Sarruma and his skirt of many patterns: Notes on the signs <i>SARMA_1–3</i>

Abstract The Anatolian hieroglyphs SARMA and its variants were employed during the Late Bronze and Iron Ages to invoke the god Sarruma and as theophoric elements pointing to the same god in personal names. In this paper, these SARMA signs are analysed in order to understand the chronological development of the signs, to challenge the use of ligatures, phonetic indicators and phonetic complements with the sign, to determine the precise semantic value of the sign and whether a phonetic value can be confidently identified or dismissed, and finally to investigate how scribes creatively engaged with the sign in various usages and how readers interacted with the sign and its component elements. It will be argued that an increasingly complex phonetic conceptualisation of the sign grew alongside its semantic value, and that Iron Age scribes creatively juxtaposed signs and other graphic elements to evoke memories of the Hittite past and divine legitimation.