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What makes the scene interesting is the fact that a date was given at which this ritual was
performed. According to the inscription accompanying this scene the raising of the pole of the
tent/ cult chapel happened in month 2 of the Payni season on day 19, a local date that fits in well
with other festivals dedicated to Min. The ritual of raising the pole can be seen on figure 4. Min
was the main deity of Koptos. Specific dates for rituals are rare in cultic temple scenes. A reason
for displaying the date for the ritual suggests this ritual is not just a decorative element, but
actually took place, perhaps annually. This ritual occurs from the old kingdom onwards (de Meyer
and Minas-Nerpel 2013, 150-155).
The scene in figure 4 shows Claudius facing Min. He carries a ceremonial staff with lotus motif on
the shaft. The scene is slightly damaged, so the object in his other hand is harder to recognise. It
could have been a sceptre. He wears a triple Atef crown, which can be recognised by the ostrich
feathers flanking the crown and the set of ram horns it is placed upon. The crown might be
associated with renewal. According to the article it would suit the cultic connotations of this scene,
but in this case seems to relate to the violent epithets of Min that can also be recognised (de
Meyer and Minas-Nerpel 2013, 151-152).
Min is depicted in an anthropomorphic mummiform, standing upright and raising his right hand in
which he is holding a flail. He wears the double crown of Egypt with a solar disc. He wore a
pectoral on his chest, a type of jewellery usually worn by rich individuals and the pharaoh,
although this is hardly visible as the scene is damaged. The cult chapel can be seen behind the god,
including an entry gate with a pole. The ritual includes eight men wearing two feathers on their
head climbing four poles that support another pole in the center. The centre pole is being crowned
by a crescent moon (de Meyer and Minas-Nerpel 2013, 151-152).
This moon is unique as it does not resemble the forked ending that can be found in many earlier
raising of the pole scenes. The forked ending does not occur in any Graeco-Roman examples of this
scene. In Graeco-Roman examples the pole is usually topped by a miniature version of the cult
shrine with a scepter in front of it. It could be that the Shenhur pole is a badly executed version of
the forked ending usually found in pole scenes. The fact that it is depicted largely and with
correctly formed horns behind Min though makes this theory unlikely. The crescent moon could be
related to Min’s lunar connection (de Meyer and Minas-Nerpel 2013, 152).