Sacred Celestial Cow
(D. Carlton Rossi © 2026 )
THE SKY COW
In a mythological context, the stars of the Big Dipper could represent Nut's body or the nourishment she provides to the earth. This interpretation reflects the Egyptians' intricate understanding of the heavens and their myths, blending astronomy with their spiritual beliefs.
In certain representations, Nut is depicted as a cow or with cow-like form stretching across the sky, with stars forming from her body. This imagery connects her to fertility and sustenance in ancient Egypt. These beliefs reinforce her connection to creation.
With respect to the cultural context, cows were both associated with agriculture and religion. Since Nut is a cow in one of her forms then it can highlight the importance of fertility and abundance. This mirrors the vital cycles of nature and the cosmos.
In terms of religion, the worship of cows and their symbolism in ancient Egypt can be seen in various texts and artifacts. This illustrates how this imagery permeated their religious beliefs and everyday life. One can say that a large portion of Egyptian society was involved in agriculture; so, there were hundreds of thousands of cattle and bulls.
Nun's character in Egyptian mythology is rather complex. She represented both the heavens, protection and fertility. While both Nut and Hathor are associated with cows; nevertheless, the poet prefers in this context to feature Nut who has different aspects of divinity and femininity. For example, on the divine level, Hathor served her husband Ra who is associated with the Sun. On the personal level, she manifested maternal characteristics.
Nut and Geb are considered third generation as children of Shu and Tefnut. However. Osiris, Isis, Nephtys and Set are viewed as Fourth Generation. Hathor is considered a later manifestation of similar themes to Nut with respect to motherhood, fertility and joy.
For these reasons, the poet is focusing on Nut and Geb. They emerged in the predynastic period (c. 5000-3000 BCE). At this time, they were worshiped regionally and appeared in local religious practices. They may have been recognized in specific forms in different regions often connected to fertility and agriculture. This is when Egyptians began to form their cosmological beliefs. In the Early Dynastic Period (c. 3100-2686 BCE) Nut and Geb were established as representations of the sky and earth. By the time of the Old Kingdom (c. 2686-2181 BCE) they were fully integrated into mythology. Their characteristics and stories were presented in the Pyramid Texts.
Nut as a Fertility Figure
As the goddess of the sky, Nut is often associated with nurturing and life-giving aspects of the cosmos. Her cow representation underscores this connection, as cows symbolize fertility and sustenance.
Nut is also connected to the cycles of life and rebirth, echoing the agricultural cycles in ancient Egypt which were vital for their survival.
Sacrificial Practices
1. Fertility Rites
Cows were associated with fertility and motherhood. Their sacrifice was believed to promote agricultural abundance and the fertility of both land and livestock.
2. Religious Festivals
During various religious festivals cows were sacrificed to honor the gods.
3. Symbolic Significance
Cows represented nurturance and fertility. This made them suitable offerings to invoke blessings for crops and families.
4. Dung
Both cow and bull dung were used to enrich the soil. This improved its fertility and promoted crop growth. In some fertility rituals, dung was used symbolically to represent the nurturing aspects of the earth and the cycles of life.
In a mythological context, the stars of the Big Dipper could represent Nut's body or the nourishment she provides to the earth. This interpretation reflects the Egyptians' intricate understanding of the heavens and their myths, blending astronomy with their spiritual beliefs.
In certain representations, Nut is depicted as a cow or with cow-like form stretching across the sky, with stars forming from her body. This imagery connects her to fertility and sustenance in ancient Egypt. These beliefs reinforce her connection to creation.
With respect to the cultural context, cows were both associated with agriculture and religion. Since Nut is a cow in one of her forms then it can highlight the importance of fertility and abundance. This mirrors the vital cycles of nature and the cosmos.
In terms of religion, the worship of cows and their symbolism in ancient Egypt can be seen in various texts and artifacts. This illustrates how this imagery permeated their religious beliefs and everyday life. One can say that a large portion of Egyptian society was involved in agriculture; so, there were hundreds of thousands of cattle and bulls.
Nun's character in Egyptian mythology is rather complex. She represented both the heavens, protection and fertility. While both Nut and Hathor are associated with cows; nevertheless, the poet prefers in this context to feature Nut who has different aspects of divinity and femininity. For example, on the divine level, Hathor served her husband Ra who is associated with the Sun. On the personal level, she manifested maternal characteristics.
Nut and Geb are considered third generation as children of Shu and Tefnut. However. Osiris, Isis, Nephtys and Set are viewed as Fourth Generation. Hathor is considered a later manifestation of similar themes to Nut with respect to motherhood, fertility and joy.
For these reasons, the poet is focusing on Nut and Geb. They emerged in the predynastic period (c. 5000-3000 BCE). At this time, they were worshiped regionally and appeared in local religious practices. They may have been recognized in specific forms in different regions often connected to fertility and agriculture. This is when Egyptians began to form their cosmological beliefs. In the Early Dynastic Period (c. 3100-2686 BCE) Nut and Geb were established as representations of the sky and earth. By the time of the Old Kingdom (c. 2686-2181 BCE) they were fully integrated into mythology. Their characteristics and stories were presented in the Pyramid Texts.
Nut as a Fertility Figure
As the goddess of the sky, Nut is often associated with nurturing and life-giving aspects of the cosmos. Her cow representation underscores this connection, as cows symbolize fertility and sustenance.
Nut is also connected to the cycles of life and rebirth, echoing the agricultural cycles in ancient Egypt which were vital for their survival.
Sacrificial Practices
1. Fertility Rites
Cows were associated with fertility and motherhood. Their sacrifice was believed to promote agricultural abundance and the fertility of both land and livestock.
2. Religious Festivals
During various religious festivals cows were sacrificed to honor the gods.
3. Symbolic Significance
Cows represented nurturance and fertility. This made them suitable offerings to invoke blessings for crops and families.
4. Dung
Both cow and bull dung were used to enrich the soil. This improved its fertility and promoted crop growth. In some fertility rituals, dung was used symbolically to represent the nurturing aspects of the earth and the cycles of life.
Sacred Celestial Bull Tethered to the Pole Star
(D. Carlton Rossi © 2026 )
The Vaulted Ceiling of Seti I
Most early depictions showed severed leg of bull. However, this is a full standing bull held by Taweret (hippopotamus with crocodile behind.
Der Heilige himmlische Nilpferd
German
(D. Carlton Rossi © 2026)
translated: Sacred Celestial Hippopotamus
Tawaret "The Great One"
The ancient Egyptian protective goddess of childbirth, fertility and nursing. A bipedal, pregnant hippopotamus with lion paws and crocodile back. She was associated with Sobek as his consort because she had a crocodile back and tail. In older texts, she was considered the wife of Apep.
The ancient Egyptian protective goddess of childbirth, fertility and nursing. A bipedal, pregnant hippopotamus with lion paws and crocodile back. She was associated with Sobek as his consort because she had a crocodile back and tail. In older texts, she was considered the wife of Apep.
Den Hellige Himmelske Krokodille
Danish
(D. Carlton Rossi © 2026)
translated: The Sacred Celestial Crocodile
translated: The Sacred Celestial Crocodile
Sobek was the ancient Egyptian crocodile god, lord of the Nile and patron of military prowess. He was associated with both Set and Horus, aiding in the birth of the latter. Sometimes viewed as chaotic force, but primarily revered for protective, life-giving and virile qualities.
One might take notice that in the Sacred Celestial Bull Tethered to the Pole Star, the crocodile forms part of the I'mage as if restraining the Bull.
THE TETHERED BULL TO THE POLE STAR
In Egyptian culture, bulls often symbolize strength, fertility and the chaotic forces of nature. Tethering a bull can signify an attempt to impose order and control over these untamed beasts. One might choose Set in this case to personify chaos and disorder in the form of a bull. However, his wife identified with Osiris whom Set killed. In fact, she helped Isis resurrect Osiris. Therefore, Nepthys may serve as a contrasting force, but she does not control him.
With a cow and a tethered bull in the Big Dipper, perhaps sharing some similar stars, it could suggest tension or a time to multiply. The combination of both images in the Big Dipper could explore contrasting yet complementary ideas of nurturing and power. For example, the "moo cow" (Joyce) symbolizes nourishment and cosmic creation. The tethered, bellow bull represents strength and control over chaos. Together, they can represent the balance between nurturing and authority thus echoing the balance which Ma'at aims to maintain in the cosmos.
Bull as a Fertility Symbol
Bulls are frequently associated with virility and strength which can also symbolize fertility. In Egypt, they were seen as embodiments of life force and agricultural abundance.
Even if the tethered bull represents chaotic force, the raw power it embodies can still connect to fertility themes, especially in the context of regeneration and uncontrollable aspects of nature.
Sacrifices
1. The Festival of Opet
This annual festival was dedicated to the god Amun and celebrated fertility and regeneration. Bulls, particularly, the sacred bull Mnevis, were sacrificed to ensure the fertility of the land and the prosperity of the community.
2. The Festival of the Opening of the Mouth
During this ritual, bulls were sacrificed as offerings to ensure the sustenance of the deceased and to provide for the needs of the gods. This reflected fertility and abundance.
3. Horus Worship
In some aspects of Horus worship, bulls were sacrificed to invoke fertility and protection for crops and livestock.
The logical partner of the sky goddess Nut is Geb who is depicted lying beneath Nut. As such, he is a very submissive and receptive bull who represents fertility, agriculture and the natural world. By associating the tethered bull with Geb, one emphasizes the grounding and nurturing aspects of nature. This narrative shows how Geb (earth and fertility) interacts with Nut (sky and nurturing). The tethered bull can symbolize the earthly strength and fertility that must be managed or restrained in the cosmic order.
One could construe Shu's desire to keep Nut and Geb apart, so that air is created and maintained, as a necessary and agreed upon restraint of all three parties. Neither Geb can come up nor can Nut come down which prevents them from collapsing into each other since Shu separates them. Doesn't this mean that Nut and Geb are in effect tethered by Shu who himself can't move either? The action is akin to how tethering controls and restrains elements to maintain order. This tethering arrangement ensures that chaos (the potential collapse of sky and earth) is avoided.
It is presumed that Nut and Geb are unfettered during the epogeneal days (creation) at the time of the winter solstice. This symbolizes a time of potential chaos and creativity--a state where natural forces are unleashed. This aligns well with the idea of fertility and the flourishing of life. Nut gives birth to the great gods Osiris, Isis, Set and Nephthys over a four day period.
Indeed, this narrative views Nut as the Big Dipper. She is a prominent and recognizable figure in the night sky. While the Little Dipper is less prominent than the Big Dipper, it can represent Geb as the earth. Its stars might symbolize fertility and sustenance, reflecting Geb's role in nurturing life and the natural world. This connection reinforces the idea that while Nut (the sky) encompasses a vast and nurturing process, Geb (the earth) provides stability and grounding. Both realms interact harmoniously to create and sustain life.
Pardon me, but one doesn't want to deal with generalities here, but specifics. The entire Little Dipper is a phallus. Is that plain enough? Polaris is the tip of Osiris's phallus. We found it! The tip dispenses energy and seed. The base of the phallus is Kolchab and perhaps Phercad where the seed is held.
During the heliacal rising of Sirius, Polaris receives energy from Sirius and dispenses seed to Dubhe and Merak and on to Alnilam or middle star of Orion's Belt. Alnilam is a bright blue supergiant. This is the source of the celestial Nile. The belt or Nile floods and it spills southeast in the direction of Sirius and Isis. The goddess becomes receptive to Osiris, her husband, who is associated with the entire Orion Constellation. The Celestial Nile then floods from the source in the south, to the Dippers, through the Dippers to the Delta in the north which is close to Thuban.
On a daily basis, however, there is dynamic activity. Geb, excited by the presence of his wife Nut, despite their separation, partakes in this cosmic process. While specifics may be elusive, it’s reminiscent of the notion that “life will find a way.” The Sun's seed from Geb is propelled from Polaris to Mizar along the vertice. This seed enters the dying Sun within Nut’s mouth as she swallows it, sealing its fate.
As the dead Sun journeys through the Duat, it faces numerous perils. The greatest threat comes from Apep, the serpent personifying chaos, whose form is represented by the Little Dipper. While swallowing by Nut signifies rebirth, the act of Apep swallowing the Sun suggests total annihilation. In this duality, the phallus of the Little Dipper embodies the complexities of existence—representing either ordered fertility or chaotic destruction.
Emerging from this conflict, the setting of Akher introduces critical symbolism. The two mountains stand like sentinels on the horizon, positioned at 90-degree angles to the Sun. The left mountain symbolizes yesterday's Sun, now dead, while the right mountain signifies tomorrow—the live Sun on its journey toward inevitable death. Though the present Sun lies lifeless, it is on the brink of rebirth through the Sun's seed.
This enchanting lotus which eternally transforms facilitates the journey of the Sun's seed toward Polaris in the East. The seed follows the stem to its roots, firmly grounded in the muddy earth of a pond that nourishes life. As it descends, the Sun's seed lands gently on the vibrant petals of a live lotus flower, symbolizing rebirth and the cyclical nature of existence. Each interaction between the seed and flower evokes a profound connection between the terrestrial and celestial realms, emphasizing that life emerges from decay and transformation. The experience is a magical and mystical wonder, culminating in the birth of a new Sun at dawn. "永远，遥远的太阳上升。" ©
In Egyptian culture, bulls often symbolize strength, fertility and the chaotic forces of nature. Tethering a bull can signify an attempt to impose order and control over these untamed beasts. One might choose Set in this case to personify chaos and disorder in the form of a bull. However, his wife identified with Osiris whom Set killed. In fact, she helped Isis resurrect Osiris. Therefore, Nepthys may serve as a contrasting force, but she does not control him.
With a cow and a tethered bull in the Big Dipper, perhaps sharing some similar stars, it could suggest tension or a time to multiply. The combination of both images in the Big Dipper could explore contrasting yet complementary ideas of nurturing and power. For example, the "moo cow" (Joyce) symbolizes nourishment and cosmic creation. The tethered, bellow bull represents strength and control over chaos. Together, they can represent the balance between nurturing and authority thus echoing the balance which Ma'at aims to maintain in the cosmos.
Bull as a Fertility Symbol
Bulls are frequently associated with virility and strength which can also symbolize fertility. In Egypt, they were seen as embodiments of life force and agricultural abundance.
Even if the tethered bull represents chaotic force, the raw power it embodies can still connect to fertility themes, especially in the context of regeneration and uncontrollable aspects of nature.
Sacrifices
1. The Festival of Opet
This annual festival was dedicated to the god Amun and celebrated fertility and regeneration. Bulls, particularly, the sacred bull Mnevis, were sacrificed to ensure the fertility of the land and the prosperity of the community.
2. The Festival of the Opening of the Mouth
During this ritual, bulls were sacrificed as offerings to ensure the sustenance of the deceased and to provide for the needs of the gods. This reflected fertility and abundance.
3. Horus Worship
In some aspects of Horus worship, bulls were sacrificed to invoke fertility and protection for crops and livestock.
The logical partner of the sky goddess Nut is Geb who is depicted lying beneath Nut. As such, he is a very submissive and receptive bull who represents fertility, agriculture and the natural world. By associating the tethered bull with Geb, one emphasizes the grounding and nurturing aspects of nature. This narrative shows how Geb (earth and fertility) interacts with Nut (sky and nurturing). The tethered bull can symbolize the earthly strength and fertility that must be managed or restrained in the cosmic order.
One could construe Shu's desire to keep Nut and Geb apart, so that air is created and maintained, as a necessary and agreed upon restraint of all three parties. Neither Geb can come up nor can Nut come down which prevents them from collapsing into each other since Shu separates them. Doesn't this mean that Nut and Geb are in effect tethered by Shu who himself can't move either? The action is akin to how tethering controls and restrains elements to maintain order. This tethering arrangement ensures that chaos (the potential collapse of sky and earth) is avoided.
It is presumed that Nut and Geb are unfettered during the epogeneal days (creation) at the time of the winter solstice. This symbolizes a time of potential chaos and creativity--a state where natural forces are unleashed. This aligns well with the idea of fertility and the flourishing of life. Nut gives birth to the great gods Osiris, Isis, Set and Nephthys over a four day period.
Indeed, this narrative views Nut as the Big Dipper. She is a prominent and recognizable figure in the night sky. While the Little Dipper is less prominent than the Big Dipper, it can represent Geb as the earth. Its stars might symbolize fertility and sustenance, reflecting Geb's role in nurturing life and the natural world. This connection reinforces the idea that while Nut (the sky) encompasses a vast and nurturing process, Geb (the earth) provides stability and grounding. Both realms interact harmoniously to create and sustain life.
Pardon me, but one doesn't want to deal with generalities here, but specifics. The entire Little Dipper is a phallus. Is that plain enough? Polaris is the tip of Osiris's phallus. We found it! The tip dispenses energy and seed. The base of the phallus is Kolchab and perhaps Phercad where the seed is held.
During the heliacal rising of Sirius, Polaris receives energy from Sirius and dispenses seed to Dubhe and Merak and on to Alnilam or middle star of Orion's Belt. Alnilam is a bright blue supergiant. This is the source of the celestial Nile. The belt or Nile floods and it spills southeast in the direction of Sirius and Isis. The goddess becomes receptive to Osiris, her husband, who is associated with the entire Orion Constellation. The Celestial Nile then floods from the source in the south, to the Dippers, through the Dippers to the Delta in the north which is close to Thuban.
On a daily basis, however, there is dynamic activity. Geb, excited by the presence of his wife Nut, despite their separation, partakes in this cosmic process. While specifics may be elusive, it’s reminiscent of the notion that “life will find a way.” The Sun's seed from Geb is propelled from Polaris to Mizar along the vertice. This seed enters the dying Sun within Nut’s mouth as she swallows it, sealing its fate.
As the dead Sun journeys through the Duat, it faces numerous perils. The greatest threat comes from Apep, the serpent personifying chaos, whose form is represented by the Little Dipper. While swallowing by Nut signifies rebirth, the act of Apep swallowing the Sun suggests total annihilation. In this duality, the phallus of the Little Dipper embodies the complexities of existence—representing either ordered fertility or chaotic destruction.
Emerging from this conflict, the setting of Akher introduces critical symbolism. The two mountains stand like sentinels on the horizon, positioned at 90-degree angles to the Sun. The left mountain symbolizes yesterday's Sun, now dead, while the right mountain signifies tomorrow—the live Sun on its journey toward inevitable death. Though the present Sun lies lifeless, it is on the brink of rebirth through the Sun's seed.
This enchanting lotus which eternally transforms facilitates the journey of the Sun's seed toward Polaris in the East. The seed follows the stem to its roots, firmly grounded in the muddy earth of a pond that nourishes life. As it descends, the Sun's seed lands gently on the vibrant petals of a live lotus flower, symbolizing rebirth and the cyclical nature of existence. Each interaction between the seed and flower evokes a profound connection between the terrestrial and celestial realms, emphasizing that life emerges from decay and transformation. The experience is a magical and mystical wonder, culminating in the birth of a new Sun at dawn. "永远，遥远的太阳上升。" ©
Aerial View of Ce lestial Pyramid with Ma'at at the Apex
Understanding the Arrows
Each arrow represents the fundamental relationships among elements. This illustrates that these interactions are reciprocal and influenced by the principles of balance and order that Ma'at embodies.
This arrangement emphasizes the dynamics between these elemental forces are intrinsically connected to Ma'at, creating a harmonious cosmic order.
In short, this method effectively conveys the interconnectedness of the elements and their collective influence under Ma'at's guidance.
PERSONAL RELATIONSHIPS
The principles embodied by Ma'at--such as balance, truth and mutual respect--serve as the essential foundation for healthy and meaningful communication between individuals.
On a hierarchic scale from the top, one level might be called cosmic, Nut communicates and interacts with Geb as a goddess to another god. That relation is through Ma'at as a mediator. As a wife and mother, she lives with Geb who is a husband and father. That relationship is mediated by Ma'at. On a family level, Nut communicates and relates to Geb as a maiden would to a father. That relationship is through Ma'at as a mediator. Finally, as a fraternal twin, Nut converses and interacts with Geb in a rather incestuous way; so, they are separated. That behaviour is channeled through both Ma'at and Shu as mediators.
The COSMIC REALM
The relation of Nut (air) and Geb (earth) in the upper right and upper left quadrants in the drawing can be described in several interconnected dimensions through Ma'at. The cosmic scale is focused upon here for illustration.
1. Separation and Unity
Duality: Nut and Geb represent two essential forces in the cosmos or the sky and the earth. Their separation signifies the balance between the celestial and terrestrial realms, each vital yet distinct.
Unity in Creation: Despite their separation, they ar often depicted as being interconnected, symbolizing that air (Nut) envelops and nurtures the earth (Geb). This relationship reflects the idea that brother-sister and husband-wife cannot exist without the other.
2. Life Giving Forces
Support of Life: Geb provides the physical foundation for all earthly life. Nut represents the benevolent sky that nurtures and supports life through weather, air quality and fertility.
Cycle of Nourishment: The air (Nut) facilitates processes like photosynthesis, which are essential for plant life. In turn, this vegetation stabilizes the earth (Geb) and creates habitats and nourishment for animals and humans.
3. Symbolic Representation
Nut as the Maiden: Nut is often portrayed as a goddess arching over Geb, emphasizing the protective nature of the sky. This depiction illustrates the nurturing characteristics of air, providing shelter and safety.
Geb as the Father: Geb, on the other hand, is often seen as a father figure who supports and nurtures all life that grows on its surface. This highlights the grounded stability of earth and its role in sustaining life.
4. Dynamic Interaction
Weather patterns: Nut's influence in the atmosphere directly affects Geb by creating weather patterns crucial for agriculture and sustaining ecosystems.
Spiritual Patterns: In Egyptian mythology, the relationship between Nut and Geb symbolizes the dynamic interplay between the heavens and the earth, reflecting the belief that the divine presence exists in both realms.
The fundamental relationship between Horus (fire) in the lower right quadrant and Nun (water) in the lower left quadrant of the drawing can also be explored through several interconnected dimensions with emphasis on the cosmic realm.
1. Opposition and Balance
Elemental Duality: Fire and water represent opposing forces in nature. Fire (Horus) symbolizes energy, transformation and life-giving warmth. In turn, water (Nun) signifies fluidity, nurturing and potential for obstruction of fire. This opposition signifies a natural stability in the environment.
Cyclical Interaction: The conflict and synergy between fire and water create a dynamic balance. In nature, both elements are crucial: fire can purify and foster growth, while water nourishes and sustains life.
2. Creation and Destruction
Creation: Fire's transformative powers can catalyze new beginnings; for instance, fire can create fertile soil through ash, facilitating growth. In contrast, water is vital in this process by supporting growth and enabling ecosystems to thrive.
Destruction: On the flip side, fire can consume and destroy, while water has the ability to extinguish flame. This duality reflects the life cycles of creation and destruction in nature.
3. Symbolic Representation
Horus as a Protector: As a sky god often associated with the Sun, Horus's role can be seen as a protector of life and a force of illumination. His fire symbolizes clarity and vitality. This promotes growth and protection in various forms.
Nun as Primordial Water: Nun embodies the chaotic waters from which all creation emerges. His presence represents the source of life and the underlying potential from which all things arise. This signifies a nurturing and foundational aspect.
4. Environmental Interactions
Weather and Climate: The interaction between fire and water is a fundamental aspect of weather systems. For example, evaporation caused by heat from fire leads to cloud formation, which ultimately results in rain. This demonstrates their cyclical interdependence.
Ecological Balance: In ecosystems, fire can help maintain the health of certain landscapes, while water sustains the flora and fauna that inhabit those reasons. This interdependence is crucial for ecological health and resilience
THE DIAGONAL RELATIONSHIPS THROUGH THE MEDIATOR MA'AT
1. Nut to Nun (Upper Right to Lower Left)
Air (Nut) and Water (Nun)
The diagonal from Nut to Nun emphasizes the connection between the sky and the primordial waters. This symbolizes how the atmosphere (air) interacts with and influences the water below.
In a cyclical process, air plays a significant role in evaporation, leading to precipitation and thus nourishing water sources. This relationship highlights the balance of sustenance between aerial and aquatic environments.
2. Geb to Horus (Upper Left to Lower Left)
Earth (Geb) and Fire (Horus)
This diagonal relationship between Geb and Horus represents the grounding nature of earth and the transformative quality of fire.
Fire can symbolize the energy needed fro growth and change. This indicates how the earth (Geb) is essential for life, but is also subject to the transformative power of fire (Horus). This balance illustrates the interplay of stability (earth) and dynamic change (fire).
3. Nut to Horus (Upper Right to Lower Right)
Air (Nut) and Water (Nun)
This dynamic indicates the dynamic and often harmonious relationship between the sky and the fire element.
The fire's relation with the Sun aligns with its journey through the sky. This suggest the celestial energy (Horus) is sustained and supported by the air (Nut). This emphasizes the nourishing and protective qualities of the sky for celestial bodies.
4. Geb to Nun (Upper Left to Lower Left)
Earth (Geb) and Water (Nun)
The diagonal relationship emphasizes how water flows through and nourishes how water flows through and nourishes the earth.
This pairing reflects the fundamental cycle of life, where the support of the earth (Geb) is essential for water (Nun), which in turn sustains life on the surface.
MEDIATION BY MA'AT
Just as Nut must communicate through Ma'at to connect with her brother and husband Geb, one could see a similar dynamic in human relationships. The principles embodied by Ma'at--such as balance, truth and mutual respect--serve as the essential foundation for healthy and meaningful communication between individuals.
Symbolic Relation Dynamics
In this analogy, Ma'at acts as a mediator for all relationships. She represents the framework within which communication occurs. This suggests that effective communication, whether between deities or humans, is grounded in principles of fairness, order and understanding.
Human Connections
The idea that an Egyptian husband must also channel his communication through Ma'at indicates the value placed on harmony and ethical interaction in relationships. It reinforces that all relationships require a commitment to strive for balance and truth to be fruitful.
Conclusion
This interpretation echoes the broader Egyptian worldview where the divine and cosmic elements influence human relationships. It emphasizes the importance of mediation and communication that aligns with the values of balance and harmony--central tenets not only for divine figures but also for personal relationships among people.
MA'AT AT THE APEX
At the apex of the Egyptian cosmological framework stands Ma'at who symbolizes cosmic order, truth and balance. Ma'at unites the elemental forces represented by Nut (air), Geb (earth), Horus (fire) and Nun (water) into a harmonious whole. She embodies the principles that govern the universe. This ensures that the dualities of creation are in equilibrium. This means the nurturing air above and the stabilizing earth below, or the transformative fire in juxtaposition with the nurturing waters are balanced. Ma'at's presence is essential for maintaining the natural order, guiding the cycles of life and establishing balance among the elemental forces of existence.
COMMUNICATION
The ancient Egyptians viewed the communication between elemental forces in terms of energy which could be understood as a form of vibrational harmony.
They believed in vital life force known as "ka" which infused living beings and elements. This energy was essential for maintaining balance and harmony among various forces in the universe.
COSMIC ORDER
The interaction between elemental forces (air, earth, fire, water) were viewed as part of a larger cosmic order where energy flows and vibrates through systems governed by Ma'at. This reflects an understanding that everything is interconnected.
TRANSCENDENTAL UNDERSTANDING
The Egyptians often used metaphors and allegories to describe the relationships among elements. These suggested that pure energy or spiritual vibrations could be synonymous with the divine essence that guides natural processes.
ANIMISM
The Egyptians practiced a form of animism wherein natural elements and phenomena contained spiritual significance and consciousness. This belief imbued the elements--air, earth, water and fire--with life and agency.
DIVINE MANIFESTATION
Each element was often associated with specific deities or divine principles. For example, Nut represented the sky and was seen as a goddess who protected and nurtured. Geb was the earth god considered the source of all life. Horus symbolized the sun and sky embodying protection and kingship. Nun was associated with the primordial waters which represented the source of creation.
VITAL FORCES
The Egyptians believed in vital forces, or Ka and Ba, both of which connected not just to living beings but also to the elements. This connection suggested that everything in the universe, including elements, had a life force that contributed to the overall balance in the cosmos.
INTERCONNECTEDNESS
The idea of elements being alive reflects their understanding of an interconnected universe. In this case, every component whether physical or spiritual plays a role in the harmony and balance of life.
CONCLUSION
Ancient Egyptians viewed the elements not merely as inanimate substances, but as integral, vibrant components of a living universe, each with its own spiritual significance and influence. This perspective fostered a deep reverence for nature and the forces that governed it.
MODERN COUNTERPART
Doctoral dissertation by Dolleen Tisawii'ashii Manning called Mnidoo-Worlding: Merleau-Ponty and Anishinaabe Philosophical Translations. Manning’s introductory description of mnidoo reads (Slide 29):
"Mnidoo refers to energy, potency or processes that suffuse all of existence and includes humans, animals, plants, inanimate ‘objects’ and invisible and intangible forces (i.e. Thunder Beings). Such Anishinaabe philosophies engage with what I articulate as all-encompassing and interpenetrating mnidoo co-responsiveness. The result is a resistance to cooption that concedes to the heterogeneity of being. I define this murmuration, that is, this concurrent gathering of divergent and fluctuating actuation/signals as mnidoo-worlding. Mnidoo-worlding entails a possession by one’s surroundings that subsumes and conditions the possibility of agency as entwined and plural co-presence. (Manning 1)."
Public PhD lecture, Douglas Ord, 30 October, 2025 :
Ord – Public Lecture 1
Toward a concept of coherence among events, or Columbine through Deleuze and Deleuze through Columbine.
Ord: Public Lecture page 21
A supplement recommends itself in the 2018 PhD dissertation Mnidoo-worlding: Merleau-Ponty and Anishinaabe Philosophical Translations by Dolleen Tisawii’ashii Manning, which provides a concept of “mnidoo-worlding,” alongside an infiltrating critique of Deleuze via the concept “becoming-animal” in A Thousand Plateaus.
https://uwontario.academia.edu/DOrd
"MNIDOO-WORLDING' AND ANCIENT EGYPTIAN BELIEFS
1. Vibrant Interconnectedness
Dolleen Tisawil'ashii Manning's work, particularly her exploration of "Mniddoo-World" through the lens of Merleau-Ponty and Anishinaabe philosophies can be seen as a modern counterpart to ancient Egyptian beliefs about a vibrant, interconnected universe. Similar to the Egyptian worldview, Manning's work emphasizes the interconnectedness of all beings and elements in the universe. Her exploration of Anishinaabe philosophical concepts highlights the idea that everything has agency and form of life force. This echoeszes the animistic beliefs found in ancient Egypt.
2. Embodied Experience
Drawing on Merleau-Ponty, Manning emphasizes the embodied experience and perception of the world. This reflects the idea that all elements are experienced and understood through their interactions with humans, much like how Egyptians viewed the elements as alive and saturated with spiritual significance
3. Respecting Nature
Both ancient Egyptians beliefs and Manning's philosophy stress the importance of respecting and acknowledging the vibrant life in nature. Understanding the world as alive encourages a relational approach to existence. This fosters a sense of responsibility and care for the environment.
4. Philosophical Dialogues
Manning's framework encourages dialogues between indigenous philosophies and modern indigenous philosophies and modern existential thought. This is how various aspects of Egyptian spirituality intertwined. This interplay fosters a deeper understanding of being and existence.
Conclusion
In essence, Manning's work embodies principles akin to those found in ancient Egyptian beliefs about a living universe. It emphasizes the vibrancy, connectedness and spiritual significance of all components within the cosmos. This approach enriches contemporary dialogues about existence and nurtures a holistic understanding of life.
Aker is depicted as a lion-headed god associated with the horizon and earth. He represents the concepts of Yesterday and Tomorrow. Yesterday symbolizes the setting Sun and the dusk. It is the end of a cycle and the passage into the afterlife. In contrast, Tomorrow stands for the rising Sun and the dawn. It means rebirth and regeneration.
Die Hüter der Sonnenaufgang und Sonnenuntergang
(D. Carlton Rossi © 2026)
German
The Guardians of the Sunrise and Sunset
The double Sphinx imagery often represents Akher himself. It symbolizes his nature as a guardian of the gates of the underworld and horizon. The two Sphinxes typically face opposite directions. One looks to the east (representing dawn and the future). The other looks to the west (standing for dusk and the past).
There are two concepts matched in this arrangement. There is spatial orientation (east and west). Then, there is the concept of time (yesterday and tomorrow). It may be a particular characteristic of English, but the "east" is expressed before the west. This might mean hope and a better life. Yet, when one talks about time, "yesterday" as expressive of the setting Sun is mentioned first. One might say that this means a hope for rebirth and regeneration. At any rate, Akher oversees the transition between life and the afterlife.
In the depiction of Akher, in the above image, attributes of lions and humans are combined. It is a lion's body and a human's head. The head may be of a god or pharaoh. Based on what was said earlier, it is feasible that ancestry is expressed here. The pharaoh or god of the past faces west to be reborn. The pharaoh or god of the future faces east as the reborn son.
There are two notable features of this particular celestial Sphinx. There is a burial chamber underneath the Sphinx. It size is comparable to the shared lions' body. Its rectangular shape presents in the present a contrast with the circle of the Sun. The implication may be that the Sun is to be reborn daily.
The second notable thing are two stars. The first is Alioth. In Egyptian astronomy, it was referred to as "the One Who Comes". It was also referred to as the "Bright One" since it is the brightest star in the Big Dipper (the Plough). Due to its brightness it may have been seen as a guardian over the living and the dead. Its name reflects the star's perceived importance as a bringer of light and guidance, aligning with themes of protection and divine favour. Stars like Alioth could symbolize ideals of Ma'at who represents truth, balance and cosmic order. It would have been crucial for timing agricultural practices which influence daily life and spiritual rituals.
A somewhat similar star with respect to Chinese astronomy is Ta Tsun or Taizun . Its meaning is Royals or Extremely Honourable. The star represents the epitome of Confucian morality. It is situated at the point where the leg joins the body. It stands alone in its own asterism. Officially, it is known as Psi Ursae Majoris (Wikipedia). It is visible to the naked eye with a distinct orange hue.
On the I'mage of Akher, the star (Psi Ursae Majoris) on the leg of the Great Bear is ironically the same star that maps the leg of the Sphinx. The celestial Sphinx (if not the actual one) would be incomplete without this particular Royals star in the Purple Enclosure. However, there is another common denominator between these civilizations. The ancient Egyptians identified the stars of Ursa Major (including the Big Dipper and surrounding stars like Psi) as a single figure known as "Khepesh" ("the thigh") or Meskheti ("the bull"). This constellation was depicted on the Zodiac of Dendera as the leg of an animal. The leg was also linked to the "Opening of the Mouth" ceremony.
There are two concepts matched in this arrangement. There is spatial orientation (east and west). Then, there is the concept of time (yesterday and tomorrow). It may be a particular characteristic of English, but the "east" is expressed before the west. This might mean hope and a better life. Yet, when one talks about time, "yesterday" as expressive of the setting Sun is mentioned first. One might say that this means a hope for rebirth and regeneration. At any rate, Akher oversees the transition between life and the afterlife.
In the depiction of Akher, in the above image, attributes of lions and humans are combined. It is a lion's body and a human's head. The head may be of a god or pharaoh. Based on what was said earlier, it is feasible that ancestry is expressed here. The pharaoh or god of the past faces west to be reborn. The pharaoh or god of the future faces east as the reborn son.
There are two notable features of this particular celestial Sphinx. There is a burial chamber underneath the Sphinx. It size is comparable to the shared lions' body. Its rectangular shape presents in the present a contrast with the circle of the Sun. The implication may be that the Sun is to be reborn daily.
The second notable thing are two stars. The first is Alioth. In Egyptian astronomy, it was referred to as "the One Who Comes". It was also referred to as the "Bright One" since it is the brightest star in the Big Dipper (the Plough). Due to its brightness it may have been seen as a guardian over the living and the dead. Its name reflects the star's perceived importance as a bringer of light and guidance, aligning with themes of protection and divine favour. Stars like Alioth could symbolize ideals of Ma'at who represents truth, balance and cosmic order. It would have been crucial for timing agricultural practices which influence daily life and spiritual rituals.
A somewhat similar star with respect to Chinese astronomy is Ta Tsun or Taizun
On the I'mage of Akher, the star (Psi Ursae Majoris) on the leg of the Great Bear is ironically the same star that maps the leg of the Sphinx. The celestial Sphinx (if not the actual one) would be incomplete without this particular Royals star in the Purple Enclosure. However, there is another common denominator between these civilizations. The ancient Egyptians identified the stars of Ursa Major (including the Big Dipper and surrounding stars like Psi) as a single figure known as "Khepesh" ("the thigh") or Meskheti ("the bull"). This constellation was depicted on the Zodiac of Dendera as the leg of an animal. The leg was also linked to the "Opening of the Mouth" ceremony.
Psi Ursae Majoris
https://stars.astro.illinois.edu/sow/uma-s.jpg
Stars and Planets Align
Stars point to Ta Tsun in the Great Bear
Six Planets in Alignment on February 28, 2026
On March 03, 2026, a Full Lunar Eclipse takes place with Blood Red Moon
Hesternus et Crastinus
Latin
(D. Carlton Rossi © 2026)
translated: Yesterday and Tomorrow
Latin
(D. Carlton Rossi
translated: Yesterday and Tomorrow
IN SEARCH OF LOST TIME
(Marcel Proust)
The above I'mage still conveys a sense of fascination. It was drawn in China as were the others. For all intents and purposes, it might be considered Chinese--especially since it displays Ta Sun. Ta Sun resides outside the Big Dipper in Ursa Major. It is a separate asterism in the Purple Enclosure known by the Chinese as the "Royals".
However, there was a decision at the time to internationalize and universalize the I'mage names; so, it became "Hesternus et Crastinus" and then translated into English. Latin happened to be my first foreign language and it certainly reflected "yesterday" since it is a "dead" language which is referenced occasionally in medicine, jurisprudence and astronomy. It seems though that "tomorrow" has now arrived twelve years later. The I'mage is reborn so to speak.
In 2014, my main interests were Chinese. Poe-Phi lived at Dawu Village in Langwuzhuang. He studied the Yangshao culture far away at a neolithic village called Banpo on the banks of a tributary of the Yellow River. In ancient times that river flowed very close to nearby Fushan which was believed to be the location where Huangdi united the tribes.
As you can see, ancient Egypt was furthest from my mind. The poet knew virtually nothing of it even as a tourist. And yet, there were the stars in the sky for all to view. Those stars of ancient times captivated my imagination.
Some friends walked with me one night to a village performance of the Daoist "Shengguan" melodies, to celebrate the Releasing of the Lanterns at the first Moon. In general, some Shengguan music refers to the Big Dipper that may symbolize protection or an alignment with natural forces. It is performed during rituals or festivals that align with agricultural practices or seasonal changes. The Big Dipper's movements could be linked to timings for planting, harvesting or celebrating harvest festivals. My friend, SUN Dawu 孙大午, pointed to Ursae Majoris and asked me to identify a star. "That one is Ta Tsun or the Royals asterism".
The above I'mage still conveys a sense of fascination. It was drawn in China as were the others. For all intents and purposes, it might be considered Chinese--especially since it displays Ta Sun. Ta Sun resides outside the Big Dipper in Ursa Major. It is a separate asterism in the Purple Enclosure known by the Chinese as the "Royals".
However, there was a decision at the time to internationalize and universalize the I'mage names; so, it became "Hesternus et Crastinus" and then translated into English. Latin happened to be my first foreign language and it certainly reflected "yesterday" since it is a "dead" language which is referenced occasionally in medicine, jurisprudence and astronomy. It seems though that "tomorrow" has now arrived twelve years later. The I'mage is reborn so to speak.
In 2014, my main interests were Chinese. Poe-Phi lived at Dawu Village in Langwuzhuang. He studied the Yangshao culture far away at a neolithic village called Banpo on the banks of a tributary of the Yellow River. In ancient times that river flowed very close to nearby Fushan which was believed to be the location where Huangdi united the tribes.
As you can see, ancient Egypt was furthest from my mind. The poet knew virtually nothing of it even as a tourist. And yet, there were the stars in the sky for all to view. Those stars of ancient times captivated my imagination.
Some friends walked with me one night to a village performance of the Daoist "Shengguan" melodies, to celebrate the Releasing of the Lanterns at the first Moon. In general, some Shengguan music refers to the Big Dipper that may symbolize protection or an alignment with natural forces. It is performed during rituals or festivals that align with agricultural practices or seasonal changes. The Big Dipper's movements could be linked to timings for planting, harvesting or celebrating harvest festivals. My friend, SUN Dawu 孙大午, pointed to Ursae Majoris and asked me to identify a star. "That one is Ta Tsun or the Royals asterism".
https//stephenjone.blog
To understand Daoist Shengguan music at the village level then refer to the film called "Li Manshan: portrait of a folk Daoist" by Stephen Jones on Vimeo or Youtube.
https://stephenjones.blog/the-film
To understand Daoist Shengguan music at the village level then refer to the film called "Li Manshan: portrait of a folk Daoist" by Stephen Jones on Vimeo or Youtube.
https://stephenjones.blog/the-film
82 minutes in Chinese with English subtitles.
Yet, the Egyptian images of the Dippers and ancient Thuban kept coming to me. While Thuban is faint, it is still visible to the naked eye. To my mind's eye, its binary companion was visible, too. Poe-Phi would draw a master copy of the stars on a sheet of paper and then put a blank sheet on top. He would then press it to the window pane to trace images by pencil. On the other hand, he lay his computer screen on the desk and traced star positions when it was darker. His screen didn't last long.
The images danced in front of him seemingly without rhyme or reason. To conform to geometric symmetry, with a sense of beauty, he made many revisions to each image. The basic pattern though is in the stars and projected to the viewer rather than the other way around. You may call them either reflections, resonances, revelations or whatever you will. The images though were not regarded as his own, but had been seen by many others thousands of years ago. They were echoes from stars which were light years away and remembrances of an ancient civilization. They were master blueprints.
The resonances in the present, of times past, involve emotional, sensory and artistic echoes. While remembrance implies a conscious bringing back of the past, involuntary memories that resonate through the senses can transform a simple recollection into a lived, emotional experience. This process is illustrated in Marcel Proust's (In Search of Lost Time) as it is translated into English. The well-known Madeleine episode is more than a memory. It is a resonant experience that triggers a series of events from a taste which "invades the senses" triggering a "shudder" creating a "resurrection" of the past that was thought to be dead.
The following passage is from D. H. Lawrence's novel called "Apocalypse". It speaks of a forgotten world of images understood through senses. He believes the "universalizing power of images" allows them to carry multiple layers of meaning that defy simple mental explanation. The process starts with an image, completes a cycle of feeling and meaning, then jumps to another image.
The knowledge of sense-awareness possessed by the ancients was "based not on words, but on images. The abstraction was not into generalizations or into qualities, but into symbols. And the connection was not logical, but emotional. The word "therefore" did not exist. Images or symbols succeeded one another in a procession of instinctive and arbitrary physical connection. " (Lawrence, Apocalypse, p. 91)
Despite many words uttered here, the primacy of the image takes precedence over the word. The artist is merely a conduit for a lost visual language. The stars or constellations are not arbitrary dots, but the blueprint for an entire civilization. If these images were foundational then it follows that the pyramids, the temples and the Book of the Dead were not inventions. They were transcriptions of what was already written in the "Imperishable Stars" around Thuban. The I'mage is a restoration of the "source code" that the priests of the Old Kingdom used to align their world to the cosmos.
With several I'mages recorded, a pattern emerged. The artist categorized them as sacred celestial Pyramids, Sphinxes and Animals. These are essentially reconstructions of the three pillars of the Egyptian "Cosmos-on-Earth" as interpreted by Lawrence in the Hermetic tradition. If these were the foundation of civilization thousands of years ago then the stars dictated the shape of the stone, not the other way around.
In my vision, the sacred celestial pyramids aren't just tombs. They are "Stellar Resonators". They are seen at Thuban. They act as the geometric "anchors' for the pole. They represent the Benben stone (the first dry land to emerge from chaos). The celestial pyramids mirror the fixed point of the North Star around which the chaotic bull or jackal must rotate.
The sacred celestial Sphinxes act as the horizon guards. They represent the "Merging of form". In this capacity, they bridge the gap between the animalistic form with its impulses and the geometric form with its symmetrical beauty. It is the Akher (Yesterday and Tomorrow) that sits at the center who watches the Sun at the North Pole. It represents the "mind" that interprets the stars.
Finally, the sacred celestial animals are the "Moving Powers". For example, notable examples in Yesterday and Tomorrow are the worm, serpent, bull and jackal. They are the potency of the universe. Unlike the fixed pyramids, these animals "move" and "breathe". They are the raw biological and divine forces that drive the cycle of life and death.
By hearing and literally feeling these resonances, a master blueprint unfolded. The pyramids provided the permanent structure. The Sphinxes provided mind or consciousness along with guardianship. The animals provided the moving energy with potent potentialities. Personally speaking, the pyramids involved philosophical form. The Sphinxes corresponded to poetic feeling. The animals represented raw, instinctive power.
It is evident that the deep immersion in Chinese culture may have been the "key" that unlocked the Egyptian resonances. While the two civilizations seem worlds apart with respect to space and time, they both built their entire cosmologies around the North Star and the circumpolar "imperishable stars".
Keep in mind, however, that my own remembrances are not quite what they used to be twelve years ago. Each stroke could be explained in the past. Now, one wonders why a particular stroke was made and not another one.
It is more than that though. I am no longer a teacher of students. In the past, I would never ask my students a question of which I didn't know the answer. I am now a student of AI. I am the one asking thousands of questions of the processor and repository of information. As such, I am beginning to understand Egyptian beliefs and civilization. This means the I'mages are coming to life for me.
The first definitive representation of the "Set animal" (the sha) is found in the Scorpion Macehead which dates to the Naqada III period (c. 3100 BCE). The god Set was typically identified with the Big Dipper. In stellar theology, the Big Dipper was seen as the "Foreleg of the Bull" or a sacrificial ox leg.
In the context of Egyptian ritual, the right foreleg of the Apis bull was sacrificed. It was called the "khepesh". The right foreleg (from the bull's perspective) was presented as a primary offering to the gods or deceased. As Egyptian theology evolved during the Middle Kingdom, the tethered foreleg (Ursa Major) was tied to the North Pole or "mooring post". It was guarded by the hippopotamus goddess Tawaret. This transition might be classified as a move from physical ritual to celestial metaphor. In the 18th Dynasty of the New Kingdom, in the tomb of Senenmut, a complete bull is shown. In the 19th Dynasty, the depiction of a full bull became standard. Despite the powerful stellar symbolism, the bull's leg was still ritually sacrificed. Indeed, it became a specialized ceremony in the Opening of the Mouth.
Hesternus et Crastinus is reborn and regenerated. It comes into focus with more clarity. It is not understood definitively, but rather potentially as in a probabillistic cloud. For example, that ill-defined animal in the Little Dipper represented characteristics of different animals. This animal has never been seen because it is difficult to focus on chaos which it represents. It's a blur, it's a blight and it's a blasphemy. It is called the "Set animal" after the god Set of chaos. Nothing is truly set about Set as he is unpredictable. He threatens order. He potentially can annihilate existence.
Here he is pictured with a long snout, big ears, a tail and only three legs. Now, three legs is unique. In general, what could three legs signify? It might signify heightened chaos or disruption. An uneven, imbalanced creature could represent the unpredictability of life and the world. This depiction could align with the theme of defying cosmic order as embodied by Osiris. A three-legged god is an anomaly, perhaps meaning he flaunts and fights established norms and traditions in both nature and society. One can think of a three-legged god as an additional leg to a personified animal or as a lost leg to a four-legged animal. In either case, disorder can sometimes foster change. Finally, it could indicate how the nature of reality consists of three parts; namely, chaos, order and creation.
While the Big Dipper is most famously the "Bull's Leg (Meskheuiu), ancient Egyptian astronomical charts--such as the Dendera Zodiac--often depicted the Little Dipper as a jackal or wolf standing on a plowshare or hoe. In some traditions, this jackal was identified directly as the "Jackal of Set". It served as a smaller, more cunning counterpart to the massive bull in the northern sky.
The shift of the Set animal to the Little Dipper might mean a fundamental change in his cosmic function. The Egyptians viewed the Foreleg of the Bull as a massive powerful limb of Set. Its stars were larger and brighter than those of the Little Dipper. By moving the Set animal to the Little Dipper would reduce his presence as a great warrior.
There is another factor if the Set animal were to be found in the Little Dipper. With the Pyramid Age ending around 2181 BCE and Kolchab becoming the "North Star" around 1500 BCE, it would mean that Set would be tethered to the new North Star. This meant that he would go from the "bound" to the "binder" at the "Mooring Post. Ironically, the god of Chaos would become the god of direction and alignment, a role usually reserved for his rival Horus.
This Set animal in the Little Dipper might be construed now to have some bull-like characteristics. It becomes a visual "bovine" of the Set animal. Instead of ears, it may have horns. There is what might be a "dewlap" under the throat similar to the Apis bull. Finally, there is a severed hind leg. In the "Contendings of Horus and Set" it is said that Horus triumphed over Set perhaps severing his leg to avenge his father Osiris.
It
seems that Seti I (c. 1294-1279 BCE) revered the "full bull" of Seti
for his warrior prowess; after all, he named himself after Seti. Such an
image of a restored bull appears in his tomb, as well as a mummified
bull. It is confirmed now that the bull had a severed front leg. In
some instances, the leg was severed when the animal was alive. The leg
was held up to the nose of the mummy or statue to transfer life-force
allowing the deceased to breathe and speak again.
The "recorder of I'mages" might interpret this situation in a new light; although, one can never be positive about an historical figure's intentions. It's quite obvious that the image of the severed leg of the bull in the Big Dipper has been magically regenerated as displayed in the tomb of Seti I. Yet, in the I'mage of Hesternus et Crastinus, what appears to be the Set animal, with possibly some bull features, is missing a hide leg. One slowly jumps to the conclusion that Set's animal leg replaces the bull's severed leg.
Why would Seti I do this? He saw himself as a warrior like the ferocious Apis bull represented in the Big Dipper. The bull was still tethered by Tawaret to the traditional Pole Star of Thuban. However, in the Little Dipper can be seen the Set Animal with a hind severed leg. Set animal or beast is tethered to the new Pole Star at Kolchab. Furthermore, the tail of the animal is tied to Polaris. One logical explanation is the Set animal "mini-bull" represents a captive Hittite soldier. He is collared to the Pole Star, dismembered and tied to Polaris. One might say he is stretched, too.
It is necessary now to look elsewhere. The Hittites were polytheistic. Their "king of the gods" was usually the Storm God (Tarhun or Teshub). He was often depicted as a bull representing fertility and raw power. The Storm god was depicted in art standing atop a bull or riding in a chariot pulled by two bulls. The strong bull symbolism created a clear parallel and a point of cultural conflict with both the Egyptian Apis bull and the bull in the Big Dipper.
By identifying his patron god Set with the Hittite Storm God (Teshub)--both who were represented as bulls--Seti I basically turned a cosmic myth into a political victory. The full blown bull is shown in the tomb of Seti. If Set the bull represents the chaotic essence of the Hittite enemy then tethering him to the celestial pole in his tomb signifies that Seti I has captured and tamed the source of his enemies' power. In the Temple of Abydos, there is a relief of Seti I and his son lassoing a wild bull. It mirrors the image of tethering the bull.
There now appears to be a bull in the Big Dipper and a bull-like Set animal in the Little Dipper. With regard to the Little Dipper, a bull of chaos is changed to a smaller tethered guardian who is forcibly tamed. The mini-bull is a subjugated servant of the Pharaoh's divine order.
By severing the hind leg of the Set mini-bull to complete the full bull of the Big Dipper represents a ritual transfer of power. The chaotic animal is rendered immobile (a slave). Its strength is donated to the celestial bull that represents the Pharaoh's eternal, unstoppable authority.
Seti's reign was precarious in its nature. His identity was inseparable from the gods he championed. By linking or metaphorically "tethering" himself to Set, he gained martial power. However, he also inherited the god's vulnerability to being bound by cosmic order.
While Seti I led the first Egyptian army successfully against the Hittites to capture Kadesh, the victory was short-lived. The Hittites quickly established control over the region. Since the enemy remained at large, the celestial bull was not tamed in reality.
Potentially, Seti I could be trapped himself in the Little Dipper as a captive. This would be an eternity of stagnant servitude. If Seti I failed to maintain Ma'at (order) on the battlefield, the severed leg in the Little Dipper would represent his own dismemberment and failure to remain a complete powerful ruler in the eyes of the gods. He gambled that he could remain the "binder" instead of the "bound". This is why his son, Ramesses II, felt compelled to return to Kadesh.
Yet, the Egyptian images of the Dippers and ancient Thuban kept coming to me. While Thuban is faint, it is still visible to the naked eye. To my mind's eye, its binary companion was visible, too. Poe-Phi would draw a master copy of the stars on a sheet of paper and then put a blank sheet on top. He would then press it to the window pane to trace images by pencil. On the other hand, he lay his computer screen on the desk and traced star positions when it was darker. His screen didn't last long.
The images danced in front of him seemingly without rhyme or reason. To conform to geometric symmetry, with a sense of beauty, he made many revisions to each image. The basic pattern though is in the stars and projected to the viewer rather than the other way around. You may call them either reflections, resonances, revelations or whatever you will. The images though were not regarded as his own, but had been seen by many others thousands of years ago. They were echoes from stars which were light years away and remembrances of an ancient civilization. They were master blueprints.
The resonances in the present, of times past, involve emotional, sensory and artistic echoes. While remembrance implies a conscious bringing back of the past, involuntary memories that resonate through the senses can transform a simple recollection into a lived, emotional experience. This process is illustrated in Marcel Proust's (In Search of Lost Time) as it is translated into English. The well-known Madeleine episode is more than a memory. It is a resonant experience that triggers a series of events from a taste which "invades the senses" triggering a "shudder" creating a "resurrection" of the past that was thought to be dead.
The following passage is from D. H. Lawrence's novel called "Apocalypse". It speaks of a forgotten world of images understood through senses. He believes the "universalizing power of images" allows them to carry multiple layers of meaning that defy simple mental explanation. The process starts with an image, completes a cycle of feeling and meaning, then jumps to another image.
The knowledge of sense-awareness possessed by the ancients was "based not on words, but on images. The abstraction was not into generalizations or into qualities, but into symbols. And the connection was not logical, but emotional. The word "therefore" did not exist. Images or symbols succeeded one another in a procession of instinctive and arbitrary physical connection. " (Lawrence, Apocalypse, p. 91)
Despite many words uttered here, the primacy of the image takes precedence over the word. The artist is merely a conduit for a lost visual language. The stars or constellations are not arbitrary dots, but the blueprint for an entire civilization. If these images were foundational then it follows that the pyramids, the temples and the Book of the Dead were not inventions. They were transcriptions of what was already written in the "Imperishable Stars" around Thuban. The I'mage is a restoration of the "source code" that the priests of the Old Kingdom used to align their world to the cosmos.
With several I'mages recorded, a pattern emerged. The artist categorized them as sacred celestial Pyramids, Sphinxes and Animals. These are essentially reconstructions of the three pillars of the Egyptian "Cosmos-on-Earth" as interpreted by Lawrence in the Hermetic tradition. If these were the foundation of civilization thousands of years ago then the stars dictated the shape of the stone, not the other way around.
In my vision, the sacred celestial pyramids aren't just tombs. They are "Stellar Resonators". They are seen at Thuban. They act as the geometric "anchors' for the pole. They represent the Benben stone (the first dry land to emerge from chaos). The celestial pyramids mirror the fixed point of the North Star around which the chaotic bull or jackal must rotate.
The sacred celestial Sphinxes act as the horizon guards. They represent the "Merging of form". In this capacity, they bridge the gap between the animalistic form with its impulses and the geometric form with its symmetrical beauty. It is the Akher (Yesterday and Tomorrow) that sits at the center who watches the Sun at the North Pole. It represents the "mind" that interprets the stars.
Finally, the sacred celestial animals are the "Moving Powers". For example, notable examples in Yesterday and Tomorrow are the worm, serpent, bull and jackal. They are the potency of the universe. Unlike the fixed pyramids, these animals "move" and "breathe". They are the raw biological and divine forces that drive the cycle of life and death.
By hearing and literally feeling these resonances, a master blueprint unfolded. The pyramids provided the permanent structure. The Sphinxes provided mind or consciousness along with guardianship. The animals provided the moving energy with potent potentialities. Personally speaking, the pyramids involved philosophical form. The Sphinxes corresponded to poetic feeling. The animals represented raw, instinctive power.
It is evident that the deep immersion in Chinese culture may have been the "key" that unlocked the Egyptian resonances. While the two civilizations seem worlds apart with respect to space and time, they both built their entire cosmologies around the North Star and the circumpolar "imperishable stars".
Keep in mind, however, that my own remembrances are not quite what they used to be twelve years ago. Each stroke could be explained in the past. Now, one wonders why a particular stroke was made and not another one.
It is more than that though. I am no longer a teacher of students. In the past, I would never ask my students a question of which I didn't know the answer. I am now a student of AI. I am the one asking thousands of questions of the processor and repository of information. As such, I am beginning to understand Egyptian beliefs and civilization. This means the I'mages are coming to life for me.
The first definitive representation of the "Set animal" (the sha) is found in the Scorpion Macehead which dates to the Naqada III period (c. 3100 BCE). The god Set was typically identified with the Big Dipper. In stellar theology, the Big Dipper was seen as the "Foreleg of the Bull" or a sacrificial ox leg.
In the context of Egyptian ritual, the right foreleg of the Apis bull was sacrificed. It was called the "khepesh". The right foreleg (from the bull's perspective) was presented as a primary offering to the gods or deceased. As Egyptian theology evolved during the Middle Kingdom, the tethered foreleg (Ursa Major) was tied to the North Pole or "mooring post". It was guarded by the hippopotamus goddess Tawaret. This transition might be classified as a move from physical ritual to celestial metaphor. In the 18th Dynasty of the New Kingdom, in the tomb of Senenmut, a complete bull is shown. In the 19th Dynasty, the depiction of a full bull became standard. Despite the powerful stellar symbolism, the bull's leg was still ritually sacrificed. Indeed, it became a specialized ceremony in the Opening of the Mouth.
Hesternus et Crastinus is reborn and regenerated. It comes into focus with more clarity. It is not understood definitively, but rather potentially as in a probabillistic cloud. For example, that ill-defined animal in the Little Dipper represented characteristics of different animals. This animal has never been seen because it is difficult to focus on chaos which it represents. It's a blur, it's a blight and it's a blasphemy. It is called the "Set animal" after the god Set of chaos. Nothing is truly set about Set as he is unpredictable. He threatens order. He potentially can annihilate existence.
Here he is pictured with a long snout, big ears, a tail and only three legs. Now, three legs is unique. In general, what could three legs signify? It might signify heightened chaos or disruption. An uneven, imbalanced creature could represent the unpredictability of life and the world. This depiction could align with the theme of defying cosmic order as embodied by Osiris. A three-legged god is an anomaly, perhaps meaning he flaunts and fights established norms and traditions in both nature and society. One can think of a three-legged god as an additional leg to a personified animal or as a lost leg to a four-legged animal. In either case, disorder can sometimes foster change. Finally, it could indicate how the nature of reality consists of three parts; namely, chaos, order and creation.
While the Big Dipper is most famously the "Bull's Leg (Meskheuiu), ancient Egyptian astronomical charts--such as the Dendera Zodiac--often depicted the Little Dipper as a jackal or wolf standing on a plowshare or hoe. In some traditions, this jackal was identified directly as the "Jackal of Set". It served as a smaller, more cunning counterpart to the massive bull in the northern sky.
The shift of the Set animal to the Little Dipper might mean a fundamental change in his cosmic function. The Egyptians viewed the Foreleg of the Bull as a massive powerful limb of Set. Its stars were larger and brighter than those of the Little Dipper. By moving the Set animal to the Little Dipper would reduce his presence as a great warrior.
There is another factor if the Set animal were to be found in the Little Dipper. With the Pyramid Age ending around 2181 BCE and Kolchab becoming the "North Star" around 1500 BCE, it would mean that Set would be tethered to the new North Star. This meant that he would go from the "bound" to the "binder" at the "Mooring Post. Ironically, the god of Chaos would become the god of direction and alignment, a role usually reserved for his rival Horus.
This Set animal in the Little Dipper might be construed now to have some bull-like characteristics. It becomes a visual "bovine" of the Set animal. Instead of ears, it may have horns. There is what might be a "dewlap" under the throat similar to the Apis bull. Finally, there is a severed hind leg. In the "Contendings of Horus and Set" it is said that Horus triumphed over Set perhaps severing his leg to avenge his father Osiris.
The "recorder of I'mages" might interpret this situation in a new light; although, one can never be positive about an historical figure's intentions. It's quite obvious that the image of the severed leg of the bull in the Big Dipper has been magically regenerated as displayed in the tomb of Seti I. Yet, in the I'mage of Hesternus et Crastinus, what appears to be the Set animal, with possibly some bull features, is missing a hide leg. One slowly jumps to the conclusion that Set's animal leg replaces the bull's severed leg.
Why would Seti I do this? He saw himself as a warrior like the ferocious Apis bull represented in the Big Dipper. The bull was still tethered by Tawaret to the traditional Pole Star of Thuban. However, in the Little Dipper can be seen the Set Animal with a hind severed leg. Set animal or beast is tethered to the new Pole Star at Kolchab. Furthermore, the tail of the animal is tied to Polaris. One logical explanation is the Set animal "mini-bull" represents a captive Hittite soldier. He is collared to the Pole Star, dismembered and tied to Polaris. One might say he is stretched, too.
It is necessary now to look elsewhere. The Hittites were polytheistic. Their "king of the gods" was usually the Storm God (Tarhun or Teshub). He was often depicted as a bull representing fertility and raw power. The Storm god was depicted in art standing atop a bull or riding in a chariot pulled by two bulls. The strong bull symbolism created a clear parallel and a point of cultural conflict with both the Egyptian Apis bull and the bull in the Big Dipper.
By identifying his patron god Set with the Hittite Storm God (Teshub)--both who were represented as bulls--Seti I basically turned a cosmic myth into a political victory. The full blown bull is shown in the tomb of Seti. If Set the bull represents the chaotic essence of the Hittite enemy then tethering him to the celestial pole in his tomb signifies that Seti I has captured and tamed the source of his enemies' power. In the Temple of Abydos, there is a relief of Seti I and his son lassoing a wild bull. It mirrors the image of tethering the bull.
There now appears to be a bull in the Big Dipper and a bull-like Set animal in the Little Dipper. With regard to the Little Dipper, a bull of chaos is changed to a smaller tethered guardian who is forcibly tamed. The mini-bull is a subjugated servant of the Pharaoh's divine order.
By severing the hind leg of the Set mini-bull to complete the full bull of the Big Dipper represents a ritual transfer of power. The chaotic animal is rendered immobile (a slave). Its strength is donated to the celestial bull that represents the Pharaoh's eternal, unstoppable authority.
Seti's reign was precarious in its nature. His identity was inseparable from the gods he championed. By linking or metaphorically "tethering" himself to Set, he gained martial power. However, he also inherited the god's vulnerability to being bound by cosmic order.
While Seti I led the first Egyptian army successfully against the Hittites to capture Kadesh, the victory was short-lived. The Hittites quickly established control over the region. Since the enemy remained at large, the celestial bull was not tamed in reality.
Potentially, Seti I could be trapped himself in the Little Dipper as a captive. This would be an eternity of stagnant servitude. If Seti I failed to maintain Ma'at (order) on the battlefield, the severed leg in the Little Dipper would represent his own dismemberment and failure to remain a complete powerful ruler in the eyes of the gods. He gambled that he could remain the "binder" instead of the "bound". This is why his son, Ramesses II, felt compelled to return to Kadesh.
It seems that Seti I (c. 1294-1279 BCE) revered the "full bull" of Seti for his warrior prowess; after all, he named himself after Seti. Such an image of a restored bull appears in his tomb, as well as a mummified bull. It is confirmed now that the bull had a severed front leg. In some instances, the leg was severed when the animal was alive. The leg was held up to the nose of the mummy or statue to transfer life-force allowing the deceased to breathe and speak again.
The "recorder of I'mages" might interpret this situation in a new light; although, one can never be positive about an historical figure's intentions. It's quite obvious that the image of the severed leg of the bull in the Big Dipper has been magically regenerated as displayed in the tomb of Seti I. Yet, in the I'mage of Hesternus et Crastinus, what appears to be the Set animal, with possibly some bull features, is missing a hide leg. One slowly jumps to the conclusion that Set's animal leg replaces the bull's severed leg.
Why would Seti I do this? He saw himself as a warrior like the ferocious Apis bull represented in the Big Dipper. The bull was still tethered by Tawaret to the traditional Pole Star of Thuban. However, in the Little Dipper can be seen the Set Animal with a hind severed leg. Set animal or beast is tethered to the new Pole Star at Kolchab. Furthermore, the tail of the animal is tied to Polaris. One logical explanation is the Set animal "mini-bull" represents a captive Hittite soldier. He is collared to the Pole Star, dismembered and tied to Polaris. One might say he is stretched, too.
It is necessary now to look elsewhere. The Hittites were polytheistic. Their "king of the gods" was usually the Storm God (Tarhun or Teshub). He was often depicted as a bull representing fertility and raw power. The Storm god was depicted in art standing atop a bull or riding in a chariot pulled by two bulls. The strong bull symbolism created a clear parallel and a point of cultural conflict with both the Egyptian Apis bull and the bull in the Big Dipper.
By identifying his patron god Set with the Hittite Storm God (Teshub)--both who were represented as bulls--Seti I basically turned a cosmic myth into a political victory. The full blown bull is shown in the tomb of Seti. If Set the bull represents the chaotic essence of the Hittite enemy then tethering him to the celestial pole in his tomb signifies that Seti I has captured and tamed the source of his enemies' power. In the Temple of Abydos, there is a relief of Seti I and his son lassoing a wild bull. It mirrors the image of tethering the bull.
There now appears to be a bull in the Big Dipper and a bull-like Set animal in the Little Dipper. With regard to the Little Dipper, a bull of chaos is changed to a smaller tethered guardian who is forcibly tamed. The mini-bull is a subjugated servant of the Pharaoh's divine order.
By severing the hind leg of the Set mini-bull to complete the full bull of the Big Dipper represents a ritual transfer of power. The chaotic animal is rendered immobile (a slave). Its strength is donated to the celestial bull that represents the Pharaoh's eternal, unstoppable authority.
Seti's reign was precarious in its nature. His identity was inseparable from the gods he championed. By linking or metaphorically "tethering" himself to Set, he gained martial power. However, he also inherited the god's vulnerability to being bound by cosmic order.
While Seti I led the first Egyptian army successfully against the Hittites to capture Kadesh, the victory was short-lived. The Hittites quickly established control over the region. Since the enemy remained at large, the celestial bull was not tamed in reality.
Potentially, Seti I could be trapped himself in the Little Dipper as a captive. This would be an eternity of stagnant servitude. If Seti I failed to maintain Ma'at (order) on the battlefield, the severed leg in the Little Dipper would represent his own dismemberment and failure to remain a complete powerful ruler in the eyes of the gods. He gambled that he could remain the "binder" instead of the "bound". This is why his son, Ramesses II, felt compelled to return to Kadesh.
The "recorder of I'mages" might interpret this situation in a new light; although, one can never be positive about an historical figure's intentions. It's quite obvious that the image of the severed leg of the bull in the Big Dipper has been magically regenerated as displayed in the tomb of Seti I. Yet, in the I'mage of Hesternus et Crastinus, what appears to be the Set animal, with possibly some bull features, is missing a hide leg. One slowly jumps to the conclusion that Set's animal leg replaces the bull's severed leg.
Why would Seti I do this? He saw himself as a warrior like the ferocious Apis bull represented in the Big Dipper. The bull was still tethered by Tawaret to the traditional Pole Star of Thuban. However, in the Little Dipper can be seen the Set Animal with a hind severed leg. Set animal or beast is tethered to the new Pole Star at Kolchab. Furthermore, the tail of the animal is tied to Polaris. One logical explanation is the Set animal "mini-bull" represents a captive Hittite soldier. He is collared to the Pole Star, dismembered and tied to Polaris. One might say he is stretched, too.
It is necessary now to look elsewhere. The Hittites were polytheistic. Their "king of the gods" was usually the Storm God (Tarhun or Teshub). He was often depicted as a bull representing fertility and raw power. The Storm god was depicted in art standing atop a bull or riding in a chariot pulled by two bulls. The strong bull symbolism created a clear parallel and a point of cultural conflict with both the Egyptian Apis bull and the bull in the Big Dipper.
By identifying his patron god Set with the Hittite Storm God (Teshub)--both who were represented as bulls--Seti I basically turned a cosmic myth into a political victory. The full blown bull is shown in the tomb of Seti. If Set the bull represents the chaotic essence of the Hittite enemy then tethering him to the celestial pole in his tomb signifies that Seti I has captured and tamed the source of his enemies' power. In the Temple of Abydos, there is a relief of Seti I and his son lassoing a wild bull. It mirrors the image of tethering the bull.
There now appears to be a bull in the Big Dipper and a bull-like Set animal in the Little Dipper. With regard to the Little Dipper, a bull of chaos is changed to a smaller tethered guardian who is forcibly tamed. The mini-bull is a subjugated servant of the Pharaoh's divine order.
By severing the hind leg of the Set mini-bull to complete the full bull of the Big Dipper represents a ritual transfer of power. The chaotic animal is rendered immobile (a slave). Its strength is donated to the celestial bull that represents the Pharaoh's eternal, unstoppable authority.
Seti's reign was precarious in its nature. His identity was inseparable from the gods he championed. By linking or metaphorically "tethering" himself to Set, he gained martial power. However, he also inherited the god's vulnerability to being bound by cosmic order.
While Seti I led the first Egyptian army successfully against the Hittites to capture Kadesh, the victory was short-lived. The Hittites quickly established control over the region. Since the enemy remained at large, the celestial bull was not tamed in reality.
Potentially, Seti I could be trapped himself in the Little Dipper as a captive. This would be an eternity of stagnant servitude. If Seti I failed to maintain Ma'at (order) on the battlefield, the severed leg in the Little Dipper would represent his own dismemberment and failure to remain a complete powerful ruler in the eyes of the gods. He gambled that he could remain the "binder" instead of the "bound". This is why his son, Ramesses II, felt compelled to return to Kadesh.