In Greek tradition, the sphinx is a treacherous and merciless being with the head of a woman, the haunches of a lion, and the wings of a bird. According to Greek myth, she challenges those who encounter her to answer a riddle, and kills and eats them when they fail to solve the riddle.[1] This deadly version of a sphinx appears in the myth and drama of Oedipus.[2]
In Egyptian mythology, in contrast, the sphinx is typically depicted as a man (an androsphinx (Ancient Greek: )), and is seen as a benevolent representation of strength and ferocity, usually of a pharaoh. Unlike Greek or Levantine/Mesopotamian ones, Egyptian sphinxes were not winged.
Sphinx
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Both the Greek and Egyptian sphinxes were thought of as guardians, and statues of them often flank the entrances to temples.[3] During the Renaissance, the sphinx enjoyed a major revival in European decorative art. During this period, images of the sphinx were initially similar to the ancient Egyptian version, but when later exported to other cultures, the sphinx was often conceived of quite differently, partly due to varied translations of descriptions of the originals, and partly through the evolution of the concept as it was integrated into other cultural traditions.
The word sphinx comes from the Greek , associated by folk etymology with the verb (sphng), meaning "to squeeze", "to tighten up".[4][5] This name may be derived from the fact that lions kill their prey by strangulation, biting the throat of prey and holding them down until they die. However, the historian Susan Wise Bauer suggests that the word "sphinx" was instead a Greek corruption of the Egyptian name "shesepankh", which meant "living image", and referred rather to the statue of the sphinx, which was carved out of "living rock" (rock that was a contiguous part of the stony body of the Earth, shaped, but not cut away from its original source), than to the beast itself.[6]
In March 2023, a limestone sphinx was discovered at the Dendera Temple Complex. This sphinx, which is depicted with a slight grin and dimples, is thought to be made in the image of the Roman emperor Claudius.[12]
Sphinxes are a feature of the neoclassical interior decorations of Robert Adam and his followers, returning closer to the undressed style of the grottesche. They had an equal appeal to artists and designers of the Romanticism and subsequent Symbolism movements in the 19th century. Most of these sphinxes alluded to the Greek sphinx and the myth of Oedipus, rather than the Egyptian, although they may not have wings.
In the Bronze Age, the Hellenes had trade and cultural contacts with Egypt. Before the time that Alexander the Great occupied Egypt, the Greek name, sphinx, was already applied to these statues. [citation needed] The historians and geographers of Greece such as Herodotus wrote extensively about Egyptian culture.
The Sphinx is said to have guarded the entrance to the Greek city of Thebes, asking a riddle to travellers to allow them passage. The exact riddle asked by the Sphinx was not specified by early tellers of the myth, and was not standardized as the one given below until late in Greek history.[27]
Bested at last, the Sphinx then threw herself from her high rock and died;[30] or, in some versions Oedipus killed her.[31] An alternative version tells that she devoured herself.[citation needed] In both cases, Oedipus can therefore be recognized as a "liminal" or threshold figure, helping effect the transition between the old religious practices, represented by the death of the Sphinx, and the rise of the new, Olympian gods.[citation needed]
In Jean Cocteau's retelling of the Oedipus legend, The Infernal Machine, the Sphinx tells Oedipus the answer to the riddle in order to kill herself so that she did not have to kill any more, and also to make him love her. He leaves without ever thanking her for giving him the answer to the riddle. The scene ends when the Sphinx and Anubis ascend back to the heavens.
There are mythic, anthropological, psychoanalytic and parodic interpretations of the Riddle of the Sphinx, and of Oedipus's answer to it. Sigmund Freud describes "the question of where babies come from" as a riddle of the Sphinx.[32]
Sfinxul is a natural rock formation in the Bucegi Natural Park which is in the Bucegi Mountains of Romania. This rock formation is named for its resemblance to the Sphinx of Giza, and is located at an altitude of 2,216 metres (7,270 feet) within the Babele complex of rock formations.[34][35]
In contrast to the sphinxes in Egypt, Mesopotamia, and Greece, of which the traditions largely have been lost due to the discontinuity of the civilization,[38] the traditions related to the "Asian sphinxes" are very much alive today. The earliest artistic depictions of "sphinxes" from the South Asian subcontinent are to some extent influenced by Hellenistic art and writings. These hail from the period when Buddhist art underwent a phase of Hellenistic influence. Numerous sphinxes can be seen on the gateways of Bharhut stupa, dating to the 1st century B.C.[36]
In South India, the "sphinx" is known as puruamrga (Sanskrit) or purushamirugam (Tamil), meaning "human-animal". It is found depicted in sculptural art in temples and palaces where it serves an apotropaic purpose, just as the "sphinxes" in other parts of the ancient world.[39] It is said by the tradition, to take away the sins of the devotees when they enter a temple and to ward off evil in general. It is therefore often found in a strategic position on the gopuram or temple gateway, or near the entrance of the sanctum sanctorum.
The puruamrga plays a significant role in daily as well as yearly ritual of South Indian Hindu temples. In the Shodhasha-Upakaara (or sixteen honors) ritual, performed between one and six times at significant sacred moments through the day, it decorates one of the lamps of the Deepaaradhana or lamp ceremony. And in several temples the puruamrga is also one of the vahana or vehicles of the deity during the processions of the Brahmotsava or festival.
In Kanyakumari district, in the southernmost tip of the Indian subcontinent, during the night of Maha Shivaratri, devotees run 75 kilometres while visiting and worshiping at twelve Shiva temples. This Shiva Ottam or Running for Shiva is performed in commemoration of the story of the race between the Purushamirugam and Bhima, one of the Pandavas of the Hindu Epic Mahabharata.
The Indian conception of a sphinx that comes closest to the classic Greaco-Roman idea is the Sharabha and Gandabherunda, two mythical creatures, part lion, part human, part mammal and part bird, and the form of Sharabha that god Shiva took on and fought with the god Vishnu as Narasimha and Shiva as Sharabha was killed by Vishnu as Gandabherunda in the form of Narashima when Narashima killed Hiranyakashipu.
In Sri Lanka and India,[citation needed] the sphinx is known as narasimha or human-lion. As a sphinx, it has the body of a lion and the head of a human being, and is not to be confused with Narasimha, the fourth incarnation of the deity Vishnu; this avatara or incarnation of Vishnu has a human body and the head of a lion and Vishnu as Narashima killed Hiranyakashipu. The "sphinx" narasimha is part of the Buddhist tradition and functions as a guardian of the northern direction and also was depicted on banners.
In Burma (Myanmar), the sphinx-like statue, with a human head and two lion hindquarters, is known as Manussiha (manuthiha). It is depicted on the corners of Buddhist stupas, and its legends tell how it was created by Buddhist monks to protect a new-born royal baby from being devoured by ogresses.
Nora Nair, Norasingha and Thep Norasingha are three of the names under which the "sphinx" is known in Thailand. They are depicted as upright walking beings with the lower body of a lion or deer, and the upper body of a human. Often they are found as female-male pairs. Here, too, the sphinx serves a protective function. It also is enumerated among the mythological creatures that inhabit the ranges of the sacred mountain Himapan.[40]
Giorgio Amitrano's Echoes of Ancient Greek Myths in Murakami Haruki's novels and in Other Works of Contemporary Japanese Literature[41] explores how Haruki Murakami's Kafka on the Shore share thematic elements of decadence with Oedipus' myth and parallels the protagonist's journey to self-discovery. The Sphinx motif present within the novel is established through the enigmatic creature of Murakami's design, Oshima: a mysterious, omnipotent being who has the protagonist grapple with the concept of a meaningless existence in turn of searching for authenticity by disconnecting from societal conventions of wealth and status. He tests the durability of character of the novel's protagonists through a series of tests that may challenge their perception of truth regarding their existence.
Lowell Edmunds' Oedipus in Burma[42] is an explorative look on the Oedipus' myth in Burmese literature and culture. The folktale Pauk and the Dragon uses similar motifs from the Greek myth to explore Pauk's, the protagonist, road to destiny and fulfilling the quests needed to defeat the dragon: the Sphinx motif. Using intelligence, courage, and determination, Pauk defeats the dragon but not before facing the consequences of the knowledge he acquired on his journey. Decadent themes of fate, destiny, tragedy, mystery, and identity present themselves in the Burmese adaptations of Greek myths, in this case, it is Oedipus and the Sphinx.
Among the Egyptians, sphinxes were placed at the entrance of the temples to guard their mysteries, by warning those who penetrated within that they should conceal a knowledge of them from the uninitiated. Champollion said that the sphinx became successively the symbol of each of the gods. The placement of the sphinxes expressed the idea that all the gods were hidden from the people, and that the knowledge of them, guarded in the sanctuaries, was revealed to initiates only. 152ee80cbc
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