Horus is one of the oldest and most significant deities in ancient Egyptian religion, who was worshipped from at least the late Predynastic period through to Greco-Roman times. Different forms of Horus are recorded in history and these are treated as distinct gods by Egypt specialists.[1] These various forms may possibly be different perceptions of the same multi-layered deity in which certain attributes or syncretic relationships are emphasized, not necessarily in opposition but complementary to one another, consistent with how the Ancient Egyptians viewed the multiple facets of reality.[2] He was most often depicted as a falcon, most likely a lanner or peregrine, or as a man with a falcon head.[3]
The earliest recorded form of Horus is the patron deity of Nekhen in Upper Egypt, who is the first known national god, specifically related to the king who in time came to be regarded as a manifestation of Horus in life and Osiris in death.[1] The most commonly encountered family relationship describes Horus as the son of Isis and Osiris but in another tradition Hathor is regarded as his mother and sometimes as his wife.[1] Horus served many functions in the Egyptian pantheon, most notably being a god of the sun, war and protection
Etymology
Horus is recorded in Egyptian hieroglyphs as ḥr.w; the pronunciation has been reconstructed as *Ḥāru, meaning "falcon". Additional meanings are thought to have been "the distant one" or "one who is above, over".[4] By Coptic times, the name became Hōr. It was adopted into Greek as Ὧρος Hōros. The original name also survives in later Egyptian names such as Har-si-ese literally "Horus, son of Isis".
Horus was also known as Nekheny, meaning "falcon". Some[who?] have proposed that Nekheny may have been another falcon-god, worshipped at Nekhen (city of the hawk), with which Horus was identified from early on. Horus may be shown as a falcon on the Narmer Palette dating from about the 31st century BC.
Note of changes over time
In early Egypt, Horus was the brother of Isis, Osiris, Set and Nephthys. As different cults formed, he became the son of Isis and Osiris. Isis remained the sister of Osiris, Set, and Nephthys.
Horus and the pharaoh
Pyramid texts ca. 2400–2300 BC[5] describe the nature of the Pharaoh in different characters as both Horus and Osiris. The Pharaoh as Horus in life became the Pharaoh as Osiris in death, where he was united with the rest of the gods. New incarnations of Horus succeeded the deceased pharaoh on earth in the form of new Pharaohs.
The lineage of Horus, the eventual product of unions between the children of Atum, may have been a means to explain and justify Pharaonic power; The gods produced by Atum were all representative of cosmic and terrestrial forces in Egyptian life; by identifying Horus as the offspring of these forces, then identifying him with Atum himself, and finally identifying the Pharaoh with Horus, the Pharaoh theologically had dominion over all the world.
The notion of Horus as the Pharaoh seems to have been superseded by the concept of the Pharaoh as the son of Ra during the Fifth Dynasty of Egypt
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In Egyptian mythology, Ptah (/pəˈtɑː/;[1] Egyptian: ptḥ and from Greek: Πτα, probably vocalized as Pitaḥ in ancient Egyptian)[2] is the demiurge of Memphis, god of craftsmen and architects. In the triad of Memphis, he is the spouse of Sekhmet and the father of Nefertum. He was also regarded as the father of the sage Imhotep
Origin and symbolism
Ptah is the Creator god par excellence: He is considered the demiurge who existed before all things, and by his willfulness, thought the world. It was first conceived by Thought, and realized by the Word: Ptah conceives the world by the thought of his heart and gives life through the magic of his Word. That which Ptah commanded was created, with which the constituents of nature, fauna, and flora, are contained. He also plays a role in the preservation of the world and the permanence of the royal function.
In the Twenty-Fifth Dynasty, the Nubian pharaoh Shabaka would transcribe on a stela known as the Shabaka Stone, an old theological document found in the archives of the library of the temple of the god at Memphis. This document has been known as the Memphite Theology, and shows the god Ptah, the god responsible for the creation of the universe by thought and by the Word.
Ptah is the patron of craftsmanship, metalworking, carpenters, shipbuilders, and sculpture. From the Middle Kingdom onwards, he was one of five major Egyptian gods with Ra, Isis, Osiris and Amun.
He wears many epithets that describe his role in ancient Egyptian religion and its importance in society at the time: Ptah the beautiful face Ptah lord of truth Ptah master of justice Ptah who listens to prayers Ptah master of ceremonies Ptah lord of eternity
Representations and hypostases
Like many deities of ancient Egypt he takes many forms, through one of his particular aspects or through syncretism of ancient deities of the Memphite region. He is sometimes represented as a dwarf, naked and deformed, whose popularity would continue to grow during the Late Period. Frequently associated with the god Bes, his worship then exceeded the borders of the country and was exported throughout the eastern Mediterranean. Thanks to the Phoenicians, we find figures of Ptah in Carthage.
Ptah is generally represented in the guise of a man with green skin, contained in a shroud sticking to the skin, wearing the divine beard, and holding a sceptre combining three powerful symbols of ancient Egyptian religion: The Was sceptre The sign of life, Ankh The Djed pillar
From the Old Kingdom, he quickly absorbs the appearance of Sokar and Tatenen, ancient deities of the Memphite region. His form of Sokar is found contained in its white shroud wearing the Atef crown, an attribute of Osiris. In this capacity, he represents the god of the necropolis of Saqqara and other famous sites where the royal pyramids were built. Gradually he formed with Osiris a new deity called Ptah-Sokar-Osiris. Statuettes representing the human form, half-human, half-hawk, or simply in its falcon form will be systematically placed in tombs to accompany and protect the dead on their journey to the West.
His Tatenen form is represented by a young and vigorous man wearing a crown with two tall plumes that surround the solar disk. He thus embodies the underground fire that rumbles and raises the earth. As such, he was particularly revered by metalworkers and blacksmiths, but he was equally feared because it was he who caused earthquakes and tremors of the earth's crust. In this form also, Ptah is the master of ceremonies for Heb Sed, a ceremony traditionally attesting to the first thirty years of the Pharaoh's reign.
The god Ptah could be corresponding with the sun god Re, or Aten during the Amarna period, where he embodied the divine essence with which the sun god was fed to come into existence, that is to say to be born, according to the Memphite mythological/theological texts. In the holy of holies of his temple in Memphis, as well as in his great sacred boat, he drove in procession to regularly visit the region during major holidays. Ptah was also symbolized by two birds with human heads adorned with solar disks, symbols of the souls of the god Re: the Ba. The two Ba are also identified as the twin gods Shu and Tefnut and are associated with the djed pillar of Memphis.[3]
Finally, Ptah is embodied in the sacred bull, Apis. Frequently referred to as a herald of Re, the sacred animal is the link with the god Re from the New Kingdom. He even received worship in Memphis, probably at the heart of the great temple of Ptah, and its death was buried with all the honours due to a living god in the Serapeum of Saqqara
Legacy
The English name Egypt derives from an ancient Egyptian name for Memphis, Hikuptah, which means "Home of the Soul of Ptah". This entered Ancient Greek as Αιγυπτος (Aiguptos), which entered Latin as Ægyptus, which developed into English as Egypt
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Hathor (/ˈhæθɔr/ or /ˈhæθər/;[2] Egyptian: ḥwt-ḥr and from Greek: Άθωρ, "mansion of Horus")[1] is an Ancient Egyptian goddess who personified the principles of joy, feminine love, and motherhood.[3] She was one of the most important and popular deities throughout the history of Ancient Egypt. Hathor was worshiped by Royalty and common people alike in whose tombs she is depicted as "Mistress of the West" welcoming the dead into the next life.[4] In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth,[4] as well as the patron goddess of miners.[5]
The cult of Hathor predates the historic period, and the roots of devotion to her are therefore difficult to trace, though it may be a development of predynastic cults which venerated fertility, and nature in general, represented by cows.[6]
Hathor is commonly depicted as a cow goddess with horns in which is set a sun disk with Uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace.[6] Hathor may be the cow goddess who is depicted from an early date on the Narmer Palette and on a stone urn dating from the 1st dynasty that suggests a role as sky-goddess and a relationship to Horus who, as a sun god, is "housed" in her.[6]
The Ancient Egyptians viewed reality as multi-layered in which deities who merge for various reasons, while retaining divergent attributes and myths, were not seen as contradictory but complementary.[7] In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, and associated with Bast.[6]
The cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor and men with Osiris.[8]
The Ancient Greeks identified Hathor with the goddess Aphrodite, while in Roman mythology she corresponds to Venus
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God Amun Ra Amun was one of the most important deities in ancient Egypt. He was worshiped at Thebes (in southern Egypt) from the beginning of the Middle Kingdom (2046 BC). The Egyptians considered him to be "King of the Gods" and divine father of the pharaoh. He was also worshiped in Nubia and was the principal god of the Kushite empire (in present-day Sudan). The style of the figure clarifies that it was made when the Kushites ruled both Egypt and Nubia. The god wears his characteristic feather-crown combined with the solar disk of the sun-god Re. The attributes he would originally have held were probably the symbols for prosperity ("was") and life ("ankh").
The taller statuette represents the god Amun-Re in a standing posture with his left foot forward. He is dressed in a divine pleated shendyt, and wears the divine chin-beard, and a large feather crown combined with the sun-disk. The pendant has a base with two lines of inscription, and a loop on the back of the crown for suspension. The other pendant represents Nefertem standing, left foot advanced, with fine incised lines marking the shendyt, the heavy wig and the decoration of the counterpoises on the headdress. There is a very large suspension loop behind the lotus, and an inscription on the base. The surface is partially well preserved, the top of the feathers are broken off.
Amun statuette with shuti feathers, from Thebes. 19th-20th dynasty. Wood, bronze, gold. H 42.3 cm. IN 4553. Roemer-Pelizaeus Museum, Hildesheim
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Maat or Ma'at was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities, who set the order of the universe from chaos at the moment of creation. Her ideological counterpart was Isfet.
The earliest surviving records indicating that Maat is the norm for nature and society, in this world and the next, were recorded during the Old Kingdom, the earliest substantial surviving examples being found in the Pyramid Texts of Unas (ca. 2375 BCE and 2345 BCE).[1]
Later, as a goddess in other traditions of the Egyptian pantheon, where most goddesses were paired with a male aspect, her masculine counterpart was Thoth and their attributes are the similar. In other accounts, Thoth was paired off with Seshat, goddess of writing and measure, who is a lesser known deity.
After her role in creation and continuously preventing the universe from returning to chaos, her primary role in Egyptian mythology dealt with the weighing of souls (also called the weighing of the heart) that took place in the underworld, Duat.[2] Her feather was the measure that determined whether the souls (considered to reside in the heart) of the departed would reach the paradise of afterlife successfully.
Pharaohs are often depicted with the emblems of Maat to emphasise their role in upholding the laws of the Creator
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In Egyptian mythology, Sopdet was the deification of Sothis, a star considered by almost all Egyptologists to be Sirius. The name Sopdet means (she who is) sharp in Egyptian, a reference to the brightness of Sirius, which is the brightest star in the night sky. In art she is depicted as a woman with a five-pointed star upon her head.[1]
Just after Sirius has a heliacal rising in the July sky, the Nile River begins its annual flood, and so the ancient Egyptians connected the two. Consequently Sopdet was identified as a goddess of the fertility of the soil, which was brought to it by the Nile's flooding. This significance led the Egyptians to base their calendar on the heliacal rising of Sirius.[1]
Sopdet is the consort of Sah, the constellation of Orion, near which Sirius appears, and the god Sopdu was said to be their child. These relationships parallel those of the god Osiris and his family, and Sah was linked with Osiris, Sopdet with Isis, and Sopdu with Horus.[1] She is said in the Pyramid Texts to be the daughter of Osiris.
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Shezmu (also known as Shesmu, Schezemu, Schesmu, Shesemu, Shezmou, Shesmou, Sezmu and Sesmu) is the ancient Egyptian demonic god of execution, slaughter, blood, oil, wine and perfume. Like many of the gods of Ancient Egypt, Shezmu was of a complex nature. He had qualities of both light and darkness, but this was not the reason that he was known as a 'demon'. To the Egyptians, like other Semitic and Middle Eastern gods, demons were not necessarily evil in nature. Often they were quite helpful. Instead, the term "demon" was given to Shezmu because he was one of the lesser deities, and due to his relation to the underworld.
Role
Shezmu was the demonic god of red wine, slaughter, and sometimes perfumes or oils. The link between blood and the crimson color of wine is clear. Shezmu was known to destroy wrongdoers, gruesomely putting their heads in winepresses to remove the blood. He was known as the 'Executioner of Osiris'. Shezmu followed the commands of The God of The Dead, and therefore was sometimes given the title ‘Slaughterer of Souls’. He initially seems to be a fierce underworld deity, but Shezmu was quite helpful to the dead. Although he was a harsh executioner of the wicked, he was also a great protector of the virtuous. Shezmu offered red wine to those who had passed on. Other than wine, he was in charge of earthly objects such as embalming oils, and perfumes.
Among the gods, his job was to use the bodies and blood of the dead to create sustenance for Unas. Osiris was the one who ordered the use of the wicked one’s blood to be turned to wine. He was sometimes given the title ‘Demon of the Wine Press’. On a darker note, Shezmu's affinity with the color red linked him to evil. Crimson was a feared and hated color among the Egyptians. Not only is it the universal color of blood, and therefore death, but it was the color of the god of chaos, Seth. Since it was also the color of the setting sun, red was associated with the coming darkness and the reign of Apophis the serpent demon.
He appeared to have the head of a lion, fangs and mane drenched in blood. It is said he wore human skulls around his waist like a belt.
Depiction and worship
Like many other Egyptian deities, Shezmu was sometimes depicted as a man or a man with the head of a falcon. To link him further with blood and destruction, he took the form of a man with a leonine head. This perhaps was a bridge between him and Sekhmet, the goddess of vengeance. Furthermore, he is associated with Nefertem through both his appearance and the connection with perfumes.
Shezmu seemed to be both represented as a great evil and an entity of good. In many places he is held in high regards by the god Osiris, and is worshipped as a protector god. However, he was also feared as the unyielding punisher of the damned. His greatest cult was centered in Faiyum, but his worshippers were also widely distributed in Dendera and Edfu.
Changes
Due to its colour, red wine became strongly identified with blood, and thus Shezmu was identified as lord of blood. Since wine was seen as a good thing, his association with blood was considered one of righteousness, making him considered an executioner of the unrighteous, being the slaughterer of souls. When the main form of execution was by beheading, it was said that Shezmu ripped off the heads of those who were wicked, and threw them into a wine press, to be crushed into red wine, which was given to the righteous dead. Beheading was commonly carried out by the victim resting their head on a wooden block, and so Shezmu was referred to as Overthrower of the Wicked at the Block. This violent aspect lead to depiction, in art, as a lion-headed man, thus being known as fierce of face. In later times, Egyptians used the wine press for producing oils instead of wine, which was produced by crushing under foot instead. Consequently, Shezmu became associated with unguents and embalming oils, and thus the preservation of the body, and of beauty
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from the top of the chair back to the bottom of her wig. She wears an ankle-length, strapless, sheath gown cut below the breasts. Her tripartite wig is full on top of her head and comes down low over her forehead. The lappets are quite narrow. She is adorned with a four-row broad collar and armbands and bracelets with alternating vertical and horizontal striations. She has a low modius crown with a square opening in the top for the insertion of additional crown elements. Her Ptolemaic body shape includes a full, almost fleshy abdomen and thighs and prominent breasts. She has an idealized face that archaizes to the Saite Period. Her most prominent feature is her eyes. Her eyes have inlaid blue cosmetic lines and the eye itself is inlaid in white and black. Part of the upper cosmetic lines on the right eye is gone and the right inlay eye appears to have been inserted into the socket upside down at some point
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Isis Goddess of Kingship and Magic Isis, Goddess of Kingship and Magic. 1st century BC (Greco-Roman)
[IMG]Isis, Goddess of Kingship and Magic. 1st century BC (Greco-Roman) [/IMG] Baubo, the ancient Grecian goddess, is one of many goddesses of sacred sexuality
Isis Holding a Cobra late 1st century BC-AD 2nd century (Roman)
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Isis ( Aset in Egyptian) was originally a Goddess from Nubia and was adopted into Egyptian belief. Her name literally means female of throne, Queen of the throne. Wife and sister to Asar ( Osiris) and mother of Horus
Goddess Isis suckling Pharaoh
Minona Snake Goddess
Venus of Willendorf The Venus of Willendorf, now known in academia as the Woman of Willendorf, is a 11.1-centimetre (4.4 in) high statuette of a female figure estimated to have been made between about 28,000 and 25,000 BCE.[1] It was found in 1908 by a workman named Johann Veran[2] or Josef Veram[3] during excavations conducted by archaeologists Josef Szombathy, Hugo Obermaier and Josef Bayer at a paleolithic site near Willendorf, a village in Lower Austria near the town of Krems.[4] It is carved from an oolitic limestone that is not local to the area, and tinted with red ochre. The figurine is now in the Naturhistorisches Museum in Vienna, Austria.[5]
Venus of Willendorf is named after the site in Austria where it was unearthed.[6]
Several similar statuettes and other forms of art have been discovered, and they are collectively referred to as Venus figurines, although they pre-date the mythological figure of Venus by millennia
Renenutet (also transliterated as Ernutet, and Renenet) was a goddess of nourishment and the harvest in ancient Egyptian religion.[1] The importance of the harvest caused people to make many offerings to Renenutet during harvest time. Initially, her cult was centered in Terenuthis. Renenutet was envisioned, particularly in art, as a cobra, or as a woman with the head of a cobra.
Sometimes, as the goddess of nourishment, Renenutet was seen as having a husband, Sobek. He was represented as the Nile River, the annual flooding of which deposited the fertile silt that enabled abundant harvests. More usually, Renenutet was seen as the mother of Nehebkau, who occasionally was represented as a snake also. When considered the mother of Nehebkau, Renenutet was seen as having a husband, Geb, who represented the Earth.
Later, as a snake-goddess worshiped over the whole of Lower Egypt, Renenutet was increasingly associated with Wadjet, Lower Egypt's powerful protector and another snake goddess represented as a cobra. Eventually Renenutet was identified as an alternate form of Wadjet, whose gaze was said to slaughter enemies. Wadjet is the cobra on the crown of the pharaohs
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In Ancient Egyptian Religion, cobra-goddess, protector of the king and a fertility goddess. Renenutet was a protective and nurturing goddess. In the Old Kingdom she shared the responsibility of protecting the king in the afterlife together with Wadjet. She was also associated with the bandages of the mummy. Over time she became the harvest goddess, and the wife of Geb. In some versions of the Osiris myth, she is identified with Isis. In the Late Period, she became associated with fate and destiny, being able both to decide the length of a person's life and many of the events. Renenutet was represented as a fire-breathing cobra, often looking identical with Wadjet. The two goddesses would eventually have their personalities merged. Above her cobra-head, there was a sun disk and horns with two tall feathers. Occasionally, she was depicted as a woman with a snake's head. She was especially popular in the city of Dja in Fayoum Oasis (now known as Medinet Madi), where she formed a triad with Sobek and their son, Horus. In this setting she was the goddess of nourishment. She also had a cult centre at Terenuthis in the Nile Delta. She was also venerated as a grain goddess, then as the mother of Nepri, a variant of Osiris. She was celebrated with a festival when crops were sown and again when they began to ripen. Her popularity as a goddess was so strong that not only did she survive well into Greek religion, by then called Thermouthis, but she even became defined as a saint in Christianity.
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Weret-hekau (Urthekau) was a lion headed goddess who was also depicted as a snake with the head of a woman. She was the wife of Re-Horakhty and wore his symbol (the sun disc) on her head along with a cobra on her brow. She protected the sun god and acted as a wet nurse for the pharaohs. The pharaoh in part derived his right to rule from his mother, who would normally be the previous king´s Great Wife. As a result it was sometimes suggested that the queen became the goddess when she bore the next pharaoh. This myth was referred to by Hatshepsut, a female Pharaoh, to help support the legitimacy of her rule.
Her name means "great magician" and she was known as "She Who is Rich in Magic Spells" prompting some to suggest that she was not actually a distinct goddess, but a form of Isis. As she took either the form of a lion or a snake and protected the sun god, she is also associated with Wadjet and Sekhmet and the story of the "eye of Ra".
Because she was a powerful symbol of protection, her name along with the symbol of a snake often appears on magical weapons buried with the dead to help them protect themselves in the underworld. Her name also appears on ivory knives which were supposed to protect pregnant and nursing women.
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Yamm was a Tyrannical god of the sea found who we know of from a fragmentary papyrus (Astarte Papyrus) which seems to hint that his exorbitant demands for tribute from the other deities were eventually thwarted by the goddess Astarte
Yam was the Levantine god of the sea, popular in the Bronze and Early Iron Ages. Yam, from the Canaanite word Yam (Hebrew ים) meaning "Sea", also written Yaw, is one name of the Ugaritic god of Rivers and Sea. Also titled Judge Nahar ("Judge River"), he is also one of the 'ilhm (Elohim) or sons of El, the name given to the Levantine pantheon. Others[who?] dispute the existence of the alternative names, claiming it is a mistranslation of a damaged tablet. Despite linguistic overlap, theologically this god is not a part of the later subregional monotheistic theology, but rather is part of a broader and archaic Levantine polytheism.
Yam is the deity of the primordial chaos and represents the power of the sea, untamed and raging; he is seen as ruling storms and the disasters they wreak. The gods cast out Yam from the heavenly mountain Sappan (modern Jebel Aqra; Sappan is cognate to Tsephon). The seven-headed dragon Lotan is associated closely with him and he is often described as the serpent. He is the Canaanite equivalent of the Sumerian Tiamat, the primordial mother goddess.
Of all the gods, despite being the champion of El, Yam holds special hostility against Baal Hadad, son of Dagon. Yam is a deity of the sea and his palace is in the abyss associated with the depths, or Biblical tehwom, of the oceans. (This is not to be confused with the abode of Mot, the ruler of the netherworlds.) In Ugaritic texts, Yam's special enemy Hadad is also known as the "king of heaven" and the "first born son" of El, whom ancient Greeks identified with their god Cronus, just as Baal was identified with Zeus, Yam with Poseidon and Mot with Hades. Yam wished to become the Lord god in his place. In turns the two beings kill each other, yet Hadad is resurrected and Yam also returns. Some authors have suggested that these tales reflect the experience of seasonal cycles in the Levant
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Yam: contains water, a pool, a sea, a tuber. Yam personified became t.Yam.t/o-C.yani.c/Tiamat goddess of chaotic deep sea [aka El Yam ~ El-o-him = El-O-cean = Euxine = Black Sea] resulting from the Black Sea deluge of the Mediterranean overflowing banks due to glacial melting 7.7ka. Note: okeanos(Gk) ~ eau canoe
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Note: Yam was the Mongol's long distance postal system, horse and rider with message would ride to a stopover where another horse and rider would then carry the Message onwards immediately to the next, and so on.
Do you see the connection to (Hebrew) Yam (sea)? Both involve TransMission from one coast to another.
Now do you see that these words refer to the same thing? Message/Messiah = Meta(Greek: beyond border/water) = Trans (Latin: beyond border/water) = Sur (Hindi: beyond border/water) Yam + Meta = oxyambuatla/ocean border = Khemet (the Nile linked the Mediterranean/Atlantic/Black Sea to the Red Sea/Persian Gulf and Indian Ocean.)
Anubis (/əˈnuːbəs/ or /əˈnjuːbəs/;[2] Ancient Greek: Ἄνουβις) is the Greek name of a jackal-headed god associated with mummification and the afterlife in ancient Egyptian religion.
Like many ancient Egyptian deities, Anubis assumed different roles in various contexts. Depicted as a protector of graves as early as the First Dynasty (c. 3100 – c. 2890 BC), Anubis was also an embalmer. By the Middle Kingdom (c. 2055 – 1650 BC), Anubis was replaced by Osiris in his role as Lord of the underworld. One of his prominent roles was as a god who ushered souls into the afterlife. He attended the weighing scale during the "Weighing of the Heart," in which it was determined whether a soul would be allowed to enter the realm of the dead.[3] Despite being one of the most ancient and "one of the most frequently depicted and mentioned gods" in the Egyptian pantheon, however, Anubis played almost no role in Egyptian myths.[4]
Anubis was depicted in black, a color that symbolized both rebirth and the discoloration of the corpse after embalming. Anubis is associated with Wepwawet (also called Upuaut), another Egyptian god portrayed with a dog's head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined.[5] Anubis' female counterpart is Anput. His daughter is the serpent goddess Kebechet.
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An Egyptian Steatite Figure of Amun-Min, Roman Period, circa 1st Century A.D.
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Head of a Cow Goddess (Hathor or Mehetweret) Date: ca. 1390–1352 B.C. Accession Number: 19.2.5
Priestess with the Standard of the Goddess Hathor. Date: 13th century BC. Medium: sandstone.
Figure of Goddess Hathor found in “Cueva de los Tayos”, Ecuador and the egyptian figure. Not a coincidence.
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[IMG]One of the daughters of Akhenaten and Nefertiti, this is probably the oldest Meritaten.yes her head problebly looked like that[/IMG] Rare Egyptian Statue of Meretseger, New Kingdom, 19th-20th Dynasty, circa 1295-1070 BC
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Wooden Figure of the God Osiris -- Belonged to Anhai, a woman from a powerful priestly family who died in about 1100 BCE -- Belonging to the British Museum.
OSIRIS God of the Underworld, Crop Fertility, Renewal, & Resurrection.
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he Oscars took place on February 25th and a bunch of movie people went home with these statuettes. Do they know that the Oscar statuette is probably an art-deco version of the classic depiction of the creator god Ptah? In the Egyptian mythology, Ptah also takes the form of the funerary god Sokar – an important figure of Egyptian magic. Try switching the first two letters of Sokar. (Hint: Oskar).
Cult image of the god Ptah, Dynasty 22–early Dynasty 26 (ca. 945–600 B.C.) Egyptian Lapis lazuli H. 2 1/4 in. (5.6 cm) This statuette represents the creator god Ptah, the patron deity of Egypt's capital city, Memphis. His shrouded human form and tight-fitting cap make him quite recognizable.
Golden statue of the God Ptah from the burial treasure of Tutankhamun.
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Bastet was a goddess in ancient Egyptian religion, worshiped as early as the Second Dynasty (2890 BC). As Bast, she was the goddess of warfare in Lower Egypt, the Nile River delta region, before the unification of the cultures of ancient Egypt. Her name is also spelled Baast, Ubaste, and Baset.[1]
The two uniting cultures had deities that shared similar roles and usually the same imagery. In Upper Egypt, Sekhmet was the parallel warrior lioness deity to Bast. Often similar deities merged into one with the unification, but that did not occur with these deities with such strong roots in their cultures. Instead, these goddesses began to diverge. During the Twenty-Second Dynasty (c. 945–715 BC), Bast had changed from a lioness warrior deity into a major protector deity represented as a cat.[2] Bastet, the name associated with this later identity, is the name commonly used by scholars today to refer to this deity.
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he goddess Nut on the cover (inside) of the sarcophagus Djedhor - Louvre Museum. Nut (/nʌt/ or /nuːt/) or Neuth (/nuːθ/ or /njuːθ/; also spelled Nuit or Newet) was the goddess of the sky in the Ennead of Egyptian mythology. She was seen as a star-covered nude woman arching over the earth, or as a cow.
Goddess Nut
Dendera - Detail, Egypt Relief of Nut, goddess of the night sky with a seba (star ) above her head.
Goddes nut inside the coffin of peftjauneith (rmo leiden, egypt 26d 664-525bc) | by koopmanrob
Goddess supporting the sky at Dendera.' A goddess is supporting the sky with raised arms on the astronomical ceiling in the outer hypostyle hall of the Hathor Temple at Dendera. A winged sun disk hovers above
Sky goddess Nut on sarcophagus of Pharaoh Merneptah, Ramses II's son, Egyptian Museum, Cairo
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Black basalt statue of Hathor, with lyre-shaped cow horns. New Kingdom, 18th Dynasty, reign of Amenhotep III (1388-1351BC). From Coptos. Turin Egyptian Museum.
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Stela with two snake - goddesses. As serpent Deities, Isis and Serapis are Agathe Tyche (Good Fortune) and Agathos Daimon (Good Spirit), and were considered the special protectors of Alexandria. Isis is associated with the cobra in one of Her most famous myths. Graeco-Roman period 1y
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A 5.4m tall, 6-tonne pink granite colossal statue of Hapy, a personification of the Nile's flood and the largest statue of an Egyptian god known, as it is installed as part of the BP exhibition 'Sunken cities: Egypt's lost worlds' which opens between May 19 and November 27 2016 at the British Museum in central London
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A 5.4m tall, 6-tonne pink granite colossal statue of Hapy, a personification of the Nile's flood and the largest statue of an Egyptian god known, as it is installed as part of the BP exhibition 'Sunken cities: Egypt's lost worlds' which opens between May 19 and November 27 2016 at the British Museum in central London
Ancient Egyptian sunken relief depicting the god of Nile, Hapy, and hieroglyphs, in Denderah, built under the reign of Pepi I (ca. 2250 BC)
The two images above show a colossal statue of red granite representing the god Hapy, which decorated the temple of Thonis-Heracleion. The god of the flooding of the Nile, a symbol of abundance and fertility, has never before been discovered at such a large scale, which points to his importance for the Canopic region. Early Ptolemaic period, fourth century BC.
Hapi Represented as Hap-Meht (Upper Egypt) and Hap-Reset (Lower Egypt) Uniting Egypt by Tying the Lotus on One Side (Upper Egypt) and Papyrus on the Other Side (Lower Egypt) to the Sema Hieroglyph Sign for Unity. Luxor Temple, Egypt
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Hapi was the god of the annual flooding of the Nile in ancient Egyptian religion. The flood deposited rich silt (fertile soil) on the river's banks, allowing the Egyptians to grow crops.[1] Hapi was greatly celebrated among the Egyptians. Some of the titles of Hapi were, Lord of the Fish and Birds of the Marshes and Lord of the River Bringing Vegetation. Hapi is typically depicted as an intersex person with a large belly and pendulous breasts, wearing a loincloth and ceremonial false beard.[
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Banebdjedet of Mendes - Horned deity - The ram was revered in ancient Egypt in matters of fertility and war. Early gods with long wavy ram horns include Khnum and the equivalent god in Lower Egypt, Banebdjedet, the "Ram Lord of Djedet" (Mendes), who was typically shown with four ram heads to represent the four souls (Ba) of the sun god.[1] Banebdjedet may also be linked to the first four gods to rule over Egypt, Osiris, Geb, Shu and Ra-Atum.
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Maat, goddess of order, truth, and justice The heart of a deceased person was weighed against the feather of Maat during judgment in the underworld. Third Intermediate Period, ca. 800–700 BCE From Khartoum, Sudan Gold and lapis lazuli The Egyptian Museum, Cairo
Maât est, dans la mythologie égyptienne, la déesse de l'ordre, de la solidarité, de l'équilibre du monde, de l'équité, de la paix, de la vérité et de la justice. Elle est l'antithèse de l'isfet (le chaos, l'injustice, le désordre social). Maât est toujours anthropomorphe, comme la plupart des concepts abstraits personnifiés : c'est une femme, la tête surmontée d'une plume, en général assise sur ses talons, ou debout.
Isis Maat, the Winged Egyptian Goddess of Truth, Justice and Harmony. 19th Dynasty. Tomb of pharaoh Siptah (reign as a child 1197 – 1191 BC). Valley of the Kings. Western Thebes. Egypt 1y
Egyptian heart scarab (1492-1473 BC) - funerary piece inscribed with part of the Book of the Dead
Ma’at’s 42 - The Answer to the Question of Life, the Universe and Everything - For more than two millennia prior to the Ten Commandments, there were forty-two rules, throughout Egypt, where Moses and the Israelite's lived. The Forty-Two Principles of Ma’at. Many scholars believe that this is the origin for the majority of the “Biblical commandments” as these were common laws under which all people throughout Egypt lived.
Maat or ma'at was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities.
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Anubis is known as the god of death and is the oldest and most popular of ancient Egyptian deities. The ancient Egyptians revered Anubis highly because they believed he had tremendous power over both their physical and spiritual selves when they died.
References to Anubis are found in texts dating back to the Old Kingdom. His fame lasted until the Middle Kingdom, when his role as God of death was taken over by Osiris and Anubis became Osiris' assistant.
Anubis is the Greek translation of what the ancient Egyptians called him originally: Inpu or Anpu. Although the ancient Egyptian word for royal child is inpu, it is more likely that this god’s name stems from the word “imp” which means “to decay.”
Anubis was either seen as a man with a jackal head or completely in the form of a jackal. In ancient Egypt, scavengers like jackals ruled the cemeteries. They dug up the freshly buried and tore at their flesh and ate it. Historians believe that this is what prompted the ancients to portray the god of the afterlife as a jackal, to fight fire with fire. New genetic research indicates that the ancient Egyptian jackal is not a jackal at all, but an ancient wolf.
Anubis’ skin is often depicted as black, while jackals are typically brown. The reason is that the color black is a symbol of death, but also a symbol of the Nile’s fertile and black soil.
Anubis Wore Many Hats as God of the Afterlife In very ancient history Anubis was known to be the absolute ruler of the underworld (called Duat). Later theories indicate that this role was taken over by Osiris. The Guardian of the Scales: one of his many roles surrounding the dead included the Guardian of Scales where he dictated the fate of souls. As depicted in the Book of the Dead, Anubis weighs the decedent’s heart against the weight of a feather. The feather represents “Ma’at” or truth. If the scale of justice tipped toward the heart, the dead person would be consumed by Ammit, a female demon the ancient Egyptian people dubbed “devourer of the dead.” If the scale of justice tipped toward the feather, Anubis would lead the decedent to Osiris so he could ascend to a worthy existence in heaven. The God of embalming and mummification: Anubis held the important role of overseeing the embalming and mummification of the dead. The daughter of Anubis (Kebechet), is frequently seen as his assistant in the mummification process of the dead. Ancient Egyptians believed that Anubis sniffed the bodies of the dead, so they preserved them with sweet smelling herbs and plants. Anubis also assisted in the “opening of the mouth” ritual to ensure a good burial. This ritual was performed so the dead person could eat and speak in the afterlife. Protector of Tombs: as the Egyptian god responsible for protecting the dead, many prayers to Anubis were carved into their tombs. Anubis held this role until Osiris gained popularity and took it over. Anubis
How Anubis Became God of Embalming The mythology of the story varies, but according to legend:
A Dysfunctional Family Tree Several versions exist of how Anubis came into being:
Son of Nephthys and Osiris: the most popular version is that Anubis is the son of Nephthys and Osiris. As the Goddess of Darkness, Nephthys would naturally be mother to a god who oversaw the embalming process and also guided souls into the afterlife. Son of Nephthys and Seth: it is also speculated that Seth is Anubis’ father. In this version, it is believed that Nephthys disguised herself as Osiris’ beautiful sister, Isis, to beget a half brother for Horus. As Seth is the God of darkness, storms and destruction, it is easy to see how Anubis could be his son. Son of Nephtys and Ra: in early mythology texts, Ra (the sun God), was depicted as being Anubis’ father, while his mother was speculated as being either Hesat the cow goddess, Bastet the cat-headed warfare goddess, or Nephthys. Anubis' wife is called Anput and has the body of a woman and the head of a jackal. Together they have a daughter called Kebechet, who is the goddess of purification.
A Shrine for Anubis Anubis was worshiped all over Egypt, and his cult center was in Cynopolis, located in the 17th nome (province) of Upper Egypt. Translated, Cynopolis is Greek for “city of the dog,” which fits well because of the close relation between jackals and dogs, and the fact that some scholars believe Anubis was indeed an ancient wolf.
A shrine for Anubis was discovered in King Tut’s tomb in 1922. Made of wood, plaster, lacquer and gold leaf, the statue depicts Anubis in animal form in a recumbent position exactly how he is in his hieroglyph. As the sledge it rested on would indicate, the shrine was probably used in the funeral procession of the great Pharaoh, and was oriented to the west to help guide the Pharaoh into the afterlife (which the ancient Egyptians believed was in the direction of the setting sun).
Anubis in Art Aside from the Anubis statue discovered in King Tut’s tomb, his representation can be found frequently in ancient Egyptian art. In the Valley of the Kings, an image of Anubis in his role as “Jackal Ruler of the Bows” was often used to seal tombs. The nine bows represented all the enemies of Egypt, and it was believed that Anubis had defeated every one of them. Anubis masks and statuettes dating back to early to late Ptolemaic period (332-30 BC) exist in museums today.
Sneak Peek Anubis Facts Anubis was the god of the dead and the underworld until the Middle Kingdom, when this role was taken over by Osiris. He is one of the oldest gods, references in text go back as far as the Old Kingdom. Anubis is the inventor and god of embalming and mummification. He guided the death through the underworld (called Duat). Anubis was the Guardian of the Scales, used to weigh the hearts of dead souls. His high level of anatomical knowledge due to embalming made him the patron of anesthesiology. A crouching statue of Anubis took a central place in Tutankhamun's tomb. Priests who performed the embalming of dead corpses wore a jackal mask. Greek mythology blends Hermes with Anubis to result in the god Hermanubis.
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is the brightest star in the night sky. With a visual apparent magnitude of -1.46, it is almost twice as bright as Canopus, the next brightest star.
The name "Sirius" is derived from the Ancient Greek Seirios ("glowing" or "scorcher"). The star has the Bayer designation Alpha Canis Majoris. What the naked eye perceives as a single star is actually a binary star system, consisting of a white main sequence star of spectral type A1V, termed Sirius A, and a faint white dwarf companion of spectral type DA2, termed Sirius B. The distance separating Sirius A from its companion varies between 8.1 and 31.5 AU.
Sirius appears bright because of both its intrinsic luminosity and its proximity to Earth. At a distance of 2.6 parsecs (the Sirius system is one of Earth's near neighbors. Sirius A is about twice as massive as the Sun and has an absolute visual magnitude of 1.42. It is 25 times more luminous than the Sun but has a significantly lower luminosity than other bright stars such as Canopus or Rigel.
The system is between 200 and 300 million years old. It was originally composed of two bright bluish stars. The more massive of these, Sirius B, consumed its resources and became a red giant before shedding its outer layers and collapsing into its current state as a white dwarf around 120 million years ago.
Sirius can be seen from almost every inhabited region of the Earth's surface (those living north of 73.284 degrees cannot see it) and, in the Northern Hemisphere, is known as a vertex of the Winter Triangle. The best time of year to view it is around January 1, when it reaches the meridian at midnight. Under the right conditions, Sirius can be observed in daylight with the naked eye. Ideally the sky must be very clear, with the observer at a high altitude, the star passing overhead, and the sun low down on the horizon.
Sirius is also known colloquially as the "Dog Star", reflecting its prominence in its constellation, Canis Major (Big Dog). The heliacal rising of Sirius marked the flooding of the Nile in Ancient Egypt and the "dog days" of summer for the ancient Greeks, while to the Polynesians it marked winter.
Other meanings:
Transition Stage - Moving consciousness from one reality (frequency) to another Spirit of Wisdom - Zoroastrian Translation Brightly Radiating One - The Shining Ones
A Binary Star is a star system consisting of two stars orbiting around their common center of mass. The brighter star is called the primary and the other is its companion star, comes, or secondary. Research between the early 19th century and today suggests that many stars are part of either binary star systems or star systems with more than two stars, called multiple star systems. The term double star may be used synonymously with binary star, but more generally, a double star may be either a binary star or an optical double star which consists of two stars with no physical connection but which appear close together in the sky as seen from the Earth.
A double star may be determined to be optical if its components have sufficiently different proper motions or radial velocities, or if parallax measurements reveal its two components to be at sufficiently different distances from the Earth. Most known double stars have not yet been determined to be either bound binary star systems or optical doubles.
If components in binary star systems are close enough they can gravitationally distort their mutual outer stellar atmospheres. In some cases, these close binary systems can exchange mass, which may bring their evolution to stages that single stars cannot attain. Examples of binaries are Algol (an eclipsing binary), Sirius, and Cygnus X-1 (of which one member is probably a black hole). Binary stars are also common as the nuclei of many planetary nebulae, and are the progenitors of both novae and type Ia supernovae.
Sirius What appears as a single star is actually a large binary star system, consisting of a bright white main sequence star of spectral type A1V, named Sirius A, and a faint white dwarf companion of spectral type DA named Sirius B.
Sirius B is invisible to the naked eye but packs almost the entire mass of our sun into a globe only 4 times as large as the Earth. Sirius B's surface is 300 times harder than diamonds, while its interior has a density 3,000 times that of diamonds. Spinning on its axis about 23 times a minute, it generates huge magnetic fields around it.
The two stars, Sirius A and Sirius B move around each other, constantly exchanging particles. Because of its greater density and magnetic field, Sirius B takes the lion's share, taking gases and materials off of its larger host body. Sirius B has a super-heavy gravitationally powerful star made of concentrated super-dense matter (essence) with the number 50 associated with it (describing its orbital period).
Every 49.9 years, Sirius A and B, come as close together as their orbits allow, creating huge magnetic storms between them. As they approach each other, the stars both begin to spin faster as tidal forces become stronger, finally flip-flopping over, actually trading places with each other. This energy is eventually released to flow on magnetic field lines to the Sun, which transmits it like a lens to all the planets.
[IMG]When a star like our sun gets to be very old, after another seven billion years or so, it will no longer be able to sustain burning its nuclear fuel. With only about half of the its mass remaining, it will shrink to a fraction of its radius and become a white dwarf star. White dwarfs are common, the most famous one being the companion to the brightest star in the sky, Sirius. Although they are common and represent the final stage of our own sun, astronomers still do not understand their full range of character, or the parameters that determine what they ultimately become. One reason is that many white dwarfs are, like the companion of Sirius, located in binary systems in which the companion stars influence the details of how they age. True Color Around 150 AD, the Hellenistic astronomer Claudius Ptolemy described Sirius as reddish, along with five other stars, Betelgeuse, Antares, Aldebaran, Arcturus and Pollux, all of which are clearly of orange or red hue. The discrepancy was first noted by amateur astronomer Thomas Barker, squire of Lyndon Hall in Rutland, who prepared a paper and spoke at a meeting of the Royal Society in London in 1760. The existence of other stars changing in brightness gave credence to the idea that some may change in color too; Sir John Herschel noted this in 1839, possibly influenced by witnessing Eta Carinae two years earlier. Thomas Jefferson Jackson He cited not only Ptolemy but also the poet Aratus, the orator Cicero, and general Germanicus as coloring the star red, though acknowledging that none of the latter three authors were astronomers, the last two merely translating Aratus' poem Phaenomena. Seneca, too, had described Sirius as being of a deeper red color than Mars. However, not all ancient observers saw Sirius as red. The 1st century AD poet Marcus Manilius described it as "sea-blue", as did the 4th century Avienus. It is the standard star for the color white in ancient China, and multiple records from the 2nd century BC up to the 7th century AD all describe Sirius as white in hue. In 1985, German astronomers Wolfhard Schlosser and Werner Bergmann published an account of an 8th century Lombardic manuscript, which contains De cursu stellarum ratio by St. Gregory of Tours. The Latin text taught readers how to determine the times of nighttime prayers from positions of the stars, and Sirius is described within as rubeola - "reddish". The authors proposed this was further evidence Sirius B had been a red giant at the time. However, other scholars replied that it was likely St. Gregory had been referring to Arcturus instead. The possibility that stellar evolution of either Sirius A or Sirius B could be responsible for this discrepancy has been rejected by astronomers on the grounds that the timescale of thousands of years is too short and that there is no sign of the nebulosity in the system that would be expected had such a change taken place. An interaction with a third star, to date undiscovered, has also been proposed as a possibility for a red appearance. Alternative explanations are either that the description as red is a poetic metaphor for ill fortune, or that the dramatic scintillations of the star when it was observed rising left the viewer with the impression that it was red. To the naked eye, it often appears to be flashing with red, white and blue hues when near the horizon. Some ancient observations of Sirius describe it as a red star. To the Romans this meant an angry god, and they are known to have sacrificed red dogs to this star. Today, Sirius A is bluish white. The possibility that stellar evolution of either Sirius A or Sirius B could be responsible for this discrepancy is rejected by astronomers on the grounds that the timescale of thousands of years is too short and that there is no sign of the nebulosity in the system that would be expected had such a change taken place. Alternative explanations are either that the description as red is a poetic metaphor for ill fortune, or that the dramatic scintillations of the star when it was observed rising left the viewer with the impression that it was red. To the naked eye, it often appears to be flashing with red/white/blue hues when near the horizon. Sirius is the standard star for the color white in ancient China. Multiple records from the 2nd century BC up to the 7th century AD all describe Sirius as white in hue.[/IMG]
Sirius, known in ancient Egypt as Sopdet or Sothis, is recorded in the earliest astronomical records. The hieroglyph for Sothis features a star and a triangle.
During the era of the Middle Kingdom, Egyptians based their calendar on the heliacal rising of Sirius, namely the day it becomes visible just before sunrise after moving far enough away from the glare of the Sun. This occurred just before the annual flooding of the Nile and the summer solstice, after a 70-day absence from the skies.
Sothis was identified with (the embodiment of) Isis, wife and consort of Osiris who appeared in the sky as Orion. Together they formed a trinity with their son Horus. The 70-day period symbolized the passing of Isis and Osiris through the duat (Egyptian underworld).
Sothis (isis) and her husband, the god named Sah (Orion), came to be viewed as manifestations of Isis and Osiris. She was not only represented as a woman with a star on top of her headdress, but as a seated cow with a plant between her horns (just as Seshat's hieroglyph might have been a flower or a star) as depicted on an ivory tablet of King Djer. The plant may have been symbolic of the year, and thus linking her to the yearly rising of Sirius and the New Year. She was very occasionally depicted as a large dog, or in Roman times, as the goddess Isis-Sopdet, she was shown riding side-saddle on a large dog.
The New Year Sirius was both the most important star of ancient Egyptian astronomy, and one of the Decans (star groups into which the night sky was divided, with each group appearing for ten days annually). The heliacal rising (the first night that Sirius is seen, just before dawn) was noticed every year during July. Early Egyptians used this to mark the start of the New Year ('The Opening of the Year'). It was celebrated with a festival known as 'The Coming of Sopdet'.
As early as the 1st Dynasty, Sophis was known as 'the bringer of the new year and the Nile flood'. When Sirius appeared in the sky each year, the Nile generally started to flood and bring fertility to the land. The ancient Egyptians connected the two events, and so Sopdet took on the aspects of a goddess of not only the star and of the inundation, but of the fertility that came to the land of Egypt with the flood. The flood and the rising of Sirius also marked the ancient Egyptian New Year, and so she also was thought of as a goddess of the New Year.
Her aspect of being a fertility goddess was not just linked to the Nile. By the Middle Kingdom, she was believed to be a mother goddess, and a nurse goddess, changing her from a goddess of agriculture to a goddess of motherhood. This probably was due to her strong connection with the mother-goddess Isis. Not just a goddess of the waters of the inundation, Sopdet had another link with water - she was believed to cleanse the pharaoh in the afterlife. It is interesting to note that the embalming of the dead took seventy days - the same amount of time that Sirius was not seen in the sky, before it's yearly rising. She was a goddess of fertility to both the living and the dead.
In the Pyramid Texts, she is the goddess who prepares yearly sustenance for the pharaoh, 'in this her name of "Year"'. She is also thought to be a guide in the afterlife for the pharaoh, letting him fly into the sky to join the gods, showing him 'goodly roads' in the Field of Reeds and helping him become one of the imperishable stars. She was thought to be living on the horizon, encircled by the Duat. Paralleling the story of Osiris and Isis, the pharaoh was believed to have had a child with Sopdet.
frica - Dogon
The Dogon describe this 'star' specifically as having a circle of reddish rays around it, and this circle of rays is 'like a spot spreading' but remaining the same size. The Dogon are a West African tribe who have known about, and worshipped, Sirius A and its twin the invisible star Sirius B, for the past 5,000 years. They are have also been aware of the planets circle the sun in elliptical orbits, the four moons of Jupiter and the rings of Saturn.
They say that Sirius B is immensely heavy, invisible, very small, yet extremely powerful. Their understanding of the two stars' orbits coincides exactly with modern astronomical findings, yet was arrived at thousands of years before it was scientifically proven. They also claim that a third star Emme Ya - Sorghum Female - exists in the Sirius system. Larger and lighter than Sirius B, this star revolves around Sirius A as well.
The Dogon also believe that approximately 5,000 years ago, Amphibious Gods, called Nommo, came to Earth in three legged space ships from the Sirius Star System. They have described perfectly the DNA pattern made by this elliptical orbit created by the two stars as they rotate make around each other. They believe Sirius to be the axis of the universe, and from it all matter and all souls are produced in a great spiral motion.
Greece The ancient Greeks observed that the appearance of Sirius heralded the hot and dry summer, and feared that it caused plants to wilt, men to weaken, and women to become aroused. Due to its brightness, Sirius would have been noted to twinkle more in the unsettled weather conditions of early summer.
To Greek observers, this signified certain emanations which caused its malignant influence. People suffering its effects were said to be astroboletosor "star-struck". It was described as "burning" or "flaming" in literature. The season following the star's appearance came to be known as the Dog Days of summer.
The inhabitants of the island of Ceos in the Aegean Sea would offer sacrifices to Sirius and Zeus to bring cooling breezes, and would await the reappearance of the star in summer. If it rose clear, it would portend good fortune; if it was misty or faint then it foretold (or emanated) pestilence.
Coins retrieved from the island from the 3rd century BC feature dogs or stars with emanating rays, highlighting Sirius' importance. The Romans celebrated the heliacal setting of Sirius around April 25, sacrificing a dog, along with incense, wine, and a sheep, to the goddess Robigo so that the star's emanations would not cause wheat rust on wheat crops that year.
Ptolemy of Alexandria mapped the stars in Books VII and VIII of his Almagest, in which he used Sirius as the location for the globe's central meridian. He curiously depicted it as one of six red-colored stars. The other five are class M and K stars, such as Arcturus and Betelgeuse.
China
In Chinese astronomy the star is known as the star of the "celestial wolf".
Several cultures also associated the star with a bow and arrows. The Ancient Chinese visualized a large bow and arrow across the southern sky, formed by the constellations of Puppis and Canis Major. In this, the arrow tip is pointed at the wolf Sirius.
A similar association is depicted at the Temple of Hathor in Dendera, where the goddess Satet has drawn her arrow at Hathor (Sirius). Known as "Tir", the star was portrayed as the arrow itself in later Persian culture.
Sumer
In the Sumerian Civilization, predating the Egyptians, their epic poem Epic of Gilgamesh describes a dream of Gilgamesh where the hero is drawn irresistibly to a heavy star that cannot be lifted despite immense effort.
This star descends from heaven to him and is described as having a very 'potent essence' and being "the God of heaven". Gilgamesh had for his companions, 50 oarsmen in the great ship, Argo, a constellation bordering Canis Major, where Sirius is found.
Muslim - Qur'an
The Quran mentions Sirius in Surah 53, An-Najm ("The Star"), of the Qur'an, where it is given the name (al-shi'raa.) The verse is "That He is the Lord of Sirius (the Mighty Star)." (53:49)
Yusufali: That He is the Lord of Sirius (the Mighty Star); Pickthal And that He it is Who is the Lord of Sirius; Shakir: And that He is the Lord of the Sirius;
Polynesia
Just as the appearance of Sirius in the morning sky marked summer in Greece, so it marked the chilly onset of winter for the Maori, whose name Takurua described both the star and the season. Its culmination at the winter solstice was marked by celebration in Hawaii, where it was known as Ka'ulua, "Queen of Heaven". Many other Polynesian names have been recorded, including Tau-ua in the Marquesas Islands, Rehua in New Zealand, and Aa and Hoku-Kauopae in Hawaii.
Bright stars were important to the ancient Polynesians for navigation between the many islands and atolls of the Pacific Ocean. Low on the horizon, they acted as stellar compasses to assist mariners in charting courses to particular destinations. They also served as latitude markers; the declination of Sirius matches the latitude of the archipelago of Fiji at 17¡S and thus passes directly over the islands each night.
Sirius served as the body of a "Great Bird" constellation called Manu, with Canopus as the southern wingtip and Procyon the northern wingtip, which divided the Polynesian night sky into two hemispheres.
Indians - North America and Alaska
Several cultures also associated the star with a bow and arrows. Many nations among the indigenous peoples of North America also associated Sirius with canines; the Seri and Tohono O'odham of the southwest note the star as a dog that follows mountain sheep, while the Blackfoot called it "Dog-face".
The Cherokee paired Sirius with Antares as a dog-star guardian of either end of the "Path of Souls". The Pawnee of Nebraska had several associations; the Wolf (Skidi) tribe knew it as the "Wolf Star", while other branches knew it as the "Coyote Star".
Hopi Prophecy states, When the Blue Star Kachina (Sirius) makes its appearance in the heavens, the Fifth World will emerge.
Further north, the Alaskan Inuit of the Bering Strait called it "Moon Dog".
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What a beautiful and sexy statue of Goddess Isis or Princeess Arsinoe. Probably the head of the statue is missing because it was the head of a Black woman. The Ancient Priests make the statues and images of the Ancient Gods and Goddesses so beautiful and sexy to attract the people to the temple. The beautiful images of Gods and Goddesses were replaced by the Roman Church of celibat priest image of a sacrifice man on a cross.
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posted
Roman Catholic church image of a crucify or sacrifice Jesus was one the image that replace the beautiful so call Pagan Gods and Goddesses image
Crucify Jesus
Macabre image of crucify Jesus
Mystical number of three people crucified
Jesus and two thieves crucified. notice the Black Knight with the helmet on the left of Jesus
Jesus crucifixion and the Maries
Jesus (/ˈdʒiːzəs/ jee-zuss Greek: Ἰησοῦς, translit. Iesous; Hebrew: ישוע, translit. Yēšū́aʿ, lit. 'Yeshua; "He saves"';[12] c. 4 BC – c. AD 30), also referred to as Jesus of Nazareth or Jesus Christ,[e] was a Jewish preacher[13] who ended up becoming the central figure of Christianity.[14][15] Christians believe him to be the Son of God and the awaited Messiah (Christ, the Anointed One) prophesied in the Old Testament.[14][15]
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he sculptured Dendera zodiac (or Denderah zodiac) is a widely known Egyptian bas-relief from the ceiling of the pronaos (or portico) of a chapel dedicated to Osiris in the Hathor temple at Dendera, containing images of Taurus (the bull) and the Libra (the scales). This chapel was begun in the late Ptolemaic period; its pronaos was added by the emperor Tiberius. This led Jean-François Champollion to date the relief correctly to the Greco-Roman period, but most of his contemporaries believed it to be of the New Kingdom. The relief, which John H. Rogers characterised as "the only complete map that we have of an ancient sky",[1] has been conjectured to represent the basis on which later astronomy systems were based.[2] It is now on display at the Musée du Louvre, Paris.
Dates of eclipses
Solar eclipse on 7 March 51 BC Sylvie Cauville of the Centre for Computer-aided Egyptological Research at Utrecht University and Éric Aubourg dated it to 50 BC through an examination of the configuration it shows of the five planets known to the Egyptians, a configuration that occurs once every thousand years, and the identification of two eclipses.[3]
The solar eclipse indicates the date of March 7, 51 BC: it is represented by a circle containing the goddess Isis holding a baboon (the god Thoth) by the tail.
The lunar eclipse indicates the date of September 25, 52 BC: it is represented by an Eye of Horus locked into a circle.
Lunar eclipse on 25 September 52 BC Description[edit] The zodiac is a planisphere or map of the stars on a plane projection, showing the 12 constellations of the zodiacal band forming 36 decans of ten days each, and the planets. These decans are groups of first-magnitude stars. These were used in the ancient Egyptian calendar, which was based on lunar cycles of around 30 days and on the heliacal rising of the star Sothis (Sirius).
Its representation of the zodiac in circular form is unique in ancient Egyptian art.[citation needed] More typical are the rectangular zodiacs which decorate the same temple's pronaos.
The celestial arch is represented by a disc held up by four pillars of the sky in the form of women, between which are inserted falcon-headed spirits. On the first ring 36 spirits symbolize the 360 days of the Egyptian year.
On an inner circle, one finds constellations, showing the signs of the zodiac. Some of these are represented in the same Greco-Roman iconographic forms as their familiar counterparts (e.g. the Ram, Taurus, Scorpio, and Capricorn, albeit most in odd orientations in comparison to the conventions of ancient Greece[4] and later Arabic-Western developments), whilst others are shown in a more Egyptian form: Aquarius is represented as the flood god Hapy, holding two vases which gush water.[citation needed] Rogers noted the similarities of unfamiliar iconology with the three surviving tablets of a "Seleucid zodiac" and both relating to kudurru, "boundary-stone" representations: in short, Rogers sees the Dendera zodiac as "a complete copy of the Mesopotamian zodiac".[5]
Zodiaque de Denderah with the 48 constellations of Claudius Ptolemaus clearly identified among the present 72 constellations on this Zodiac. History[edit] During the Napoleonic campaign in Egypt, Vivant Denon drew the circular zodiac, the more widely known one, and the rectangular zodiacs. In 1802, after the Napoleonic expedition, Denon published engravings of the temple ceiling in his Voyage dans la Basse et la Haute Egypte.[6] These elicited a controversy as to the age of the zodiac representation, ranging from tens of thousands to a thousand years to a few hundred, and whether the zodiac was a planisphere or an astrological chart.[7] Sébastien Louis Saulnier, an antique dealer, commissioned Claude Lelorrain to remove the circular zodiac with saws, jacks, scissors and gunpowder.[8] The zodiac ceiling was moved in 1821 to Restoration Paris and, by 1822, was installed by Louis XVIII in the Royal Library (later called the National Library of France). In 1922, the zodiac moved from there to the Louvre.
The "Dendera Affair The controversy around the zodiac, called the "Dendera Affair", involved people of the likes of Joseph Fourier (who estimated that the age was 2500 BC).[9] Champollion, among others, believed that it was a religious zodiac. Champollion placed the zodiac in fourth century AD.[10] Georges Cuvier placed the date 123 AD to 147 AD.[11] His discussion of the dating question is an interesting summary of the reasoning as he understood it in the 1820s.
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God Ptah Egyptian, New Kingdom, Dynasty 18 (ca. 1332-1323 B.C.). Statue of Ptah. Gilded wood, faience and glass. H. 52.8 cm; W. 11.6 cm. Thebes, Valley of the Kings, Tomb of Tutankhamun
Goddess Isis as a Uraeus Serpent
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