D. Carlton Rossi: Maat and Mandate of Heaven (玛特与天命)
SUN Meng 孙萌: Mash Mesh Mund
LIU Ping 刘平: The Nut Goddess Reveals Herself
D. Carlton Rossi: Maat and Mandate of Heaven (玛特与天命)
Part II M&M
This is undoubtedly the most important of all the poet-philosopher's I'mages of the Elegant Celestial Giza Series (优雅的天体吉萨系列). To mark the occasion, he has adopted a new name for his calling; namely, "Poe-Phi" (untranslatable).
This poem portrays Nut (盖布) and Geb (盖布) who were primordial cosmic elements (原始宇宙元素) as sibling-consorts of the First Dynasty. They were children of the very first deities known as Shu (air) and Tefnut (moisture). As a woman, Nut is depicted with star-studded skin. She arched over the earth. Her arms and legs touched down at the four cardinal directions. Her fraternal twin was pictured as a man reclining on his back with vegetation covering his body.
They are third generation. This means they were copies of copies of a self-created creator (自我创造的创造者). Their separation by Shu (舒) created the ordered Cosmos (宇宙) out of Chaos (混沌). It brought about the necessary elements for life. This description encapsulates the Heliopolitan creation myth (赫利奥波利斯的创世学说).
The separation of Nut-Geb by her father Shu created the space in which life could exist. The sky was above, the earth was below and the air in between. This established the physical structure of the universe and the daily cycle of the Sun.
Nut played a crucial role in Egyptian belief as the mother who protected the Sun god Ra (太阳神). She swallowed the Sun at night and in the morning gave birth to him at sunrise. Nut was also associated with the dead whom she protected and resurrected.
Maat (𓎼𓄿) is the personification of the essential harmony, order and justice that governs the universe. The separation of Nut-Geb was necessary to establish the cosmic balance or Maat (玛雅特). Without this separation then Chaos would prevail.
On a daily cycle, the sun god Ra sails across Nut's body. He was reborn at each sunrise. The presence of Maat (Ra's daughter) is also dependent on this established order. The journey reinforces the idea that the Cosmos operates according to this divine principle.
Both Maat and the Zhou Dynasty concept of the Mandate of Heaven (天命) are foundational ideas. They link divine authority, moral governance and cosmic order. They stress the ruler's responsibility to maintain stability and justice in society.
Both systems derive their legitimacy from a higher, transcendent power. The pharaoh's right to rule came from the need to uphold Maat or the natural, cosmic order established at creation. In the Mandate of Heaven system, the emperor was granted the right to rule by Heaven (Tian) to ensure order on Earth.
Maat and the Mandate of Heaven involve the ruler's accountability and moral imperative. The pharaoh had to act righteously to ensure the proper function of the state and Cosmos. Failure to uphold Maat meant Chaos. Under Mandate of Heaven, the "wang" (king) had to rule with virtue and prioritize the well-being of the people. Incompetence, corruption or oppressive rule were signs that Tian (天) had withdrawn its favour.
The emphasis of both conceptual systems was on harmony and balance. They must be maintained in the individual, society and at the cosmic level. Maat encompassed truth, justice, balance and harmony. She regulated everything. The goal of the Mandate of Heaven was to achieve social stability and prosperity. The ruler was a bridge between Heaven and Earth.
The former Pole Star (Thuban) is known scientifically today as Alpha Draconis or 11 Draconis (Flamsteed designation). 11 Draconis (图班) is within the Draco Constellation at the dragon's tail. It was important to both the early Egyptian and Chinese civilizations. It appeared to them that the other stars revolved around this particular star as if paying homage and being attracted to it.
However, it may have been best known for the fact that it was a directional star. For example, around 2830 BCE it was within 10 arcminutes of polar true North. At that time, Thuban was known by the Egyptians as head of the serpent. This was during the Second Dynasty of the Early Dynastic Period. This period was just before the Old Kingdom of Egypt (2686 to 2181 BCE) or what is known as the "golden age". It was characterized by a high level of civilization, centralized government and the construction of the great pyramids at Giza.
What really is overlooked (even by me) is that Thuban was the Pole Star from approximately 3942 BCE. This was prior to The Early Dynastic Period which began 3150 BCE to 2686 BCE with the unification of Egypt. To me, the unification of Upper and Lower Egypt symbolized the duality of the Egyptian civilization. Later, in the Old Kingdom, the pharaoh would wear both the Uraeus and the Vulture as symbols of power and authority because they represented a unified Egypt.
Some historians date the start of ancient Egyptian civilization to 4000 BCE; although, cultural development in the Nile Valley started earlier. However, the practical and symbolic importance of Thuban began with the construction of the pyramids aligned to the four directions. Some theories suggest that the North airshafts of the Great Pyramid of Khufu were aligned with Thuban to guide the soul of the pharaoh to the "imperishable stars".
The reader may observe in the Maat and Mandate of Heaven (玛特与天命) sketch that the Big Dipper and Little Dipper stretch out as it were from the Pole Star. In a sense, these asterisms may be regarded as appendages such as arms. They remind Poe-Phi on a micro-scale of the Milky Way on a macro-scale because of the extended arms of this barred, spiral galaxy. Poe-Phi has actually sketched I'mages of these asterisms which resemble pinwheels as does the Milky Way with its central bar, ribbons of stars, as well as gas and dust extending outward.
Basically, the Milky Way has two major arms. Our Solar system is located in a smaller arm called the Orion arm which is located between two larger arms. It has been observed by some ancient Egyptians that the Little Dipper resembles Geb's arm pointing to Nut; one might also interpret this extension through the Poe-Phi I'mage to mean it is actually pointing to her through the former Pole star (Thuban).
In ancient Chinese mythology, the Milky Way was referred to as the "River of Heaven" or the "Silvery River". River of Heaven was 天河 (Tiānhé) while Silvery River was 银河 (Yínhé). Both concepts are with the romantic tale of the Cowherd and the Weaver Girl which developed over a long period. The first reference was in a poem of the Spring and Autumn period (c. 771-476 BCE). Tradition holds Confucius edited an existing collection of poems known today as the Classic of Poetry (Shijing) and edited the historical chronicle known as the Spring and Autumn Annals (Chunqiu).
In ancient Egyptian civilization there was a symbolic connection between the terrestrial Nile River and the celestial river representing the Milky Way. It dates back to at least the Early Dynastic Period. It became a fundamental aspect of their mythology. Later, in the New Kingdom, the Book of Nut which was an astronomical text consolidated earlier knowledge. The sky goddess Nut was associated with the Milky Way. The annual flood of the Nile mirrored the Milky Way which represented eternal life and rebirth.
One common feature of the Chinese and Egyptian myths is the depiction of separated couples. However, the Egyptian myth is about the creation of the world through a forced, permanent separation. On the other hand, the Chinese legend refers to an enduring romantic love that overcomes a temporary annual separation.
Generally speaking, the beliefs of ancient civilizations regarding celestial movements reflect their understanding of the universe based on observation and interpretation of the sky. However, they lacked telescopes and sophisticated observational techniques to comprehend the vast distances between stars. As a result, they concentrated on star patterns rather than individual stars. These patterns were often imbued with cultural, philosophical and religious significance.
Both ancient Egyptian and Chinese civilizations viewed the stars as revolving around fixed points in the sky, such as Thuban (a star in the constellation Draco) which was the North star. It was not understood that this is due to the spinning of the Earth on its axis leading to the apparent movement of stars across the night sky. With respect to our solar system these ancient civilizations also believed the Sun and planets revolved around the Earth. This lead to a "Geocentric Model" of the universe based on the observation that the Sun and stars appear to rise and set around Earth. Both of these models are based on appearances rather than a scientific understanding of celestial mechanics as is expressed by the more modern "Heliocentric Model".
Of course, Poe-Phi was not always a university teacher. He started off as a student at the University of Toronto. He was quite inquisitive and willing to learn. One day, as a first-year student, he snuck into the advanced fourth-year lecture hall of Northrop Frye. Professor Frye was a founding figure in literary criticism and theory. He focused particularly on myths and archetypes as outlined in his book Anatomy of Criticism. (1957) Perhaps it is not an exaggeration to say that in that one lecture the student learned more than he did throughout his entire university studies.
For example, I learned to appreciate the poetry and painting of William Blake. Both as poet and painter, Blake prioritized creative imagination. Northrop Frye was also highly influenced by Blake as outlined in his first book called "Fearful Symmetry". He adapted and expanded on Blake's prophetic poetry which evidenced a unified and systematic internal mythology to create a broader critical method for analyzing all literature. With respect to the Heliopolitan creation myth and other cosmogonies, Frye viewed the chaotic in terms of archetypal patterns of creation and order emerging from a primordial and undifferentiated state.
Both the Egyptian and Chinese civilizations recognize the importance of balance between chaos and order. In Egyptian thought, the concept of Ma'at represents truth and cosmic order while Isfet signifies chaos and disorder. As you see, order and chaos are personified. Similarly, in Chinese thought, the dynamic interplay of Yin (often associated with chaos) and Yang (associated with order) emphasize harmony ad balance as essential for a stable cosmos. To some extent Yin and Yang are personified by the pronouns "she" and "he". They contrast, but present a "complementarity" 互补性.
From the standpoint of literature, Frye might have viewed the Egyptian and Chinese outlooks to establish order out of chaos as an illustration of "demonic parody". He might suggest that the geocentric perspective is a flawed and limited interpretation of greater cosmic truths. The implication is that humans create narratives that mirror deeper, perhaps more chaotic realities.
It might be said from Frye's perspective that these cosmological models which were intended to establish order and meaning can instead be seen as distorting the truth. By grounding societal order in a mistaken understanding of the cosmos, they reflect a parody of genuine order. This raises questions about the nature of authority and legitimacy as built on misunderstandings, thus reinforcing a sense of chaos rather than true harmony.
Frye was regarded as a Canadian literary critic and literary theorist. As such he was considered one of the most influential people of the 20th century. It may be that he was one of the six most quoted individuals on the planet in his heyday. However, critics themselves complained that the structured models he presented of a systematic nature were a limitation that could not adequately address the full diversity and complexity of literature.
It is somewhat ironic that his surname contains the word "North". He used to say that one of his epiphanies came about on his way to the university when he lost direction in the fog. The concept of true celestial North had been important for the Geocentric Model.
One wonders if Frye himself realized that his own model might be outmoded and outdated. It depended heavily, for example, on mythology, archetypes, the Bible and western literature. However, there is the slightest ephemeral and ethereal wisp that he might have been aware things were changing. It can be sourced in a footnote in the 30 volume set of The Collected Works of Northrop Frye: List of Works found at the E. J. Pratt Library of Victoria University, University of Toronto.
https://library.vicu.utoronto.ca
Both civilizations differ in one important aspect concerning the duality of chaos and order. In Egyptian civilization, there is a struggle against chaos in order to maintain cosmic balance. Therein is a tendency to view chaos as a force to be contained or defeated.
In contrast, in Chinese civilization---if one can view it as a continuous process---there is a waxing and waning as one might view the phases of the Moon as expressed in ying-yang philosophy. For example, through struggle of the Warring States period, China was unified under the Qin emperor. However, when it became too big, old and corrupt during the Qing Dynasty its power was reduced with the Qinghai revolution of 1911 led by SUN Yatsen.
Free-Form Series
"uninterpretedanduninterrupted"
The form of this poem is dream-stream of unconsciousness. The location is stated at the beginning of the poem. The [M.E.] is polysemous.
"I stood on dusty road on an arid plain. There lay land of sand with low lying desert plants typical of M. E."
It concludes with the following passage which illustrates the destruction of chaos.
"At our feet was metal coinage of grey-black color. The coins were shaped like pharaonic vultures. The debased coinage piled some twelve inches thick. But the coinage was still alive. We horseless men stamped on the coinage with the heels of our feet to kill our foe. It died."
Banpo Poetry Series
This I'mage shows a continuous balance of chaos and order in the evolution of yin-yang itself leading to its potential form.
The Chinese civilization tends to embrace chaos as an integral aspect of the universe. They recognize the coexistence and interdependence of chaos and order which need to be balanced.
Free-Form Series
The title is 無 whose pinyin version is wú.
It was both written in Chinese and translated into English by Poe-Phi.
The
poem expresses the transformation and transmutation of the five
elements as dance sequences in a unique order different from the
traditional order and in an unique rhyming scheme as a variation of Du
Fu's.
First Stanza
dà liàng fú liè huǒ fā chū
qí lín sì bù xiàng weí xī
xīn nián huǒ bìng bīng qí wǔ
jiǎo rì shí kaī chuàng shàng jí
translation
Nothing
intense fire radiating much blessing
qilin is not like four only west
New Year fire begins to dance with ice
horn eclipse ushers in higher authority
It
may be said that all models are valid until they are not. For example,
the Geocentric Model which was based on appearance posited that the
stars revolved around the fixed point Thuban or the Pole star. The
Heliocentric Model developed by Copernicus highlighted the Sun's central
role in our Solar System with the rotating planets revolving around the
Sun.
The
Heliocentric Model though influenced our understanding of the
precession of the equinoxes. The implication was that the position of
the Pole star changes over millenia. For example, during the Bronze Age,
in particular, both Kolchab and Pherkad in the Little Dipper were at
different times considered as Pole stars. Today, Polaris in the Little
Dipper, is the current Pole Star. Potentially, all seven stars in the
Little Dipper at different times could be considered to be future Pole
stars. And yes, stars in the Big Dipper could become Pole stars in the
future, too. For example, Alioth in 5000 years might become a candidate
for a future Pole Star!
Douglas
Ord recently presented a Phd. public lecture of October 25, 2025. The
title was "Toward a concept of coherence among events, or Columbine
through Deleuze and Deleuze through Columbine". He juxtaposed two quotes
by Deleuze-Guttari and James Joyce. One might say they "mash, mesh and
mund" to express it poetically.
“de
passer de l’une à l’autre suivant un ordre de l’espace et du temps,”
with the referent for “l’une à l’autre” being the word “idées.”
Qu’est-ce que la philosophie? Deleuze-Guttari
“…
every person, place and thing in the chaosmos of Alle anyway connected
with the gobblydumped turkery was moving and changing every part of the
time …”
(James Joyce, Finnegans Wake, Joyce 1975 118)
Both
Joyce and Deleuze-Guttari recognize that neither identities nor
realities are fixed. Joyce see everything in constant motion.
Deleuze-Guttari view entities as transforming continually from one to
another.
Umberto
Eco examines the word "chaosmos" which is a combination of the word
"chaos" and "cosmos". In his book The Aesthetics of Chaosmos, he
expresses the view that there is a symbiotic relationship and back and
forth dynamism between disorder and order. The universe is not a
representation of total confusion (chaos) or an ordered system (cosmos).
It is a dynamic fusion of both.
At
last, I give Chat GPT the final word. It was asked to combine the style
of Vergil and Shakespeare with regard to order and chaos in two
different versions. One would be gentle and the other more forceful.
Furthermore, they had to be in iambic pentameter.
"In vast mund, where stars align and twine,
Chaos yields softly to harmony's glance,
As life spins gently in a cosmic dance,
A balance struck in nature's grand design."
"In swirling chaos, stars begin to clash,
And destinies are tangled in the night.
Yet from the strife, a harmony can rise,
As life unfolds in a grand cosmic dance."
Footnote
1.
"I am old and on the shelf now, and much that is going on I no longer understand"1. Northrop Frye 1985
Northrop Frye's Late Notebooks 1982-1990, Architecture of the Spiritual
World, Volume 5, Notebook 27, Passage 347, Ed. Robert D. Denham,
University of Toronto Press, Toronto: 2000
I am old
old
shelf
that
on
long
I am old and
on the shelf now
and much that
is going on
I no longer understand
I'moldand D N A
onshelfnow no flesh own
going g new g
onIno no I on
understand erst et rest
I o n
on l no
n i o
on I no
l o n
I am old
aNd ON tHe sHelf Now
aNd mucH tHat
is gOing oN I No
lOnger uNder st[H]nd
D. Carlton Rossi 狄·卡尔顿·罗西
copyright 2004-November 26, 2025
Part I
THERE WAS A TIME WHEN MANKIND WAS ATTUNE TO AND AT ONE WITH THE COSMOS
Part III The Arc
LIU Ping 刘平: The Nut Goddess Reveals Herself
The colors in this I'mage as well as the related sketches have been reversed to reflect the duality of Egyptian civilization and culture. The former were black on white. Now, they are white on black which represents better the black sky with white stars that were seen and are now seen. According to myth, though, the finite, celestial firmament of the goddess Nut's sky was like an ocean of dark blue to darker black. The dark black represented the fertile soil of the Nile. Before creation, the primordial, watery abyss of goddess Nun was eternally dark--a swamp. It was considered infinite, formless and boundless.
It may appear to the reader to be a simple "I'mage" or more conventionally what some might call an "image". However, its simplicity belies the seeds of its potential complexity. The ancient Egyptians called our Big Dipper (Ursa Major) as "Meskhetu" or the bull's foreleg. The constellation was also referred to as "Meskhetiu" which means the "striker of the bull" or the "bull". In addition, it was called "Khepesh" which means "thigh" or the "ox" leg.
Meskhetu was a full-fledged Egyptian constellation, even though the Egyptians normally emphasized single stars. This patterned constellation therefore shows its importance. They referred to it and other stars near the North Celestial Pole as the "forever" or indestructible" stars. Since they never set (associated with the god Set) these stars symbolized eternity and the afterlife. These two stars are known as Kochab in the Little Dipper and Mizar in the Big Dipper. Around 2467 BCE, true North was located by drawing an imaginary line between them placing true North between them. The "indestructible" stars influenced the astronomical alignment of pyramids to face due north. Finally, the shape of the constellation was used in rituals such as the Opening-of-the-Mouth ceremony.
In the background of the I'mage of Nut is a square. It order to draw this square, reliance was made on stars of the Big and Little Dippers, but ultimately the square is abstract. To get a more accurate square, seven attempts were made. The difficulty arose because as one side changed position it affected the position of one or more of the other sides. However, eventually, a more accurate template was achieved even though perfection wasn't.
You may recognize that the square is actually an aerial representation of the Great Pyramid of Khufu. A similar pattern can be seen if you fly a drone over the pyramid (if permitted) or a satellite. This I'mage therefore links the Earth with the celestial sky. Therefore, one is looking simultaneously at the terrestrial Great Pyramid of Khufu and its celestial counterpart near Thuban in the heavens.
The pyramid is depicted here as a square (or the base) in two-dimensions to match the two-dimensional portrayal of Nut in the stars or portraits of her on Egyptian murals. However, we have all seen the real three dimensional pyramid. If one considers the time factor when the celestial pyramid was viewed for the first time and when it was last seen by you in this drawing then it may be considered to be in the fourth space-time dimension.
The I'mage of goddess Nut shows the moment she reveals herself to her admirer and believer. The I'mage is comprised of three stars (one of which extends beyond the pyramid). The I'mage is in the shape of a celestial arc. It offers protection and support for humanity. In addition, it provides guidance in the afterlife.
At the end of time, in the context of the Book of the Dead, there are references to Nut (pronounced Newt) transforming into a snake. This transformation symbolizes renewal and rebirth. This aligns with her overarching themes of the sky and regeneration.
Atum and Osiris, at the end of times, remain as the creator god and god of the afterlife respectfully, representing the cycle of life, death and resurrection. Nut's transformation into a snake reflects her role in the cycle symbolizing protection and the potential for renewal. In Chapter 17, Book of the Dead, she represents resurrection as she is often seen arcing over the deceased symbolizing the embrace of the afterlife. The snake imagery reinforces her role as a caretaker during the soul's journey. With regard to transformation, some passages described the deceased as changing or merging with divine entities. Nut's association with a snake signifies the protection she offers during the transformation.
Spell 110 of the Coffin Texts focuses on resurrection. It highlights Nut's association with the afterlife. Here she might appear as a snake which protects the deceased guiding it through the afterlife. Her connection with transformation was also important in these texts. Her depiction as a snake emphasizes her role in cosmic creation and regeneration. The coiled snake symbolizes ceaseless cycle in Egyptian mythology. Nut's serpentine form acts as a guardian for souls transitioning to the afterlife.
Sun Dawu 孙大午: The Uraeus (above)
D. Carlton Rossi: Maat and Mandate of Heaven (玛特与天命) (below)
The Uraeus which is the symbol of authority and sovereignty is dedicated to SUN Dawu. The I'mage suggests it offers protection on Earth as it does in heaven. It could also imply the cyclical nature of life as it safeguards the journey of souls. Since the head of the cobra is in the bowl of the Big Dipper it could stand for nourishment, while its tail in the Little Dipper could mean guidance or direction.
While Ma'at is representative of order and balance in the cosmos, it is Nut who is portrayed in D. Carlton Rossi: Ma'at and Mandate of Heaven (玛特与天命) who is seen as the arc or agreement between Ra-Atum, Shu-Tefnut and Nut-Geb. Goddess Nut is depicted as the firmament representing the universal concept of time. Her form as a snake emphasizes continuity and eternity. Her coiled tail in the bowl of the Big Dipper which overlaps the head of the Uraeus can symbolize the balance of Ma'at between protection (Uraeus) and the finite cosmos (Nut).
Overall, the positioning of their forms relative to the Big and Little Dipper adds a layer of cosmic alignment. It emphasizes humanity's relationship with the stars and how it influences earthly authority and spiritual beliefs. You will notice that the head of the Uraeus is larger than the head of Nut. With respect to philosophy, the depiction reflects profound beliefs in continuity and protection as long as rulers align themselves with the cosmos. Rulers are both earthly and heavenly beings.
Ancient Egyptians equated size with importance. This meant that murals and statues portraying pharaohs were oversized. The representation of the Uraeus with a larger head signifies a stronger, more immediate earthly power that directly impacts the realm of humans. It reflects the pharaoh's role in maintaining terrestrial order. In contrast, Nut's comparatively smaller head may symbolize her cosmic nature which represents overarching truths; as well as, celestial cycles that govern existence beyond immediate reality.
The overlap between the two figures can illustrate how earthly governance (Uraeus/Pharaoh) is entwined with cosmic principle. This dynamic reinforces the belief that rulers act with divine authority. They ensure earthly order aligns with cosmic laws or else.
Once upon a time, not too long ago, Poe-Phi drew and wrote a poem called "Quantity and/or Quality". Basically, it expresses a viewpoint in a parallelogram or a pair of two isosceles triangles joined together. They may resemble pyramids to some extent to some. One might come to the realization that as quantity increases quality decreases proportionately and vice-versa. Ideally, one should seek a balance or harmonization.
Modern science has made great strides from a quantitative, technological perspective. It allows astronomers through telescopes to see nascent galaxies as they were just 100 million years after the Big Bang. On the other hand, particle physicists using the Large Hadron Collider (LHC) are using high energies to explore fundamental science, including conditions similar to those just after the Big Bang. While theoretical models suggest that tiny black holes could form in extremely high energy collisions, it is postulated that they would evaporate almost instantly due to a process called Hawking radiation. Let's hope they are correct.
Astrophysicists are able to calculate the position of distant stars like Thuban using the parallax method. It involves measuring the apparent movement of a nearby star against the background of more distant stars. Obviously, they use our Sun as one of the reference points as seen from two different points in Earth's orbit around the Sun. The baseline of this "triangle" is the diameter of Earth's orbit which is about two astronomical units (AU) or the distance from the Earth to our Sun. As the Earth moves, Thuban appears to shift slightly in position. The angle of the shift is called the parallax angle. Therefore, they conclude that Thuban is 303 light years away from Earth meaning it takes light 303 years to reach our planet.
To measure the distance of stars in our own galaxy, the method of red shift is used. As an object moves away, the light shifts to the red end of the spectrum. The relation between redshift and distance is described by Hubble's Law. This means astronomers can measure the distance between our Sun and the center of our own galaxy called the Milky Way. If stars near the center are moving away from us then their light will show redshift. Red shift directly measures velocities rather than distances; so, this method is supplemented with other methods such as parallax. Scientists can determine that our Sun is about 26,000 light-years away, meaning light takes 26,000 years to reach us.
One might conjecture that many people do not actually spend much time looking up at the stars. They have more immediate concerns. If they do then they perceive the Milky Way as something there and not here. However, the fact is that we are in an arm of that spiral galaxy. We are rotating around the galactic center where there is a supermassive black hole known as Sagittarius A* anchoring the galaxy.
There are many reasons why we are not in-tune with the cosmos. The galaxy's vastness and the distance between stars make it difficult to internalize our position in it. In addition, astronomical knowledge is limited. This lack of understanding can contribute to a feeling of detachment from our galaxy. Science fiction and media often emphasize the isolation of space which reinforces the idea that humans are separate from the cosmos rather than part of it. Many educational systems do not emphasize the relation of the Earth to the Milky Way which could lead to a disconnection. In conclusion, while people may recognize scientifically that Earth is part of the Milky Way, the visceral understanding and emotional acceptance does not prevail.
One must also try not to jump to erroneous conclusions. An illustration will follow. The Great Platonic Year (Great Year) lasts about 25,772 years. This period represents the time it takes for the vernal equinox to complete a full cycle around the ecliptic due to precession of the Earth's axis. This means that Thuban will be roughly in the same position 21,000 years from now as the pole star.
It also happens that Thuban (and our Sun) revolve around the galactic center of the Milky Way in approximately 225 to 250 million years. This period is referred to as "a galactic year" or "cosmic year". The speeds and distances though of Thuban and our Sun vary due to individual locations within the galaxy. Basically, this entire dynamic creates a complex, beautiful dance over vast, cosmic timescales.
However, the relation of the "Great Year" and the "Galactic or Cosmic year" is merely a coincidence. The Great Year is about 25,772 years. The Cosmic Year may be 250 million years. This may be expressed as a ratio of 1 to 10,000. Furthermore, Sagittarius A* is located 26,000 light years from Thuban and the Earth which means another coincidence. Coincidences are coincidentally not uncommon when one considers great distances.
One must keep in mind that the ancient Egyptians were unaware of what modern astronomy reveals. They did not comprehend precession of the equinoxes; although, they may have been aware of the drift of the celestial north pole. They were unaware of the vast distances in the cosmos with respect to light years. They were unaware that Mizer, Kolchab and Thuban had binary companions. The understanding of ancient Egyptians was primarily focused on a stars brightness, its position and mythological significance.
The ancient Egyptians would not be able to designate Thuban as an A-type giant star nor its unseen companion (Thuban B) as a K-type main sequence star. Thuban itself will enter a Red Giant phase in 1 to 2 billion years. It is uncertain how its expansion will affect Thuban B whose orbit could become more distant or unstable. At any rate, Thuban will then shed its outer skin and form a planetary nebula. The remnant core will become a white dwarf which will cool over billions of years. In contrast, our Sun will enter its Red Giant phase in about 5 billion years possibly engulfing Earth. Our Sun is also fated to become a white dwarf. It seems white dwarfs are quite common in our universe.
The concerns of ancient Egyptians were qualitative rather than quantitative. One might say they were more practical than theoretical. They wanted to know when the Nile would flood as measured by the heliacal rising of Sirius and the rising of the Milky Way galaxy. They wanted to know how a deceased person's soul would navigate to the "indestructible stars" or reach the "Field of Reeds". Both stars and constellations along with their associated deities helped the deceased in their journey through the vast expanse of the afterlife to eternity.
The goddess Nut played a pivotal role as protector and guide of the deceased as she represented the canopy of the heavens. Her son Osiris ruled the Duat (underworld) and made sure the deceased were protected against malevolent monsters. It was his responsibility to judge the dead to see if they were worthy of the afterlife. Both Nut and Osiris were central to the idea of resurrection and eternal life. Osiris and Atum would survive the end of time while Nut would transform into a serpent which symbolized the cyclical nature of existence related to the concept of regeneration and rebirth.
D. Carlton Rossi
Macao, 2007
A conjunction of planets refers to an astronomical event where two or more planets appear very close to each other in the sky from the perspective of an observer on Earth. It so happens in the year of my birth, there was a conjunction of planets. In fact, a non-periodic comet also visited our Solar System. As such it travelled beyond the outer planets and does not have a forecasted return. In astronomy, conjunctions are important for studying the positions and movements of planets. In astrology, they are often interpreted as significant events with particular meanings depending on the planets involved. More stress is implied if Jupiter and Saturn are aligned.
A conjunction of celestial objects is a general term used in astronomy to describe an event where two or more celestial objects appear close to each other in the sky from the perspective of an observer on Earth. Conjunctions occur when the angular distance between celestial objects is minimal or even appear to touch or overlap. The objects may be vastly separated in space. For example, conjunctions can involve bright stars or even galaxies.
In the year 2700 BCE, Thuban was the pole star. It is also classified as 11 Draconis (Flamsteed). In that year, Thuban was close to celestial true North. In a short while, the author will demonstrate to you through an I'mage the method the ancient Egyptians used almost five thousand years ago to measure true celestial North. At the moment, he will briefly describe a conjunction of sorts in that very year.
At that time, there was a conjunction of stars and the Milky Way Galaxy. That statement needs to be clarified. There was a relationship between our Sun and Thuban; as well as a relation between Thuban to the galactic center of the Milky Way. It a broad sense, that is classified as a conjunction. As was mentioned a minute ago, a conjunction can involve stars and galaxies.
In the year 2700 BCE, our Sun aligned with Thuban in the sky. They would appear to be close together from an observer's viewpoint on Earth--probably at the location of Heliopolis. This city was close to the Nile, a home to temples and possibly observatories, clear skies and a latitude which allowed for consistent sightings of Thuban and the Dippers.
In turn, Thuban was aligned closer at that time to the galactic center; namely, Sagittarius A* than to other prominent stars in that general area. Basically, there are two conjunctions which together are aligned with the anchor of the Milky Way galaxy. To introduce a subtle distinction, the first conjunction involves stars. The second conjunction involves one of the stars and a celestial point represented by the galaxy's center.
To look at it in another way, the stars appear to the ancient Egyptians to revolve around Thuban. However, the conjunction between Thuban and the galactic center can run both ways. It can also run from the center of the galaxy as seen from Nut's perspective to Thuban and ultimately to our Sun. It is the goddess Nut who provides a canopy over the celestial Nile of the Milky Way, in the Big Dipper she protectively arches over Thuban and the fertile domain of Geb below and finally she daily swallows our Sun to bring about its rebirth as Geb potentially provides seeds for abundant crops with the inundation of the Nile.
The Milky Way was interpreted as a celestial river and representation of the Nile. The ancient Egyptians believed it symbolized the flow of the Nile that was crucial to their agriculture, economy and religious life. This connection also played a role in their agricultural calendary as the inundation of the Nile was vital for sustaining crops.
The Milky Way was often perceived as the "Path of Souls" in their cosmology. They referred to it as "Ikhu" or "Ikhet" which also translates as "the road of the dead". It was believed to represent the route taken by souls during their journey to the afterlife.
Sagittarius' position beneath the Milky Way symbolized a gateway to the Duat or the Egyptian underworld. It was here where the souls of the deceased would undergo judgement and transformation. Sagittarius was associated with the god Osiris of the afterlife and resurrection.
The Milky Way was often perceived as the "Path of Souls" in their cosmology. They referred to it as "Ikhu" or "Ikhet" which also translates as "the road of the dead". It was believed to represent the route taken by souls during their journey to the afterlife.
Sagittarius' position beneath the Milky Way symbolized a gateway to the Duat or the Egyptian underworld. It was here where the souls of the deceased would undergo judgement and transformation. Sagittarius was associated with the god Osiris of the afterlife and resurrection.
Credit: Terence Dickinson ESA: Milky Way Nucleus
In ancient Egypt, the Ikhu (Milky Way) was observed to align vertically particularly around the Summer Solstice which typically falls around June 21. The best time to observe this phenomenon would be from midnight to early morning. It appeared to flow along the same orientation as the Nile which flows from south to north. The flowing appearance of Ikhu was interpreted as symbolically filling the Nile. This act linked the heavens with the fertile lands along the river. One might metaphorically suggest that Ikhu flowed from the south celestial pole toward the north celestial pole near Thuban which is in the constellation Draco. To express it another way, just as the Nile flows south to north, the orientation of Ikhu can be described as extending from the southern hemisphere of the celestial sphere upward toward the north.
By emphasizing Ikhu's flow to the north celestial pole, one emphasizes the relationship between celestial and earthly phenomena. This reinforces ancient Egyptians' beliefs about the cosmos and the afterlife. This metaphorical flow aligns with their agricultural and spiritual practices thereby reflecting continuity and harmony between the earth and heavens. It contributes to the idea that Ikhu is a divine river which facilitates the journey of souls to the afterlife.
The ancient Chinese also referred to the Milky Way as the "Heavenly River" (Tianhe). It symbolizes continuity and the flow of life. It represents a cosmic pathway that connects various realms reinforcing the theme of migration between earth and heaven. Similar to the ancient Egyptians' views of Ikhu, the Heavenly River is seen as a channel for souls and divine beings. It is often associated with journeys in the afterlife.
The concept of the Heavenly River is sometimes tied to thoughts of lineage for ancient Chinese. Its stars are seen as guiding lights to ancestors thereby reinforcing the cyclical view of life and death. The Seven Star Ladies of the Pleiades cluster that form part of the Milky Way are often seen as nurturing ancestral spirits, representing continuity and connection to the divine. Some versions of cosmological myths relate the Milky Way to the Jade Emperor or other heavenly deities overseeing lineages and earthly affairs.
In Chinese astronomy, the Heavenly River was also used for navigation and agricultural planning. It marked seasonal changes and guided farmers in their activities. Astronomy did not specifically link the Heavenly River to either the Huang He (Yellow River) or the Chang Jiang (Yangtze River). Generally, these rivers flooded due to monsoons or spring meltwater.
