Сфинкс: Мифтік жаратылыс және тарихы

Mythological creature with the head of a human and the body of a lion
sphinxes in general

A sphinx (/s//f//ɪ//ŋ//k//s/ SFINKS; σφίγξ, ; label=[[Aeolic Greek, ; or sphinges) is a mythical creature with the head of a human, the body of a lion, and the wings of an eagle. 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. This deadly version of a sphinx appears in the myth and drama of Oedipus. In Egyptian mythology, in contrast, the sphinx is typically depicted as a man (an androsphinx (ανδρόσφιγξ)), 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. Both the Greek and Egyptian sphinxes were thought of as guardians, and statues of them often flank the entrances to temples. 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. However, depictions of the sphinx are generally associated with grand architectural structures, such as royal tombs or religious temples.

The word sphinx comes from the Greek Σφίγξ, associated by folk etymology with the verb σφίγγω (sphíngō), meaning "to squeeze", "to tighten up". 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.

The largest and most famous sphinx is the Great Sphinx of Giza, situated on the Giza Plateau adjacent to the Great Pyramids of Giza on the west bank of the Nile River and facing east The sphinx is located southeast of the pyramids. While the date of its construction is not known for certain, the general consensus among Egyptologists is that the head of the Great Sphinx bears the likeness of the pharaoh Khafre, dating it to between 2600 and 2500 BC. However, a fringe minority of late 20th century geologists have claimed evidence of water erosion in and around the Sphinx enclosure which would prove that the Sphinx predates Khafre, at around 10,000 to 5000 BC, a claim that is sometimes referred to as the Sphinx water erosion hypothesis but which has little support among Egyptologists and contradicts other evidence. What names their builders gave to these statues is unknown. At the Great Sphinx site, a 1400 BC inscription on a stele belonging to the 18th dynasty pharaoh Thutmose IV lists the names of three aspects of the local sun deity of that period, Khepera–Rê–Atum. Many pharaohs had their heads carved atop the guardian statues for their tombs to show their close relationship with the powerful solar deity Sekhmet, a lioness. Besides the Great Sphinx, other famous Egyptian sphinxes include one bearing the head of the pharaoh Hatshepsut, with her likeness carved in granite, which is now in the Metropolitan Museum of Art in New York, and the alabaster Sphinx of Memphis, currently located within the open air museum at that site. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs and temples as well as serving as details atop the posts of flights of stairs to very grand complexes. Nine hundred sphinxes with ram heads (Criosphinxes), believed to represent Amon, were built in Thebes, where his cult was strongest. At Karnak, each Criosphinx is fronted by a full length statue of the pharaoh. The task of these sphinxes was to hold back the forces of evil. The Great Sphinx has become an emblem of Egypt, frequently appearing on its stamps, coins, and official documents. 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.

The revived Mannerist sphinx of the late 15th century is sometimes thought of as the "French sphinx". Her coiffed head is erect and she has the breasts of a young woman. Often she wears ear drops and pearls as ornaments. Her body is naturalistically rendered as a recumbent lioness. Such sphinxes were revived when the grottesche or "grotesque" decorations of the unearthed Domus Aurea of Nero were brought to light in late 15th century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the 16th and 17th centuries. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop of Raphael (1515–20), which updated the vocabulary of the Roman grottesche. The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into the Late Baroque style of the French Régence (1715–1723). From France, she spread throughout Europe, becoming a regular feature of the outdoors decorative sculpture of 18th century palace gardens, as in the Upper Belvedere Palace in Vienna, Sanssouci Park in Potsdam, La Granja in Spain, Branicki Palace in Białystok, or the late Rococo examples in the grounds of the Portuguese Queluz National Palace (of perhaps the 1760s), with ruffs and clothed chests ending with a little cape. 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. The Decadent Movement, a European movement that was attributed to the notion of “decadence” around the 1890s, implores the main notion of finding beauty in the decline of civilization in the form of macabre or taboo subjects such as the sphinx. The motif of the sphinx can also be connected to the motif of the “femme fatale” figure in decadent texts in which a typically female like figure or beast seduces and murders men. The “femme fatale” is used to establish a decline or decay ranging from perversion, death, prostitution, and other taboos of Victorian society. Deborah Barker discusses, in “The Riddle of the Sphinx: Elizabeth Stuart Phelps’s The Story of Avis", how the painter Avis used the Sphinx as a representation of what women truly were in the nineteenth century. Avis thought that she could solve the prejudice that resulted from her gender and race through the Sphinx to show how she is an artist by tapping into the logic of Western Culture and visual recognition and classification. Napoleon on the other hand felt that the Sphinx was a representation of the empire he created, while Avis’ father Hegel Dobell thought that the Sphinx represented just an idea. Oscar Wilde, a known Decadent writer, utilized this motif in his poem “The Sphinx”. The poem itself establishes a connection between the Sphinx and the French due to underlying social decline such as the French Empire collapsing. The poem revolves around an isolated and anxious man who runs throughout the city, his anxiety and fears taking on the personified image of a grandiose beast that has the makeup of a dragon and lion. While not inherently stated, the beast is likely that of a decadent form of a sphinx due to its appearance and grand nature.

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. The historians and geographers of Greece such as Herodotus wrote extensively about Egyptian culture. There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. Apollodorus describes the sphinx as having a woman's face, the body and tail of a lion and the wings of a bird. Pliny the Elder mentions that Ethiopia produces plenty of sphinxes, with brown hair and breasts, corroborated by 20th century archeologists. Statius describes her as a winged monster, with pallid cheeks, eyes tainted with corruption, plumes clotted with gore and talons on livid hands. Sometimes, the wings are specified to be those of an eagle, and the tail to be serpent headed. According to Hesiod, the Sphinx was a daughter of Orthrus and an unknown she—either the Chimera, Echidna, or Ceto. According to Apollodorus she was a daughter of Echidna and Typhon. The sphinx was the emblem of the ancient city state of Chios, and appeared on seals and the obverse side of coins from the 6th century BC until the 3rd century AD.

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. It was said in late lore that Hera or Ares sent the Sphinx from her Aethiopian homeland (the Greeks always remembered the foreign origin of the Sphinx) to Thebes in Greece where she asked all passersby the most famous riddle in history: "Which creature has one voice and yet becomes four footed and two footed and three footed?" She strangled and devoured anyone who could not answer. Oedipus solved the riddle by answering: "Man—who crawls on all fours as a baby, then walks on two feet as an adult, and then uses a walking stick in old age". there was a second riddle: "There are two sisters: one gives birth to the other and she, in turn, gives birth to the first. Who are the two sisters?" The answer is "day and night" (both words—ἡμέρα and νύξ, respectively—are feminine in Ancient Greek). This second riddle is also found in a Gascon version of the myth and could be very ancient. Bested at last, the Sphinx then threw herself from her high rock and died; or, in some versions Oedipus killed her. An alternative version tells that she devoured herself. 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.

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. Numerous riddle books use the Sphinx in their title or illustrations.

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 within the Babele complex of rock formations.

Giorgio Amitrano's Echoes of Ancient Greek Myths in Murakami Haruki's novels and in Other Works of Contemporary Japanese Literature 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 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.

Gopaitioshah – The Persian Gopat or Gopaitioshah is another creature that is similar to the Sphinx, being a winged bull or lion with human face. The Gopat have been represented in ancient art of Iran since late second millennium BC, and was a common symbol for dominant royal power in ancient Iran. Gopats were common motifs in the art of Elamite period, Luristan, North and North West region of Iran in Iron Age, and Achaemenid art, and can be found in texts such as the Bundahishn, the Dadestan i Denig, the Menog i Khrad, as well as in collections of tales, such as the Matikan e yusht faryan and in its Islamic replication, the Marzubannama. Löwenmensch figurine – The 32,000 year old Aurignacian Löwenmensch figurine, also known as "lion human" is the oldest known anthropomorphic statue, discovered in the Hohlenstein Stadel, a German cave in 1939. Manticore – The Manticore (Early Middle Persian: Mardyakhor or Martikhwar, means: Man eater) is a Persian legendary hybrid creature and another similar creature to the sphinx. Narasimha – Narasimha ("human lion") is an incarnation (Avatara) of Vishnu in Hinduism in the Dashavatara of Vishnu who takes the form of half man/half Asiatic lion, having a human torso and lower body, but with a lion like face and claws and in this avatara, Vishnu killed Hiranyakashipu as Narashima and saved the world from chaos in Hindu Mythology.

In ancient Assyria, bas reliefs of shedu bulls with the crowned bearded heads of kings guarded the entrances of temples. Many Greek mythological creatures who are archaic survivals of previous mythologies with respect to the classical Olympian mythology, like the centaurs, are similar to the Sphinx.