The Religion of Egypt.*
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JIIA.Eu Journal of Intercultural and Interdisciplinary Archaeology Isis-Thermouthis and the Anguiform Deities in Egypt: a Cultural and Semantic Evolution M
JIIA.eu Journal of Intercultural and Interdisciplinary Archaeology Isis-Thermouthis and the anguiform deities in Egypt: a cultural and semantic evolution M. Franci CAMNES, Firenze The snake, for its primeval power and chthonic life, has always had a central but ambivalent role, in Egypt as well as in the Ancient Near Eastern world. Here the semantic field of the serpent is mainly negative: just for example, the god Mot, the deification of the death, can also appear as a serpent;1 the world äl-mā-yuḏkar “snake” in the semitic dialect of Sana means “the one who is not named” is a clear evidence of a linguistic taboo; and the Common Semitic word NAḤAŠ “snake” was related with the meaning “prophecy” and “exorcist formula”.2 From the reading of the Egyptian documents and representations on the tomb and temple’s walls it is clear that in Egypt the symbolic significance of the snake figure was intimately considered powerful and productive during all the Egyptian history. It was used to express different and wide meanings – political, religious, philosophical – because in Egypt the snake could be also seen, at the same time, as an evil and dangerous entity (Apophis above all), as a protective deity (the goddess Wadjet, for example): one can easily find in the Pyramid Texts a long list of serpents, as evil entity e.g. the hpnwi-snake, as protective entity, e.g. the ḏnn-serpent, a clear evidence of an interesting quantity of more ancient myths that merged in the Corpus of the Pyramid Texts. The example of the snake-god Nehebkaw is paradigmatic: in the Utterance 229 the god Atum pressing down on the vertebrae of this serpent have stilled the turmoil in Heliopolis; but in the utterance 510 the deceased king is identified with Nehebkaw.3 A double meaning that had been created, doubtless, by the natural relationship of the snake with the creative process, generating a continuous contradiction, for a modern point of view. -
Cult of Isis
Interpreting Early Hellenistic Religion PAPERS AND MONOGRAPHS OF THE FINNISH INSTITUTE AT ATHENS VOL. III Petra Pakkanen INTERPRETING EARL Y HELLENISTIC RELIGION A Study Based on the Mystery Cult of Demeter and the Cult of Isis HELSINKI 1996 © Petra Pakkanen and Suomen Ateenan-instituutin saatiO (Foundation of the Finnish Institute at Athens) 1996 ISSN 1237-2684 ISBN 951-95295-4-3 Printed in Greece by D. Layias - E. Souvatzidakis S.A., Athens 1996 Cover: Portrait of a priest of Isis (middle of the 2nd to middle of the 1st cent. BC). American School of Classical Studies at Athens: Agora Excavations. Inv. no. S333. Photograph Craig Mauzy. Sale: Bookstore Tiedekirja, Kirkkokatu 14, FIN-00170 Helsinki, Finland Contents Acknowledgements I. Introduction 1. Problems 1 2. Cults Studied 2 3. Geographical Confines 3 4. Sources and an Evaluation of Sources 5 11. Methodology 1. Methodological Approach to the History of Religions 13 2. Discussion of Tenninology 19 3. Method for Studying Religious and Social Change 20 Ill. The Cults of Demeter and Isis in Early Hellenistic Athens - Changes in Religion 1. General Overview of the Religious Situation in Athens During the Early Hellenistic Period: Typology of Religious Cults 23 2. Cult of Demeter: Eleusinian Great Mysteries 29 3. Cult of Isis 47 Table 1 64 IV. Problem of the Mysteries 1. Definition of the Tenn 'Mysteries' 65 2. Aspects of the Mysteries 68 3. Mysteries in Athens During the Early Hellenistic Period and a Comparison to Those of Rome in the Third Century AD 71 4. Emergence of the Mysteries ofIsis in Greece 78 Table 2 83 V. -
Sarapis, Isis, and the Ptolemies in Private Dedications the Hyper-Style and the Double Dedications
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 28 | 2015 Varia Sarapis, Isis, and the Ptolemies in Private Dedications The Hyper-style and the Double Dedications Eleni Fassa Electronic version URL: http://journals.openedition.org/kernos/2333 DOI: 10.4000/kernos.2333 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 October 2015 Number of pages: 133-153 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Eleni Fassa, « Sarapis, Isis, and the Ptolemies in Private Dedications », Kernos [Online], 28 | 2015, Online since 01 October 2017, connection on 21 December 2020. URL : http://journals.openedition.org/ kernos/2333 ; DOI : https://doi.org/10.4000/kernos.2333 This text was automatically generated on 21 December 2020. Kernos Sarapis, Isis, and the Ptolemies in Private Dedications 1 Sarapis, Isis, and the Ptolemies in Private Dedications The Hyper-style and the Double Dedications Eleni Fassa An extended version of this paper forms part of my PhD dissertation, cited here as FASSA (2011). My warmest thanks to Sophia Aneziri for her always insightful comments. This paper has benefited much from the constructive criticism of the anonymous referees of Kernos. 1 In Ptolemaic Egypt, two types of private dedications evolved, relating rulers, subjects and gods, most frequently, Sarapis and Isis.1 They were formed in two ways: the offering was made either to Sarapis and Isis (dative) for the Ptolemaic kings (ὑπέρ +genitive) — hereafter, these will be called the hyper-formula dedications2 — or to Sarapis, Isis (dative) and the Ptolemaic kings (dative), the so-called ‘double dedications’. -
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. -
The Foot of Sarapis
THE FOOT OF SARAPIS I. PRIMARY MONU\MENTS Anyone who collects the monuiments associated with Mithras, as F. Cumont did, or with the " Egyptian " gods, as T. A. Brady is doing, or with the " Syrian " gods, as F. R. Walton is doing, will come upon a curious type of monument-the grotesque, snake-entwined, bust-crowned, gigantic Foot of Sarapis. In no other ancient or modern cult, so far as we are aware, is there anything quite like these objects. The fact that it was a symbol on Imperial Roman coinage indicates that in its own day as well the Foot of Sarapis was felt to be distinctive. In mnodernscholarly writings there is no lack of references to these monuments (we have tried to record all references). It happens, however, that no one has had in hand at one timie the materials necessary for a passable study of any one of them, let alone a study of all together. The accidental discovery, in 1936, of another Foot, the first and only example known in Athens, and the largest known anywhere, led us to collect evidence on the others. One would expect to find that ntumerous examples had survived. Writing in 1820, H. Meyer knew only one example of such feet carved in the round. The number has increased slowly. In the present study we have tried to assemble all the feet in the round which are positivelv attested as being associated with Sarapis. and we have found onlv five. Dotubtless some few more exist unpublished, but not, we believe, more than a fev. -
Egyptian Religion a Handbook
A HANDBOOK OF EGYPTIAN RELIGION A HANDBOOK OF EGYPTIAN RELIGION BY ADOLF ERMAN WITH 130 ILLUSTRATIONS Published in tile original German edition as r handbook, by the Ge:r*rm/?'~?~~ltunf of the Berlin Imperial Morcums TRANSLATED BY A. S. GRIFFITH LONDON ARCHIBALD CONSTABLE & CO. LTD. '907 Itic~mnoCLAY B 80~8,L~~II'ED BRIIO 6Tllll&I "ILL, E.C., AY" DUN,I*Y, RUFIOLP. ; ,, . ,ill . I., . 1 / / ., l I. - ' PREFACE TO THE ENGLISH EDITION THEvolume here translated appeared originally in 1904 as one of the excellent series of handbooks which, in addition to descriptive catalogues, are ~rovidedby the Berlin Museums for the guida,nce of visitors to their great collections. The haud- book of the Egyptian Religion seemed cspecially worthy of a wide circulation. It is a survey by the founder of the modern school of Egyptology in Germany, of perhaps tile most interest- ing of all the departments of this subject. The Egyptian religion appeals to some because of its endless variety of form, and the many phases of superstition and belief that it represents ; to others because of its early recognition of a high moral principle, its elaborate conceptions of a life aftcr death, and its connection with the development of Christianity; to others again no doubt because it explains pretty things dear to the collector of antiquities, and familiar objects in museums. Professor Erman is the first to present the Egyptian religion in historical perspective; and it is surely a merit in his worlc that out of his profound knowledge of the Egyptian texts, he permits them to tell their own tale almost in their own words, either by extracts or by summaries. -
The Secret Name of Ra
Thesecret name of Ra Ra, the SoleCreator was visible to the peopleof Eglat asthe discol the sun,but they knew him in manyother {orms. He could appearas a crownedman. a falconor'a man with a falcon'shead and, as the scarabbeetle pushes a round ball of dungin front of it, the Egyptians picturedRa asa scarabpushing the sun acrossthe sky. In caverns deepbelow the earthwere hidden another seventy-five forms ofRa; mysteriousbeings with mummiEedbodies and heads consisting of birds or snakes,feathers or flowers,The namesof Rawere as numerousas his forms; he wasthe ShiningOne, The Hidden One, The Renewerof the Earth,The lfind in the Souls,The ExaltedOne, but therewas one name ofthe SunGod which hadnot beenspoken sincetime began.To know this secretname ofRa wasto havepower overhim andover the world that he hadcreated. Isislonged for suchapower. Shehad dreamed that oneday she *.ould havea marvellousfalcon-headed son called Horus andshe wantedthe throne of Ra to giveto her child. Isis wasthe Mistressof Magic,wiser than millionsofmen, but sheLrrew that nothingin creationwas powerful enoughto harmits creator.Her only chance vr'as!o turn thepower of Ra againsthimself and atlast Isisthought of a crlel andcunning plan. Everyday the SunGod walkedthrough his kingdom, attendedby a crowd ofspirits andlesser deities, but Rawas growingold. His eyeswere dim, his stepno longerfirm andhe had evenbegun to drivel. One morning Isismingled with a group of minor goddessesand followedbehind the King of the Gods.She watched the faceofRa until shesaw his salivadrip onto a clod o{ eanh.\0hen shewas sure that no-onewas taking any noticeo{ her, shescooped up the earth andcarried it awav.Isis mixed the earthwith the salivaofRa to form clay andmodelled a wickedJookingserpent. -
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. -
A New Serapis Ring from Pannonia 2015–2016235
A new Serapis ring from Pannonia 2015–2016235 András Szabó A NEW SERAPIS RING FROM PANNONIA1 The Hungarian National Museum came into possession of a Roman copper alloy ring, found in northeastern Pannonia, bearing the image of Serapis among various animals, forming a unique iconographical scene. Some elements of the scene can be possibly interpreted in an astrological context. The ring can be dated to the 2nd–3rd c. AD, and it is most certainly belonging to a distinct group of archaeological monuments, well-known from northeastern Pannonia, attesting the Severan cult of Deus Invictus Serapis in this area. A Magyar Nemzeti Múzeum 2015-ben egy új, északkelet-pannoniai római bronzgyűrűre tett szert, amely Serapist különféle állatalakok körében ábrázolja. A ritka ábrázolástípus egyes elemei valószínűleg asztrológiai kontextusban értelmezhetők. A gyűrű a Kr. u. 2–3. századra keltezhető, s minden bizonnyal egy horizontba tartozik azokkal az ugyancsak északkelet-pannoniai leletekkel, amelyek Deus Invictus Serapis erőteljes Severus-kori kultuszát tanúsítják a térségben. Keywords: Serapis, Egyptian cults, Pannonia, Graeco-Roman astrology, magical gems Kulcsszavak: Serapis, egyiptomi kultuszok, Pannonia, görög-római asztrológia, mágikus gemmák In 2015, a new ring, depicting the bust of Serapis decorated with incised figures in three horizontal came into the Roman Collection of the Hungarian sequences. In the top row, the bearded head of National Museum2 (Fig. 1). Contrary to the Serapis is depicted wearing a calathos, looking common practice of the 2nd–3rd c. AD, the scene is left, flanked by two cobras. In the central row, a not engraved into a gem made of precious stone, but recumbent lion is shown, looking left, while in the into the surface of the bezel of the ring itself. -
The Deity Shemaa-Nefer “Sma Nfr” at Esna Temple Mofida El-Weshahy1 and Noha Mohamed Hafez2 Faculty of Tourism and Hotels, Suez Canal University
Mofida El-Weshahy and Noha Hafez (JAAUTH), Vol. 17 No. 2, 2019, pp. 15-31. The Deity Shemaa-nefer “Sma nfr” at Esna Temple Mofida El-Weshahy1 and Noha Mohamed Hafez2 Faculty of Tourism and Hotels, Suez Canal University. ARTICLE INFO Abstract Shemaa-nefer is the crocodile god who was mentioned at Esna temple Keywords: as “the son of goddess Neith”. His name means “the long and the good Shemaa-nefer; god” which agrees with the main figure of the god more than “the crocodile; Esna; Southern beautiful”. Shemaa-nefer was not only sacred at Upper Egypt. Neith. His name was found among the deities’ names “Semenouphis, Samanouphis” in some of the Greek texts from the 2nd and 3rd centuries. (JAAUTH) His name appeared on one of the papyrus which was found at Vol. 17, No. 2, Elephantine. Another papyrus found at Esna mentioned the deity’s (2019), name, but it is now in Chicago1. This research aims to; (1) shed light on PP. 15 -31. the deity Shemaa-nefer; (2) study the role of Shemaa-nefer at Esna; (3) study the relationship of Shemaa-nefer with the other deities. Introduction Esna tA-snj 2, iwnjt 3 is located on the West bank of the Nile, 64 km south of Luxor. This site was an important cultural center during the Ptolemaic period4. The temple of Esna dates to Ptolemaic and Roman times and was one of the last Egyptian temples erected in Egypt. It was dedicated to god Khnum along with other deities such as Mehet5, Menhyt6, Tefnut7, Sekhmet8, Nebtu, Neith9 and Heka10,11.The temple was built during the reign of Ptolemy VI Philometor and completed under Decius whose inscriptions included the last hieroglyphs sculpted in ancient Egypt12. -
A Late Saitic Statue from the Temple of Neith at Sais
A LATE SAITIC STATUE FROM THE TEMPLE OF NEITH AT SAIS I N December 1941 the University Museum acquired1 a headless kneel- ing statue of black basalt2 of the period of the so-called Egyptian "Ren- aissance," which hitherto had been almost entirely unrepresented in our Egyptian Collection. The three great periods which we call the Old, the Middle and the New Kingdoms (dynasties 1-21, from before 3000 to 945 B.C.) had led Egyptian civilization and art from one climax to another and finally to a gradual decay. They were followed by nearly four centuries of foreign domination, when the Egyptians obeyed Libyan, Nubian and Assyrian rulers (dynasties 22-25, 945-663 B.C.). With Psammetichus I, the founder of the 26th dynasty, once more a strong family of native rulers ascended the throne and held it for more than a century. Their names were Psammetichus I, Necho, Psammetichus II and Apries. This last member of the family, the Hophra of the Old Testament, was pushed aside by one of his officials who bore the name by which a thousand years earlier the expulsor of the Hyksos was called: Amasis. He ruled for forty-four years. His son and successor, Psammetichus III, was king for one year only, and then Cambyses conquered the Nile Valley and Egypt became a province of the Persian Empire, to remain so for almost two centuries (525-332). Psammetichus established his capital at his home-town Sais, in the Western Delta, and his successors followed his example. We therefore call them the Saite or Saitic kings and speak of the 26th as the Saitic dynasty. -
Statuette of a Snake-Legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA
INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXV 2012 ALEKSANDRA MAJEWSKA Statuette of a Snake-legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA Among the images of Egyptian gods on display in the gallery of Ancient Egyptian Art at the National Museum in Warsaw there is an exceptional fi gurine of bronze with a jackal’s head, torso of a man and serpentine coils instead of legs. It is undoubtedly a representa- tion of Anubis, but suffi ciently unique to merit a broader commentary than the brief notes published on its subject so far.1 The iconographic and stylistic distinctness with regard to canonical representations of Anubis in Egyptian art indicate a background in the artistic production of an age in which a native tradition coexisted with Graeco-Roman culture. The Anubis statuette from the Warsaw National Museum is of composite form.2 It is made up of three independent elements: jackal’s head, male upper body and serpentine coils (Figs 1–4). The relatively small head features a long narrow snout. Set in deep sockets, the large slanting eyes with marked pupils look attentively to the front. Curly wisps of fur encircle the snout and neck, joining the tripartite wig to form a hairdo that skillfully softens the animality of the head. Preserved between the fl eshy ears of natural shape is the base of the broken crown. The harmoniously built male torso is characterized by ample pectoral muscles passing into a narrowed waist and softly modeled, slightly rounded abdominal muscles with a distinctly sunk navel.