎﻴﺘﻬﺎ ﻓﻰ ﺃﺭﺒﻌﺔ ﺍﻷﻑ ﺴﻨﺔ –ﺘﺭﺠﻤـﺔ ﻋﺒـﺩ‬
‫ﺍﻝﻤﻨﻌﻡ ﺃﺒﻭ ﺒﻜﺭ‪-‬ﻤﺤﻤﺩ ﺍﻨﻭﺭ ﺸﻜﺭﻯ‪-‬ﺍﻝﻘﺎﻫﺭﺓ ‪.١٩٩٥-‬ﺹ‪.١٠٦‬‬

‫‪- ٥٤٠ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬

‫‪sobb.n.i bA wpst sgr.n.i Hrt-ib dSrw.s‬‬

‫ﻝﻘﺩ ﺒﺭﺩﺕ ﺒﺎ ﺍﻝﺸﻌﻠﺔ )ﻭﺒﺴﺕ(‪،‬ﻭﻫﺩﺃﺕ ﻗﻤﺔ ﻏﻀﺒﻪ‬
‫ﺍ‬
‫ﻫﻨﺎﻙ ﺃﺴﻁﻭﺭﺓ ﺃﺨﺭﻯ ﻭﺼﻠﺕ ﺇﻝﻴﻨﺎ ﻤﻥ ﺍﻝﻤﻌﺎﺒﺩ ﺍﻝﺘﻰ ﺘﺭﺠﻊ ﺇﻝﻰ ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨـﺎﻨﻰ‬
‫ﻓﻲ ﻤﺼﺭ ﻭﺍﻨﺘﺸﺭﺕ ﺍﻨﺘﺸﺎﺭﹰﺍ ﻜﺒﻴﺭﹰﺍ ﺤﻴﺙ ﺴﻜﻨﺕ ﺍﻹﻝﻬﺔ ﺘﻔﻨﻭﺕ ﻓﻲ ﺼﻭﺭﺘﻬﺎ ﻜﺄﻨﺜﻲ ﺍﻻﺴﺩ‬
‫ﻤﺘﻭﺤﺸﺔ ﺍﻝﺼﺤﺭﺍﺀ ﺍﻝﻨﻭﺒﻴﺔ ﻭﻜﺎﻨﺕ ﺘﻤﺯﻕ ﺃﻋﺩﺍﺌﻬﺎ ﻭﺍﻝﻨﺎﺭ ﺘﺸﻊ ﻤﻥ ﻋﻴﻨﻬﺎ ﻭﺘﺨﺭﺝ ﻤﻥ ﻓﻤﻬﺎ‬
‫‪،‬ﺜﻡ ﺃﺭﺍﺩ ﺭﻉ ﺃﻥ ﺘﻜﻭﻥ ﺒﺎﻝﻘﺭﺏ ﻤﻨﻬﺎ ﻓﺄﺭﺴل ﺇﻝﻬﻴﻥ ﻫﻤﺎ ﺃﺨﻭﻫﻤﺎ ﺸـﻭ ﻓـﻰ ﻫﻴﺌـﺔ ﺃﺴـﺩ‬
‫ﺠﺒﺎﺭ‪،‬ﻭﺘﺤﻭﺕ ﺇﻝﻪ ﺍﻝﺤﻜﻤﺔ ﻭﺘﻘﻤﺼﺎ ﻓﻰ ﺼﻭﺭﺓ ﻗﺭﺩﻴﻥ ﻭﺭﺤﻼ ﺇﻝﻰ ﺒﻼﺩ ﺍﻝﻨﻭﺒـﺔ ﻭﺘﻘـﺎﺒﻼ‬
‫ﻤﻌﻬﺎ ﻓﻲ ﺍﻝﺼﺤﺭﺍﺀ ‪،‬ﻭﺘﻘﺩﻡ ﺘﺤﻭﺕ ﻓﻲ ﺼﻭﺭﺓ ﻗﺭﺩ ﻭﺒﺩﺃ ﺤﺩﻴﺜﻪ ﻋﻥ ﺠﻤﺎل ﺍﻝﺤﻴـﺎﺓ ﻓـﻲ‬
‫ﻤﺼﺭ ﻭﺍﺴﺘﻌﺩﺍﺩ ﺍﻝﻤﺼﺭﻴﻴﻥ ﻝﺘﻘﺩﻴﻡ ﺃﻨﻭﺍﻉ ﺍﻝﺼﻴﺩ ﻭﺍﻝﻨﺒﻴﺫ‪،‬ﻓﺭﻗﺕ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻝﺤﺩﻴﺜﻪ ﻭﺭﺍﻓﻘﺘﻬﻤﺎ‬
‫ﺇﻝﻰ ﻤﺼﺭ‪ ،‬ﻭﻓﻰ ﻓﻴﻠﺔ ﻓﻲ ﺃﻗﺼﻰ ﺍﻝﺤﺩﻭﺩ ﺍﻝﺠﻨﻭﺒﻴﺔ ﻝﻤﺼﺭ ﺃﻁﻔﺄﺕ ﻨﺎﺭﻫﺎ )ﻭﺒﺴﺕ(‪،‬ﺃﻱ ﻓﻲ‬
‫ﻤﻜﺎﻥ ﺍﻝﻤﻴﺎﻩ ﺍﻝﻤﻘﺩﺱ ﻓﺘﺤﻭﻝﺕ ﻤﻥ ﺃﻨﺜﻲ ﺍﺴﺩ ﺇﻝﻰ ﻤﻌﺒﻭﺩﺓ ﺠﻤﻴﻠﺔ ﻭﻫﻠل ﺍﻝﺠﻤﻴﻊ ﻭﺍﺴﺘﻘﺒﻠﻭﻫﺎ‬
‫‪،‬ﻭﺃﻗﺎﻤﻭﺍ ﻝﻬﺎ ﺍﻝﺤﻔﻼﺕ ﺜﻡ ﺭﺤﻠﺕ ﺸﻤﺎﻻ ﻋﻠﻰ ﻅﻬﺭ ﺴﻔﻴﻨﺘﻪ ﻭﺘﻭﻗﻔﺕ ﻓﻲ ﺃﻤـﺎﻜﻥ ﻋﺩﻴـﺩﺓ‬
‫ﻭﻨﺯﻝﺕ ﻓﻲ ﻜﻭﻡ ﺃﻤﺒﻭ ‪،‬ﺇﺩﻓﻭ ‪،‬ﺍﻝﻜﺎﺏ ‪،‬ﺇﺴﻨﺎ ‪،‬ﺩﻨﺩﺭﺓ ‪،‬ﻭﻫﺩﻩ ﺍﻹﻝﻬﺔ ﻝﻴـﺴﺕ ﺇﻻ ﺍﻝﻤﻌﺒـﻭﺩﺓ‬
‫ﺤﺘﺤﻭﺭ‪،‬ﻭﺍﻝﺘﻲ ﺍﺤﺘﻔل ﺒﻬﺎ ﺍﻝﻨﺎﺱ" ﻜﺴﺨﻤﺕ ‪،‬ﺒﺎﺴﺘﺕ‪ ،‬ﻭﺒﺴﺕ "‪.٢٦‬‬

‫‪-٢‬ﺃﺴﻁﻭﺭﺓ ﻜﻭﻡ ﺃﻤﺒﻭ‪:‬‬

‫‪٢٦‬‬
‫ﻨﻔﺱ ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ ‪:‬ﺹ‪١٠٧:١٠٨‬‬

‫‪- ٥٤١ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫ﻴﺤﻅﻰ ﺇﻗﻠﻴﻡ ﻜﻭﻡ ﺃﻤﺒﻭ ﺒﻘﺩﺴﻴﺔ ﻜﺒﻴﺭﺓ ﺤﻴﺙ ﺘﺼﻭﺭ ﺍﻝﻤﺼﺭﻱ ﺍﻝﻘﺩﻴﻡ ﺃﻥ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺘﻔﻨﻭﺕ‬
‫ﺯﺍﺭﺕ ﻫﺩﺍ ﺍﻝﻤﻌﺒﺩ ﺒﺼﺤﺒﺔ ﺍﻹﻝﻪ ﺭﻉ‪،‬ﻭﻝﻘﺩ ﻝﻘﺒﺕ ﺒﺴﻴﺩﺓ ﺃﻤﺒﻭﺱ‪،‬ﻭﺴﻤﻰ ﺍﻹﻗﻠـﻴﻡ ﺒـﺎﻝﻌﺭﺵ‬
‫‪٢٧‬‬
‫ﺍﻝﻌﻅﻴﻡ‪،‬ﻜﻤﺎ ﺍﺭﺘﺒﻁﺕ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺃﺴﻁﻭﺭﻴﺎ ﺒﻘﺼﺔ ﺍﻝﺼﺭﺍﻉ ﺒﻴﻥ ﺴﻭﺒﻙ ﻭﺤﻭﺭ ﻭﺭ‪.‬‬
‫ﻻ ﻓﻰ ﺇﻋﺎﺩﺓ ﻤﻴﻼﺩ ﺍﻝﻁﻔل ﺍﻹﻝﻪ ﻜﻤﺎ ﻫﻭ ﻤﻭﺜﻕ ﻓﻰ ﻨـﺼﻭﺹ‬ ‫ﻝﻌﺒﺕ ﻭﺒﺴﺕ ﺩﻭﺭﹰﺍ ﻓﻌﺎ ﹰ‬
‫ﻤﻌﺒﺩ ﻜﻭﻡ ﺃﻤﺒﻭ ﻓﻬﻲ ﻫﻨﺎ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﺸﻜل ﺍﻝﻤﺤﻠﻰ ﻝﺘﻔﻨﻭﺕ ‪،‬ﺘﺎ ﺴﻨﺕ ﻨﻔﺭﺕ ﻭﺍﻝﻨﺹ ﺍﻝـﺩﺍل‬
‫ﻋﻠﻰ ﺍﺭﺘﺒﺎﻁﻬﺎ ﻤﺎ ﻴﻠﻰ ‪:‬‬
‫‪tA snt. Nfrt Tfnt wpst Xnm Hna sn.s‬‬
‫‪٢٨‬‬
‫ﺘﺎ ﺴﻨﺕ ﻨﻔﺭﺕ ﻭﺒﺴﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻤﻊ ﺃﺨﻴﻬﺎ‬
‫ﻭﺃﻴﻀﺎ ﻤﻊ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻨﺨﺒﺕ ﺤﻴﺙ ﺘﺴﻤﻰ ﺍﻷﺨﻴﺭﺓ ﺒﺎ ﻭﺒﺴﺕ ﻴﺩ ل ﺍﻝﻨﺹ ﺍﻵﺘﻲ ‪:‬‬
‫‪Hwrt ii n bA n wpst wrt m nxbt api.s r pt m snluTr‬‬
‫ﺃﺘﺕ ﺤﻭﺭﺕ‪ ٢٩‬ﺍﻝﺨﺎﺼﺔ ﺒﺒﺎ ﻭﺒﺴﺕ ﺍﻝﻌﻅﻴﻤﺔ ﻜﻨﺨﺒﺕ ‪،‬ﻭﺘﻁﻴﺭ ﻨﺤﻭ ﺍﻝﺴﻤﺎﺀ ﻜﺒﺨﻭﺭ‪ .‬ﻝﺘﺘﺤـﺩ‬
‫ﺒﺎﻝﻤﻌﺒﻭﺩ ﺩﺩﻭﻨﻰ ﺍﻝﻤﻤﺜل ﻝﻠﻤﻌﺒﻭﺩ ﺸﻭ‪،‬ﻭﺤﻴﺙ ﺃﻥ ﻭﺒﺴﺕ ﻫﻰ ﺼﻭﺭﺓ ﻤﻥ ﻨﺨﺒﺕ ‪،‬ﺘﻔﻨﻭﺕ‪،‬‬
‫ﻓﺈﻥ)‪ ( Gutube‬ﻴﺭﻯ ﻓﻰ ﺍﺘﺤﺎﺩ ﺍﻝﺒﺨﻭﺭ ﻭﺍﻝﻬﻭﺍﺀ)ﺯﻭﺍﺝ ﺸﻭ ﻭﺘﻔﻨﻭﺕ ( ﺤﻴﺙ ﻨﺘﺞ ﻋﻥ ﺫﻝـﻙ‬
‫ﻤﻴﻼﺩ ﺍﻝﻁﻔل ﺍﻹﻝﻪ‪. ٣٠‬‬
‫‪-٢‬ﺍﻝﺩﻭﺭ ﺍﻝﺩﻴﻨﻲ‪:‬‬
‫ﻴﺘﻤﺜل ﺩﻭﺭﻫﺎ ﻓﻰ ﺘﺩﻤﻴﺭ ﺃﻋﺩﺍﺀ ﺃﻭﺯﻴﺭ –ﺭﻉ ﻭﺇﻋﺩﺍﺩ ﺍﻝﻁﺭﻴﻕ ﻝﻬﻡ ﻭﻗﺩ ﻅﻬﺭﺕ ﻓﻰ ﻜﺘـﺎﺏ‬
‫)ﺇﻤﻰ –ﺩﻭﺍﺕ( ﻜﻭﺍﺤﺩﺓ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﺍﻝﺤﻴﺎﺕ ﺍﻵﺜﻨﻰ ﻋﺸﺭ ﺍﻝﺘﻲ ﺘﻨﻴﺭ ﺍﻝﻅﻼﻡ ﻓﻰ ﺍﻝﻌـﺎﻝﻡ‬
‫‪٣١‬‬
‫ﺍﻷﺨﺭ‬
‫ﻭﻓﻰ ﻜﺘﺎﺏ ﺍﻝﻜﻬﻭﻑ ‪:‬‬
‫ﺘﻘﻭﻡ ﻫﻰ ﻭﺭﻓﻴﻘﺘﻬﺎ ﻨﺴﺭﺕ ﺒﺎﻀﻁﺭﺍﻡ ﺍﻝﻨﻴﺭﺍﻥ ﺘﺤﺕ ﺍﻝﻤﻭﺍﻗﺩ ﺍﻝﺘﻰ ﺘﻀﻡ ﺃﻋﺩﺍﺀ ﺃﻭﺯﻴﺭ ﻭﻓﻴﻤﺎ‬
‫ﻴﻠﻲ ﺍﻝﻨﺹ‪:٣٢‬‬

‫‪٢٧‬‬
‫ﻋﺒﺩ ﺍﻝﺤﻠﻴﻡ ﻨﻭﺭ ﺍﻝﺩﻴﻥ ‪:‬ﻤﻭﺍﻗﻊ ﺍﻵﺜﺎﺭ ﺍﻝﻴﻭﻨﺎﻨﻴﺔ ﻭﺍﻝﺭﻤﺎﻨﻴﺔ ﻓﻰ ﻤﺼﺭ –ﺍﻝﻘﺎﻫﺭﺓ ﻁ‪ ٢٠٠٦-٤‬ﺹ ‪٢٢٥‬‬
‫‪28‬‬
‫‪KO,pp191:193‬‬
‫‪29‬‬
‫‪Ibid, p.193‬‬
‫‪30‬‬
‫‪Ibid.,p387‬‬
‫‪31Alexandre Piankoff,Op-cit.pls.XCVII‬‬
‫‪32‬‬
‫‪Ibid., pls .XCVII‬‬

‫‪- ٥٤٢ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬

‫‪1-‬‬ ‫‪-‬‬ ‫‪-‬‬ ‫‪2-‬‬ ‫‪-‬‬

‫‪1-‬‬ ‫‪Nsrt wpst aAwy xprwy nbwt sxrw m Htmjt wd.w nsrw.Tn‬‬
‫ﻭﺒﺴﺕ ﻭﻨﺴﺭﺕ ﻋﻅﻴﻤﺘﻲ ﺍﻝﻬﻴﺌﺔ ‪،‬ﺴﻴﺩﺓ ﺍﻝﻨﺼﺎﺌﺢ ﻓﻰ ﻤﻜﺎﻥ ﺍﻝﺩﻤﺎﺭ ‪،‬ﺃﺒﻘﻭﺍ ﻨﻴﺭﺍﻨﻜﻡ‬
‫‪2-‬‬ ‫‪Asbt .Tn Xrw Hswt .Tn xftjw Wsir im .s‬‬
‫ﻨﻴﺭﺍﻨﻜﻡ ﺘﺤﺕ ﺍﻝﻘﺩﻭﺭ ﺍﻝﺘﻰ ﺘﺤﺘﻭﻯ ﻋﻠﻰ ﺃﻋﺩﺍﺀ ﺃﻭﺯﻴﺭ‬
‫ﻓﻰ ﺍﻝﻌﺼﺭ ﺍﻝﻤﺘﺄﺨﺭ‪:‬‬
‫‪Papyrus New yourk 35.9.21,col .29,4-14‬‬

‫‪bA.k Hr xt pr m wpst jmjjt xt jmj.j sHaw .k iwfw.k rk Hwawt .k‬‬

‫‪m ssf‬‬
‫ﺭﻭﺤﻙ ﻓﻭﻕ ﺍﻝﻨﺎﺭ ﺍﻝﺘﻰ ﺘﻁﻠﻘﻬﺎ ﻭﺒﺴﺕ ‪،‬ﺍﻝﻤﻠﺘﻬﻤﺔ ‪ ،‬ﺘﻔﺘﺭﺱ ﺃﻋﻀﺎﺌﻙ ‪،‬ﻝﺤﻤﻙ‪،‬ﻭﻫﻰ ﺍﻝﺘـﻰ‬
‫‪٣٣‬‬
‫ﺘﻤﺤﻘﻙ‪،‬ﺘﺨﻀﻊ ﺃﻋﻀﺎﺌﻙ ﻓﻰ ﺍﻝﺠﻤﺭ )ﺍﻝﻨﻴﺭﺍﻥ(‬

‫‪33‬‬
‫‪J. Cl. Goyon,op-cit., p.381.‬‬

‫‪- ٥٤٣ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫ﻭﻗﺩ ﺠﺎﺀ ﻓﻲ ﺒﺭﺩﻴﺔ) ‪ (Bremner –Rhind -III‬ﻤﺎ ﻴﺅﻜﺩ ﺩﻭﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻓﻲ ﺇﺤﺭﺍﻕ‬
‫ﺃﻋﺩﺍﺀ ﺃﻭﺯﻴﺭ"ﻭﺒﺴﺕ ﺍﻝﻌﻅﻴﻤﺔ ﺘﺠﻔﻔﻙ ‪،‬ﻋﻴﻥ ﺭﻉ ﻝﻬﺎ ﺍﻝﺴﻠﻁﺔ ﻋﻠﻴـﻙ ‪ ،‬ﺍﻝـﺸﻌﻠﺔ ﺍﻝﻤﻠﺘﻬﻤـﺔ‬
‫‪٣٤‬‬
‫ﺍﻝﻤﺤﺭﻗﺔ ﺘﺒﻴﺩﻙ ‪،‬ﻭﺒﺴﺕ ﻫﻨﺎ ﺍﺭﺠﻊ ﺴﻭﻑ ﺘﻘﻀﻰ ﻋﻠﻰ ﺭﻭﺤﻙ‬

‫ﺜﺎﻝﺜﺎ‪:‬ﺘﺼﻭﻴﺭ ﻤﻨﺎﻅﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻘﺎﺒﺭ ﻭﺍﻝﻤﻌﺎﺒﺩ‪.‬‬

‫‪:-١‬ﺘﺼﻭﻴﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻘﺎﺒﺭ‪.‬‬
‫ﺃ‪:-‬ﻤﻘﺒﺭﺓ ﺘﺤﻭﺘﻤﺱ ﺍﻝﺜﺎﻝﺙ‬
‫ﺼﻭﺭﺕ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﺒﺸﻜل ﻜﻭﺒﺭﺍ ﺫﻝﻙ ﻓﻲ ﺍﻝﺴﺎﻋﺔ ﺍﻷﻭﻝﻰ ﻭﺍﻝﺜﺎﻨﻴﺔ ﻤﻥ ﻜﺘﺎﺏ "ﺃﻴﻤـﻰ‬
‫ﺩﻭﺍﺕ "‪ ). ٣٥‬ﺸﻜل ﺭﻗﻡ ‪(١‬‬
‫ﺏ‪-‬ﻤﻘﺒﺭﺓ ﺃﻤﻨﺤﺘﺏ ﺍﻝﺜﺎﻨﻰ‪:‬‬
‫‪٣٦‬‬
‫ﺼﻭﺭﺕ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺒﻨﻔﺱ ﺍﻝﻬﻴﺌﺔ ﺒﻤﻘﺒﺭﺓ ﺍﻝﻤﻠﻙ ﺃﻤﻨﺤﺘﺏ ﺍﻝﺜﺎﻨﻰ ‪ ).‬ﺸﻜل ﺭﻗﻡ ‪(٢‬‬
‫‪-٢‬ﺘﺼﻭﻴﺭ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﻓﻲ ﻤﻌﺎﺒﺩ ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨﺎﻨﻰ ﺍﻝﺭﻭﻤﺎﻨﻰ‬
‫ﺃ ‪-‬ﻤﻌﺒﺩ ﺩﻜﺎ‬
‫‪-‬ﻴﻭﺠﺩ ﻫﺩﺍ ﺍﻝﻤﻨﻅﺭ ﻓﻲ ﺍﻝﺼﺎﻝﺔ ﺍﻷﻤﺎﻤﻴﺔ ﺍﻝﺭﻭﻤﺎﻨﻴﺔ‪ ،‬ﺤﻴﺙ ﻨﺭﻯ ﺍﻝﻤﻠﻙ "ﺃﻏﺴﻁﺱ" ﻭﻫﻭ‬
‫ﻴﻘﺩﻡ ﺍﻝﺒﺨﻭﺭ ﻝﻠﻤﻌﺒﻭﺩ ﺘﺤﻭﺕ )ﻨﻼﺤﻅ ﺍﻝﺸﻜل ﺍﻝﻤﻬﺸﻡ( ﻭﺨﻠﻔﻪ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﻤﻤﺜﻠﺔ ﺒﺸﻜل‬
‫ﺒﺸﺭﻯ ﻭﻋﻠﻰ ﺭﺃﺴﻬﺎ ﻋﻼﻤﺔ ﺍﻝﻜﻭﺒﺭﺍ‪). ٣٧‬ﺸﻜل ﺭﻗﻡ ‪(٣‬‬
‫‪-‬ﻴﻭﺠﺩ ﻫﺩﺍ ﺍﻝﻤﻨﻅﺭ ﻋﻠﻰ ﻋﺘﺏ ﺍﻝﻤﺩﺨل ﺍﻝﻤﺅﺩﻯ ﺇﻝﻰ ﺍﻝﺼﺎﻝﺔ ﺍﻝﺩﺍﺨﻠﻴـﺔ ﻝﻠﻤﻌﺒـﺩ‪،‬ﺤﻴﺙ‬
‫ﺼﻭﺭ ﺒﻁﻠﻴﻤﻭﺱ ﺍﻝﺭﺍﺒﻊ ﻓﻴﻠﻴﻭﺩﻴﻭﺭ ﻭﺨﻠﻔﻪ "ﺃﺭﺜﻨﻴﻭﺱ ﺍﻝﺜﺎﻝﺜﺔ" ‪،‬ﻭﻫﻭ ﻴﻘﺩﻡ ﻗﺭﺒﺎﻥ ﺍﻝﻤﺎﻋـﺕ‬
‫ﻝﺘﺤﻭﺕ ﻭﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ‪). ٣٨‬ﺸﻜل ﺭﻗﻡ ‪(٤‬‬
‫‪-‬ﻴﺼﻭﺭ ﺍﻝﻤﻠﻙ ﺒﻁﻠﻴﻤﻭﺱ ﺍﻝﺭﺍﺒﻊ ﻤﻘﺩﻤﺎ ﺇﻨﺎﺌﻲ ﺍﻝﻨـﻭ ﻝﻠﻤﻌﺒـﻭﺩﺓ ﻭﺒـﺴﺕ ﻓـﻲ ﻫﻴﺌـﺔ‬
‫ﺤﺘﺤﻭﺭ‪).٣٩‬ﺸﻜل ﺭﻗﻡ ‪(٥‬‬
‫ﺏ‪-‬ﻤﻌﺎﺒﺩ ﻓﻴﻠﺔ‬
‫• ﺼﻭﺭﺕ ﻋﻠﻰ ﺍﻝﺠﺩﺍﺭ ﺍﻝﻐﺭﺒﻰ ﻤﻥ ﻤﻘﺼﻭﺭﺓ ﺒﻴﺕ ﺍﻝﻭﻻﺩﺓ ﺍﻝﻤﻠﻙ ﺒﻁﻠﻴﻤـﻭﺱ ﺍﻝﺜـﺎﻤﻥ‬
‫ﻭﻫﻭ ﻴﻘﻭﻡ ﺒﺈﻫﺩﺍﺀ ﺍﻝﻤﺭﺍﻴﺎ ﺇﻝﻰ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺤﺘﺤﻭﺭﻓﻰ ﻫﻴﺌﺔ ﻭﺒﺴﺕ )ﺸﻜل ﺭﻗﻡ ‪ (٦‬ﺤﻴﺙ ﺘﻘﺹ‬
‫‪٤٠‬‬
‫ﺍﻷﺴﻁﻭﺭﺓ ﻫﻨﺎ ﺃﻥ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺤﺘﺤﻭﺭ) ﻭﺒﺴﺕ (ﻁﻬﺭﺕ ﺠﺴﺩﻫﺎ )ﺤﺭﻓﻴﺎ‪ :‬ﺒﺭﺩﺕ ﻏﻀﺒﻬﺎ (‬
‫ﻭ ﻜﻤﺎ ﻴﺩﻝﻨﺎ ﺍﻝﻨﺹ ﺍﻵﺘﻲ ‪:‬‬

‫‪34‬‬
‫‪Remoynd Faulkner, Bremner –Rhind -III , In:JEA 23,1937,pp169-170‬‬
‫‪35‬‬
‫‪Piererre jouguet,Le textes de tombes de Thoutmosis III et d'Amenophis II,Cairo,1932‬‬
‫‪pls.XIV‬‬
‫‪36‬‬
‫‪Ibid, plsXVII‬‬
‫‪37‬‬
‫‪Dakke,1930.pls51‬‬
‫‪38‬‬
‫‪Ibid ,pls.63‬‬
‫‪39‬‬
‫‪Ibid.pls 100‬‬
‫‪40‬‬
‫‪H.Junker and E. Winter,Das Geburtshaus des Tempels der Isis in phila,Wien,1965 p.44‬‬

‫‪- ٥٤٤ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫‪spr.s r snmt m wpst wrt‬‬
‫‪wab sHa.w .s Xnt iAt wabt‬‬
‫‪snDm.s im ra nb‬‬
‫‪Sw Hna.s Hr omA nfrw.s‬‬
‫‪+Hwty sHtp .s‬‬
‫ﻭﺼﻠﺕ ﺇﻝﻰ ﺒﻴﺠﺔ ﻜﻭﺒﺴﺕ ﺍﻝﻌﻅﻴﻤﺔ)ﺍﻝﻤﻌﺒﻭﺩﺓ ﺍﻝﺸﻌﻠﺔ(‪ ،‬ﻭﺘﻁﻬﺭﺕ ﺩﺍﺨل ﺇﺒﺘﻭﻥ‪،‬ﻫﻰ‬
‫‪٤١‬‬
‫ﺘﺴﻌﺩ ﻜل ﻴﻭﻡ‪،‬ﺸﻭ ﻤﻌﻬﺎ ﻓﻲ ﺨﻠﻕ ﺠﻤﺎﻝﻬﺎ ‪ ،‬ﺠﺤﻭﺘﻰ ﻴﺘﺴﺒﺏ ﻓﻲ ﺴﻼﻤﻬﺎ‪.‬‬
‫• ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺸﺭﻗﻰ ﻤﻥ ﻤﺩﺨل ﺍﻝﻤﻘﺼﻭﺭﺓ ﻨﺭﻯ ﺍﻹﻤﺒﺭﺍﻁﻭﺭ "ﺘﻴﺒﺭﻴﻭﺱ" ﻴﻘﺩﻡ ﻗـﻼﺩﺓ‬
‫‪٤٢‬‬
‫ﻝﺤﺘﺤﻭﺭ ﺍﻝﻤﺭﻀﻌﺔ ﻭﺨﻠﻔﻬﺎ ﻭﺒﺴﺕ ﻤﺼﻭﺭﺓ ﻓﻲ ﻫﻴﺌﺔ ﺒﺸﺭﻴﺔ ﻭﻋﻠﻰ ﺭﺃﺴﻬﺎ ﺭﻤﺯ ﺍﻝﻜﻭﺒﺭﺍ‬
‫)ﺸﻜل ﺭﻗﻡ ‪,(٧‬ﻭﺃﻋﻼﻫﺎ ﺍﻝﻨﺹ ﺍﻝﺘﺎﻝﻲ‪:‬‬
‫‪Dd mdw n wpst Hnwt m snmt‬‬
‫ﻭﺒﺴﺕ "ﺭﺒﺔ ﺍﻝﺸﻌﻠﺔ" ﺍﻝﺴﻴﺩﺓ ﻓﻲ ﺒﻴﺠﺔ‬
‫‪Wrt wsrt xnt pri msxnt‬‬
‫‪٤٣‬‬
‫ﺍﻝﻌﻅﻴﻤﺔ ‪،‬ﺍﻝﻘﻭﻴﺔ ‪،‬ﺍﻝﺘﻰ ﺒﺩﺍﺨل ﺒﻴﺕ ﺍﻝﻭﻻﺩﺓ‬
‫• ﻋﻠﻰ ﺍﻝﺠﺩﺍﺭ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺩﺨل ﻓﻲ ﺍﻝﺼﻑ ﺍﻷﻭﺴﻁ ﻨﺭﻯ ﺍﻝﻤﻠﻙ "ﺒﻁﻠﻴﻤﻭﺱ ﺍﻝﺜﺎﻤﻥ" ﻴﻘﺩﻡ‬
‫ﺘﻤﻴﻤﺔ ﻝﻠﻤﻌﺒﻭﺩ ﺤﻭﺭﺱ ﻭﺘﺠﻠﺱ ﺍﻝﻤﻌﺒﻭﺩﺍﺕ ﻭﺒﺴﺕ‪،‬ﻭﻨﺨﺒﺕ‪،‬ﻭﻭﺍﺠﻴﺕ ﺨﻠﻔﻪ‪).٤٤‬ﺸﻜل ﺭﻗﻡ‪(٨‬‬
‫ﻭﺘﻘﻭل ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﺍﻝﻨﺹ ﺍﻵﺘﻲ‪:‬‬
‫‪Dd mdw n wpst nbt nbj m snmt‬‬
‫ﺘﻼﻭﺓ ﻝﻭﺒﺴﺕ )ﻤﻌﺒﻭﺩﺓ ﺍﻝﺸﻌﻠﺔ ( ﺴﻴﺩﺓ ﺍﻝﺸﻌﻠﺔ ﻓﻲ ﺒﻴﺠﺔ‬
‫‪aDA (t) Hbw m tA nTr‬‬
‫ﻏﻨﻴﺔ ﺍﻷﻋﻴﺎﺩ ﻓﻲ ﺃﺭﺽ ﺍﻹﻝﻪ‬
‫ﺜﻡ ﺘﻘﻭل ﻭﺒﺴﺕ ﻝﻠﻤﻠﻙ‪:‬‬
‫‪di.i snDt m-ib pat Af i.t m xt xAswt‬‬
‫‪٤٥‬‬
‫ﻝﻘﺩ ﻭﻀﻌﺕ ﺨﺸﻴﺘﻙ ﻓﻲ ﻗﻠﻭﺏ ﺍﻝﺒﺸﺭ ‪،‬ﻭﻗﺩ ﻭﻀﻌﺕ ﻗﻭﺘﻙ ﻓﻲ ﺍﻷﺭﺍﻀﻲ ﺍﻷﺠﻨﺒﻴﺔ‪.‬‬
‫• ﻴﺼﻭﺭ ﺍﻝﻤﻠﻙ "ﺒﻁﻠﻴﻤﻭﺱ ﺍﻝﺴﺎﺒﻊ" ﻭﻫﻭ ﻴﻘﺩﻡ ﺍﻝﻨﺒﻴﺫ ﻝﻠﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﻋﻠﻰ ﻋﺘﺏ ﺍﻝﺒـﺎﺏ‬
‫‪٤٦‬‬
‫ﺍﻝﺸﺭﻗﻰ ﻝﻠﻤﻘﺼﻭﺭﺓ ‪ ).‬ﺸﻜل ﺭﻗﻡ‪(٩‬‬
‫ﻭﺃﻋﻼﻫﻤﺎ ﺍﻝﻨﺹ ﺍﻝﺘﺎﻝﻲ‪:‬‬
‫‪Wpst nbt nbi‬‬
‫‪41‬‬
‫‪Ibid.,p.47‬‬
‫‪42‬‬
‫)‪Ibid.,p.398 (photo 1015‬‬
‫‪43‬‬
‫‪Ibid.,p.399‬‬
‫‪44‬‬
‫)‪Ibid.,p.54 (photo 955‬‬
‫‪45‬‬
‫‪Ibid.,p.55‬‬
‫‪46‬‬
‫)‪Ibid.,p158 (photo 892‬‬

‫‪- ٥٤٥ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫ﻭﺒﺴﺕ ﺴﻴﺩﺓ ﺍﻝﺸﻌﻠﺔ‬
‫‪Tfnt Hri (t) –ib iAt wabt‬‬
‫ﺘﻔﻨﻭﺕ ﻓﻲ ﺃﺒﺘﻭﻥ‬
‫‪Irt Ra nbt pt Hnwt nTrwt‬‬
‫‪٤٧‬‬
‫ﻋﻴﻥ ﺭﻉ‪ ،‬ﺴﻴﺩﺓ ﺍﻝﺴﻤﺎﺀ‪ ،‬ﺴﻠﻁﺎﻨﺔ ﺍﻵﻝﻬﺔ‬
‫• ﻭﻗﺩ ﺼﻭﺭﺕ ﻭﺒﺴﺕ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺸﺭﻗﻰ ﻤﻥ ﺼﺎﻝﺔ ﺍﻷﻋﻤﺩﺓ ﻨﺠﺩ "ﺒﻁﻠﻴﻤﻭﺱ ﺍﻝﺜﺎﻤﻥ"‬
‫ﻴﻘﺩﻡ )‪ (Uzat‬ﻝﻤﻴﻥ ﻭﻭﺒﺴﺕ )ﺸﻜل ﺭﻗﻡ‪(١٠‬‬

‫ﻨﺘﺎﺌﺞ ﺍﻝﺒﺤﺙ‪:‬‬
‫ﻴﺘﻀﺢ ﻤﻥ ﺍﻝﺒﺤﺙ ﺍﻵﺘﻲ ‪:‬‬
‫‪-١‬ﻴﺘﻀﺢ ﻤﻥ ﺘﺤﻠﻴل ﺍﻷﺴﻁﻭﺭﺓ ﻭﻤﻥ ﻁﺭﻕ ﺍﻝﻜﺘﺎﺒﺔ ﻓﻲ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻭﺴﻁﻰ ﺃﻥ ﻭﺒﺴﺕ‬
‫ﻝﻡ ﺘﻜﻥ ﻤﻌﺒﻭﺩﺓ ‪،‬ﻭﺇﻨﻤﺎ ﻫﻰ ﺒﺎ ﺍﻝﻤﻌﺒﻭﺩﺓ ﺤﺘﺤﻭﺭ ﻭﺍﻝﺘﻰ ﺘﺸﻜﻠﺕ ﻓﻲ ﻫﻴﺌﺔ ﺤﺘﺤﻭﺭ‪.‬‬
‫‪-٢‬ﺃﻥ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻭﺒﺴﺕ ﻝﻡ ﺘﻜﻥ ﻤﻌﺒﻭﺩﺓ ﻨﻭﺒﻴﺔ ﺍﻷﺼل ﻭﺇﻨﻤﺎ ﻫﻰ ﺼـﻭﺭﺓ ﻤـﻥ ﺼـﻭﺭ‬
‫ﺍﻝﻤﻌﺒﻭﺩﺓ ﺤﺘﺤﻭﺭ ﺃﻭ ﺘﻔﻨﻭﺕ‬

‫‪47‬‬
‫‪Ibid., p.158‬‬

‫‪- ٥٤٦ -‬‬

‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ‪١٢‬‬
‫‪-٣‬ﻝﻡ ﺘﺼﻭﺭ ﻭﺒﺴﺕ ﺒﺼﻭﺭﺓ ﺍﻝﻤﻌﺒﻭﺩﺓ ﻓﻲ ﺃﻯ ﻤﻘﺒﺭﺓ ﻭﻻ ﻤﻌﺒـﺩ ﻓـﻲ ﻋـﺼﺭ ﺍﻝﺩﻭﻝـﺔ‬
‫ﺍﻝﻭﺴﻁﻰ ‪،‬ﺒﻴﻨﻤﺎ ﻅﻬﺭﺕ ﻓﻲ ﻋﺼﺭ ﺍﻝﺩﻭﻝﺔ ﺍﻝﺤﺩﻴﺜﺔ ﻓﻲ ﻤﻘﺒﺭﺓ ﺘﺤﻭﺘﻤﺱ ﺍﻝﺜﺎﻝﺙ ‪،‬ﻭﺃﻤﻨﺤﺘـﺏ‬
‫ﺍﻝﺜﺎﻨﻰ ﻜﻤﻌﺒﻭﺩﺓ ﺤﻤﺎﻴﺔ ‪.‬‬
‫‪-٤‬ﻝﻡ ﻴﺸﻴﺩ ﻝﻬﺎ ﺃﻱ ﻤﻌﺒﺩ ﻋﺒﺎﺩﺓ ﻭﺇﻨﻤﺎ ﺍﺴﺘﺩﻻﻝﻨﺎ ﻋﻠﻴﻬﺎ ﻤﻥ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﻤﻌﺎﺒﺩ ﻓﻴﻠﺔ‪،‬ﻭﺩﻜﺎ ‪.‬‬
‫‪ -٥‬ﺘﻐﻴﺭ ﺍﻝﺩﻭﺭ ﺍﻷﺴﻁﻭﺭﻱ ﻝﻺﻝﻬﺔ ﻭﺍﻝﺩﻯ ﺘﻤﺜل ﻓﻲ ﺇﺒﺎﺩﺓ ﺍﻝﺒﺸﺭ ‪ ،‬ﻭﺩﻭﺭﻫﺎ ﺍﻝﺩﻴﻨﻰ ﻓـﻲ‬
‫ﺇﺒﺎﺩﺓ ﺃﻋﺩﺍﺀ ﺃﻭﺯﻴﺭ ﻭ ﺭﻉ ﺜﻡ ﺘﻁﻭﺭ ﺩﻭﺭﻫﺎ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻴﻭﻨﺎﻨﻰ ﺍﻝﺭﻭﻤـﺎﻨﻰ ﻭﺍﺭﺘﺒﺎﻁﻬـﺎ‬
‫ﺒﺄﺴﺎﻁﻴﺭ ﺍﻝﺨﻠﻕ ﻜﻤﺎ ﻓﻲ ﺃﺴﻁﻭﺭﺓ ﻜﻭﻡ ﺃﻤﺒﻭ ‪ ،‬ﻭﻓﻰ ﻤﻌﺎﺒﺩ ﻓﻴﻠﺔ ﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺤﻤﺎﻴـﺔ ﺍﻝﻤﻠـﻙ‬
‫ﻭﺍﻝﻤﻠﻜﻴﺔ ‪.‬‬

‫ﻗﺎﺌﻤﺔ ﺍﻷﺸﻜﺎل‬

‫‪- ٥٤٧ -‬‬

 ١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬

٢ ‫ﺸﻜل ﺭﻗﻡ‬
:‫ﻨﻘﻼﻋﻥ‬ (١) ‫ﺸﻜل ﺭﻗﻡ‬
Piererre jouguet,Le textes de tombes de :‫ﻨﻘﻼﻋﻥ‬
Thoutmosis III et d'Amenophis III,Cairo,1932 Piererre jouguet,Le textes de tombes de
pls. plsXVII Thoutmosis III et d'Amenophis
III,Cairo,1932 pls.XIV

٤ ‫ﺸﻜل ﺭﻗﻡ‬ ٣ ‫ﺸﻜل ﺭﻗﻡ‬

:‫ﻨﻘﻼﻋﻥ‬ :‫ﻨﻘﻼﻋﻥ‬
Gunther Roeder,Der Tempel Gunther Roeder,Der Tempel von
vonDakke,Vol.2,Cairo,IFAO,1930.pl63 Dakke,Vol.2,Cairo,IFAO,1930.p51

- ٥٤٨ -
١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬

٦‫ﺸﻜل ﺭﻗﻡ‬ ٥ ‫ﺸﻜل ﺭﻗﻡ‬

:‫ﻨﻘﻼﻋﻥ‬ :‫ﻨﻘﻼﻋﻥ‬
H.Junker and E. Winter,Das Geburtshaus Gunther Roeder,Der Tempel
des Tempels der Isis in phila,Wien,1965 vonDakke,Vol.2,Cairo,IFAO,1930.pl100
p.44

٨ ‫ﺸﻜل ﺭﻗﻡ‬ ٧ ‫ﺸﻜل ﺭﻗﻡ‬

:‫ﻨﻘﻼﻋﻥ‬ :‫ﻨﻘﻼﻋﻥ‬
H.Junker and E. Winter,Das Geburtshaus H.Junker and E. Winter,Das Geburtshaus des
des Tempels der Isis in phila,Wien,1965 Tempels der Isis in phila,Wien,1965 p398
p.54

- ٥٤٩ -
١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬

٩ ‫ﺸﻜل ﺭﻗﻡ‬
:‫ﻨﻘﻼﻋﻥ‬
H.Junker and E. Winter,Das Geburtshaus des Tempels der Isis in
phila,Wien,1965 p158

١٠ ‫ﺸﻜل ﺭﻗﻡ‬
:‫ﻨﻘﻼﻋﻥ‬
H.Junker and E. Winter,Das Geburtshaus des Tempels der Isis in
phila,Wien,1965 p159

- ٥٥٠ -
١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬
‫ﻗﺎﺌﻤﺔ ﺍﻻﺨﺘﺼﺎﺭﺍﺕ‬
BIFAO Bulletin de I' Institut francaise d' archeologie orientale
,Cairo.

CT Adrian de Buck ,The Egyptian Coffin Texts, 7 Vol.,

Chicago,1935-61

D Chassinat, E,Temple de Dendara, Cairo, 1934

Dakke GuntherRoeder,DerTempelvon
Dakke,Vol.2,Cairo,IFAO,1930
Debod GuntherRoeder,Debod bis Bab Kalabishe ,2
vol,Cairo,1911
D' Daumas, F, Les mammisis de Dendara ,Cairo,1959.
Mammisi
LA Lexikon der Agyptologie ,Wiesbanden .

LD Lepsius, Denkmaler aus Aegypten und

Aethiopien,12Bde, Berlin, 1849-1858
E' Chassinat,E., Le Mammisi d’Edfou, MIFAO 16, Le
Mammisi Caire 1939.

JEA Journal of Egyptian Archaeology, London.

KO Adlophe Gutube,Textes Fondaments aux de la
theologie de Kom ombo ,BdE41,1973

wb Adloph Erman and Hermnn Grapow,Worterbuch der

agyptischen Sprach,6 vols, Leipzig,1957

- ٥٥١ -
١٢ ‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺁﺜﺎﺭ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‬
‫ﻗﺎﺌﻤﺔ ﺍﻝﻤﺭﺍﺠﻊ‬
:‫ ﺍﻝﻤﺭﺍﺠﻊ ﺍﻝﻌﺭﺒﻴﺔ‬:‫ﺃﻭﻻ‬
‫ﺍﻝﺠـﺯﺀ‬-‫ﺍﻷﺩﺏ ﺍﻝﻤﺼﺭﻱ ﺍﻝﻘﺩﻴﻡ –ﺍﻝﻘﺼﺹ ﻭﺍﻝﺤﻜﻡ ﻭﺍﻝﺘﺄﻤﻼﺕ ﻭﺍﻝﺭﺴﺎﺌل‬: ‫ﺴﻠﻴﻡ ﺤﺴﻥ‬-١
١٩٩٠-٢‫ ﻁ‬-‫ﺍﻷﻭل‬
-٤‫ﻤﻭﺍﻗﻊ ﺍﻵﺜﺎﺭ ﺍﻝﻴﻭﻨﺎﻨﻴﺔ ﻭﺍﻝﺭﻤﺎﻨﻴﺔ ﻓﻲ ﻤﺼﺭ –ﺍﻝﻘـﺎﻫﺭﺓ ﻁ‬: ‫ﻋﺒﺩ ﺍﻝﺤﻠﻴﻡ ﻨﻭﺭ ﺍﻝﺩﻴﻥ‬-٢
.٢٠٠٦
:‫ ﺍﻝﻤﺭﺍﺠﻊ ﺍﻝﻤﻌﺭﺒﺔ‬:‫ﺜﺎﻨﻴﺎ‬
‫ﻨﺸﺄﺘﻬﺎ ﻭﺘﻁﻭﺭﻫﺎ ﻭﻨﻬﺎﻴﺘﻬﺎ ﻓﻰ ﺃﺭﺒﻌـﺔ ﺍﻷﻑ‬،‫ﺩﻴﺎﻨﺔ ﻤﺼﺭ ﺍﻝﻘﺩﻴﻤﺔ‬: ‫ﺃﺩﻭﻝﻑ ﺇﺭﻤﺎﻥ‬-١
- ‫ﺍﻝﻘﺎﻫﺭﺓ‬-‫ﻤﺤﻤﺩ ﺍﻨﻭﺭ ﺸﻜﺭﻯ‬-‫ﺴﻨﺔ –ﺘﺭﺠﻤﺔ ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﺃﺒﻭ ﺒﻜﺭ‬
.١٩٩٥
:‫ﺍﻝﻤﺭﺍﺠﻊ ﺍﻷﺠﻨﺒﻴﺔ‬:‫ﺜﺎﻝﺜﺎ‬
1-Adlophe Gutube,Textes fondemment aux de la theologie de Kom
Ombo, BdE 41,1973
2-Alexandre Piankoff,Le Livre des Querertsc(3) avec (7) planch, in:
BIFAO 43,1945-
3-Gunther Roeder,Der Tempel von Dakke,Vol.2,Cairo,IFAO,1930
4------------------,,Debod bis Bab Kalabishe ,2 vol,Cairo,1911.
5-G.Benedite,,Le Temple de Philae,MMAf 13,paris,1893,
6-H.Junker and E. Winter,Das Geburtshaus des Tempels der Isis in
phila,Wien,1965
7-Jean Claude Goyon,Textes Mythologique II"Le revelatios du
mystere des Quatre Boules in:BIFAO75,1975
8-Jungern Osing, Die Nominalbildung des Agyptischen, 2 Vols, ,
Mainz, 1976
9- Jacobus van Dijk,Wepest in: LA VI,1986,Col.1218-1220
10-Piererre jouguet, Le textes de tombes de Thoutmosis III et
d'Amenophis III,Cairo,1932
11-Remoynd Faulkner,Bremner–Rhind-III, in:JEA 23,1937,pp169-
170

- ٥٥٢ -