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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. -
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. -
Davoli the Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68
Université Paul Valéry (Montpellier III) – CNRS UMR 5140 « Archéologie des Sociétés Méditerranéennes » Équipe « Égypte Nilotique et Méditerranéenne » (ENiM) CENiM 9 Cahiers de l’ENiM Le myrte et la rose Mélanges offerts à Françoise Dunand par ses élèves, collègues et amis Réunis par Gaëlle Tallet et Christiane Zivie-Coche * Montpellier, 2014 © Équipe « Égypte Nilotique et Méditerranéenne » de l’UMR 5140, « Archéologie des Sociétés Méditerranéennes » (Cnrs – Université Paul Valéry – Montpellier III), Montpellier, 2014 Françoise Dunand à sa table de travail, à l’Institut d’histoire des religions de l’Université de Strasbourg, dans les années 1980 (d. r.). TABLE DES MATIÈRES Volume 1 Table des matières I-III Abréviations bibliographiques V-VIII Liste des contributeurs IX Introduction Gaëlle Tallet et Christiane Zivie-Coche D’une autre rive. Entretiens avec Françoise Dunand XI-XIX Gaëlle Tallet Bibliographie de Françoise Dunand XXI-XXVII I. La société égyptienne au prisme de la papyrologie Adam Bülow-Jacobsen Texts and Textiles on Mons Claudianus 3-7 Hélène Cuvigny « Le blé pour les Juifs » (O.Ka.La. Inv. 228) 9-14 Arietta Papaconstantinou Egyptians and ‘Hellenists’ : linguistic diversity in the early Pachomian monasteries 15-21 Jean A. Straus Esclaves malfaiteurs dans l'Égypte romaine 23-31 II. Le ‘cercle isiaque’ Corinne Bonnet Stratégies d’intégration des cultes isiaques et du culte des Lagides dans la région de Tyr à l’époque hellénistique 35-40 Laurent Bricault Les Sarapiastes 41-49 Paola Davoli The Temple of Soknopaios and Isis Nepherses at Soknopaiou Nesos (El-Fayyum) 51-68 Michel Reddé Du Rhin au Nil. Quelques remarques sur le culte de Sarapis dans l’armée romaine 69-75 III. -
Tuna El-Gebel 9
Tuna el-Gebel 9 Weltentstehung und Theologie von Hermopolis Magna I Antike Kosmogonien Beiträge zum internationalen Workshop vom 28.–30. Januar 2016 herausgegeben von Roberto A. Díaz Hernández, Mélanie C. Flossmann-Schütze und Friedhelm Hoffmann Verlag Patrick Brose Tuna el-Gebel - Band 9 Antike Kosmogonien Der Workshop wurde gefördert von: GS DW Graduate School Distant Worlds Der Druck wurde ermöglicht durch: Umschlag: Vorderseite: Foto privat Rückseite: © National Aeronautics and Space Administration (https://map.gsfc.nasa.gov/media/060915/060915_CMB_Timeline600nt.jpg) Tuna el-Gebel - Band 9 Weltentstehung und Theologie von Hermopolis Magna I Antike Kosmogonien Beiträge zum internationalen Workshop vom 28. bis 30. Januar 2016 herausgegeben von Roberto A. Díaz Hernández, Mélanie C. Flossmann-Schütze und Friedhelm Hoffmann Verlag Patrick Brose Vaterstetten Reihe „Tuna el-Gebel“ herausgegeben von Mélanie C. Flossmann-Schütze, Friedhelm Hoffmann, Dieter Kessler, Katrin Schlüter und Alexander Schütze Band 1: Joachim Boessneck (Hg.), Tuna el-Gebel I. Die Tiergalerien, HÄB 24, Hil- desheim 1987. (Gerstenberg Verlag) Band 2: Dieter Kessler, Die Paviankultkammer G-C-C-2, mit einem Beitrag zu den Funden von Hans-Ulrich Onasch, HÄB 43, Hildesheim 1998. (Gersten- berg Verlag) Band 3: Dieter Kessler, Die Oberbauten des Ibiotapheion von Tuna el-Gebel. Die Nachgrabungen der Joint Mission der Universitäten Kairo und München 1989–1996, Tuna el-Gebel 3, Haar 2011. (Verlag Patrick Brose) Band 4: Mélanie C. Flossmann-Schütze / Maren Goecke-Bauer / Friedhelm Hoff- mann / Andreas Hutterer / Katrin Schlüter / Alexander Schütze / Martina Ullmann (Hg.), Kleine Götter – Große Götter. Festschrift für Dieter Kessler zum 65. Geburtstag, Tuna el-Gebel 4, Vaterstetten 2013. (Verlag Patrick Brose) Band 5: Birgit Jordan, Die demotischen Wissenstexte (Recht und Mathematik) des pMattha, 2 Bände, Tuna el-Gebel 5, Vaterstetten 2015. -
Cwiek, Andrzej. Relief Decoration in the Royal
Andrzej Ćwiek RELIEF DECORATION IN THE ROYAL FUNERARY COMPLEXES OF THE OLD KINGDOM STUDIES IN THE DEVELOPMENT, SCENE CONTENT AND ICONOGRAPHY PhD THESIS WRITTEN UNDER THE SUPERVISION OF PROF. KAROL MYŚLIWIEC INSTITUTE OF ARCHAEOLOGY FACULTY OF HISTORY WARSAW UNIVERSITY 2003 ACKNOWLEDGMENTS This work would have never appeared without help, support, advice and kindness of many people. I would like to express my sincerest thanks to: Professor Karol Myśliwiec, the supervisor of this thesis, for his incredible patience. Professor Zbigniew Szafrański, my first teacher of Egyptian archaeology and subsequently my boss at Deir el-Bahari, colleague and friend. It was his attitude towards science that influenced my decision to become an Egyptologist. Professor Lech Krzyżaniak, who offered to me really enormous possibilities of work in Poznań and helped me to survive during difficult years. It is due to him I have finished my thesis at last; he asked me about it every time he saw me. Professor Dietrich Wildung who encouraged me and kindly opened for me the inventories and photographic archives of the Ägyptisches Museum und Papyrussammlung, and Dr. Karla Kroeper who enabled my work in Berlin in perfect conditions. Professors and colleagues who offered to me their knowledge, unpublished material, and helped me in various ways. Many scholars contributed to this work, sometimes unconsciously, and I owe to them much, albeit all the mistakes and misinterpretations are certainly by myself. Let me list them in an alphabetical order, pleno titulo: Hartwig -
Augustus in Egypt. the Varying Images of the First Roman Emperor
Christoph Klose, Lukas C. Bossert, William Leveritt (eds.) | Fresh Perspectives on Graeco-Roman Visual Culture. Proceedings of an International Conference at Humboldt-Universität, Berlin, 2nd–3rd September 2013 | 2015 | urn:nbn:de:kobv:11-100229177 Augustus: Caesar and god. Varying Images of the first Roman Emperor Jodie Martyndale-Howard The University of Nottingham hy is it that Rome’s first Emperor can be seen to adorn Egyptian artand architecture as Pharaoh throughout the province? How might the context W of such images help our understanding of the population make-up and rea- sons behind such portrayals? These are the questions I wish to answer through exploring the varying images of the first Roman emperor. Whenever Augustus is mentioned images of power such as the Prima Porta are first to come to our minds.1 As one of the most well-known Imperial statues it is often our first thought regarding portraits of the young, militarily successful leader of the Roman world. It is this image which has been seen throughout modern scholarship as the epitome of the traits Augustus wished his subjects to see, and therefore the one which resonates most strongly in our minds as the defining image of the emperor.2 Yet various scholars who address provincial images pay little or no attention to Egypt and the array of portrayals available.3 This may be because of the peculiar nature of Egypt: for some Classicists, it is Egyptologists who should be researching the images and wrestling with the complex iconographic system that had developed through centuries of Pharaonic and Ptolemaic rule; the other side believe it to be the remit of Classicists, who can use such images to understand how the province was ruled. -
Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods
International Journal of Engineering and Techniques - Volume 3 Issue 6, Nov - Dec 2017 RESEARCH ARTICLE OPEN ACCESS Mechanical Engineering in Ancient Egypt, Part 61: Symbols Industry in the Third Intermediate and Late Periods Galal Ali Hassaan Department of Mechanical Design & Production, Faculty of Engineering, Cairo University, Giza, Egypt Email: [email protected] Abstract: th This paper is the 57 research paper in a series investigating the evolution of mechanical engineering in ancient Egypt. It tries to achieve this purpose through investigating the symbols industry during the Third Intermediate and Late Periods. It outlines the design and application of symbols by the ancient Egyptians. The symbols used are highlighted with reference to material and present location if known. Features of the symbol-based products are outlined as characteristics of Mechanical Engineering in ancient Egypt. Keywords — Mechanical engineering; ancient Egypt; symbols industry, 3 rd Intermediate Period, Late Period inscriptions including too many symbols and I. INTRODUCTION another coffin decorated at the feet area by Ankh and Was sceptre symbols [2]. This is the 61 paper in a series of research Moore (2014) in her Master of Arts Thesis papers aiming at exploring the role of ancient about the non-royal female Egyptian coffins in the Egyptians in the evolution of mechanical Third Intermediate Period presented the coffin of engineering. The paper focuses on the symbols Meresamun fully decorated and inscribed with Sun- industry in ancient Egypt during the Third disk, Shen, Wadjet eye, Was sceptre, Nekhbet, Djed Intermediate and Late Periods. and Tiet symbols. She presented also a coffin for Teeter (2003) presented a limestone statue Ankh-Teh fully decorated and inscribed including for Hathor from the Third Intermediate Period with some symbols such as: Crook, Flail, Sun-disk, Swty, engravings of scenes using some symbols of ancient Nekhbet, Sesen and Ba. -
Sales 2017 Thinking Symbols.Pdf
Pultusk Academy of Humanities ACTA ARCHAEOLOGICA PULTUSKIENSIA Vol. VI Thinking Symbols Interdisciplinary Studies Edited by Joanna Popielska-Grzybowska & Jadwiga Iwaszczuk Department of Archaeology and Anthropology PUŁTUSK 2017 Scientific Editors: Joanna Popielska-Grzybowska, Jadwiga Iwaszczuk Proof-reading in English by Jo B. Harper & Joanna Popielska-Grzybowska DTP by Jadwiga Iwaszczuk Graphics by Jadwiga Iwaszczuk Cover design by Jakub Affelski All rights reserved © Copyright 2017 by the Pultusk Academy of Humanities, 2017 Second edition Publisher: Pultusk Academy of Humanities ul. Daszyńskiego 17, 06-100 Pułtusk tel./fax (+48 23) 692 50 82 e-mail: [email protected] Internet: www.ah.edu.pl ISBN 978-83-7549-311-5 Realised on behalf of the publisher: Przedsiębiorstwo Poligraficzno-Wydawnicze “Graf” – Janusz Janiszewski 04-663 Warszawa ul. Błękitna 87A tel. 501 376 898 e-mail: [email protected] Contents Preface .....................................................................................................................................7 *** James Cogswell, Cosmogonic Tattoos: epistemic limits and the will to adorn ..................9 Sebastian Szymański, Music as a symbol of communication ............................................ 17 *** Lidia Ambroziak, Mind maps in creative knowledge gaining process by students ...........19 Ivan Badanjak, Codex Gigas as the symbol of the occult ...................................................25 Nicholas Campion, Astrology: the survival of an ancient symbolic language ................... -
Colossal Statues of a Ptolemaic Ruling Couple
FRANCK GODDIO UNDERWATER ARCHAEOLOGIST COLOSSAL STATUES OF A PTOLEMAIC RULING COUPLE This royal couple of a king and queen in pink granite is by far the best preserved of the large Pharaonic-style images that exist of Ptolemaic rulers. Their role is the same as that of the colossi erected by the kings of the New Kingdom before the façades of divine temples. The king watched over the temple and displayed himself in his greatness so that his subjects could worship him. The most useful parallel is that of the colossi of Ramses II and his great wife Nefertari, sculpted on the façade of the small temple of Abu Simbel. Colossus of a King Crowned Found in five separate pieces and measuring five metres tall, the king is practically complete. His arms fall alongside his body. His right fist holds the enigmatic small cylinder which Egyptian statuary always placed in the hands of important men. His dress is extremely simple and classical. He wears on his head the pschent (double crown) adorned on the front with the uraeus cobra whose body is schematized in the shape of two lateral rings. Colossus of a Queen as Isis The queen’s body was found broken into three fragments whose edges fitted one another. The disappearance of the left knee can be attributed to an accidental breakage. The right shoulder and arm are completely missing. This mutilation probably is the result of deliberate human action. The Hathoric crown (cow horns, sun disc and feathers), worn by royal wives, was made separately. Following tradition, the woman puts her left leg forward, hindered by her dress. -
Pschent Headdress.Indd
PSCHENT HEADDRESS Age Range: Any Description: The Pschent represented power of both the upper and the lower parts of Egypt. Create your own and wear it like the Kings of Egypt did! Historic Context: The Pschent Headdress represents the unification of upper and lower Egypt. It was also called the “shmty” which means “The Two Powerful Ones.” The Pschent Headdress is a very little combination of the hedjet crown, or the white crown of Upper Egypt and the deshret, the red crown of Lower Egypt. The famous Narmer Palette depicts the pharaoh Menes unifying Lower and Upper Egypt, however, it was more of a conquest that took place and Upper Egypt won. It is said the Menes invented the double crown known as the Pschent Headdress, but the first pharaoh to wear the crown was Djet. The god’s Horus and Atum are also depicted wearing the Pschent Headdress. Time: 1 hour Materials Needed: plastic bottle, construction paper, scissors, tape/glue, white paint STEP ONE: CUT THE BOTTOM OF THE BOTTLE OUT. STEP TWO: PAINT THE BOTTLE WHITE, IT MAY TAKE A FEW COATS. SHOW US YOUR CREATION #RAFFMACSUSB STEP THREE: CUT A PIECE OF CONSTRUCTION PAPER VERTICALLY AND CREATE A CIRCULAR CROWN BASE. STEP FOUR: GET ANOTHER PIECE OF PAPER AND FOLD IT IN HALF. STEP FIVE: FOLD THE TWO TOP CORNERS IN UNTIL THEY REACH THE MIDDLE. SHOW US YOUR CREATION #RAFFMACSUSB STEP SIX: ATTACH BOTH OF THE PIECES TOGETHER. STEP SEVEN: FROM YOUR SCRAPS, CUT A PIECE OF PAPER THAT IS ABOUT AN INCH WIDE AND CURL IT UP ABOUT HALF WAY. -
Crowns and Headdresses in Ancient Egypt
Crowns and Headdresses in Ancient Egypt Task 1- read the information about the different crowns and headdresses In ancient Egypt, crowns and headdresses were used: • to show that someone was powerful; • to make pictures of gods and rulers recognisable; Ancient Egyptian pharaohs wore different crowns for • for religious ceremonies. different occasions and to show their loyalty to certain gods. Let’s take a look at some of the most famous ones. Did You Know…? No crown from a pharaoh has ever been found by archaeologists. It is likely that they were made from delicate materials such as fabric, leather or papyrus. Our best source of information is the paintings and carvings of gods and rulers that have survived. (This information links with our last history lesson about sources of evidence) Deshret: The Red Crown • The Deshret was a high-backed crown which showed that the wearer was the ruler of Lower Egypt. It is thought that it was made from fabric or leather and had a copper or wire spiral. • The red crown was the symbol of the goddess Neith, who was the patron of the city of Sais in Lower Egypt. • Lower Egypt is the area around the Nile delta in the north of the country. Hedjet: The White Crown • The white crown is also known as the Hedjet. It is tall with a rounded end and was probably made out of cloth or felt. • The white crown was worn by rulers of Upper Egypt (the south). It had a special association with the goddess Nekhbet, the white vulture goddess and protector of pharaohs. -
The Rosetta Stone in Historical Perspective
Journal of the Adventist Theological Society, 12/1 (2001): 1Ð21. Article copyright © 2001 by Keith Schoville. The Rosetta Stone in Historical Perspective Keith Schoville University of Wisconsin, Madison The history of modern, scientific archaeology is little more than a century old. Before 1890, western interest in the ancient Near East was basically a hunt for treasures to stock the great national museums of Europe.1 This interest in antiquities began to develop into a disciplined, enlightened effort thanks to the work of Sir William Flinders Petrie. This was particularly true for Syro- Palestinian archaeology. We mark his brief encounter with Tell el-Hesi, not far from Gaza, in 1890, as the stellar point. It was in the publication of that six week long excavation that he presented the principles that permeated his work: dig- ging according to the stratigraphy and dating according to typology.2 The application and refinement of those principles have continued to define modern archaeology to this very day. During and since PetrieÕs time (he died in Jerusalem in 1940), a vast number of excavations throughout the Middle East have recovered a tremendous volume of objects, including those bearing writing from the dim past of the biblical world. But some of the most significant finds were accidental rather than methodically recovered in excavations. A primary example that comes to mind was the discovery of the scrolls recovered from the caves near Khirbet Qumran by Bedouin shepherds in 1947. Today we are re- calling an equally significant discovery made not a half-century but two centu- ries agoÑthe discovery of the Rosetta Stone.