The article examines the mythological plot of the overthrow of the serpent Apop by the god Set in the religious tradition of ancient Egypt, and also analyzes the origins of the development of this plot in the New Kingdom and its connection with the Syro-Palestinian religious tradition.

Keywords: Set, Apop, Baal, Baal-Set, Ramessids, scarab, falling of the serpent, pictorial tradition, defender of Ra, great God.

THE WINGED SETH AND HIS CONNECTION TO THE SOLAR DEITY

The article treats the mythological plot of the god Seth overthrowing the snake Apophis within the religious tradition of Ancient Egypt and analyses the roots of its development in the time of the New Kingdom as well as its ties to the Syro-Palestinian religious tradition.

Keywords: Seth, Apophis, Baal-Seth, Ramessides, scarab, overthrowing the snake, figurative tradition, defender of Re, great god.

In ancient Egyptian religion and mythology, an important role is played by the mythological topos about the defeat of the enemy in the form of a serpent opposing the sun god. The eternal battle, repeated with each new appearance of the sun, is a battle in which Ra fights with the serpent Apop, who embodies all the evil of the world order [Meeks, Favar-Meeks, 2008, p. 39]. This battle of the sun is mentioned in various hymns dedicated to the sun god, as well as in books describing his journey. All stories about the struggle of the sun with enemies are based on a common content-the struggle of light and darkness, the sun and the water element. Every Egyptian sun-protecting god fought and defeated the hostile forces that represented the watery chaos that preceded the creation of the world. The direct protectors of the sun god can be various deities [te Velde, 1967, p. 166], but a special role in this mythological plot is played by the god Set, who acts as the protector of Ra and fights with the serpent Apop [1].

One of the most famous images, where Seth, standing on the stern of a solar barge, impales Apop with a spear, is shown on the vignette of the Er-Uben papyrus of the XXI dynasty (Nagel, 1929, p. 35, fig. 1; 38, fig. 2]. This role of Seth is often underestimated

Ksenia F. KARLOVA-Post-graduate student, Lomonosov Moscow State University, kseniadom87@mail.ru.

Ksenia KARLOVA - PhD Candidate (in History), Lomonosov Moscow State University, Moscow, kseniadom87@mail.ru.

1 It is beyond the scope of this article to discuss the full range of stories related to Seth's defeat of Apophis. An overview of this topic is presented in the paper: [te Velde, 1967, p. 99-108].

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However, it played no less a role in shaping his image than it did in shaping his role as the adversary of Horus or the assassin of Osiris. It was through the mythologem of killing the serpent that the features of Set could be realized or revealed, allowing us to consider him the god of the solar or celestial circle. The qualities of Seth as a thunderer and lord of the storm were crucial in shaping the image of him as the god who overthrew the serpent. However, the inclusion of Seth in the circle of the sun god's protective deities has a more complex explanation. Understanding the origins of this aspect in the image of Set may allow us to identify its place in the circle of solar deities.

Considering this role of Set, V. Pleyte called him the solar deity of Upper Egypt, meaning, first of all, his status as the main god in the city of Ombos (Nbwt) and the assistant god Pa [Pleyte, 1865, p. 56] . J. Najel, who devoted a special article to the consideration of Set in the solar barge, believes that this role of Set belongs to the ancient mythological stratum, but it does not refer to Set as the sun god (Nagel, 1929, p. 39). But it is precisely the ancient relationship of Set with the sun and the royal power that could serve as the basis for forming ideas about him as the heavenly protector of the sun god.

Closely related to this role of Seth is the rather ancient idea of him as a winged deity, whose function could be to defend against the enemy and fight the forces of chaos. For the first time, the winged god Set is mentioned in the Pyramid Texts: dd mdw di irt Hrw hr dnh in sn. f Sts - "The utterance of words: the eye of Horus is given to the wing of his brother Set" (Pyr. 1742a [Sethe, 1908-1910]). In this case, Seth serves as a protective god, transmitting the attribute that supports the cosmic order - the eye of Horus. The winged Set is close to the sun god, as can be seen from its connection with Ra through Uraeus: Ppi pw m Sts itit inwt - "This Pepi is Uraeus, coming from Set, grasping and bringing" (Rug. 1459b [Sethe, 1908-1910]); dt pw nn prt m nn prt m Sts - "This serpent that cometh from Ra, this uraeus that cometh from Set" (Pyr. 2047d [Sethe, 1908-1910]). Uraeus, who embodies the fiery power of the sun god [Barta, 1969, p. 85], was called to protect the deceased during his journey through the afterlife [Martin, 1986, p.866], supporting his life. The fact that this solar attribute was also present in Set could indicate a direct connection of this god with the sun and the king [ibid., p. 865]. In addition, the appearance of Set with wings and Uraeus in the Pyramid Texts is associated with his perception as a god, paired with Horus, and in this capacity having along with him royal attributes.

The solar aspect of Set that appears here can be traced back to the traits he acquired under the Second Dynasty king Peribsen. During his reign, the image of the Horus falcon above Serekh, which was common for all previous rulers, was replaced by the image of the animal god Set (Emery, 2001, p.116) .2 This replacement was a significant event, but it is unlikely that it goes against the religious tradition that developed in Egyptian society at the Early Dynastic stage; it is clear that it should have been associated with the image of Set as an extremely important and powerful god, the patron of royal power, a pair of Horus. In the inscription on the stone vessel and on the print of the seal above the image of the animal Set, a solar disk is placed [Kaplony, 1964, pl. 80, p. 302; S. 189, Abb. 302]. The appearance of the solar component in Peribsen's titulature indicates that the king is identified with the sun (Kahl, 2007, p. 2). Because of this, Set acts as the patron and protector of the king, whose nature is identical to that of Horus, who is already represented as a heavenly deity (Emery 2001: 135-136).

Seth is first mentioned in the Sarcophagus Texts as a direct opponent of the serpent Apopos and protector of the sun god.

2 The composition of the Choral name enclosed in a serekh was strictly sustained and assumed that it contained two suns - the heavenly one and the one embodied in the tsar (Bolshakov, 2000, pp. 75-77).

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Seth's taming of the serpent that turned against Ra: "You know the name of this serpent that is on the mountain. Whn.f is its name. Now and in the evening, he has turned it against him, his eyes against Ra... in swimming. The Set bends it to its limit" (ST II, 378c, ff [de Buck, 1935-1961]). In addition, Seth appears in this source as exorcising Apopos: - " exorcises the great one by the power of Apopos "(V. VII, 332g, 517b [de Buck, 1935-1961]). Characteristically, Seth, who exorcises Apoplexy, is given one of the traditional epithets - "great with power" (Erman and Grapow, 1940-1959, Bd. I, p. 539). This is an integral epithet of Set-the defender who defeats the enemy (see below).

The role of Set as the winged god-protector of the sun was formed in close connection with the royal cult, which is confirmed by the mass appearance and replication of this image during the XIX dynasty, when Set was one of the most significant gods in the official ideology [te Velde, 1967, p. 129 ff.]. It is from the era of the New Kingdom that the image of the winged Set it is fixed iconographically. In his 1894 article, F. L. Griffith considered a poster from the time of Ramesses II, where on the front side Amon-Ra is depicted in the image of a ram-headed sphinx, and on the reverse-a standing god who kills a serpent with a spear [Griffith, 1894, p. 89]. He wears a conical headdress and a sndit kilt, and is surmounted by two wings; with one hand he grabs the serpent's neck, and with the other he pierces it with a spear. This is the standard iconographic model of this plot, which is also found on other monuments. Unfortunately, the place where the god's name is written is destroyed, but Griffith identified this god as Seth [ibid.J. Capart suggested that in this way the identity between Amon and Set is fixed [Capart, 1946, p. 31]. Accordingly, Set, like Amon, is in this case an incarnation of the sun god [Cornelius, 1994, p. 214-216; Keel and Uehlinger, 1998, p. 114].

The identification of the winged god-protector with Seth is supported by images on other monuments. Scarabs, scaraboids, amulets, and seals from the Ramessid period are the most widespread and representative group of monuments that record this story. Such monuments may depict Set and deities of Asian origin: Baal, Reshep, and Astarte (Dabrowski, 1992, p. 35). The god, most often winged, is dressed in a conical headdress, his face is elongated, and a uraeus or two horns are placed on his forehead. In one case, the deity pierces a serpent with a spear, in another, it can be depicted with two uraea or on the back of an animal. The main problem when considering these monuments is the identification of the depicted deity, since the images are not signed and the deity can only be identified by iconographic features or by plot.

The most revealing image is on a scarab from the Royal Brussels Museum of Art and History (Keel, Shuval, Uehlinger, 1990, pp. 309-311, fig. 84). It shows a winged Set with the head of its own animal, which allows us to speak confidently about its identification. He is dressed in a Canaanite kilt, indicating Asian influence. With his left hand, he holds the serpent's head, and with his right, he pierces its body. Above the figure of Seth is placed his characteristic epithet - "beloved Ra". An argument in favor of identifying this god with Set can be found in a scarab from the Leipzig Museum, which depicts Set spearing a serpent, with the head of his animal, but without wings [Keel, 2009, p. 91, Abb. 12]. The Set's epithet mry is also included here. Thus, both considered images, Egyptian in origin, are almost identical to each other.

The same type includes images on a scarab from the collection of M. Cassirer [Cassirer, 1959, pl. I, bottom row], on a Ramessid scarab from Tell el-Fara (Palestine) with the image of the sun disk above the head of god [Petrie, 1930, pl. XII: 17] and on two scarabs from The Berlin Egyptian Museum (Cornelius, 1994, BM 80-81). Only small details differ: A standing god wearing a conical headdress and an Asian kilt spears a serpent. On two scarabs there are images

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the sun: on one - a solar disk [Cassirer, 1959, pl. I, bottom row], on the other-a solar disk with rays [Leibovitch, 1953, p. 107, fig. 12].

There is no clear interpretation of the identification of the god depicted on monuments of this type in the literature. Researchers who study these monuments put forward different versions. M. Cassirer believes that the god Reshep is depicted on the monuments (Cassirer, 1959, p. 6). However, A. R. Shulman rightly notes that there is no evidence of images of Reshep in the winged form or piercing a serpent with a spear [Schulman, 1979, p. 74]. I. Cornelius and O. Kil consider this god to be Baal-Set [Cornelius, 1994, p. 214-216; Keel and Uehlinger 1998, p. 114], other researchers - just a Set [Leibovitch, 1953, p. 108; Capart, 1946, p. 29; Schulman, 1979, p. 74; Dabrowski, 1992, p. 37].

The name "Baal-Set", or" Set-Baal", is an artificial construction not found in monuments, but adopted to refer to this image of God by some researchers. The Semitic god Baal appeared in Egypt, apparently, as early as the Hyksos period [Stadelmann, 1967, p. 35; Tazawa, 2009, p. 154-158] and gained special popularity as a patron god of the royal power, which may explain his close connection with Set [Tazawa, 2009, p. 9]. Probably, starting from the Hyksos period, the Egyptians began to perceive Baal as a manifestation of Set (te Velde, 1967, p. 109). Baal, the most important Semitic god worshipped by the Hyksos, was identified by them with Set, the patron saint of royalty, and it was at this time that the cult of Set became extremely popular in the northeast Delta and parts of Asia. Apparently, the origins of the identification of Set and Baal should be sought precisely in their connection with the royal power. In the description of the Battle of Kadet, Set and Baal are called the patron gods of Ramesses II (Gardiner, 1960, p. 41: R42).

Set with the iconographic attributes of Baal became the dynastic god of the Ramessids, as evidenced by the" Stele of the year 400", where Set is represented in the image of Bal (Montet, 1933, p. 191-215). In the upper part of the stele, Seth is depicted in an Asian robe and wearing a conical Baal headdress, on which two horns are placed with a solar disk between them, which is typical for images of Baal. Behind Seth is Ramesses II, and behind him is the vizier Seti in a pose of worship. On the stele, Seth's name is written in the ideogram of his titular animal, but it seems that the most correct reading of his name in the context of this monument is Seth or Suteh, by analogy with the relief of the time of Pharaoh Merneptah, where Set, also depicted in the image of Baal, is written out as Suteh (Swth) [Cornelius, 1994, pl. 38: BR 10]. The stele records a special method of chronology, which began in the Hyksos period in connection with the establishment of the cult of Set. The date of the 400th anniversary itself gives a countdown to the cult era associated with the establishment of the veneration of Set (Seth) in Avaris./Sutekh) in its local form or taking on an Asian appearance (te Velde, 1967, p. 126).

The rise of the cult of Set in the Delta of Egypt occurred even before the arrival of the Hyksos, under Nehsi, who ruled in the Delta after the Pharaohs of the XIII dynasty shortly before the beginning of the Hyksos period (Goedicke, 1966, p. 35). Nehsi, when he became king, made Seth the patron saint of Avaris, as can be seen from his inscription in Tell Mokdam (van Seters, 1967, p. 102). Thus, Avaris acquired a new religious and political significance, which was important for the Nehsi in connection with the strengthening of their power. In view of this, the choice of Seth as their patron god does not seem strange. Since ancient times, Seth, in his aspect of Set of Ombos, was the patron saint of the royal power, but was, however, displaced by the supporters of Horus. As noted above in the example of Peribsen above, this hypostasis of Set could become more important in the context of the struggle of competing rulers for political power at certain stages of Egyptian history. At the same time, Set, as an important local god of Lower Egypt, included in the Ennead of Heliopolis, was endowed with solar features that could justify his status as the patron god of royal power.

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Apparently, there was a certain connection between the Nekhsi and the representatives of the XIX dynasty. Thus, the Nekhsi obelisk was found in Tanis along with the Ramessid obelisks (Montet, 1941, p. 50). This may indicate the veneration of Nekhsi by the pharaohs of the XIX dynasty, who, according to the interpretation of J. R. R. Tolkien, were the most important figures in the world. van Seters, 1967, p. 102]. G. te Velde also believes that here Seti I marks not so much the establishment of the rule of Set during the Hyksos period, but rather the tradition of honoring Set even before the arrival of the Hyksos [te Velde, 1967, p. 126]. Leaving aside the question of the beginning of the era of Set, I would like to note that this view seems valid if we recall the assumption that the 19th dynasty could have been associated with the Hyksos rulers or those Asiatics who remained in Egypt after the expulsion of the Hyksos and became Egyptians [Chabas, 1863, p. 37]. Then the question of the identity of Set and Baal and their extraordinary popularity in the Ramessid era must be addressed precisely in connection with their characteristic attention to the Hyksos tradition.

The Egyptian form of the name Baal - can be written out with the determinative of the animal Set [Leitz, 2002, p. 778], and of all the Asian gods, only Baal was written out with the determinative of Set [Tazawa, 2009, p. 9]. K. Zivi-Kosh believes that, since in some cases the image of the" Set " animal can be used As an ideogram for writing the name of Set, this allows us to speak of reading the name of Baal as Baala-Set [Zivie-Coche, 2011, p. 5]. She believes that the two aspects of the depicted god as Seth-Baal and Baal-Seth are combined on the considered monuments [Zivie-Coche, 2011, p. 5]. The close relationship between Baal and Set can be seen from numerous textual and iconographic sources.3 The explanation for this connection lies in the similar functions of Baal and Set as gods of thunder and fighters against the forces of chaos. Baal as the god of storm and thunder is first depicted on a Ugarite stele dating from c. 1700-1400 BC (Schaefer, 1933, p. 122 f., pl. 16). The tradition of worshipping thunder gods in West Semitic mythology has a long history. At the initial stages of its development, the cult of Baal was closely intertwined with the cult of the West Semitic god Hadad [Green, 2003, p. 170-176]. Ugaritic texts depict the mythologem of the struggle of Baal as the thunder god and defender of the cosmic world order with the sea god-destroyer Yama (Smith, 1995, p. 2032).

The image of Set the Thunderer was already formed in the Pyramid Texts (Pyr. 261a, 1150c) and in the Sarcophagus Texts (V. III, 138b, 143b; VI, 167e, 253m, 254p, 3061; VII, 250c, 263b, 332f, h, 517a, c [de Buck, 1935-19614), but it became most relevant precisely in the New Kingdom era, as evidenced by the presence of the determinative "Setova" animal in the spelling of words denoting bad weather [Allon, 2007, p. 19]. The mythologem of Set's struggle with the serpent Apop and his role as a defender of the cosmic order were supposed to bring Set closer to the image of Baal as the cults of Asian deities penetrated the territory of Egypt. In the iconographic tradition of the New Kingdom, Set assumed certain features that might have been characteristic of Baal, or Baal might have been associated with Set; but it is difficult to say definitively whether this could have been the basis for the appearance of the syncretic god Baal-Set. Rather, this implies the identity of their political role as gods who patronize the royal power and are involved in similar mythological toposes.

Special attention should be paid to what epithets form the image of Set in the text of the "Stelae of the year 400": (KRI II, 288, 6-7, 9-10 [Kitchen, 1971]) -"...king of Upper and Lower Egypt, Sutech, the great in power, son of Ra, his beloved, Nebti (of Ombos), beloved of Ra-Horakhte, may there be-

3 For a detailed summary of these sources, see [Cornelius, 1994, pl. 35-39; Tazawa, 2009].

4 For a detailed review of this topic, see [Zandee, 1963].

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it blows forever and ever...Suteh, son of Nut, great in strength in the rook of millions of years, defeating enemies before the rook of Ra, great with a roar...". First of all, the quality of Set as the oldest patron of royal power is of great importance, which allows us to proclaim him king of all Egypt. In this case, the most important is his hypostasis of Seth of Ombos. At least from the early dynastic stage, as far as sources can tell, the citadel of Set was the city of Nbwt-Ombos, which means "golden". In this regard, one of the stable epithets of the Set is nbwty - "Ombossky". The properties of gold undoubtedly had a certain connotation with the sun, because in the future the golden flesh of the king was considered to be solar flesh [Wilkinson, 1999, p. 177]. The qualities of the "golden" Set could definitely have parallels with solar representations. Other epithets of Set mentioned here describe him as a heavenly protector god: ("son of Nut") and ("great by force") are traditional epithets of Set that emphasize his nature as a deity generated by the sun god. The stele's emphasis on the aspect of Seth's image as a defender of the solar barge cannot be accidental. This positive role of Seth was crucial in justifying the veneration of his cult, as can be seen in the example of the above monuments.

Based on all of the above, it is legitimate to speak more about the influence of Set on the image of Baal than vice versa [Keel and Uehlinger, 1998, p. 114]. The mythological context of the monuments confirms that Seth is depicted in his usual role as the killer of Apopos, but within the iconographic tradition of Near-Asian art and with certain Asian attributes (Dabrowski, 1992, p. 37), such as a conical headdress, a Canaanite kilt, and two horns on his forehead. The image of the solar disk on some scarabs allows you to restore the full mythological plot: the solar disk as a symbol of Ra; the main enemy of the solar deity, the serpent Apop and Set, destroying the enemy of the sun. Its connection with the solar cult is emphasized here by the presence of a solar disk (Keel and Uehlinger, 1998, p. 114) and two wings. On one of the monuments there is an image of a sun disk with rays [Cornelius, 1994, pl. 51: VM 80]. I. Cornelius believes that the image of the sun disk on some monuments can be considered as an abbreviation of the epithet [Cornelius, 1994, p.221]. But, most likely, it is legitimate to talk about the identity of the solar disk and this epithet Set in the composition under consideration.

The winged Set is also depicted in an anthropomorphic form. In 1944, a painted image of a bronze figure of Seth with two wings from the collection of M. G. Michaelides was published (Leibovitch, 1944, pl. XIII). In the monograph dedicated to the god Set, G. te Velde, referring to this article, placed an image of this figure [te Velde, 1967, p. 19, fig. 18]. However, unfortunately, there is still no separate publication of this monument. The figure has lost half of its arm and the upper part of its double headdress, which apparently consisted of a white crown. Seth stands in a walking pose, one hand with the wing raised, the other lowered. Zh. Leibovitch believed that he had a spear in his hands [Leibovitch, 1944, p. 101]. Thus, Seth was depicted here as the winged protector of the sun. It is likely that this monument is of the same type as the bronze figure of Set, dating from the end of the New Kingdom (Schorsch and Wypyski, 2009). In this case, Seth is also depicted walking with one hand raised , a pose typical of the depiction of Near-Asian deities. Seth's head is crowned with the double crown of Upper and Lower Egypt. It is noteworthy that ram's horns were added to the head, which could be a consequence of the desire to identify Seth with the ram embodying Amun-Ra, or an attempt to replace Seth with a ram, since ram's horns were added later [Schorsch and Wypyski, 2009, p. 197]. But it should be noted that this type of statue is precisely of Asian appearance, while the image of the figure of the winged Set does not seem to have experienced Asian influence.

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From the time of the XIX dynasty, a badly damaged stele from el-Matmar has come down, which depicts the plot of the defeat of Apop by the winged god [Brunton, 1948, pl. XLIX, p. 13]. The upper part of the stele is damaged, and the preserved part shows the image of wings and the lower part of the god piercing Apopos with a spear. The god, as in the images discussed above, wears an Asian kilt. With a high degree of confidence, we can say that Seth is also depicted here [ibid., p. 61].

A fragment of a stele from the Karlsberg Glyptotheca of the 19th Dynasty (Morgensen, 1937, pl. 103) has come down from the New Kingdom era. Here Seth is depicted with the head of a bull, the body of a man and two wings, standing on the stern of a solar barge and piercing a serpent with a spear, dressed in an Asian kilt. Above the image is the inscription: "Set, the bull of Ombos" (). The reference to Set as the bull of Ombos is found only on this stele, but the use of this epithet is also attested in relation to Ramesses II, who overthrows enemies: - "His Majesty behind them (i.e.,enemies) is like the bull of Ombos" (KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, KRI II, 151, 19) [Kitchen, 1971]. There is no doubt that the king here is associated with Set, and it is noteworthy that this association is expressed through the affiliation of Set to Ombos, which was primarily associated with the idea of Set as the patron saint of royal power.

As for the association of Seth with the bull, it fits well with the Egyptian tradition. Chapter XVII of the Book of the Dead says of Seth: "This is Seth. To put it another way: The Great Wild Bull" (BD XVII, 115 [Budge, 1898]). In the Leyden papyrus appears - "bull of darkness, bull of bulls, son of Chickpeas" Nwt [Griffith, Thompson, 1974, p. 78, 80: col. X, 28-29]. In this bull, you can recognize Seth, because, as mentioned above, the epithet is the traditional epithet of Set. Nevertheless, Zh. Leibovitch offered his own interpretation of the image on the stele from the Karlsberg Glyptothek, translating the inscription as "Set, the mighty of Ombos" (Leibovitch, 1944, p. 104) and, apparently, based on the fact that the word ("bull") replaces one of the traditional epithets of Set ("great by force"). The closest analogy to this inscription is an inscription on a stele from the Leiden Museum with a similar plot. In this monument, Seth, in anthropomorphic form, spears Apophis in the form of a serpent with a human head. In the upper part of the stele is placed an image of the sun's disk surrounded by two Uraeus, and the moon. The inscription reads: "(Seth) of Ombos, the great god" (Nagel, 1929, p. 38, fig. 2).

Zh. Leibovitch considered the image of the bull on the stele not to be Egyptian, but Cretan in origin [Leibovitch, 1944, p. 104-105], but there are no grounds for such an interpretation. Rather, it is necessary to say that the Egyptian iconographic tradition is connected with the Middle Eastern one. The closest analogy is the image on a scarab from Ibiza, where a standing deity with the head of a bull, identified as Baal, defeats an enemy with the body of a man and the tail of a snake (Boardman, 1984, p. 73). With one hand, the god swings the mace, and with the other, he holds the enemy by the hair. He is wearing a long-sleeved dress with a long skirt and a crown with a bun on his head. The image of the bull's head is identical to the image on the Karlsberg Stele. The depicted god is identified with Baal, but traditional Syro-Palestinian iconography does not depict Baal as a bull (Cornelius, 1994, p. 165). His possible bull attribute was two horns with a sun disk. However, images of bull-shaped deities have already appeared in Phoenician iconography, and such examples, in addition to the scarab from Ibiza, may include other rather numerous Phoenician scarabs, which presumably depict Baal or Melkart in the image of a bull, sitting on a throne or on a sphinx [Culican, 1976, p. 57-68].

As for the image of the enemy, the half-man-half-snake in this case looks more like an ancient Egyptian snake attacked by a Set than a Phoenician newt (Culican, 1976, p. 66). But it should be noted that an identical image is found on another Phoenician scarab, where antroio is depicted instead of a god with the head of a bull-

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A morphic god also identified as Baal (Cornelius, 1994, p. 142, fig. 31). The enemy is shown in exactly the same way as on the scarab in question. Applied to the Karlsberg Stele of O. Kiel and K. Uehner points out the probable syncretism of Baal and Set, noting the common features of the mythological plot in the Semitic and Egyptian traditions (Keel and Uehlinger, 1998, p. 48). The serpent, as a source of chaos and rebellious waters in the Syro-Palestinian tradition and in the form of Apoplexy in the Egyptian tradition, received the status of the main enemy and opponent on monuments of this kind [Keel and Uehlinger, 1998, p. 48]. The combination of functions and connection of the images of Baal and Set can be caused, as already noted, by the idea of them as the gods of storm and thunder, a formidable heavenly force. Thus, on the Karlsberg Stele, the iconography of Set combines both Egyptian and Near-Asian motifs, but within the framework of the Egyptian mythological tradition.

The mythologem of the murder of Apophis by Seth became particularly widespread in the Ramessid era. However, the significant influence exerted on it by the Near-Asian tradition suggests that the choice of Set as the killer of Apop may be related to the formation of his image as the god of the ruling dynasty, which became especially relevant due to the expansion of external contacts of the Egyptians with the Near-Asian peoples and the spread of cults of Near-Asian gods.

The images of a winged deity standing between two Uraeans are similar to the monuments discussed above. It is an anthropomorphic deity depicted frontally, wearing a conical headdress with two wings extending over the two Uraeans who stand to his right and left. On some monuments there is an image of the sun's disk. All images are typologically similar and belong to the New Kingdom era [Petrie, 1906, pl. XXXVII: 20; Petrie, 1930, pl. XXII: 186, pl. XXXI: 308; Leibovitch, 1953, p. 104; Leclant, 1960, fig. 33b; Hornung, Staehelin, 1976, N 707; Matouk, 1976, p. 76, 337; Keel, 1977, fig. 71, 72]5. As in the monuments of the first group, the deity depicted can be considered Baal Set [Cornelius, 1994, p. 193], but the attributes of Set will be primary. In this regard, it is necessary to mention the monuments where the image of Set is interpreted quite clearly. The Ramessid scarabs from Rikkeh and Tell el-Far depict a Set between two Uraeans (Engelbach, 1913, Taf. XVIII: 113]. On a scarab from Medinet Abu during the reign of Pharaoh Setnakht, Set is depicted in profile with the goddess Ouadget, with a solar disk placed above them [Teeter, 2003, pl. 29, scarab No. 92], and on identical images Set is depicted with one wing extending over Uray [Cornelius, 1994, fig. 44 b], and with two wings and the epithet mry rr [Keel, 2009, S. 233, Abb. 5].

The connection of Seth with Uraeus is very ancient, which is confirmed by the above fragments of the "Pyramid Texts". The image of the winged Set between the Uraeans can be considered as a transformation of the battle scenes with Apop [Keel, 1990, p. 273; Dabrowski, 1992, p. 37]. Of course, both motifs are closely interrelated and the connection between Set and Uraeus in these images is not accidental, since Uraeus could serve as a tool of the sun god against enemies [Scharff, 1922, p. 30, 33, 34, 44, 52]. Very often, the Uraeus is depicted as winged, thus representing the sky (Hornung, 1977, p. 1217). In this capacity, Set is the exponent of the power of the sun god, which Uraeus represents. In this case, Set can be called the "aggressive aspect of Pa" (te Velde, 1967, p. 106). The images themselves form a composition in which the Set is located in the frame of the Uraeus or between two Uraeus and occupies the place that is usually characteristic of the solar disk. However, there are known, for example, images of a Reshep with two uraea (Cornelius, 1994, p. 194), although, as mentioned above, the Reshep is never depicted as winged. The Uraeus connection to the winged god seems to be significant. Wings, like the uraeus, are a symbol of protection [Keel, 1995, p. 295]. Seth's role in the New Age

5 For the most complete collection of these images, see [Cornelius, 1994, pl. 47-48: VM 24-40].

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The role of the kingdom as the god of strangers could have had significance as a defensive force (Eggler, 1992, p. 163).

More problematic is the interpretation of another typologically similar plot-the image of a winged deity placed on the back of an animal identified as a lion [Petrie, 1906, pl. XV: 209; Petrie, 1925, pl. XV: 1080; Gressman, 1927, pl. CXVI: 275; Brunton, 1930, pl. XLII1: 54; Garstang, 1933, fig. 11, pl. 11; Dunand, 1937-1958, pl. CXXVIII: 3223; Leibovitch, 1942, p. 441, fig. 90; Leclant, 1960, p. 63, fig. 33a; Sliwa, 1985, n. 88; Buchanan and Moorey, 1988, pl. IV, n. 113; Keel, Shuval, Uehlinger, 1990, pl. XVII: 3]. Fl. Petrie, who published one of these scarabs, believes that the image shows a winged Set, identical to Baal of Ekron and standing on the back of a lion in the manner of the Syrian god [Petrie, 1906, 15, pl. XI: 209]. J. Shliva identifies this image with the god Reshep or Baal on a horse [Sliwa, 1985, p. 59]. This story is indeed Asian in origin, since the image of a deity riding an animal (lion or bull) was very popular in the Semitic tradition (Bosseret, 1932-1933; Braun-Holzinger, 1987, p.91). At the same time, the motif of depicting a deity on an animal is not common in the Egyptian iconographic tradition [Cornelius, 1994, p. 195]. With regard to the monuments under consideration, we can say quite confidently that the lion is depicted [Cornelius, 1994, p. 195], which, being the embodiment of power, is often found in scenes of the fall of a serpent or an enemy as an assistant to the main deity. At the same time, these images are compositionally similar to the scenes of Apop's defeat [Dabrowski, 1991, p. 23]. O. Keel believes that the lion on which the deity stands is not a helper, but an opponent for him, and identifies him with Moth , the Semitic god of death, the eternal opponent of Baal [Keel, Uehlinger, 1998, p. 114]. The most accurate identification of the depicted god can be considered Set with the attributes of Baal.

There are monuments depicting two deities standing astride the backs of animals [Petrie, 1925, pl. XV: 1080; Petrie, 1930, pl. XLIII: 534; Reisner, 1958, n. 12843; Matouk, 1976, 401: 1581; Sliwa, 1989, n. 15; Keel, Shuval, Uehlinger, 1998, pl. X, n. 31]. The deity on the left stands on the back of a lion with its wings raised, and the deity on the right stands on the back of a gazelle or antelope with its arms down. I. Shliva believes that two Canaanite gods are depicted [Sliwa, 1989, p. 40]. However, as B. Dabrowski [1991, p. 23-24] and O. Keel [Keel and Uehlinger, 1998, p. 116] seem to correctly point out, a deity standing on the back of a lion can be recognized as Set, while a deity standing on the back of a gazelle is most likely to be recognized as Seth., - Reshep, who was represented by a gazelle (Giveon, 1980, p. 144).

A special mention should be made of the scarab from Tell el-Fara, which depicts a winged Set 6 with Asian clothing attributes [Cornelius, 1994, p. 191: BM 43]. Above Seth's head is an image of a hippopotamus, and on the left side, under Seth's wing , is an image of a falcon with a banner. The connection between Set and the hippopotamus is well known [te Velde, 1967, p. 59]. I. Cornelius identified this god with Baal-Set [Cornelius, 1994, p. 191]. K. Tazawa defines the figures depicted as Set (the hippopotamus is its manifestation ) and Horus [Tazawa, 2009, p. 24, doc. 44].

The mass appearance of monuments with images of winged deities may be caused by their protective function (Hornung and Staeheling, 1976, p. 134). Wings were a typical attribute of many Syro-Palestinian deities, especially those associated with storm and thunder (Keel, 1980, pp. 170-172, 196). The three iconographic motifs-the fall of the serpent, the deity with uraeus, and the deity standing on the animal's back-seem to be interpreted as replicas of the same mythological story about the protector deity, which has parallels in both Syro-Palestinian and Egyptian iconography. At the same time, the motif of the fall of the serpent is inherent in both traditions, the motif with the Uraeus is Egyptian,

6 I. Cornelius and Yu. Igtlsr identify this god as Baal-Set (Cornelius, 1994, p. 191; Hagler, 1992, p. 279).

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and the motif of placing the deity on the back of the beast is Syro - Palestinian. The fusion of these motifs in both traditions actualized the role of the protective god, who acted as a symbol of strength and power and could appear in the image of Set, who perceived some of the features of Baal. Such attributes as wings and a spear, as well as the presence of the image of a serpent in the compositions with it, allow us to speak about the interpenetration of Egyptian and Asian traditions; and its image on the animal's back is borrowed from the Syro-Palestinian tradition. Egyptian Seth acquired the characteristics of Asian gods, which was expressed primarily in iconography, while his quality as a protective god was Egyptian in origin, as evidenced by the "Pyramid Texts"and" Sarcophagus Texts".

The prosperity of the cult of Set in the New Kingdom era was replaced by decline. The image of Set was demonized, which is directly related to the development of the Osiric myth, in which Set plays a strictly negative role. Later written sources discredited the image of Seth, and Seth himself was exposed to various magical practices. At the same time, Seth's role as a protector of the sun god increased; he was still revered in the Sutekh aspect (Kaper, 1997, p. 64). One of the most famous reliefs showing the scene of the fall of Apophis is located in the temple of Amun in Hibis in the Kharga oasis and dates back to the reign of Darius I [Davies, 1953, pl. 43, 77: b]. Here is a hawk-headed Seth wearing a double crown, wearing an sndit kilt, and with two wings, spearing Apophis. The relief also shows a lion as Seth's helper. Inscription accompanying the image: - " Uttering the words of Sutekh, God, the great power, the great god, located in the Hibis. He makes the gift of life like Ra, forever." Starting from the XXV dynasty, the iconography of Set changed, and in the oases of the Western Desert, Set was depicted with a falcon's head (Kaper, 1997, p. 64). His cult in the oases became more important, but within the iconographic correlation of Seth with the Choir. The animal symbolizing Set was thus forced out of the monuments, since the image of Set was demonized and associated with a threat to the royal power of Egypt.

At the same time, it is necessary to pay attention to one significant detail that has not yet been considered by researchers - the epithet given to Set On the Leiden stele mentioned above, Set is given the epithet "Nebti, the great God". In the upper part of the stele is placed a solar disk with two uraeus descending from it. On the stele there is a recording of the hymn to Ra and Set, designated as nbwty, which confirms the inclusion of Set in the solar cycle precisely in its oldest incarnation as Set of Ombos. The epithet can be applied to different gods, but since ancient times it has been associated primarily with the sun, which also emphasizes the original use of this term along with the epithet nb ptt - "lord of the sky" (Berlev, 2003, p.7). Set began to be given this epithet in the New Kingdom era during the heyday of his cult: thus, on the 'Imn-ipt stele of the XIX dynasty, Set is designated as - "Suteh, the great god, the lord of heaven" [Hodjash and Berlev, 1982, p. 142: N 84]. In the relief of Merneptah's reign, which comes from Lower Egypt, Set in the form of Suteh is given these two epithets: - "Suteh, the great god, the lord of heaven" (Cornelius, 1994, p. 151:BR 10, pl. 38]. Seth is depicted here with the attributes of the god Baal - two horns on his forehead and a conical headdress. The heir to the throne, the future Pharaoh Merneptah, makes offerings to him. As on the "400-year-old Stele", this monument emphasizes the nature of Set (Sutekh)with the help of epithets as the patron god of royal power and the ruler of Egypt, who receives this power through communication with the sun god or through likeness to him.

7 Merneptah is depicted with a scythe-a symbol of youth.

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The use of the epithet in reference to Seth in the battle scenes with Apophis should indicate a direct association of Seth with the sun god. In the case of the Leiden Stele and the relief in the Hibisa temple, this association has an additional meaning: Set, who is given the epithet and gives life like Ra, can embody the power of the winged solar disk, called - "(Chorus) Behdetsky, the great god, the lord of the sky " (Berlev, 2003, p.7). This winged disk directly embodies the sun itself. Initially, he was depicted as a falcon hovering over the king, whose protector he was (Kees, 1956, p. 418). Already in the Ancient Kingdom, this disk can be depicted not only winged, but also with two Uraeus descending from the disk [Gardiner, Peet, Cerny I, p. 10]. In this case, the above images of Set with two uraea framing his figure emphasize the likeness of Set to the solar disk.

It is safe to say that the above-described features of the image of Seth became of paramount importance for his cult in the oases after it was actually banned by priestly ideology. This is confirmed by other monuments from the oases: The so-called Great Dakhla stele from the time of the XXI dynasty records the oracle of Set, named in this case - "Set, the great god, the son of Nut, this great god" [Gardiner, 1933, pl. V-VI: 8]. Another so-called Small Dakhla Stele from the XXV dynasty, also associated with the cult of Set, contains an image of him with the head of a falcon, but with the ears of a "Set" animal (Janssen, 1968). The main feature of the image on this monument is the placement of a solar disk above Seth's head. This, on the one hand, brings Seth closer to the Choir, and on the other, reflects those aspects of his image that have been characteristic of him since ancient times.

It is noteworthy that this tradition of honoring Set has been preserved until Roman times. In the mammisi temple of the god Tutu of the second century AD in Ismant-el-Harab (ancient Kellis), in the southern part of the vault, there is an image of a winged god with a falcon's head, a double crown and a solar disk placed on it [Kaper, 1997, p. 61, fig. 33]. The deity stands on a pedestal and spears a serpent that is under his feet. But the image is not signed, and therefore it is not completely certain that it is Set who is depicted here. O. Kaper presumably defines the image of this god as Set, but notes that another god, including Tutu, may also be implied [ibid., p. 62]. But, as far as we know, there are no attested images of this kind in relation to Tutu, in which case in this hypostasis he could only be depicted as the god to whom the temple is dedicated. Another god whose cult was widespread in the oases and whose main function was to protect against enemies is Amon-Naht. He can also be depicted winged and with a falcon's head, piercing the enemy with a spear, but the fundamental difference is that he always pierces not a snake, but a person [ibid., p. 83]. In this case, it is Set who is the god whose prerogative is to destroy the serpent, the destroyer of cosmic order, and this role remains crucial in the context of his worship in the oases in Roman times.

The latest known example of Set impaling Apops with a spear probably dates back to the fourth century AD. In the place of Ein Turba, located near the temple of Hibis, one of the reliefs shows three figures of a horseman with a spear: the first - with the head of a man, the second-with the head of Set and a solar disk, the third - with the head of a falcon and wings, in a double crown, and under these figures is placed the image of a serpent [Cruz- Uribe, 2009, fig. 30]. E. Kruse-Urib believes that all three figures can be the embodiment of Set [ibid., p. 226], which is quite possible due to the tradition of depicting Set in oases with the head of a falcon and a double crown. It is noteworthy that of the three figures, only the central figure with the head of Seth is crowned with a solar disk, which indicates that the god who throws the serpent has solar attributes.

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Thus, there is a transformation of the motif of Set's connection with the sun, during which Set, as the defender of Ra, acquires Choral features. However, the original connection of Set with the royal power and the above-mentioned sayings from the" Pyramid Texts " suggest that the image of Set was multidimensional and its iconographic identity with the Chorus is explained by the idea of him as a winged god of the sky and sun, paired with the Chorus (this motif is also reflected in the use of images of two falcons corresponding to the Chorus, in the royal titulature (Muller, 1938, p. 14-15)). These qualities of Seth may have been actualized in certain periods of Egyptian history and contributed to the flourishing of his cult in the oases in the later period of Egyptian history. It is symptomatic that the revival of the mythologeme about the murder of Apophis by Seth took place during the XXVII dynasty, which was looking for ways to legitimize its power in Egypt. The origin of the rulers of Egypt from the Persian dynasty did not encourage the Egyptians to believe that they had the sacredness characteristic of ritualistic kings, and encouraged them to look for ideological means to justify it. One of these tools was the mythologeme about the murder of the serpent Apopos by Set. Seth, as the god of the oases, remained the main destroyer of the serpent, now acquiring the features of Horus.

Summing up, it can be stated that the formation of ideas about Set as a winged god, who is the protector of the sun and the destroyer of evil, is inseparable from the ideas about him as a god with solar features. Seth's preservation of the solar nature, despite the tendency of the Osirian tradition to demonize him, is fully reflected in the monuments of different time periods. Starting from the Peribsen period and ending with the Greco-Roman period, this quality of Set acquired great significance at certain stages of Egyptian history, which was directly related to the idea of Set as the god of royal power. Within the framework of the rise of the cult of Set in the New Kingdom era, it is appropriate to talk about the local specifics of the development of the image of Set. The worship of Set in the form of Suteh under the Ramessids may be related to the firm establishment of his cult in the Delta of Egypt and the relationship with the god Baal. At the same time, Seth received the epithet "great god, lord of the sky", which connected him directly with the sun god. The attribution of this epithet to Set as the patron god of royal power in the context of the sun protection mythologeme suggests that Set had the status of a solar deity.

Later, the worship of Set in the form of Sutech was adopted in the oases, where his cult flourished until the Roman period. This emphasized his quality as a solar deity, and his main function was to destroy the serpent, the enemy of the supreme sun god. At a late stage of Egyptian history, when the image of Set was demonized in the context of the Osiris myth, his worship in the oases took on specific forms and Set, in its positive quality, began to be endowed with the iconographic features of Horus. His positive role as a winged guardian god, representing one of the aspects of the sun, was no less important in the development of his image than his role in the Osiric myth and in the context of the confrontation with the Horus.

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