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
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.
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.
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
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.
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
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.
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].
https://www.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].
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
