Treated as a unity (Hebat-Sarrumma, Hebat-Allanzu, Ninatta-Kulitta, Ishara-

Allani, bludena - Hudellurra, Umbu-Nikkal, pairs of chthonic gods, etc.), two mani-

Festations of the same deity (the two gods Nubadig, Ugur, Tiabendi and others), or

Eise the god or goddess associated with his/her personified attribute or epithet (Ea-

Madi ‘Ea-Wisdom,’ Hebat-Mus(u)ni 73Z ‘Hebat, - Order’) which symbolized him /her

While remaining a separa t e divine being. This practice, presumably original mg from

Syria, penetrated also into the Luwian cults (see 3.2.4).

Cult

Forrns of cult expressing adoration for a deity are charaeterized by traditionalism

And conservatism. These forme remained basically unchanged from the Old Hittite

Period (3.1.3), although Hurrian influence is evident. The number of cult objects grew

Significantly, now including the god’s personified attributes, weapons, symbols, epi-

Thets, forces of nature, etc., as well as furnishings of the adytum (cf. 3.2). Abstract

Imparati 1979a; 1998-2001.

Herrmann 1968; del Olmo Lete 1991; cf. also Hutter 1996: 136.

Haas 1.994a: 375.

730 KUB 45.47+Bo 4186 with its duplicate KBo 17.84. Imparati (1979a: 299ff.; 1979b) identified the

Hittite queen with Nikkalmadi, but other scholars tend to attribute this ritual to Asmunikkal;

See, e.g.«Singer 2002b: 310 n. 52 (references).

KUB 43.38, Oettinger 1976.

Lebrun 1976: 102; Wilhelm 1993-1997h.

The Empire Period 129

Ideas received a material form and were placed in the sanctuary alongside the god,

Often ob the same altar. Compared to the Old Hittite period, temple interiors pr

Ented a much rieher appearance, especially the new cult places for Hurrian and

Luwian deities,

The gods were worshiped under different formst 3 There were, as earlier, statu-

Ettes a few dozen centimeters high, made of wood covered with sheet gold or silver,

Sometimes of iron, copper and silver, oecasionally even gilded. Their deseriptions

734

Abound in the texts. ’ Bigger (and even monumental) figures occurred as well, as sug-

Gested by the fragment of a copper statue found near Ahurhisar north of Afyon, which

735

was approximately 50 cm when complete, ' ’ the torso of a limestone statue from

Alaea Höyük, 736 and a monumental stela (c. 7.35 m high) from Fasillar near Beysjehir,

Featuring a representation in bas-relief of a storm-god resting Ms foot on a moun-

tain-god flanked by lions. ‘ Studies on the iconography of particular deities benefit

Substantially from representations in the glyptic arts, 738 on pottery 739 and metal

vessels.' as well as sculpture on rock faces. " The latter reliefs are linked mostly

To cult practices in rock and spring sanctuaries. The most famous are the pro-

cessions of divinities from Yazilikaya (3.2.2), rock reliefs in Gävurkalesi Southwest

Of Ankara, representing a storm-god next to another god opposite a goddess/ 42

A scerse showing the Storm-god of Halab in his chariot drawn by bulls together with

733 Güterbock 1983; cf. also Hazenbos 2003: 173ff.; Collins 2005.

Von Brandenstein 1943; Jakob-Rost 1961; 1963; Carter 1962.

Ilash 1993.

736 Ko$ay - Akok 1973: 19, 78f. (cat. no. Alp 149), Pis XL - XU.

Kohlmeyer 1983: 39f.; Taracha 1987: 267 n. 26 (references); Ehringhaus 2005: 57ff.

738 Beran 1967; Boehmer - Güterbock 1987: 52f., 55 (nos 145, 147), 56 (no. 148), 65 (no. 182), 1061

(no. 308); Herbordt 2005: nos 275, 302, 504, 507, 566, 612, 620, 621f„ 625f., 630, 710, 755, 770.

For the royal seal of Mursili III with a representation. of the Storm-god of Halab mounting his

Eagle chariot drawn by bulls, see Hawkins 2003.

Boehmer 1983: 33ff. (nos 43—46), 36ff. (no. 47). More recent excavafcions in the Upper City of

Hatfcusa yielded fragm.en.ts of a cult vase from the early Empire period, depicting the Storni-god

Of Halab in the iconographic type known from the seal of Mursili III (n. 738). Cf. Seeher 2007.

One should mention foremost a silver vessel in the form of a fist in the Museum of Fine Arts,

Boston, with a representation of King Tuthaliya pouring a libation in front of a storm-god (Güter

Bock — Kendail 1995) and the frieze on the neck of the stag rhyton from the Norbert Schimmel

Collection (see n. 593).

Kohlmever 1983: Ehringhaus 2005.

Von der Osten 1933; 1937; Kohlmeyer 1983: 43ff. with references; Lumsden 2002; Ehringhaus

Uff.

Hittite Anatoija

Sauska in a rock reiief from imamkulu,' 4 ’ and a cult facade with a depiction of