JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order
Introduction
If one has the time or inclination to consider the past, then one might look at the Great Pyramid of Giza. Its construction began around 2580 BCE. This marked the beginning of the Old Kingdom which is referred to as the "Age of Pyramids". That was roughly 4600 years ago from the year 2026.
Yet, the Old Kingdom had begun with the Third Dynasty (2686 to 2613 BCE). The closeness of the celestial north pole to Thuban (Alpha Draconis) around 2700 BCE was an important marker in terms of navigation and celestial observation at the start of the Third Dynasty. Actually, Thuban had been well-positioned as the pole star since 3900 BCE and until 1800 BCE. Its association with stability and permanence would have resonated with the ancient Egyptians during this time.
The year 2700 BCE, metaphorically and metaphysically marked the beginning of the Third Dynasty. Thuban's close proximity to the the celestial north pole symbolized a direct connection between the heavens and the earthly realm. It bestowed divine endorsement upon pharaohs, reinforcing their authority.
The stability represented by Thuban's position also reflected the ideals of order and harmony in ancient Egyptian society. The pharaohs were viewed as the earthly embodiment of cosmic order. This celestial association reinforced their role establishing balance in both the physical and metaphysical realms.
If one has the time or inclination to consider the past, then one might look at the Great Pyramid of Giza. Its construction began around 2580 BCE. This marked the beginning of the Old Kingdom which is referred to as the "Age of Pyramids". That was roughly 4600 years ago from the year 2026.
Yet, the Old Kingdom had begun with the Third Dynasty (2686 to 2613 BCE). The closeness of the celestial north pole to Thuban (Alpha Draconis) around 2700 BCE was an important marker in terms of navigation and celestial observation at the start of the Third Dynasty. Actually, Thuban had been well-positioned as the pole star since 3900 BCE and until 1800 BCE. Its association with stability and permanence would have resonated with the ancient Egyptians during this time.
The year 2700 BCE, metaphorically and metaphysically marked the beginning of the Third Dynasty. Thuban's close proximity to the the celestial north pole symbolized a direct connection between the heavens and the earthly realm. It bestowed divine endorsement upon pharaohs, reinforcing their authority.
The stability represented by Thuban's position also reflected the ideals of order and harmony in ancient Egyptian society. The pharaohs were viewed as the earthly embodiment of cosmic order. This celestial association reinforced their role establishing balance in both the physical and metaphysical realms.
Background
The monumental architecture of the Third Dynasty can be seen as a reflection of this celestial influence. For example, the Six-Step Pyramid of Djoser marks a significant transition from traditional "mastaba" tombs to more monumental structures. In traditional "mastabas", the burial chamber could be located just below the flat roof. However, in the Step Pyramid, the burial chamber is situated deep within the pyramid beneath the surface level.
The author interprets this design to be figuratively a Seven-Step Pyramid. The pharaoh is buried deep beneath the ground. His first step therefore is rebirth. Each step taken upward can be viewed as a progression towards ascension and unity with the divine . The step-like architecture laid the groundwork for the Great Pyramid's point, since it was interpreted as reaching toward the heavens and the indestructible star Thuban.
The reader might be surprised to learn that the Great Pyramid of Giza has eight layers or steps. In a geometric series, each term after the first is found by multiplying the previous term by a fixed ratio non-zero number (eg .7) called the common ratio. This leads to a rapid decay depending on the common ratio; although, adjustments are made along the way for structural purposes.
A brief comment on the Egyptian numbering system. In hieroglyphics, each symbol carries a phonetic value and symbolic meaning. The number one is a horizontal line. It can symbolize stability and balance. Therefore, the number six is represented by six-stacked ones.
There is no symbol for zero in the Old Kingdom. They focused more on counting and practical mathematics. No placeholder exists for the absence of a quantity. The meaning and value were derived from the arrangement and grouping of the existing numbers.
The lack of zero in ancient Egyptian mathematics suggests that they emphasized quality over quantity in using numbers. The Egyptians used numbers for practical purposes such as trade, measuring land, taxation and construction. Their mathematics was connected to everyday life emphasizing quality in measurements and calculations rather than theoretical concepts of emptiness. Secondly, in a cultural sense, numbers were often linked to divine or qualitative values. In summary, they developed one of the first fully developed numeric systems characterized by the absence of the number zero.
The angle at which sunlight strikes a surface (angle of incidence) significantly impacts the amount of light reflected. Generally, a pyramid with a 60 degree angle similar to the Step Pyramid would reflect less light compared to a pyramid of 51.5 degrees like the Great Pyramid of Giza if covered in similar reflective material. For steeper angles like 60 degrees, sunlight strikes the surface at a more intense angle throughout the day, especially at sunrise and sunset, leading to greater absorption and less reflection. Throughout the course of the day, the more sophisticated 51.5 degree pyramid would tend to reflect more light due to its geometry.
The angle of 51.5 degrees for the Great Pyramid of Giza is close to the optimal angle for maximizing sunlight reflection, particularly given its geographic location. However, determining "optimal" angle depends on several factors. The first factor is location. This pyramid is located at about 30 degrees latitude. This means it would strike a balance for solar exposure throughout different seasons. Regarding reflection dynamics, angles close to 45 degrees can also reflect a substantial amount of light, but they may not accommodate the structural stability and aesthetic qualities desired in such monumental architecture. The chosen angle of 51.5 degrees represents a compromise between optimal sunlight reflection and the structural integrity requirements.
The design, orientation and angle are often interpreted as supporting the solar cult in ancient Egypt. The ancient Egyptians worshiped the sun god Ra who was central to their cosmology. The structure of the pyramid sought to reflect this reverence.
Background
The monumental architecture of the Third Dynasty can be seen as a reflection of this celestial influence. For example, the Six-Step Pyramid of Djoser marks a significant transition from traditional "mastaba" tombs to more monumental structures. In traditional "mastabas", the burial chamber could be located just below the flat roof. However, in the Step Pyramid, the burial chamber is situated deep within the pyramid beneath the surface level.
The author interprets this design to be figuratively a Seven-Step Pyramid. The pharaoh is buried deep beneath the ground. His first step therefore is rebirth. Each step taken upward can be viewed as a progression towards ascension and unity with the divine . The step-like architecture laid the groundwork for the Great Pyramid's point, since it was interpreted as reaching toward the heavens and the indestructible star Thuban.
The reader might be surprised to learn that the Great Pyramid of Giza has eight layers or steps. In a geometric series, each term after the first is found by multiplying the previous term by a fixed ratio non-zero number (eg .7) called the common ratio. This leads to a rapid decay depending on the common ratio; although, adjustments are made along the way for structural purposes.
A brief comment on the Egyptian numbering system. In hieroglyphics, each symbol carries a phonetic value and symbolic meaning. The number one is a horizontal line. It can symbolize stability and balance. Therefore, the number six is represented by six-stacked ones.
There is no symbol for zero in the Old Kingdom. They focused more on counting and practical mathematics. No placeholder exists for the absence of a quantity. The meaning and value were derived from the arrangement and grouping of the existing numbers.
The lack of zero in ancient Egyptian mathematics suggests that they emphasized quality over quantity in using numbers. The Egyptians used numbers for practical purposes such as trade, measuring land, taxation and construction. Their mathematics was connected to everyday life emphasizing quality in measurements and calculations rather than theoretical concepts of emptiness. Secondly, in a cultural sense, numbers were often linked to divine or qualitative values. In summary, they developed one of the first fully developed numeric systems characterized by the absence of the number zero.
The angle at which sunlight strikes a surface (angle of incidence) significantly impacts the amount of light reflected. Generally, a pyramid with a 60 degree angle similar to the Step Pyramid would reflect less light compared to a pyramid of 51.5 degrees like the Great Pyramid of Giza if covered in similar reflective material. For steeper angles like 60 degrees, sunlight strikes the surface at a more intense angle throughout the day, especially at sunrise and sunset, leading to greater absorption and less reflection. Throughout the course of the day, the more sophisticated 51.5 degree pyramid would tend to reflect more light due to its geometry.
The angle of 51.5 degrees for the Great Pyramid of Giza is close to the optimal angle for maximizing sunlight reflection, particularly given its geographic location. However, determining "optimal" angle depends on several factors. The first factor is location. This pyramid is located at about 30 degrees latitude. This means it would strike a balance for solar exposure throughout different seasons. Regarding reflection dynamics, angles close to 45 degrees can also reflect a substantial amount of light, but they may not accommodate the structural stability and aesthetic qualities desired in such monumental architecture. The chosen angle of 51.5 degrees represents a compromise between optimal sunlight reflection and the structural integrity requirements.
The design, orientation and angle are often interpreted as supporting the solar cult in ancient Egypt. The ancient Egyptians worshiped the sun god Ra who was central to their cosmology.
A) The pyramid shape itself is thought to symbolize the rays of the Sun and its association with the divine. This connection aligns with the ideas of rebirth and resurrection.
B) The Great Pyramid is oriented precisely along the cardinal points of north-south-east-west which aligns with the Sun's movement. This reflects and facilitates solar worship, emphasizing the cycle of death and rebirth associated with the sun.
C) The polished limestone casing that once covered the pyramid would have reflected sunlight, creating a brilliant shining effect, likened to a "gem" or "sunstone". The angle of the pyramid would also represent the symbolic path to the afterlife. At night, the pyramid would reflect light of the full Moon or be lit for ceremonial purposes. However, the light of the day symbolized life and creation; while, conversely, darkness represented chaos and the unknown.
Nut may be conceived as The Big Dipper. Yet, as the Big Dipper, she is part of all the stars and heavenly bodies. For example, her body as an arched dome includes the stars and other features of the Milky Way.
Whether Nut is portrayed as a flat or arched 2D image in the Big Dipper or the Milky Way, she represents a finite boundary. As such, she is a protector and nurturer within that boundary. She complements Ma'at who in general stands for balance and harmony, but specifically stands for cosmic order, justice and truth as well as moral integrity and ethical behaviour.
The ancient Egyptians viewed the earth as flat and finite. It seems it was believed that a plane of finite, flat water extended in an orderly way to the Milky Way. Beyond the Milky Way was a infinite sea which was the realm of Nun representing chaos and disorder.
While the earth is flat, it is protected by Nut who can be seen in the I'mage of the Big Dipper as arching over the flat earth. Her overarching dome protects the earth and Geb who is her consort and brother. One might say that the dome of the Big Dipper extends to the Milky Way (somewhat as the Nile River might extend to the celestial river). As an arched dome, it protects sailors navigating a relatively flat sea and the solar barque presumably on the flat celestial river. Their conception of the universe may have included both flat and dome-like elements allowing for a blend of reality and symbolism.
The Milky Way was viewed as a celestial river. It is either an extension of the Nile or a reflection of the Nile. If it is an extension of the Nile one would assume it extends northward. This does not mean the Milky Way is the physical source, but rather a symbolic source of guidance, nourishment and order in the cosmos.
As a celestial reflection of the Nile, the celestial river was a symbolic representation in many ways. This correlation was important because the Nile was vital for agriculture and also for timing of the flooding crucial for agricultural cycles. The celestial river was also referred to as the "Winding Waterway of the Gods." The sun god Ra travelled during the night in his divine journey on the heavenly river. The river was viewed seasonally in different contexts. In winter it was viewed as Nut's outstretched arms guiding souls; while in summer, it resembled her backbone emphasizing her protective role over earth.
Whether the celestial Nile is an extension or reflection of the Nile does not mean these concepts are mutually exclusive. In fact, they are complementary. Viewing the Milky Way as an extension suggests a direct and physical relationship. The Milky Way continues the earthly Nile into the heavens symbolizing continuity between terrestrial life and the divine. On the other hand, seeing the Milky Way as a reflection emphasizes a metaphorical or symbolic connection. This interpretation highlights how the celestial aspect mirrors the significance of the Nile by capturing its essence in a spiritual context.
Both interpretations underline the importance of the Nile River in Egyptian life and its influence on spiritual beliefs. They illustrate the Egyptians' holistic understanding of the universe wherein the earthly and celestial realms are intricately intertwined. Egyptian mythology often blended literal and symbolic views. The cosmological narratives were rich and multilayered allowing for various interpretations that coexisted within their religious and cultural framework.
Nut may be conceived as The Big Dipper. Yet, as the Big Dipper, she is part of all the stars and heavenly bodies. For example, her body as an arched dome includes the stars and other features of the Milky Way.
Whether Nut is portrayed as a flat or arched 2D image in the Big Dipper or the Milky Way, she represents a finite boundary. As such, she is a protector and nurturer within that boundary. She complements Ma'at who in general stands for balance and harmony, but specifically stands for cosmic order, justice and truth as well as moral integrity and ethical behaviour.
The ancient Egyptians viewed the earth as flat and finite. It seems it was believed that a plane of finite, flat water extended in an orderly way to the Milky Way. Beyond the Milky Way was a infinite sea which was the realm of Nun representing chaos and disorder.
While the earth is flat, it is protected by Nut who can be seen in the I'mage of the Big Dipper as arching over the flat earth. Her overarching dome protects the earth and Geb who is her consort and brother. One might say that the dome of the Big Dipper extends to the Milky Way (somewhat as the Nile River might extend to the celestial river). As an arched dome, it protects sailors navigating a relatively flat sea and the solar barque presumably on the flat celestial river. Their conception of the universe may have included both flat and dome-like elements allowing for a blend of reality and symbolism.
The Milky Way was viewed as a celestial river. It is either an extension of the Nile or a reflection of the Nile. If it is an extension of the Nile one would assume it extends northward. This does not mean the Milky Way is the physical source, but rather a symbolic source of guidance, nourishment and order in the cosmos.
As a celestial reflection of the Nile, the celestial river was a symbolic representation in many ways. This correlation was important because the Nile was vital for agriculture and also for timing of the flooding crucial for agricultural cycles. The celestial river was also referred to as the "Winding Waterway of the Gods." The sun god Ra travelled during the night in his divine journey on the heavenly river. The river was viewed seasonally in different contexts. In winter it was viewed as Nut's outstretched arms guiding souls; while in summer, it resembled her backbone emphasizing her protective role over earth.
Whether the celestial Nile is an extension or reflection of the Nile does not mean these concepts are mutually exclusive. In fact, they are complementary. Viewing the Milky Way as an extension suggests a direct and physical relationship. The Milky Way continues the earthly Nile into the heavens symbolizing continuity between terrestrial life and the divine. On the other hand, seeing the Milky Way as a reflection emphasizes a metaphorical or symbolic connection. This interpretation highlights how the celestial aspect mirrors the significance of the Nile by capturing its essence in a spiritual context.
Both interpretations underline the importance of the Nile River in Egyptian life and its influence on spiritual beliefs. They illustrate the Egyptians' holistic understanding of the universe wherein the earthly and celestial realms are intricately intertwined. Egyptian mythology often blended literal and symbolic views. The cosmological narratives were rich and multilayered allowing for various interpretations that coexisted within their religious and cultural framework.
"JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order"
The I'mage called "JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order" is the result of an evolutionary process which has been documented in this thesis. It began with the goddess Nut revealing herself through the arc of three stars. Then, in a series of I'mages which became more complex and replete with meaning, it culminated in the present I'mage with overlapping symbolism. In a dynamic way, though, the I'mage points to an epiphanic structure or instantaneous revelatory breakthrough.
The viewer will notice that the aerial, pyramidal design appears to be absent. It is simply hidden. This allows the viewer to concentrate on the I'mage presented. It does not undermine its integral importance whether visible or invisible.
The I'mage called "JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order" is the result of an evolutionary process which has been documented in this thesis. It began with the goddess Nut revealing herself through the arc of three stars. Then, in a series of I'mages which became more complex and replete with meaning, it culminated in the present I'mage with overlapping symbolism. In a dynamic way, though, the I'mage points to an epiphanic structure or instantaneous revelatory breakthrough.
The viewer will notice that the aerial, pyramidal design appears to be absent. It is simply hidden. This allows the viewer to concentrate on the I'mage presented. It does not undermine its integral importance whether visible or invisible.
THEMES
I Creation
THEMES
I Creation
II Rebirth
III Lotus
IV Dispersion and Coherence
V Triangulation
VI The Age of Aquarius
I Creation
I Creation
Let us begin by exploring the idea of creation as an ancient Egyptian belief shown in the I'mage. It was conceived that the god Nun represented the uncreated, inert and infinite. Nun was found in the swamps and often depicted as a frog, frog-headed man or bearded old man. However, one might say the building blocks of life were found in the swamps and at the source.
It reminds Poe-Phi of a seminal book on the origin and evolution of life in the cosmos. It was called "Intelligent Life in the Universe" (1966) and written by Carl Sagan and astrophysicist I.S. Shklovskii. It so happens that the author attended a lecture by Sagan at the University of Toronto. He discussed the "primordial soup" as the central component of the Oparin-Haldane hypothesis. It was given experimental support through the Miller-Urey experiment (1953) which successfully synthesized the compounds necessary for life by simulating these precise primordial conditions in the laboratory. Since then the idea has been expanded to include thermal vents and meteorites.
The blackness (Kem) of the infinite space beneath the Big Dipper was a positive color. It symbolized the primordial waters before creation or the potential for all things in an infinite void. They were the waters of Nun. His waters were the source of the Nile.
While Nun was often associated with chaos; nevertheless, he had a positive side unlike Apep who was pure destruction. For example, Nun protected Shu and Tefnut from demonic snakes. According to one myth, he advised Nut to transform herself into a solar cow and carry Ra across the sky.
Let us begin by exploring the idea of creation as an ancient Egyptian belief shown in the I'mage. It was conceived that the god Nun represented the uncreated, inert and infinite. Nun was found in the swamps and often depicted as a frog, frog-headed man or bearded old man. However, one might say the building blocks of life were found in the swamps and at the source.
It reminds Poe-Phi of a seminal book on the origin and evolution of life in the cosmos. It was called "Intelligent Life in the Universe" (1966) and written by Carl Sagan and astrophysicist I.S. Shklovskii. It so happens that the author attended a lecture by Sagan at the University of Toronto. He discussed the "primordial soup" as the central component of the Oparin-Haldane hypothesis. It was given experimental support through the Miller-Urey experiment (1953) which successfully synthesized the compounds necessary for life by simulating these precise primordial conditions in the laboratory. Since then the idea has been expanded to include thermal vents and meteorites.
The blackness (Kem) of the infinite space beneath the Big Dipper was a positive color. It symbolized the primordial waters before creation or the potential for all things in an infinite void. They were the waters of Nun. His waters were the source of the Nile.
While Nun was often associated with chaos; nevertheless, he had a positive side unlike Apep who was pure destruction. For example, Nun protected Shu and Tefnut from demonic snakes. According to one myth, he advised Nut to transform herself into a solar cow and carry Ra across the sky.
II Rebirth
II Rebirth
In contrast, Nut is the realization of the potential that existed before creation. She represents the structured, life-giving sky that cycles life and death daily. As such, she swallows the Sun and gives birth to it on a continuing basis.
Nut also plays a protective role to the deceased in the afterlife. The "Opening of the Mouth" ceremony (Wikipedia), centered on the powerful Egyptian belief in the cyclicality of death and rebirth. This ceremony was a practical funerary ritual to reanimate the deceased's physical senses. The mummy's journey through the Duat mirrored the Sun's nightly passage through Nut's body.
Nut arches over creation to protect it from chaos. On a daily basis, her celestial waters of the sky support the solar barque as it sails. Those waters are blue because they are the surface of Nun's waters. Her waters also signal a transition from a state of chaos (black) to a state of order (blue). The inundation of the Nile takes place on an ordered basis with the heliacal rising of bright Sirius. Those waters bring black, fertile silt to the flood plain.
III Lotus
i. Creation
In contrast, Nut is the realization of the potential that existed before creation. She represents the structured, life-giving sky that cycles life and death daily. As such, she swallows the Sun and gives birth to it on a continuing basis.
Nut also plays a protective role to the deceased in the afterlife. The "Opening of the Mouth" ceremony (Wikipedia), centered on the powerful Egyptian belief in the cyclicality of death and rebirth. This ceremony was a practical funerary ritual to reanimate the deceased's physical senses. The mummy's journey through the Duat mirrored the Sun's nightly passage through Nut's body.
Nut arches over creation to protect it from chaos. On a daily basis, her celestial waters of the sky support the solar barque as it sails. Those waters are blue because they are the surface of Nun's waters. Her waters also signal a transition from a state of chaos (black) to a state of order (blue). The inundation of the Nile takes place on an ordered basis with the heliacal rising of bright Sirius. Those waters bring black, fertile silt to the flood plain.
III Lotus
i. Creation
The Lotus flower held significant symbolic meaning in Old Kingdom Egypt. It is often associated with the creation myth of the Nile River. The flower was believed to emerge from the primordial waters at the time of creation. The association linked the flower to the beginning of life. The flower is depicted with long stem in the above image.
ii. Rebirth
The Lotus flower held significant symbolic meaning in Old Kingdom Egypt. It is often associated with the creation myth of the Nile River. The flower was believed to emerge from the primordial waters at the time of creation. The association linked the flower to the beginning of life. The flower is depicted with long stem in the above image.
ii. Rebirth
The Lotus did not supplant the rising of the Sun in the east above the horizon, but rather supplemented it. The Lotus arises out of the water and opens to the Sun. It also mirrors the journey of the Sun god Ra. At night, it closes as the Sun enters the underworld. Furthermore, in many myths, the Sun god rose from the Lotus.
Both Nun and Nut are progenitors. Nun is the "father of Ra/Atum" while Nut is the "mother of the subsequent generation of major gods (Osiris, Isis, Seth and Nephthys). She is also the mother of the Sun itself. In this I'mage, the Sun is in the triangular womb of Nut.
The god Nun and goddess Nut in their complementary roles are associated with the Lotus. Nun sometimes wears a Lotus crown reflecting the view of creation rising from the chaotic waters. Nut may wear a crown adorned with Lotus flowers. It signifies her role in nurturing life. It also shows the essential connection between the blue waters of the sky and the black waters of the abyss below. Finally, Ma'at was frequently represented with a crown that included feathers and in some depictions Lotus flowers. The fact that Nun, Nut and Ma'at were shown wearing crowns of Lotus flowers visually integrates the concepts of creation, rebirth and cosmic order within ancient Egyptian belief systems.
The Lotus flower was not only a powerful symbol of the Sun and creation for goddesses, but also for queens. Nefertiti is often depicted wearing a crown adorned with Lotus flowers. In many of her statues and wall reliefs, Nefertiti is shown with a headdress including iconic crown embellished with lotus designs or motifs. The beautiful Nefertiti with long slender neck was Akhenaten's wife.
This particular pharaoh emphasized worship of the Sun god Aten (not to be confused with Atum or creator) by moving away from polytheistic practices. One can see that the word "aten" is part of his name. Akhenaten is depicted with headdress that may include lotus motifs. These scenes emphasize his connection to the Sun god Aten. The lotus therefore enhanced his royal and divine imagery.
As a pharaoh, he is remembered for several reasons. First, he introduced a distinctive change in art and architecture. It was more naturalistic and expressive. His new capital city called Akhenaten is under intense archeological study and new finds have been discovered. His radical shift to monotheism fascinates historians and scholars. Finally, the strong attempts to erase his memory only added to his mystique. His final resting place and that of Nefertiti have not definitively been identified with certainty. However, Zahi Hawass who is Egypt's chief archeologist said most recently that the discovery of Nefertiti's tomb is imminent.
Both Akhenaten and Nefertiti were often depicted together wearing crowns that feature lotus flowers or motifs in artwork. This is evident in reliefs and statues from their reign. This further emphasizes their union and shared role in the religious reforms of the period.
The Lotus did not supplant the rising of the Sun in the east above the horizon, but rather supplemented it. The Lotus arises out of the water and opens to the Sun. It also mirrors the journey of the Sun god Ra. At night, it closes as the Sun enters the underworld. Furthermore, in many myths, the Sun god rose from the Lotus.
Both Nun and Nut are progenitors. Nun is the "father of Ra/Atum" while Nut is the "mother of the subsequent generation of major gods (Osiris, Isis, Seth and Nephthys). She is also the mother of the Sun itself. In this I'mage, the Sun is in the triangular womb of Nut.
The god Nun and goddess Nut in their complementary roles are associated with the Lotus. Nun sometimes wears a Lotus crown reflecting the view of creation rising from the chaotic waters. Nut may wear a crown adorned with Lotus flowers. It signifies her role in nurturing life. It also shows the essential connection between the blue waters of the sky and the black waters of the abyss below. Finally, Ma'at was frequently represented with a crown that included feathers and in some depictions Lotus flowers. The fact that Nun, Nut and Ma'at were shown wearing crowns of Lotus flowers visually integrates the concepts of creation, rebirth and cosmic order within ancient Egyptian belief systems.
The Lotus flower was not only a powerful symbol of the Sun and creation for goddesses, but also for queens. Nefertiti is often depicted wearing a crown adorned with Lotus flowers. In many of her statues and wall reliefs, Nefertiti is shown with a headdress including iconic crown embellished with lotus designs or motifs. The beautiful Nefertiti with long slender neck was Akhenaten's wife.
This particular pharaoh emphasized worship of the Sun god Aten (not to be confused with Atum or creator) by moving away from polytheistic practices. One can see that the word "aten" is part of his name. Akhenaten is depicted with headdress that may include lotus motifs. These scenes emphasize his connection to the Sun god Aten. The lotus therefore enhanced his royal and divine imagery.
As a pharaoh, he is remembered for several reasons. First, he introduced a distinctive change in art and architecture. It was more naturalistic and expressive. His new capital city called Akhenaten is under intense archeological study and new finds have been discovered. His radical shift to monotheism fascinates historians and scholars. Finally, the strong attempts to erase his memory only added to his mystique. His final resting place and that of Nefertiti have not definitively been identified with certainty. However, Zahi Hawass who is Egypt's chief archeologist said most recently that the discovery of Nefertiti's tomb is imminent.
Both Akhenaten and Nefertiti were often depicted together wearing crowns that feature lotus flowers or motifs in artwork. This is evident in reliefs and statues from their reign. This further emphasizes their union and shared role in the religious reforms of the period.
IV DISPERSION AND COHERENCE
The I'mage called JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order is the outcome of a dynamic, evolutionary development. One might say its focus is the rising Sun out of the rising lotus flower. In a more general sense, the Sun and flower represent physical light and spiritual enlightenment.
In order to avoid confusion, traditional representations of Nut and Shu will be described. Nut appears as a 2D overriding arch representing the sky. Some scholars suggest that ancient Egyptians may have seen the central band of the Milky Way as a celestial depiction of Nut. Its role in guiding navigators and marking seasons would have made it a significant part of their agricultural and daily life, reinforcing its connection to their mythology.
Other scholars propose the ancient Egyptians may have viewed the Big Dipper as a celestial representation of the sky goddess. The Big Dipper's stars form a recognizable cluster. The visibility of these stars and their movement guided agricultural practices, further embedding them in their cultural and spiritual life. Since Nut was believed to embody the entire cosmos which included stars and other phenomena both views concerning the Milky Way and Big Dipper are plausible and not necessarily mutually exclusive.
At this time, the poet is focusing on the Big Dipper. One reason is that individual stars are more easily identified by the naked eye in the Big Dipper as opposed to the Milky Way. One can say generally that the ancient Egyptians may have seen the central band of the Milky Way to be her body as arching protectively over the flat earth. However, in what we call the Big Dipper, seven individual stars can be seen and identified. They, too, could have been viewed by ancient Egyptians as Nut's body overarching in a nurturing and protective way over the earth.
The poet has identified and depicted the Big Dipper as Nut. Both are the sky. Shu's arms hold up the sky. However, the poet's latest sketches illustrate how Shu's arms and Nut's arms and legs overlap. In doing so, it reinforces the arch concept by focusing it on Polaris.
Specifically, if Shu is facing toward the viewer then his right arm or two supports are equivalent to Nut's two legs. His left arm with two supports as seen from the viewer's perspective, are equivalent to Nut's two arms. This means that both Nut and Shu have four supports.
Shu is holding Nut and Geb apart to create an atmosphere of air which is necessary for life. This effectively means he is holding the Big and Little Dipper apart. It is a mutual agreement as illustrated because arms and legs overlap. As Nut is represented by the Big Dipper, Geb stands for the Little Dipper. The entire Little Dipper lays flat with either his hand extended to Nut or his ithyphallus (similar to Osiris) also extended and expanded.
With respect to light, Dubhe and Merak on the left are aligned with the bright Polaris. In the center, one might envision a Phekda-Polaris axis (Creation, Rebirth and Cosmic Order) or an expanded crystalline structure with a Megrez-Polaris axis (The Peach Tree). On the right, is a vertex at Mizar or Alioth respectively which projects to Polaris. It seems though that in both scenarios the womb containing the Sun is linked to Phekda or Megrez respectively. The swallowing of the Sun is associated in both scenarios with Mizar.
All in all, in the first scenario (Phekda-Polaris axis), there are four stars in the Big Dipper which act as vertices which point to Polaris. The total number of vertices, which includes Polaris, is five. This number of vertices corresponds to that of a pyramid with four at the corners and one at the apex. However, this similarity only suggests that there may be a relation of Polaris as apex of a celestial pyramid with the apex of the actual pyramid, but this it is definitively inconclusive.
The next evolutionary step is the I'mage called Mao, Hong: The Peach Tree 毛 洪 桃树. This is a long way from what was originally just three stars representing the arc of Nut. The I'mage is positioned vertically for the ease of a viewer's orientation. With a wider perspective, a 3D representation is more prominent. It is now abundantly obvious that all seven stars of the Big Dipper are connected to Polaris totalling eight vertices.
This version of a celestial pyramid may suggest an eight-sided structure. It so happens that various sources explore the indentations of the sides of the Great Pyramid of Giza that create an eight-sided appearance. It is visible especially during sunrise and sunset on the "spring and autumn equinoxes". For source and author, refer to "The Eight Faces of the Great Pyramid of Giza". The author is Reuben Westmaas. It was also published on the Discovery Channel on August 1, 2019 under the link [The Eight Faces of the Great Pyramid of Giza].
discovery.com/exploration/Eight-Faces-Great-Pyramid-Giza
The I'mage called JI WEI LIAN 纪玮莲: Creation, Rebirth and Cosmic Order is the outcome of a dynamic, evolutionary development. One might say its focus is the rising Sun out of the rising lotus flower. In a more general sense, the Sun and flower represent physical light and spiritual enlightenment.
In order to avoid confusion, traditional representations of Nut and Shu will be described. Nut appears as a 2D overriding arch representing the sky. Some scholars suggest that ancient Egyptians may have seen the central band of the Milky Way as a celestial depiction of Nut. Its role in guiding navigators and marking seasons would have made it a significant part of their agricultural and daily life, reinforcing its connection to their mythology.
Other scholars propose the ancient Egyptians may have viewed the Big Dipper as a celestial representation of the sky goddess. The Big Dipper's stars form a recognizable cluster. The visibility of these stars and their movement guided agricultural practices, further embedding them in their cultural and spiritual life. Since Nut was believed to embody the entire cosmos which included stars and other phenomena both views concerning the Milky Way and Big Dipper are plausible and not necessarily mutually exclusive.
At this time, the poet is focusing on the Big Dipper. One reason is that individual stars are more easily identified by the naked eye in the Big Dipper as opposed to the Milky Way. One can say generally that the ancient Egyptians may have seen the central band of the Milky Way to be her body as arching protectively over the flat earth. However, in what we call the Big Dipper, seven individual stars can be seen and identified. They, too, could have been viewed by ancient Egyptians as Nut's body overarching in a nurturing and protective way over the earth.
The poet has identified and depicted the Big Dipper as Nut. Both are the sky. Shu's arms hold up the sky. However, the poet's latest sketches illustrate how Shu's arms and Nut's arms and legs overlap. In doing so, it reinforces the arch concept by focusing it on Polaris.
Specifically, if Shu is facing toward the viewer then his right arm or two supports are equivalent to Nut's two legs. His left arm with two supports as seen from the viewer's perspective, are equivalent to Nut's two arms. This means that both Nut and Shu have four supports.
Shu is holding Nut and Geb apart to create an atmosphere of air which is necessary for life. This effectively means he is holding the Big and Little Dipper apart. It is a mutual agreement as illustrated because arms and legs overlap. As Nut is represented by the Big Dipper, Geb stands for the Little Dipper. The entire Little Dipper lays flat with either his hand extended to Nut or his ithyphallus (similar to Osiris) also extended and expanded.
With respect to light, Dubhe and Merak on the left are aligned with the bright Polaris. In the center, one might envision a Phekda-Polaris axis (Creation, Rebirth and Cosmic Order) or an expanded crystalline structure with a Megrez-Polaris axis (The Peach Tree). On the right, is a vertex at Mizar or Alioth respectively which projects to Polaris. It seems though that in both scenarios the womb containing the Sun is linked to Phekda or Megrez respectively. The swallowing of the Sun is associated in both scenarios with Mizar.
All in all, in the first scenario (Phekda-Polaris axis), there are four stars in the Big Dipper which act as vertices which point to Polaris. The total number of vertices, which includes Polaris, is five. This number of vertices corresponds to that of a pyramid with four at the corners and one at the apex. However, this similarity only suggests that there may be a relation of Polaris as apex of a celestial pyramid with the apex of the actual pyramid, but this it is definitively inconclusive.
The next evolutionary step is the I'mage called Mao, Hong: The Peach Tree 毛 洪 桃树. This is a long way from what was originally just three stars representing the arc of Nut. The I'mage is positioned vertically for the ease of a viewer's orientation. With a wider perspective, a 3D representation is more prominent. It is now abundantly obvious that all seven stars of the Big Dipper are connected to Polaris totalling eight vertices.
This version of a celestial pyramid may suggest an eight-sided structure. It so happens that various sources explore the indentations of the sides of the Great Pyramid of Giza that create an eight-sided appearance. It is visible especially during sunrise and sunset on the "spring and autumn equinoxes". For source and author, refer to "The Eight Faces of the Great Pyramid of Giza". The author is Reuben Westmaas. It was also published on the Discovery Channel on August 1, 2019 under the link [The Eight Faces of the Great Pyramid of Giza].
discovery.com/exploration/Eight-Faces-Great-Pyramid-Giza
A word is said to be "polysemous" if it has many meanings. If an image has many meanings then it is often referred to as "multivalent". Depending on context or perspective this I'mage is multivalent. To some it might appear to be pyramidal in shape. Depending on the season, this inverted pyramid would actually be upright.
Full alignment with Polaris through Mao Yushi Hong Sheng:
The Peach Tree 毛 洪 桃树
Convergence and Divergence with Polaris through
Multiple Vertices in a Crystalline Form
DISPERSION
This
article though focuses on light. To a modern eye, it might look
diamond-like. However, diamonds were not part of jewelry or adornments
in ancient Egypt. However, Egyptians were familiar with certain
semi-precious stones which can act as prisms. Quartz was also common and
used as a prism. This mineral can both refract and reflect light. It
can be said that ancient Egyptians definitely acknowledged and utilized
principles that are foundational in the field of optics.
What is
a prism? It is a transparent optical element that refracts light. It
splits it into component colors. The phenomenon is known as dispersion.
When white light passes through a prism, it separates into a spectrum of
colors (like a rainbow). This means that if white light travels through
quartz, it can produce a clear and defined spectrum. The traditional
classification of the spectrum of visible light includes the following
colors: red, orange, yellow, green, blue, indigo and violet. (ROYGBIV)
It
is highly probably that the ancient Egyptian astronomers and navigators
were aware of the celestial, eight vertice, star model. In this
scenario, they might metaphorically construe it as a 3D crystal
structure. When white light enters this celestial, quartz prism, it is
bent or refracted at different angles depending on the wavelengths of
light. For example, shorter wavelengths (blue and violet) are refracted
more than longer wavelengths (red and orange).
Stars are
classified into different spectral types (O, B, A, F, G, K, M). These
types are based on their temperatures and specific wavelengths they
emit. Now, they didn't have this sophisticated system. However, they
could view the colors of stars with the naked eye. In the Big Dipper,
Alioth, Mizar, Phekda and Megrez would be white. Merak would appear
yellowish. Dubhe would seem to be orange. Finally, Alkaid would be
blue-white. Polaris would appear white in the Little Dipper.
It
is therefore conceivable that the ancient Egyptians could have
interpreted this triangular crystal-like structure as a prism. It could
break down or refract light from Polaris into different colors of the
spectrum representing the seven stars of the Big Dipper. If the prism
were understood as a means of revealing the spectrum of light, it could
be interpreted as a bridge between the divine (represented by Polaris)
and the earthly (the seven stars of the Big Dipper).
CONVERGENCE
An
opposite process could conceptually take place where the light from the
seven stars of the Big Dipper is focused toward a single point,
representing Polaris. In optics, converging light involves focusing
light rays from multiple sources onto a single point. If the light from
the seven stars in the Big Dipper were to conceptually converge, Polaris
would serve as the focus where all those light rays meet.
This
convergence could symbolize unification or a guiding principle with
Polaris acting as a beacon or endpoint for the various light sources. In
cultural or mythological terms, it might represent how different
celestial bodies are interconnected or how they lead towards a singular
truth.
Remember, in the JI WEI LIAN 纪玮莲 model, there was a
rising Sun. That may be construed as another vertex; although, it is not
in the Big Dipper. This Sun could just as easily be represented in the
Mao, Hong model. The Sun is a powerful source of light and life.
Basically, it could supercharge convergence and dispersion in a
celestial quartz model.
In Poe-Phi's opinion--if the imagined
concepts have metaphorical validity--then a crystal light structure
would focus coherent light for navigation and disperse light in reverse
for farming cycles. Ancient Egyptians would likely appreciate this dual
nature of light. Clear focused light could act as a guide, similar to
how Polaris serves as a fixed point in the sky. The concept of
dispersing light to observe changes in the environment, like colors of
stars, could reflect seasonal shifts important for farming. This might
inform them about the timing of planting and harvesting as different
celestial patterns correspond to seasonal cycles.
By perceiving
light in this multifaceted manner both as a coherent guiding force and
as a means of understanding seasonal cycles, ancient Egyptians would
have developed a nuanced appreciation for the celestial realm. They
could integrate navigation and agricultural practices. This
understanding intertwines physical observations with their cultural and
spiritual beliefs, showcasing their sophisticated approach to the
cosmos.
It is plausible that ancient Egyptians viewed different
aspects of light as opposite and complementary forces. The light from
Polaris could be seen as a guiding force--clear, dependable and
constant. This type of light might symbolize navigation, direction and
stability. In contrast, colorful, dispersed light resulting from
phenomena like prisms represented variety, change and the dynamic nature
of the cosmos. This could have symbolized seasonal shifts, growth and
the cycles of life. The interplay between the consistent guiding light
and the vibrant, varied light could represent balance in their
worldview. This view could underlie cosmic order and the duality of
existence itself. Furthermore, it would highlight their connection to
the cosmos and the natural world.
TRIANGULATION
These
calculations provide a numerical framework for understanding Thuban's
position relative to Megrez, Polaris, Dubhe and Alioth from the Giza
Plateau. Incidentally, initially Mizar was chosen, but then Alioth was
substituted. The reason was that the declination of Alioth at about
+55.45 degrees matched Megrez at about +53.33 degrees.
The summary of results is as follows:
Thuban-Alioth about 51.37 degrees
Thuban-Dubhe about 30.23 degrees.
Thuban-Polaris about 113.46 degrees
The
remarkable similarity between the angular separation of Thuban and
Alioth (approximately 51.37 degrees) and the slope of the Great Pyramid
of Giza (which is around 51.5 degrees) raises eyebrows as to the
connection between architecture and astronomical observations. Thuban as
the pole star at the time of the pyramid's construction could symbolize
stability and permanence.
The slope of the Great Pyramid is
around 51.50 degrees. To determine if Eltanin (Gamma Draconis) has a
similar angular relationship, particularly with respect to Thuban and
Polaris one can examine its celestial coordinates and figure out the
angular separations. The declination of Eltanin is approximately +51
degrees 29'.
Eltanin's declination aligns closely with the
pyramid's angle. This could signify a direct connection between the
structure and its celestial representations. Eltanin's visibility and
position in Draco during the time of the pyramid's construction
indicates it may have been an important marker for navigation or
ritualistic purposes. Eltanin was seen as the head of the dragon and
Thuban the tip of the tail.
The close relation in degrees also
means the pyramid may have been designed not just for stability, but
also celestial significance in mind; so, it serves both a practical and
spiritual purpose. It supports the belief that by aligning monuments
with celestial bodies it facilitates the pharaoh's journey to the
afterlife.
The declination of Eltanin may be considered more
remarkable because it represents a direct correspondence to the
pyramid's spiritual purpose. The alignment of Eltanin's position with
the slope of the pyramid may symbolize the connection between the
heavens and the earth. These were essentials for Egyptian cosmology and
beliefs about the afterlife.
The angular separation of Thuban
and Alioth is noteworthy as well. This is particularly true for
navigation and illustration of astronomical knowledge. However, it may
not carry the same immediate and cultural weight as the positional
significance of Eltanin.
LITTLE DIPPER
It is now
necessary to reverse the process in order to refine triangulation and to
better locate Thuban. We'll use all 7 stars in the Little Dipper. The
main star will be Kolchab which was the north star between Thuban and
Polaris on a time scale due to precession. Kolchab will be one end of
the axis. What will be the other end?
Prominent: A bright star easily identifiable in the night sky.
Positionally
significant: A star that has a good angular relationship with Kolchab,
contributing to accurate triangulation for refining Thuban's position.
Linked: Ideally connected to navigational references such as Polaris.
DUBHE
Brightness: As the brightest star in the Big Dipper, Dubhe is highly visible. This means it is an excellent reference point.
Navigational
Significance: Dubhe along with Merak helps point toward Polaris. This
establishes its relevance in navigation and spatial orientation.
Angular
Relationship: The angular distance between Kolchab and Dubhe can
facilitate a more precise location for Thuban. This creates a pronounced
axis for triangulation. The Sun's apparent course from east to west is rather predictable. Therefore, this co-ordinate mapping system or a similiar one may have been used specifically to track solar eclipses.
With respect to the Moon, one finds its path varies significantly. It rises and sets at different times each day. The difference depends on its phase and position in its orbit. It can rise several hours before to several hours after the Sun's position.
The arcs of Sun and Moon differ to the orbital tilt and its varying position. This results in different orbital paths for each throughout the day and month. The Moon's orbit is tilted 5 degrees relative to the ecliptic.
Therefore, its course may have been mapped in this manner or a similar one. Lunar eclipses as well may have been tracked and mapped with this system or a like one. It would be interesting to know if both were tracked together on the same or similar map.
With respect to the Moon, one finds its path varies significantly. It rises and sets at different times each day. The difference depends on its phase and position in its orbit. It can rise several hours before to several hours after the Sun's position.
The arcs of Sun and Moon differ to the orbital tilt and its varying position. This results in different orbital paths for each throughout the day and month. The Moon's orbit is tilted 5 degrees relative to the ecliptic.
Therefore, its course may have been mapped in this manner or a similar one. Lunar eclipses as well may have been tracked and mapped with this system or a like one. It would be interesting to know if both were tracked together on the same or similar map.
Cycle de Lumière
Toujours
jour tour
jour après jour
son éclat quotidien naît
poulain enflammé se cabre ciel
soleil illustre brille, midi jour zénith
deux heures après son ombre s'allonge
doux période suivant est tranquille
soleil seul sol seule
le jour tournant
lumière s'amenuise
sol
狄·卡尔顿·罗西 D. Carlton Rossi
© 2026
VII The Age of Aquarius (水瓶座时代)
Life is changing rapidly, and certain gradual transformations can easily be overlooked. One such transformation is the handover of the baton. For example, in a 4x100 meter relay race, each athlete must sprint 100 meters quickly. The outcome of the race often hinges on whether the baton is successfully and accurately passed.
Due to the precession of the equinoxes, Kolchab was closest to the true North Pole around 1500 BC, when it was about 3 degrees or 180 arcminutes away from the celestial North Pole. Around 150 AD, the North Star began to approach its current position. Since then, the North Star has gradually moved closer to its nearest point to the celestial North Pole.
Approximately around the year 2000 or 26 years ago, the North Star surpassed Kolchab to become the brightest star closest to true North. In contrast, Kolchab is about 0.7 degrees or 42 arcminutes away from the celestial North Pole, while the North Star's distance is 0.67 degrees or 40 arcminutes. It is estimated that the North Star will reach its closest point to the celestial North Pole around 2100, at which time the distance will be 0.48 degrees or 28.5 arcminutes.
The phenomenon of drought in the Middle East and China began around 2000 BCE, marking the start of the Age of Aries, which lasted for 200 to 300 years. Climate change led to the collapse of some ancient civilizations, prompting migrations.
Astrologers do not agree on the exact timing of the beginning of the Age of Aquarius, as they use different methods. Some may view the year 2000 as a collective awakening and transformation of social values; whereas, others may place more significance on the year 2100 regarding change and enlightenment.
Confirmation of the new epoch may be found in the Mayan calendar. The Maya had a complex system of rituals and solar calendars integrated into a longer cycle known as the Long Count. December 21, 2012, was seen as the end of the 13th baktun, which many interpreted as a profound shift or transformation of consciousness.
In ancient China, significant drought primarily impacted Neolithic cultures between 2000 BCE and 1700 BCE. By 2000 BCE, the Yangshao culture began to face major challenges due to climate change. The Longshan culture also experienced similar drought conditions during this period. Drought conditions became more pronounced around 1700 BCE. Excavations at Longshan sites revealed defensive structures and weapons, indicating organized conflict.
As drought conditions persisted, they led to agricultural decline, forcing communities to migrate and adapt. These conditions paved the way for the rise of the Xia Dynasty around 2070 BCE. The establishment of this dynasty is associated with increased organization and militarization, marking an escalation of conflict during the formation of political entities.
Today, drought and rising sea levels are interconnected issues, both resulting from global warming. Drought signifies a shortage of fresh water, while sea level rise due to melting ice brings flooding. Given the long-term impacts of rising sea levels on global populations, climate change is often emphasized in this regard. It seems we are currently in the Age of Aquarius. There is more salt water and less drinking or crop water.
Life is changing rapidly, and certain gradual transformations can easily be overlooked. One such transformation is the handover of the baton. For example, in a 4x100 meter relay race, each athlete must sprint 100 meters quickly. The outcome of the race often hinges on whether the baton is successfully and accurately passed.
Due to the precession of the equinoxes, Kolchab was closest to the true North Pole around 1500 BC, when it was about 3 degrees or 180 arcminutes away from the celestial North Pole. Around 150 AD, the North Star began to approach its current position. Since then, the North Star has gradually moved closer to its nearest point to the celestial North Pole.
Approximately around the year 2000 or 26 years ago, the North Star surpassed Kolchab to become the brightest star closest to true North. In contrast, Kolchab is about 0.7 degrees or 42 arcminutes away from the celestial North Pole, while the North Star's distance is 0.67 degrees or 40 arcminutes. It is estimated that the North Star will reach its closest point to the celestial North Pole around 2100, at which time the distance will be 0.48 degrees or 28.5 arcminutes.
The phenomenon of drought in the Middle East and China began around 2000 BCE, marking the start of the Age of Aries, which lasted for 200 to 300 years. Climate change led to the collapse of some ancient civilizations, prompting migrations.
Astrologers do not agree on the exact timing of the beginning of the Age of Aquarius, as they use different methods. Some may view the year 2000 as a collective awakening and transformation of social values; whereas, others may place more significance on the year 2100 regarding change and enlightenment.
Confirmation of the new epoch may be found in the Mayan calendar. The Maya had a complex system of rituals and solar calendars integrated into a longer cycle known as the Long Count. December 21, 2012, was seen as the end of the 13th baktun, which many interpreted as a profound shift or transformation of consciousness.
In ancient China, significant drought primarily impacted Neolithic cultures between 2000 BCE and 1700 BCE. By 2000 BCE, the Yangshao culture began to face major challenges due to climate change. The Longshan culture also experienced similar drought conditions during this period. Drought conditions became more pronounced around 1700 BCE. Excavations at Longshan sites revealed defensive structures and weapons, indicating organized conflict.
As drought conditions persisted, they led to agricultural decline, forcing communities to migrate and adapt. These conditions paved the way for the rise of the Xia Dynasty around 2070 BCE. The establishment of this dynasty is associated with increased organization and militarization, marking an escalation of conflict during the formation of political entities.
Today, drought and rising sea levels are interconnected issues, both resulting from global warming. Drought signifies a shortage of fresh water, while sea level rise due to melting ice brings flooding. Given the long-term impacts of rising sea levels on global populations, climate change is often emphasized in this regard. It seems we are currently in the Age of Aquarius. There is more salt water and less drinking or crop water.