The Origin of the Frog Totem in Guangxi Bohai,Xu
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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. -
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. -
Varieties and Sources of Sandstone Used in Ancient Egyptian Temples
The Journal of Ancient Egyptian Architecture vol. 1, 2016 Varieties and sources of sandstone used in Ancient Egyptian temples James A. Harrell Cite this article: J. A. Harrell, ‘Varieties and sources of sandstone used in Ancient Egyptian temples’, JAEA 1, 2016, pp. 11-37. JAEA www.egyptian-architecture.com ISSN 2472-999X Published under Creative Commons CC-BY-NC 2.0 JAEA 1, 2016, pp. 11-37. www.egyptian-architecture.com Varieties and sources of sandstone used in Ancient Egyptian temples J. A. Harrell1 From Early Dynastic times onward, limestone was the construction material of choice for An- cient Egyptian temples, pyramids, and mastabas wherever limestone bedrock occurred, that is, along the Mediterranean coast, in the northern parts of the Western and Eastern Deserts, and in the Nile Valley between Cairo and Esna (fig. 1). Sandstone bedrock is present in the Nile Valley from Esna south into Sudan as well as in the adjacent deserts, and within this region it was the only building stone employed.2 Sandstone was also imported into the Nile Valley’s limestone region as far north as el-‘Sheikh Ibada and nearby el-‘Amarna, where it was used for New Kingdom tem- ples. There are sandstone temples further north in the Bahariya and Faiyum depressions, but these were built with local materials. The first large-scale use of sandstone occurred near Edfu in Upper Egypt, where it was employed for interior pavement and wall veneer in an Early Dynastic tomb at Hierakonpolis3 and also for a small 3rd Dynasty pyramid at Naga el-Goneima.4 Apart from this latter structure, the earliest use of sandstone in monumental architecture was for Middle Kingdom temples in the Abydos-Thebes region with the outstanding example the 11th Dynasty mortuary temple of Mentuhotep II (Nebhepetre) at Deir el-Bahri. -
History Bible Literature G 4-Day Sample.Pdf
HISTORY / BIBLE / LITERATURE INSTRUCTOR’S GUIDE WORLD HISTORY Year 1 of 2 The Colosseum G Rome, Italy FUN FACT Hatshepsut was the f rst female pharaoh. 4-DAY G Ages 12–14 Grades 7–9 History Bible Literature (4-Day) World History, Year 1 of 2 By the Sonlight Team Train up a child in the way he should go, And when he is old he will not depart from it Proverbs 22:6 (NKJV) INSTRUCTOR’S GUIDE Thank you for downloading this sample of Sonlight’s History / Bible / Literature G Instructor’s Guide (what we affectionately refer to as an IG). In order to give you a full perspective on our Instructor’s Guides, this sample will include parts from every section that is included in the full IG. Here’s a quick overview of what you’ll find in this sample. Ҍ A Quick Start Guide Ҍ A 3-week Schedule Ҍ Discussion questions, notes and additional features to enhance your school year Ҍ A Scope and Sequence of topics and and skills your children will be developing throughout the school year Ҍ A schedule for Timeline Figures Ҍ Samples of the full-color laminated maps included in History / Bible / Literature IGs to help your children locate key places mentioned in your history, Reader and Read-Aloud books SONLIGHT’S “SECRET” COMES DOWN TO THIS: We believe most children respond more positively to great literature than they do to textbooks. To properly use this sample to teach your student, you will need the books that are scheduled in it. -
The Golden Goblet
Cana Academy® Guide LEADING A DISCUSSION ON THE GOLDEN GOBLET Mary Frances Loughran & Julia DeCelles-Zwerneman PUBLISHED BY CANA ACADEMY® www.canaacademy.org © 2019 Cana Academy® All rights reserved. Unauthorized uses prohibited. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations or excerpts embodied in published materials permitted by copyright law: in that case, the source of the quotations or excerpts must be included in the published materials. For permission requests, contact the publisher via the Cana Academy website. i ©2019 Cana Academy® THE GOLDEN GOBLET Eloise Jarvis McGraw (1915-2000) Grade Level: 6 ISBN: 0-14-030335-9 Recommended hours: 4 INTRODUCTION The Golden Goblet was written in 1961 by Eloise Jarvis McGraw. The book follows the story of twelve-year-old Ranofer and takes place in the ancient city of Thebes, which served as the capital of Egypt at the time the story takes place. Queen Tiy, wife of Amenhotep III and mother of Akhenaten, is the current queen of Thebes. She lived roughly between 1390 and 1353 BC, setting the story sometime during the 14th century BC. This guide includes the following: • A brief introduction to some geographic and historical background • A glossary of important terms • Discussion questions for each chapter • A list of broader questions suitable for closing discussions and writing assignments THE WORLD OF RANOFER, SOME HISTORICAL BACKGROUND The Golden Goblet takes place during the reign of Amenhotep III, who ruled Egypt as pharaoh from 1390 to 1353 BC. -
19 Sloan-Hubert
Egypt in Antiquity: Music and Mythological Deities April Sloan–Hubert Jack Yates High School INTRODUCTION Jack Yates High School in Houston, Texas, is the alma mater of choreographer, producer and actress Debbie Allen and her Tony-award winning sister, Philicia Rashad. The Allen sisters discovered and began to develop their talents and skills at the historic Jack Yates High School. The great jazz vocalist, the late Anita Moore, developed her vocal pipes too at Jack Yates. Anita’s voice although silenced is still remembered for being hand picked by the one and only Duke Ellington to lead his orchestra. Jack Yates High School is also the alma mater of the now retired Lavonia Pope Bassett, the first African American music supervisor for the Houston Independent School District. As the present Choir Director and Fine Arts Department Chair at this talent-rich institution, I am charged with the phenomenal task to lead, mold, develop and return our department to its traditional glory. I am also cognizant of the fact that those were the days before state- mandated tests, budget cuts, site-based management and weaponless wars of destruction. In America’s not-so-long ago past, people from all walks of life were considered culturally refined and upstanding citizens by attending the opera, going to the museum, knowing what dinner fork to use at a well set table, and by the art work in their homes. At the heart of my motivation lie two exceptionally large music history classes with forty plus students each. The students enrolled in these classes are lovingly called “the music historians.” These semi-non musically inclined historians are void of vocal and instrumental skills, but they possess a great love and appreciation for music. -
Bulletin De L'institut Français D'archéologie Orientale
MINISTÈRE DE L'ÉDUCATION NATIONALE, DE L'ENSEIGNEMENT SUPÉRIEUR ET DE LA RECHERCHE BULLETIN DE L’INSTITUT FRANÇAIS D’ARCHÉOLOGIE ORIENTALE en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne en ligne BIFAO 103 (2003), p. 421-438 Marie-Louise Ryhiner La mise en place des pouvoirs divin et royal dans l’univers tentyrique ptolémaïque. Conditions d’utilisation L’utilisation du contenu de ce site est limitée à un usage personnel et non commercial. Toute autre utilisation du site et de son contenu est soumise à une autorisation préalable de l’éditeur (contact AT ifao.egnet.net). Le copyright est conservé par l’éditeur (Ifao). Conditions of Use You may use content in this website only for your personal, noncommercial use. Any further use of this website and its content is forbidden, unless you have obtained prior permission from the publisher (contact AT ifao.egnet.net). The copyright is retained by the publisher (Ifao). Dernières publications 9782724708424 Bulletin archéologique des Écoles françaises à l'étranger (BAEFE) 9782724707878 Questionner le sphinx Philippe Collombert (éd.), Laurent Coulon (éd.), Ivan Guermeur (éd.), Christophe Thiers (éd.) 9782724708295 Bulletin de liaison de la céramique égyptienne 30 Sylvie Marchand (éd.) 9782724708356 Dendara. La Porte d'Horus Sylvie Cauville 9782724707953 Dendara. La Porte d’Horus Sylvie Cauville 9782724708394 Dendara. La Porte d'Hathor Sylvie Cauville 9782724708011 MIDEO 36 Emmanuel Pisani (éd.), Dennis Halft (éd.) 9782724708004 Palais et Maisons du Caire II Bernard -
The Ties Between Hathor and the Weaver Girl(织女)
The ties between Hathor and the weaver girl(织女) Bohai,Xu Address: Suzhou Industrial Park, Suzhou, China Abstract: On the basis of Hathor as a goddess of love, beauty, Queen of wreath weaving, celestial goddess, the mistress of Heaven, goddess of cheerfulness and maternal care; each year, "Hathor travelled south from her temple at Dendera to visit Horus at Edfu”; one particular Egyptian tale - the 'Seven Hathors'. And on the basis of in Egypt, mirrors were another of Hathor’s symbols; Hathor was praised for her beautiful hair; in the Old Kingdom, most priests of Hathor, including the highest ranks, were women and the only known surviving birth brick from ancient Egypt is decorated with an image of a woman holding her child flanked by images of Hathor and so on, so I can get a hypothesis that the weaver girl(织女)is probably Hathor in China. Hathor (Het-Hert, Het-Heru, Hwt-Hert, Hethara), meaning "House of Horus [the Elder]", was a goddess of many things, from the celestial to the alcoholic! She was a celestial goddess, The Mistress of Heaven. A goddess of love, music and beauty as the Goddess of Love, Cheerfulness, Music and Dance. Hathor was known as the Mother of Mothers and the Celestial Nurse who presided over women, fertility, children and childbirth. Yet Hathor was also a goddess of baser things - she was the Vengeful Eye of Ra, the Lady of Drunkenness, and a goddess of the dead as Lady of the West. As Lady of the Southern Sycamore, the sycamore was sacred to her. -
The Mythological Importance of the Constellation Msḫtjw in Mortuary Representations Until the End of the New Kingdom
The mythological importance of the constellation Msḫtjw in mortuary representations until the end of the New Kingdom Gábor W. Nemes Eötvös Loránd University, Budapest N VARIOUS CULTURES of the world, and hence also in western culture, probably the most well-known asterism of the northern sky is the so-called Big Dipper, or Plough, which I actually forms a part of the much greater constellation of Ursa Major, also known as the Great Bear. Various people have seen into it different formations, so it is not at all surprising that there is an apparent lack of uniformity in naming it in European culture as well.1 The particular designations, as in the case of most other constellations, were based on the fact that respective cultures considered different groups of stars to be part of a given constellation. However, considering the sign the ancient Egyptian idea is in unison with modern concepts in a particular respect, namely that both emphasise the same seven stars that at clear-skied nights are easily observable even with a naked eye, even in the heavily light-polluted skies of modern cities, due to them being the brightest ones in Ursa Major. The ancient Egyptians identified the group formed by Dubhe (α UMa), Merak (β UMa), Phad (γ UMa), Megrez (δ UMa), Alioth (ε UMa), Mizar (ζ Uma), and Alkaid (η Uma) with a thigh or foreleg of a bull, or either a partial or full scale depiction of a bull, and called it Ḫpš or Msḫtjw.2 This very sign may be the only one that we can identify with great certainty among the northern constellations known by the ancient Egyptians.3 In its shape, or differently said, in its form designated by its respective stars, it plainly overlaps with one of the instruments by the same name, used during the Ritual of Opening the Mouth, an adze with a bent handle (U19A). -
Ten Egyptian Plagues for Ten Egyptian Gods and Goddesses the God of Israel Is Greater Than All Other Egyptian Gods and Goddesses
- Ten Egyptian Plagues For Ten Egyptian Gods and Goddesses The God of Israel is greater than all other Egyptian Gods and Goddesses. Moses was a great prophet, called by God with a very important job to do. As an instrument in the Lord's hand he performed many signs, or "wonders", attempting to convince Pharaoh to allow the Israelites freedom from their bondage of slavery to the Egyptians. These "wonders" are more commonly referred to as "plagues" sent from the God of Israel, as a proof that the "one true God" was far greater than all of the multiple Gods of the Egyptians. These Egyptian Plagues were harsh and varied to correspond to the ancient egyptian gods and goddesses that were prevelant during Moses time in Egypt. The number ten is a significant number in biblical numerology. It represents a fullness of quantity. Ten Egyptian Plagues Means Completely Plagued. Just as the "Ten Commandments" become symbolic of the fullness of the moral law of God, the ten ancient plagues of Egypt represent the fullness of God's expression of justice and judgments, upon those who refuse to repent. Ten times God, through Moses, allows Pharaoh to change his mind, repent, and turn to the one true God, each time increasing the severity of the consequence of the plagues suffered for disobedience to His request. Ten times Pharaoh, because of pride, refuses to be taught by the Lord, and receives "judgments" through the plagues, pronounced upon his head from Moses, the deliverer. The Ten Egyptian Plagues testify of Jesus the Anointed One and His power to save. -
The Milk Goddess in Ancient Egyptian Theology
Journal of the General Union of Arab Archaeologists Volume 2 Issue 1 issue 1 Article 2 2017 The Milk Goddess in Ancient Egyptian Theology. Ayman Mohamed Ahmed Damanhour University, [email protected] Follow this and additional works at: https://digitalcommons.aaru.edu.jo/jguaa Part of the History of Art, Architecture, and Archaeology Commons, and the Museum Studies Commons Recommended Citation Ahmed, Ayman Mohamed (2017) "The Milk Goddess in Ancient Egyptian Theology.," Journal of the General Union of Arab Archaeologists: Vol. 2 : Iss. 1 , Article 2. Available at: https://digitalcommons.aaru.edu.jo/jguaa/vol2/iss1/2 This Article is brought to you for free and open access by Arab Journals Platform. It has been accepted for inclusion in Journal of the General Union of Arab Archaeologists by an authorized editor. The journal is hosted on Digital Commons, an Elsevier platform. For more information, please contact [email protected], [email protected], [email protected]. Ahmed: The Milk Goddess in Ancient Egyptian Theology. (JOURNAL OF The General Union OF Arab Archaeologists (2 ــــــــــــــــــــــــــــــــــــــــــــــــــ IAt The Milk Goddess in Ancient Egyptian Theology Dr. Ayman Mohamed Ahmed Mohamed Abstract: This paper tackles the question of the deity (IAt) in ancient Egyptian theology. It aims at presenting a complete overview of the deity in ancient Egyptian art and scripts in an attempt to consolidate its origin and track the forms in which it was portrayed as well as accounting for its features, symbol and role in ancient Egyptian theology since so far there has been no study tackling this deity. -
Notes Listen Contact
October 1, 2017 | Kasey Robinson Plague 5 - ____________________ livestock notes Egyptian gods, Hathor and Apis (cattle gods) Plague 6 - ____________________ AUTHORITY Egyptian gods, Sekhmet, Sunu and Isis (gods over health and disease) Exodus Plague 7 - ____________________ When the child grew older, she took him to Pharaoh’s daughter and he became her son. Egyptian gods, Nut, Osiris, & Set (the sky goddess, the crop fertility god, and the She named him Moses, saying, “I drew him out of the water.” storm god) Exodus 2:10 (NIV) Plague 8 - ____________________ 6Then he said, “I am the God of your father, the God of Abraham, the God of Isaac Egyptian gods, Nut, Osiris and Set and the God of Jacob.” At this, Moses hid his face, because he was afraid to look at God. 7The Lord said, “I have indeed seen the misery of my people in Egypt. I have heard Plague 9 - ____________________ them crying out because of their slave drivers, and I am concerned about their suffering. Egyptian god, Re (god of the son—symbol of pharaoh) 8So I have come down to rescue them from the hand of the Egyptians and to bring them up out of that land into a good and spacious land, a land flowing with milk and honey— Plague 10 - ____________________ of the firstborn 9 the home of the Canaanites, Hittites, Amorites, Perizzites, Hivites and Jebusites. And Egyptian god, Isis (the protector of children) now the cry of the Israelites has reached me, and I have seen the way the Egyptians are oppressing them. 10So now, go.