The Iconographic Continuity Between the Depictions of Storm Gods in the Late Hittite Period and the Hittite Period

Yıl 2025, Cilt: 12 Sayı: 2, 774 - 797, 03.06.2025

Efecan Anaz

Öz

Following the collapse of the Hittite Empire in the late 13th century BCE, the Late Hittite principalities emerged, preserving and reinterpreting Hittite religious and artistic traditions while simultaneously adapting to new socio-political contexts. This study investigates the iconographic continuity and transformation of storm deities specifically Tarhunza, the Storm God of Heaven, the Storm God of Aleppo, and Teššub between the Hittite and Late Hittite periods. Through a comprehensive analysis of monumental reliefs, inscriptions, and seals, the research elucidates the evolving visual representations of these storm gods over time. The findings reveal a remarkable persistence of core symbolic elements such as the axe, trident, and bull—that maintained the deities’ traditional associations with power, fertility, and protection. Nonetheless, significant transformations are equally evident. Tarhunza, in particular, ascended as the preeminent deity of the Late Hittite pantheon, progressively assimilating attributes and functions once attributed to Teššub, the Storm God of Heaven, and the Storm God of Aleppo. This evolution reflects the growing ascendancy of Luwian religious traditions within Late Hittite cultural expressions. By negotiating a delicate balance between continuity and innovation, the Late Hittites harnessed storm god iconography as a means of asserting cultural identity and legitimizing political authority. This study thus offers valuable insights into the mechanisms of cultural resilience and adaptive transformation in the ancient Near Eastern world.

Anahtar Kelimeler

The Hittites , The Late Hittites , Storm Gods , Iconography , Continuity

Geç Hitit Dönemi'nde Görülen Fırtına Tanrısı Tasvirlerinin Hitit Dönemi ile Olan İkonografik Devamlılığı

Öz

MÖ 13. yüzyılın sonlarında Hitit İmparatorluğu'nun çöküşünün ardından ortaya çıkan Geç Hititler, Hitit dini ve sanatsal geleneklerini korumuş ve yeniden yorumlamış, aynı zamanda yeni sosyo-politik gerçeklere uyum sağlamıştır. Bu çalışma, Geç Hitit Dönemi ile Hitit Dönemi arasında fırtına tanrılarının ikonografik devamlılığını ve dönüşümünü, Tarhunza, Göğün Fırtına Tanrısı, Halep’in Fırtına Tanrısı ve Teššub’a odaklanarak incelemektedir. Anıtsal eserler, yazıtlar ve mühürlerin analizi yoluyla, bahsi geçen fırtına tanrılarının tasvirlerinin zaman içinde nasıl evrildiği gözler önüne serilmiştir. Bulgular, fırtına tanrılarının güç, bereket ve koruyuculuk ile olan geleneksel bağlantılarını sembolize eden balta, üç çatallı mızrak ve boğa gibi temel unsurların kalıcılığını vurgulamaktadır. Ancak, ikonografi aynı zamanda önemli dönüşümleri de yansıtmaktadır. Tarhunza, Geç Hitit panteonunun baş tanrısı olarak öne çıkmış ve Teššub, Göğün Fırtına Tanrısı ve Halep’in Fırtına Tanrısı ile daha önce ilişkilendirilen özellikleri ve rolleri bünyesine katmıştır. Bu değişim, Geç Hitit kültüründe Luvilerin dinî geleneklerinin artan hakimiyetini göstermektedir. Geç Hititler, fırtına tanrılarının ikonografisini hem gelenek hem de yenilik arasında bir denge kurarak kültürel kimliklerini ve politik meşruiyetlerini ifade etmek için kullanmışlardır. Bu çalışma, Eski Yakındoğu’da kültürel direnç ve adaptasyon süreçlerinin anlaşılmasına katkıda bulunmaktadır.

Anahtar Kelimeler

Hititler , Geç Hititler , Fırtına Tanrıları , İkonografi , Devamlılık

Kaynakça

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