A sphinx is a zoomorphic mythological figure, which is depicted as a recumbent lion with a human head. It has its origins in sculpted figures of Old Kingdom Egypt, to which the ancient Greeks applied their own name for a female monster, the “strangler”, an archaic figure of Greek mythology. Similar creatures appear throughout South and South-East Asia. In European decorative art, the sphinx enjoyed a major revival from the Renaissance onwards.

Egyptian sphinxes

In Ancient Egyptian mythology, a sphinx is a zoomorphic figure, usually depicted as a recumbent lioness or lion with a human head, but occasionally as a lion with the head of a falcon, hawk, or ram. The figure had its origin in the Old Kingdom and is associated with the solar deity Sekhmet. The use of heads of other animals atop the lioness body followed the titular deities of the city or region where they were built or which were prominent in the Egyptian pantheon at the time.

   Avenue of ram-headed sphinxes at Karnak in Luxor dating to the eighteenth dynasty

Later, the sphinx image, something very similar to the original Egyptian concept, was exported into many other cultures, albeit often interpreted quite differently due to translations of descriptions of the originals and the evolution of the concept in relation to other cultural traditions.

Generally the role of sphinxes was as temple guardians; they were placed in association with architectural structures such as royal tombs or religious temples. Perhaps the first sphinx was one depicting Hetepheres II, of the fourth dynasty that lasted from 2723 to 2563 BC. The largest and most famous is the Great Sphinx of Giza, sited at the Giza Plateau on the west bank of the Nile River and facing due east, is also from the same dynasty. Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh Khafra.

What names their builders gave to these statues is not known. At the Great Sphinx site, the inscription on a stele erected a thousand years later, by Thutmose IV in 1400 BCE, lists the names of three aspects of the local sun deity of that period, Khepera-Rê-Atum. The inclusion of these figures in tomb and temple complexes quickly became traditional and many pharaohs had their heads carved atop the guardian statues for their tombs to show their close relationship with the powerful deity, Sekhmet.

Late Archaic Greek sphinx, Attica,  
c. 530 BC   

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 with rams’ heads, representing Amon, were built in Thebes, where his cult was strongest.

Greek traditions about sphinxes

From 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 wrote extensively about Egyptian culture. They sometimes called the ram-headed sphinxes, criosphinxes, and the bird-headed ones, hierocosphinxes.

The word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω (sphíngō), meaning “to strangle”. This name may be 

derived from the fact that the hunters for a pride of lions are the lionesses, and kill their prey by strangulation, biting the throat of prey and holding them down until they die. The word sphincter derives from the same root.

There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. According to Hesiod, she was a daughter of Echidna and Orthrus; according to others, she was a daughter of Echidna and Typhon. All of these are chthonic figures from the earliest of Greek myths, before the Olympians ruled the Greek pantheon. Pierre Grimal’s The Penguin Dictionary of Classical Mythology states that Sphinx’s proper name was Phix (Φιχ), though he does not identify a source for this information. The Sphinx, though, is called by this name (Phix (Φιχ)) by Hesiod in line 326 of the Theogony.

In Greek mythology, a sphinx is represented as a monster with a head and breasts of a woman, the body of a lion, the wings of an eagle, and a serpent headed tail.

The sphinx was the emblem of the ancient city-state of Chios, and appeared on seals and the obverse side of coins from the sixth century BC until the third century AD.

A sphinx appeared at the middle of the helmet of the statue of Athena Parthenos.

Sphinxes in South and South-East Asia

A composite mythological being with the body of a lion and the head of a human being is present in the traditions, mythology and art of South and South-East Asia, variously known as purushamriga (Sanskrit, “human-beast”), purushamirukam (Tamil, “human-beast”), naravirala (Sanskrit, “man-cat”) in India, or as nara-simha (Pali, “man-lion”) in Sri Lanka, manusiha or manuthiha (Pali, “man-lion”) in Myanmar, and nora nair or thepnorasingh in Thailand.

In contrast to the sphinx in Egypt, Mesopotamia, and Greece, where the traditions largely have been lost due to the discontinuity of the civilization, the traditions of the “Asian sphinx” are very much alive today. The earliest artistic depictions of “sphinxes” from the South Asian subcontinent are to some extent influenced by Hellenistic art

  Purushamriga or Indian sphinx depicted 
 on the Shri Varadaraja Perumal temple
in Tribhuvana, India

and writings. These hail from the period when Buddhist art underwent a phase of Hellenistic influence. But the “sphinxes” from Mathura, Kausambi, and Sanchi, dated to the third century BC until the first century AD, also show a considerable non-Hellenist, indigenous character. It is not possible, therefore, to conclude the concept of the “sphinx” originated through foreign influence.

In South India, the “sphinx” is known as purushamriga (Sanskrit) or purushamirukam (Tamil), meaning “human-beast”. It is found depicted in sculptural art in temples and palaces where it serves an apotropaic purpose, just as the “sphinxes” in other parts of the ancient world. It is said by the tradition, to take away the sins of the devotees when they enter a temple and to ward off evil in general. It is therefore often found in a strategic position on the gopuram or temple gateway, or near the entrance of the Sanctum Sanctorum.

The purushamriga plays a significant role in daily as well as yearly ritual of South Indian Shaiva temples. In the sodasa-upacara (or sixteen honors) ritual, performed between one to six times at significant sacred moments through the day, it decorates one of the lamps of the diparadhana or lamp ceremony. And in several temples the purushamriga is also one of the vahana or vehicles of the deity during the processions of the Brahmotsava or festival.

In Kanya Kumari district, in the southernmost tip of the Indian subcontinent, during the night of Shiva Ratri, devotees run 75 kilometers while visiting and worshiping at twelve Shiva temples. This Shiva Ottam (or Run for Shiva) is performed in commemoration of the story of the race between the Sphinx and Bhima, one of the heroes of the epic Mahabharata.

In Sri Lanka, the sphinx is known as narasimha or man-lion. As a sphinx, it has the body of a lion and the head of a human being, and is not to be confused with Narasimha, the fourth reincarnation of the deity Mahavishnu; this avatara or incarnation is depicted with a human body and the head of a lion. The “sphinx” narasimha is part of the Buddhist tradition and functions as a guardian of the northern direction and also was depicted on banners.

In Burma, the sphinx is known as manusiha and manuthiha. It is depicted on the corners of Buddhist stupas, and its legends tell how it was created by Buddhist monks to protect a new-born royal baby from being devoured by ogresses.

Nora Nair and Thep Norasingh are two of the names under which the “sphinx” is known in Thailand. They are depicted as upright walking beings with the lower body of a lion or deer, and the upper body of a human. Often they are found as female-male pairs. Here, too, the sphinx serves a protective function. It also is enumerated among the mythological creatures that inhabit the ranges of the sacred mount Himapan.

Fernand Khnopff’s symbolist version of a sphinx, oil on canvas   

Revived sphinxes in Europe

The revived Mannerist sphinx of the sixteenth 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 “Golden House” (Domus Aurea) of Nero were brought to light in late fifteenth century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the sixteenth and seventeenth 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 eighteenth-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 romantic, and later symbolism movements in the nineteenth century. Most of these sphinxes alluded to the Greek sphinx, rather than the Egyptian, although they may not have wings.

   Sophie the Sphynx