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EUYUK
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EUYUK , or EVUx (the eu pronounced as in See also:French), a small See also:village in See also:Asia See also:Minor, in the See also:Angora vilayet, 12 M. N.N.E. of Boghaz Keui (Pieria), built on a See also:mound which contains some remarkable ruins of a large building—a See also:palace or See also:sanctuary anterior to the See also:Greek See also:period and belonging to the same See also:civilization as the ruins and See also:rock-reliefs at See also:Pteria. These ruins consist of a gateway and an approach enclosed by two lateral walls, 15 ft. See also:long, from the See also:outer end of which two walls return outwards at right angles, one to right and one to See also:left. The gateway is flanked by two huge blocks, each carved in front into the shape of a See also:sphinx, while on the inner See also:face is a See also:relief of a two-headed See also:eagle with wings displayed. Of the approach and its returning walls only the See also:lower courses remain: they consist of large blocks adorned with a See also:series of bas-reliefs similar in type to those carved on the rocks of Boghaz Keui. Behind the gateway is another See also:vestibule leading to another portal which gives entrance to the See also:building, the lateral walls and abutments of the portal being also decorated with reliefs much worn. These reliefs belong to that pre-Greek See also:oriental See also:art generally called Hittite, of which there are numerous remains in the eastern See also:half of the See also:peninsula. It is now generally agreed that the scenes represented are religious processions. On the left returning See also:wall is a See also:train of priestly attendants headed by the See also:chief See also:priest and priestess (the latter carrying a See also:lituus), clad in the See also:dress of the deities they serve and facing an See also:altar, behind which is an See also:image of a See also:bull on a See also:pedestal (representing the See also:god); then comes an attendant leading a See also:goat and three rams for See also:sacrifice, followed by more priests with litui or musical See also:instruments, after whom comes a bull bearing on his back the sacred cista (?). On the lateral walls of the approach we have a similar procession of attendants leaded by the chief priestess and priest, who pours a See also:libation at the feet of the goddess seated on her See also:throne; while on the right returning wall are fragments of a third procession approaching another draped figure of the goddess on her throne (placed at the See also:angle opposite the bull on the pedestal), the train being again brought up by a bull. These are all scenes in the See also:ritual of the indigenous naturalistic See also:religion which was spread, in slightly varying forms, all over Asia Minor, and consisted in the See also:worship of the self-reproductive See also:powers of nature, personified in the See also:great See also:mother-goddess (called by various names See also:Cybele, Leto, See also:Artemis, &c.) and the god her See also:husband-and-son (See also:Attis, Men, Sabazios, &c.), representing the two elements of the ultimate divine nature (see GREAT MOTHER OF THE GODS). Here, as in the oriental mysteries generally, the goddess is made more prominent. Where Greek See also:influence affects the native religion, emphasis tends to be laid on the god, but the See also:character of the religion remains everywhere ultimately the same (see See also:Ramsay, Cities and Bishoprics of See also:Phrygia, ch. iii.). Additional information and CommentsThere are no comments yet for this article.
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