Ancient Egypt
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Celtic Egyptians: Isis Priests of the Lineage of Scota
Celtic Egyptians: Isis Priests of the Lineage of Scota Samuel Liddell MacGregor Mathers – the primary creative genius behind the famous British occult group, the Hermetic Order of the Golden Dawn – and his wife Moina Mathers established a mystery religion of Isis in fin-de-siècle Paris. Lawrence Durdin-Robertson, his wife Pamela, and his sister Olivia created the Fellowship of Isis in Ireland in the early 1970s. Although separated by over half a century, and not directly associated with each other, both groups have several characteristics in common. Each combined their worship of an ancient Egyptian goddess with an interest in the Celtic Revival; both claimed that their priestly lineages derived directly from the Egyptian queen Scota, mythical foundress of Ireland and Scotland; and both groups used dramatic ritual and theatrical events as avenues for the promulgation of their Isis cults. The Parisian Isis movement and the Fellowship of Isis were (and are) historically-inaccurate syncretic constructions that utilised the tradition of an Egyptian origin of the peoples of Scotland and Ireland to legitimise their founders’ claims of lineal descent from an ancient Egyptian priesthood. To explore this contention, this chapter begins with brief overviews of Isis in antiquity, her later appeal for Enlightenment Freemasons, and her subsequent adoption by the Hermetic Order of the Golden Dawn. It then explores the Parisian cult of Isis, its relationship to the Celtic Revival, the myth of the Egyptian queen Scota, and examines the establishment of the Fellowship of Isis. The Parisian mysteries of Isis and the Fellowship of Isis have largely been overlooked by critical scholarship to date; the use of the medieval myth of Scota by the founders of these groups has hitherto been left unexplored. -
CLEAR II Egyptian Mythology and Religion Packet by Jeremy Hixson 1. According to Chapter 112 of the
CLEAR II Egyptian Mythology and Religion Packet by Jeremy Hixson 1. According to Chapter 112 of the Book of the Dead, two of these deities were charged with ending a storm at the city of Pe, and the next chapter assigns the other two of these deities to the city of Nekhen. The Pyramid Texts describe these gods as bearing Osiris's body to the heavens and, in the Middle Kingdom, the names of these deities were placed on the corner pillars of coffins. Maarten Raven has argued that the association of these gods with the intestines developed later from their original function, as gods of the four quarters of the world. Isis was both their mother and grandmother. For 10 points, consisting of Qebehsenuef, Imsety, Duamutef, and Hapi, the protectors of the organs stored in the canopic jars which bear their heads, these are what group of deities, the progeny of a certain falconheaded god? ANSWER: Sons of Horus [or Children of Horus; accept logical equivalents] 2. According to Plutarch, the proSpartan Kimon sent a delegation with a secret mission to this deity, though he died before its completion, prompting the priest to inform his men that Kimon was already with this deity. Pausanias says that Pindar offered a statue of this god carved by Kalamis in Thebes and Pythian IV includes Medea's prediction that "the daughter of Epaphus will one day be planted... amid the foundations" of this god in Libya. Every ten days a cult statue of this god was transported to Medinet Habu in western Thebes, where he had first created the world by fertilizing the world egg. -
On the Orientation of the Avenue of Sphinxes in Luxor Amelia Carolina Sparavigna
On the orientation of the Avenue of Sphinxes in Luxor Amelia Carolina Sparavigna To cite this version: Amelia Carolina Sparavigna. On the orientation of the Avenue of Sphinxes in Luxor. Philica, Philica, 2018. hal-01700520 HAL Id: hal-01700520 https://hal.archives-ouvertes.fr/hal-01700520 Submitted on 4 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On the orientation of the Avenue of Sphinxes in Luxor Amelia Carolina Sparavigna (Department of Applied Science and Technology, Politecnico di Torino) Abstract The Avenue of Sphinxes is a 2.8 kilometres long Avenue linking Luxor and Karnak temples. This avenue was the processional road of the Opet Festival from the Karnak temple to the Luxor temple and the Nile. For this Avenue, some astronomical orientations had been proposed. After the examination of them, we consider also an orientation according to a geometrical planning of the site, where the Avenue is the diagonal of a square, a sort of best-fit straight line in a landscape constrained by the presence of temples, precincts and other processional avenues. The direction of the rising of Vega was probably used as reference direction for the surveying. -
LESSON PLAN Egyptian Mummies: the Myth Unwrapped
LESSON PLAN 4th – 8th Egyptian Mummies Grade Level: The Myth Unwrapped Duration: 50 minutes BACKGROUND Wisconsin Standards: 5000 years ago, Ancient Egyptians by their mummification process. Social Studies - Geography perfected the art of mummification, While learning about the gods and A.4.4; History B.4.1,3; creating not only lasting preservation goddesses of ancient Egypt, students Behavioral Sciences of their dead, but also intimate will know where in the world they E.4.8,11; snapshots of their lifestyle and can find mummies. By the end of the E.12.10; spiritual beliefs. Through a dynamic program, students will understand Language Arts - Oral 50 minute interactive program, the significance of mummification C.4-12.3 students will witness the step-by-step to ancient Egyptians as well as mummification process and find out understand the role mummies played National Standards: why, though Egyptians were not the in cultures of the past and present. Technology - Technology first to mummify, we are fascinated Communication Skills NT.K-12.4 Common Core State Standards: FOCUS QUESTION English Language Arts Standards • What is a mummy? And what can we learn from them? - Speaking & Listening: CCSS.ELA - Literacy - SL.4-8.1-3 STUDENT OBJECTIVES MATERIALS Students will be able to: • Pens/Pencils • List 3 countries in the world where • Paper for notes mummies have been found. • Learn what makes a mummy unique. TEACHER PREPARATION • Discuss why ancient Egyptians • Gather materials mummified their dead. • Name three ways mummies were used for non-scientific purposes. • Explain the step-by-step mummification process. • Identify Egyptian gods and goddesses and explain how ancient Egyptian spiritual beliefs relate to the mummification process. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
THE DESTINY of the WORLD : a STUDY on the END of the UNIVERSE in the Llght of ANCIENT EGYPTIAN TEXTS
THE DESTINY OF THE WORLD : A STUDY ON THE END OF THE UNIVERSE IN THE LlGHT OF ANCIENT EGYPTIAN TEXTS Sherine M. ElSebaie A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Near and Middle Eastern Civilizations University of Toronto O Copyright by Sherine M. ElSebaie (2000) National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KfA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. The Destiny of The World: A Study on the End of The Universe in The Light of Ancient Egyptian Texts Sherine M. ElSebaie Master of Arts, 2000 Dept. of Near and Middle Eastern Civilizations University of Toronto ABSTRACT The subject of this thesis is a theme that has not been fully çtudied until today and that has long been thought to be overlooked by the ancient Egyptians in a negative way. -
Sphinx Sphinx
SPHINX SPHINX History of a Monument CHRISTIANE ZIVIE-COCHE translated from the French by DAVID LORTON Cornell University Press Ithaca & London Original French edition, Sphinx! Le Pen la Terreur: Histoire d'une Statue, copyright © 1997 by Editions Noesis, Paris. All Rights Reserved. English translation copyright © 2002 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2002 by Cornell University Press Printed in the United States of America Library of Congress Cataloging-in-Publication Data Zivie-Coche, Christiane. Sphinx : history of a moument / Christiane Zivie-Coche ; translated from the French By David Lorton. p. cm. Includes bibliographical references and index. ISBN 0-8014-3962-0 (cloth : alk. paper) 1. Great Sphinx (Egypt)—History. I.Tide. DT62.S7 Z58 2002 932—dc2i 2002005494 Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent possible in the publishing of its books. Such materi als include vegetable-based, low-VOC inks and acid-free papers that are recycled, totally chlorine-free, or partly composed of nonwood fibers. For further informa tion, visit our website at www.cornellpress.cornell.edu. Cloth printing 10 987654321 TO YOU PIEDRA en la piedra, el hombre, donde estuvo? —Canto general, Pablo Neruda Contents Acknowledgments ix Translator's Note xi Chronology xiii Introduction I 1. Sphinx—Sphinxes 4 The Hybrid Nature of the Sphinx The Word Sphinx 2. -
Astronomy, Myths & Legends of the Ancient Egyptians
Astonomy, Myts & Legends of te Ancient Egyptans Volume 1 by Monica Sevila Contnts Stars and Galaxies Te Constlatons Te Giza Pyramids and te Belts Stars of Orion Ancient Egyptan Pyramids: Resurrecton Machines Ancient Egyptans and te Sphinx Te Sun Ancient Egyptans and te Creaton of te World Te Pharaohs: Te Horus Kings Ancient Egyptans and teir Tombs Te Sun and te Gods Stars and Galaxies The early universe was extremely hot. As it cooled, sub atomic particles began to clump together and formed the first atom, the hydrogen atom. Later, as the universe began to cool even further, dust and hydrogen gas joined together through the force of gravity and became dense enough to form the first stars, the protostars. Through extreme heat and pressure, hydrogen gas atoms began to fuse together. The result of this nuclear fusion produced light and heat energy. This process describes the formation of the first stars. Billions and billions of stars were created through this process and grouped together to form the galaxies within the universe today. Galaxies are massive systems of stars, dust, and gas held together by gravity. Gravity causes stars to attract each other and clump together into groups. Because stars have extreme amounts of mass, they exert the force of gravity, the attractive force which draws other objects with mass, such as other stars, to itself. Our sun and our solar system is part of a galaxy known as the Milky Way. It is described as a spiral galaxy because its shape looks like a spiral. On a dark night, the edge of the Milky Way can be seen in the Northern Sky. -
The Presence of Death in Gustave Moreau's Paintings1
The Presence of Death in Gustave Moreau’s Paintings1 Zühre İndirkaş Université d’Istanbul THIS WORK WAS SUPPORTED BY THE RESEARCH PROJECT COORDINATION Synergies UNIT OF STANBUL NIVERSITY ROJECT NUMBER I U . P : 4585 Turquie Résumé: La présence de la mort dans les oeuvres de Gustave Moreau L’objectif de cet article est d’étudier la présence de la mort dans les 69-78 n° 3 - 2010 pp. oeuvres de Gustave Moreau. Même si Gustave Moreau est considéré parmi les représentants du courant symboliste dans la peinture française du 19e siècle, de nos jours, les historiens d’art le considèrent comme un peintre d’histoire (Peinture d’Histoire). Dans les deux contextes, les images sont les reflets de ses pensées, son imagination et son caractère émotionnel.Cette situation lui permet de réfléchir sur la mort et la vie étérnelle pour les refléter dans ses oeuvres. Mots-clés : Gustave Moreau, la mort, mythologie, Oedipe, Sphinx, peinture d’histoire Özet: Gustave Moreau’nun Yapıtlarında Ölüm Gustave Moreau 19. Yüzyıl Fransız resminde sembolist akımın temsilcileri arasında yer almışsa da günümüz sanat tarihçileri tarafından tarih ressamı (Peinture d’Histoire) olarak değerlendirilir. Her iki bağlamda da Moreau’nun yapıtlarında yer alan görsel imgeler; onun inançlarının, düşüncelerinin, imgeleminin ve huzursuz kişilik yapısının yansımalarıdır. Bu durum onun sıklıkla ölüm ve ölümsüzlük üzerinde düşünmesine ve bunu yapıtlarına yansıtmasına neden olmuştur. “Oidipus ve Sfenks”, “Yolcu (Oidipus Yolcu; Ölümün Karşısında Eşitlik)”, “Genç Adam ve Ölüm”, “Ölü Şairi Taşıyan Kentaur” ölüm kavramının belirgin olarak ortaya çıktığı yapıtlardır. Özellikle “Ölü Lirler” sanatçının ve sanatının bir ağıtı (requiem) olarak nitelendirilir. Öte yandan “Ölüm Turnuvanın Galibini Taçlandırıyor”da ölüm tümüyle tuale egemendir. -
The Great Pyramid and the Sphinx, Francis Frith the Great Pyramid and the Sphinx Francis Frith English, Egypt, 1858 Albumen Silver Print 15 9/16 X 19 5/16 In
J. Paul Getty Museum Education Department Exploring Photographs Information and Questions for Teaching The Great Pyramid and the Sphinx, Francis Frith The Great Pyramid and the Sphinx Francis Frith English, Egypt, 1858 Albumen silver print 15 9/16 x 19 5/16 in. 84.XM.633.12 When Francis Frith made this photograph, the sphinx at Giza was buried almost to its neck in desert sand. He may or may not have been aware that beneath that sand lay the 150-foot-long body of a lion. Frith perfectly centered the Great Pyramid and the Great Sphinx in the composition, including a few figures in the foreground to provide a sense of scale. The pyramids and sphinx at Giza, widely published now, were an astounding site to any viewer in the 1800s. Shortly after the development of photography, people began to dream about the landscape, architecture, and people of far-away places—all of which seemed exotic and romantic. All along the Nile, Frith made 16-by-20-inch mammoth-plate images, which he subsequently compiled and sold in enormous leather-bound albums. About the Artist Francis Frith (British, 1822–1898) Before turning his attention to photography around 1850, Francis Frith was apprenticed to a cutlery firm and worked as a wholesale grocer. With a partner he opened the Frith and Hayward photography studio in Liverpool. In 1856 Frith made an extended trip to Egypt, traveling up the Nile from Cairo to Abu Simbel. He photographed along the entire way, equipped with one stereoscopic camera and two large-format cameras (one that made 8-by-10-inch negatives, and another that made 16-by-20-inch negatives). -
LO: to Learn the Different Stages of the Mummification Process
LO: To learn the different stages of the mummification process Photo courtesy of Shriram Rajagopalan (@flickr.com) - granted under creative commons licence -attribution Watch • https://vimeo.com/51094296 Find someone to act out each stage of the mummification process on. 1. What was the process? The body was taken to a place called the Beautiful House. It wasn’t as beautiful as the name suggests! The body was cleansed with palm wine and rinsed with water from the River Nile. Sometimes they would use a slatted bed on a slant. This would let fluids drain off and out of the body, and allow them to wrap the strips of linen around the body. 2. Organs A cut was made on the left side of the body and the organs removed to stop the body decomposing. The liver, lungs, intestines and stomach were washed, dried in natron and either wrapped in cloth to place in the body later or stored in canopic jars. The heart, responsible for intelligence and emotion, was left in the body as it was needed in the afterlife. Natron is a natural salt. 3. Canopic Jars The canopic jars had four different heads representing the four sons of Horus. Hapi Imsety Duamutee Qebehsenuef Baboon headed Huma headed Jackal headed Falcon headed God. Looked God. Looked God. Looked God. Looked after the after the after the after lungs. liver. stomach. the intestines. 4. The Brain The brain wasn’t thought to be important! A long hook was pushed up through the nose to smash the brain to pieces, then either pull it out or lift the body so the liquefied brain would drain out through the nose. -
The Routledge Dictionary of Egyptian Gods and Goddesses
The Routledge Dictionary of Egyptian Gods and Goddesses The Routledge Dictionary of Egyptian Gods and Goddesses provides one of the most comprehensive listings and descriptions of Egyptian deities. Now in its second edition, it contains: ● A new introduction ● Updated entries and four new entries on deities ● Names of the deities as hieroglyphs ● A survey of gods and goddesses as they appear in Classical literature ● An expanded chronology and updated bibliography ● Illustrations of the gods and emblems of each district ● A map of ancient Egypt and a Time Chart. Presenting a vivid picture of the complexity and richness of imagery of Egyptian mythology, students studying Ancient Egypt, travellers, visitors to museums and all those interested in mythology will find this an invaluable resource. George Hart was staff lecturer and educator on the Ancient Egyptian collections in the Education Department of the British Museum. He is now a freelance lecturer and writer. You may also be interested in the following Routledge Student Reference titles: Archaeology: The Key Concepts Edited by Colin Renfrew and Paul Bahn Ancient History: Key Themes and Approaches Neville Morley Fifty Key Classical Authors Alison Sharrock and Rhiannon Ash Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Allen Kendall Who’s Who in the Greek World John Hazel Who’s Who in the Roman World John Hazel The Routledge Dictionary of Egyptian Gods and Goddesses George Hart Second edition First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005.