The enchanting and occasionally exotic nature of ancient Egyptian religion is epitomized by the goddess Bastet, who is prominently featured in numerous museums and exhibitions. Often portrayed as a seated cat adorned with various divine symbols such as a scarab on her head, Bastet embodies an ancient world filled with enigmatic beliefs, depicted in a watchful, yet serene posture reminiscent of real cats.
Bastet: The Duality of Lioness and Cat
Bastet’s principal cult site is Bubastis, a significant city situated in the southeastern Nile Delta. The earliest references to Bastet can be traced back to the notable step pyramid of Djoser located at Saqqara, close to Memphis. Archaeological excavations have unearthed thousands of stone vessel fragments from 2nd dynasty burials (around 2800 BCE), featuring short inscriptions that name deities, among them a lioness-headed Bastet and a potential site of her worship in Memphis. It is conceivable that Bastet initially served as a deity associated with the royal household, possibly linked etymologically to the ointment jar b#s.t., suggesting her connection to royal insignia. The powerful symbolism of a lioness combined with the idea of a protective ointment reflected the regal ideology prevalent at that time.
The earliest documented reference to Bastet in Bubastis emerges from the reign of Pepi I during the 6th dynasty (around 2270 BCE). Evidence comes from a decorated door lintel housed in the king’s Ka-temple, depicting both Bastet and Hathor, where Bastet appears as a human figure with a lioness head. Furthermore, tomb stelas from Bubastis’ elite cemetery of that period list the titles of temple administrators, indicating that by the end of the Old Kingdom, a temple and cult dedicated to Bastet were already established.
The evolution of Bastet’s worship from the early dynastic roots at Memphis to that of Bubastis remains ambiguous. A hypothesis suggests that during the early 3rd millennium, lions roamed the semi-desert regions on the fringes of the Delta. The Wadi Tumilat, centered around a seasonal lake, provided an enticing refuge for these majestic beasts. At that time, the Delta was home to vast herds of cattle essential to an emerging centralized state and also served as an appealing territory for lions. The Egyptians likely observed the lionesses, particularly their cooperative hunting techniques, inspiring reverence towards these formidable creatures.
Transition from Lioness to Cat
Throughout the early references until the later New Kingdom, Bastet is predominantly depicted as a lioness. The evolution of her symbolism into that of a cat marked a significant shift in religious views over the centuries. Her duality as both a lioness and a cat often intertwines with Sekhmet, another renowned lioness goddess. Historical texts, particularly from the 12th dynasty, articulate this dualism, portraying the king as “Bastet who protects the two lands,” contrasting her nurturing side against Sekhmet’s fierce nature—a dichotomy that adds depth to her character.
As the cultural beliefs progressed, a cat emerged as a representation of Bastet’s more gentle, approachable, and charming side, a stark contrast to the earlier fearsome lioness persona. The Middle Kingdom notably recorded the first instances of domestic cats, resembling their wild ancestors, shown as pets within tomb art.
With the onset of the New Kingdom, the reverence for Bastet flourished, particularly in the 1st millennium BCE, when her cult extended beyond Egyptian borders into the Mediterranean. The temples erected for her at Sakkara and Alexandria bear witness to this increasingly universal veneration.
The Bubastis Festival
Around 450 BCE, Greek historian Herodotus provided a vivid account of the temple and its celebratory practices. He described the grand festival in honor of Bastet, noting how people would travel to Bubastis in boats filled with men, women, and lively music, engaging in exuberant celebrations with singing, clapping, and synchronized displays. Upon arriving at Bubastis, they would perform great sacrifices and consume vast amounts of wine, signifying the festival’s sacredness and cultural significance.
Scholarly interpretations often link the festival’s exuberance to the reproductive behaviors of cats, suggesting that participants might have sought to reflect on fertility in their own lives. Additional records indicate that these festivities were characterized by excessive drinking and ecstatic behaviors, breaking social norms in a manner thought to appease the Egyptian goddesses, particularly those associated with lioness attributes, like Bastet and Sekhmet.
Lioness deities were characterized as both fierce and nurturing, symbolizing duality. They were often associated with the sun god Ra, referred to as “Daughter of Ra” or “Eye of Ra.” The “Mythos of the Eye of Ra,” preserved on three demotic papyri from the 2nd century BCE, narrates the story of Ra’s wrathful daughter, a lioness who, out of apparent anger, spreads fear in the deserts until Thot is sent to guide her home through music and dance.
Connecting this mythology to the Bubastis festival, it becomes evident that celebrations built around music, dance, and intoxication were dedicated to honoring a goddess who relished such practices. The festival also involved local traditions illustrating Bastet’s significance in regional lore, such as the tale chronicled in the 7th-century BCE Papyrus Brooklyn, recounting how Bastet triumphed over Seth to protect the eye of Horus while navigating the sacred canals surrounding her temple.
Processions involving sacred statues were common in ancient Egyptian worship, and it is easy to envision Bastet’s sacred vessel gliding through the sacred waters of her temple at Bubastis as the pinnacle of the festivities, gathering immense crowds of devotees eager to partake in the annual celebration of their beloved goddess.
