1.
Ancient Egyptian religion
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Ancient Egyptian religion was a complex system of polytheistic beliefs and rituals which were an integral part of ancient Egyptian society. It centered on the Egyptians interaction with many deities who were believed to be present in, and in control of, rituals such as prayers and offerings were efforts to provide for the gods and gain their favor. Formal religious practice centered on the pharaoh, the king of Egypt and he acted as the intermediary between his people and the gods and was obligated to sustain the gods through rituals and offerings so that they could maintain order in the universe. The state dedicated enormous resources to Egyptian rituals and to the construction of the temples, individuals could interact with the gods for their own purposes, appealing for their help through prayer or compelling them to act through magic. These practices were distinct from, but closely linked with, the formal rituals, the popular religious tradition grew more prominent in the course of Egyptian history as the status of the Pharaoh declined. Another important aspect was the belief in the afterlife and funerary practices, the Egyptians made great efforts to ensure the survival of their souls after death, providing tombs, grave goods, and offerings to preserve the bodies and spirits of the deceased. The religion had its roots in Egypts prehistory and lasted for more than 3,000 years, the details of religious belief changed over time as the importance of particular gods rose and declined, and their intricate relationships shifted. At various times, certain gods became preeminent over the others, including the sun god Ra, the creator god Amun, for a brief period, in the theology promulgated by the Pharaoh Akhenaten, a single god, the Aten, replaced the traditional pantheon. Ancient Egyptian religion and mythology left behind many writings and monuments, along with significant influences on ancient, the beliefs and rituals now referred to as ancient Egyptian religion were integral within every aspect of Egyptian culture. Their language possessed no single term corresponding to the modern European concept of religion, the characteristics of the gods who populated the divine realm were inextricably linked to the Egyptians understanding of the properties of the world in which they lived. The Egyptians believed that the phenomena of nature were divine forces in and these deified forces included the elements, animal characteristics, or abstract forces. The Egyptians believed in a pantheon of gods, which were involved in all aspects of nature and their religious practices were efforts to sustain and placate these phenomena and turn them to human advantage. This polytheistic system was complex, as some deities were believed to exist in many different manifestations. Conversely, many forces, such as the sun, were associated with multiple deities. The diverse pantheon ranged from gods with vital roles in the universe to minor deities or demons with very limited or localized functions. It could include gods adopted from foreign cultures, and sometimes humans, deceased Pharaohs were believed to be divine, and occasionally, distinguished commoners such as Imhotep also became deified. The depictions of the gods in art were not meant as representations of how the gods might appear if they were visible. Instead, these depictions gave recognizable forms to the deities by using symbolic imagery to indicate each gods role in nature
2.
Duat
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Duat was the realm of the dead in ancient Egyptian mythology. It was the realm of the deity Osiris and the residence of other gods, the Duat was the region through which the sun god Ra traveled from west to east during the night, and where he battled Apep. It was also the place where peoples souls went after death for judgement, burial chambers formed touching-points between the mundane world and the Duat, and spirits could use tombs to travel back and forth from the Duat. What is known of the Duat derives principally from funerary texts such as the Book of Gates, the Book of Caverns, the Coffin Texts, the Amduat, and the Book of the Dead. Each of these fulfilled a different purpose and gave a different perspective on the Duat. Surviving texts differ in age and origin, and there likely was never a single interpretation of the Duat. The geography of Duat is similar in outline to the world the Egyptians knew, there are realistic features like rivers, islands, fields, lakes, mounds and caverns, along with fantastic lakes of fire, walls of iron and trees of turquoise. In the Book of Two Ways, one of the Coffin Texts, the Book of the Dead and Coffin Texts were intended to guide people who had recently died through the Duats dangerous landscape and to a life as an akh or blessed spirit amongst the gods. The dead person must pass a series of gates guarded by dangerous spirits, depicted as human bodies with heads of animals, insects. These beings have equally grotesque names, for instance Blood-drinker who comes from the Slaughterhouse or One who eats the excrement of his hindquarters, other features emphasised in these texts are mounds and caverns, inhabited by gods or supernatural animals, which threatened the spirits of the dead. The purpose of the books is not to lay out a geography, if the deceased successfully passed these unpleasant demons, he or she would reach the Weighing of the Heart. In this ritual, the heart of the deceased was weighed by Anubis, using a feather, representing Maat, any hearts heavier than her feather were rejected and eaten by the Ammit, the Devourer of Souls. Those souls that were lighter than a feather passed the test would be allowed to travel toward the paradise of Aaru, in spite of the unpleasant inhabitants of the Duat, this was no Hell to which souls were condemned, the nature of Duat is more complex than that. The grotesque spirits of the underworld were not evil, but under the control of the Gods. The Duat was also a residence of gods themselves, as well as Osiris, Anubis, Thoth, Horus, Hathor and Maat all appear as a dead soul makes its way toward judgement. It was also in the underworld that the sun, Ra, travelled under the Earth upon his Atet barge from west to east and was transformed from its aged Atum form into Khepri, the new dawning Sun. Just as a person faced many challenges in the Duat. The Egyptian Book of the Dead, The Book of Going Forth by Day, chronicle Books,2000 Pinch, G. Magic in Ancient Egypt
3.
Maat
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Maat or Maat was the ancient Egyptian concept of truth, balance, order, harmony, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, cuneiform texts indicate that the word mˤ3t was pronounced /múʕʔa/ during the New Kingdom period, having lost the feminine ending t. Sound shifts from u to e later produced the cognate Coptic word ⲙⲉⲉ/ⲙⲉ truth, later, as a goddess in other traditions of the Egyptian pantheon, where most goddesses were paired with a male aspect, her masculine counterpart was Thoth, as their attributes are similar. In other accounts, Thoth was paired off with Seshat, goddess of writing and measure and her feather was the measure that determined whether the souls of the departed would reach the paradise of afterlife successfully. Pharaohs are often depicted with the emblems of Maat to emphasise their role in upholding the laws of the Creator, Maat represents the ethical and moral principle that every Egyptian citizen was expected to follow throughout their daily lives. They were expected to act with honor and truth in manners that involve family, the community, the nation, the environment, Maat as a principle was formed to meet the complex needs of the emergent Egyptian state that embraced diverse peoples with conflicting interests. The development of such rules sought to avert chaos and it became the basis of Egyptian law, from an early period the King would describe himself as the Lord of Maat who decreed with his mouth the Maat he conceived in his heart. The ancient Egyptians had a conviction of an underlying holiness. Cosmic harmony was achieved by public and ritual life. Any disturbance in cosmic harmony could have consequences for the individual as well as the state, an impious King could bring about famine or blasphemy blindness to an individual. In opposition to the order expressed in the concept of Maat is the concept of Isfet, chaos, lies. In one Middle Kingdom text the Creator declares I made every man like his fellow, a passage in the Instruction of Ptahhotep presents Maat as follows, Maat is good and its worth is lasting. It has not been disturbed since the day of its creator and it lies as a path in front even of him who knows nothing. Wrongdoing has never yet brought its venture to port and it is true that evil may gain wealth but the strength of truth is that it lasts, a man can say, It was the property of my father. There is little surviving literature that describes the practice of ancient Egyptian law, Maat was the spirit in which justice was applied rather than the detailed legalistic exposition of rules. Maat represented the normal and basic values that formed the backdrop for the application of justice that had to be carried out in the spirit of truth and fairness. From the 5th dynasty onwards the Vizier responsible for justice was called the Priest of Maat, later scholars and philosophers also would embody concepts from the wisdom literature, or Sebayt. These spiritual texts dealt with social or professional situations and how each was best to be resolved or addressed in the spirit of Maat
4.
Egyptian mythology
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Egyptian mythology is the collection of myths from ancient Egypt, which describe the actions of the Egyptian gods as a means of understanding the world. The beliefs that these myths express are an important part of ancient Egyptian religion, Myths appear frequently in Egyptian writings and art, particularly in short stories and in religious material such as hymns, ritual texts, funerary texts, and temple decoration. These sources rarely contain an account of a myth and often describe only brief fragments. Inspired by the cycles of nature, the Egyptians saw time in the present as a series of recurring patterns, Myths are set in these earliest times, and myth sets the pattern for the cycles of the present. Present events repeat the events of myth, and in doing so renew maat, events from the present that might be regarded as myths include Ras daily journey through the world and its otherworldly counterpart, the Duat. The details of these sacred events differ greatly from one text to another, Egyptian myths are primarily metaphorical, translating the essence and behavior of deities into terms that humans can understand. Each variant of a myth represents a different symbolic perspective, enriching the Egyptians understanding of the gods and it inspired or influenced many religious rituals and provided the ideological basis for kingship. Scenes and symbols from myth appeared in art in tombs, temples, in literature, myths or elements of them were used in stories that range from humor to allegory, demonstrating that the Egyptians adapted mythology to serve a wide variety of purposes. The development of Egyptian myth is difficult to trace, Egyptologists must make educated guesses about its earliest phases, based on written sources that appeared much later. One obvious influence on myth is the Egyptians natural surroundings, thus the Egyptians saw water and the sun as symbols of life and thought of time as a series of natural cycles. This orderly pattern was at constant risk of disruption, unusually low floods resulted in famine, the hospitable Nile valley was surrounded by harsh desert, populated by peoples the Egyptians regarded as uncivilized enemies of order. For these reasons, the Egyptians saw their land as an place of stability, or maat. These themes—order, chaos, and renewal—appear repeatedly in Egyptian religious thought, another possible source for mythology is ritual. Many rituals make reference to myths and are based directly on them. But it is difficult to determine whether a cultures myths developed before rituals or vice versa, questions about this relationship between myth and ritual have spawned much discussion among Egyptologists and scholars of comparative religion in general. In ancient Egypt, the earliest evidence of religious practices predates written myths, rituals early in Egyptian history included only a few motifs from myth. For these reasons, some scholars have argued that, in Egypt, but because the early evidence is so sparse, the question may never be resolved for certain. In private rituals, which are often called magical, the myth, many of the myth-like stories that appear in the rituals texts are not found in other sources
5.
Ancient Egyptian concept of the soul
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The ancient Egyptians believed that a human soul was made up of five parts, the Ren, the Ba, the Ka, the Sheut, and the Ib. In addition to these components of the soul there was the human body, the other souls were aakhu, khaibut, and khat. An important part of the Egyptian soul was thought to be the jb, the heart was believed to be formed from one drop of blood from the childs mothers heart, taken at conception. To ancient Egyptians, the heart was the seat of emotion, thought, will and this is evidenced by the many expressions in the Egyptian language which incorporate the word jb. This word was transcribed by E. A. Wallis Budge as Ab, in Egyptian religion, the heart was the key to the afterlife. It was conceived as surviving death in the world, where it gave evidence for, or against. It was thought that the heart was examined by Anubis and the deities during the Weighing of the Heart ceremony, if the heart weighed more than the feather of Maat, it was immediately consumed by the monster Ammit. A persons shadow or silhouette, Sheut, is always present, because of this, Egyptians surmised that a shadow contains something of the person it represents. Through this association, statues of people and deities were sometimes referred to as shadows, the shadow was also representative to Egyptians of a figure of death, or servant of Anubis, and was depicted graphically as a small human figure painted completely black. Sometimes people had a box in which part of their Sheut was stored. For example, part of the Book of Breathings, a derivative of the Book of the Dead, was a means to ensure the survival of the name, a cartouche often was used to surround the name and protect it. Conversely, the names of deceased enemies of the state, such as Akhenaten, were hacked out of monuments in a form of damnatio memoriae. Sometimes, however, they were removed in order to make room for the insertion of the name of a successor. The greater the number of places a name was used, the greater the possibility it would survive to be read, the Bâ was everything that makes an individual unique, similar to the notion of personality. In the Coffin Texts one form of the Bâ that comes into existence after death is corporeal, louis Žabkar argued that the Bâ is not part of the person but is the person himself, unlike the soul in Greek, or late Judaic, Christian or Muslim thought. The word bau, plural of the ba, meant something similar to impressiveness, power. When a deity intervened in human affairs, it was said that the Bau of the deity were at work. The Ka was the Egyptian concept of essence, which distinguishes the difference between a living and a dead person, with death occurring when the ka left the body
6.
Ancient Egyptian funerary practices
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The ancient Egyptians had an elaborate set of funerary practices that they believed were necessary to ensure their immortality after death. These rituals and protocols included mummifying the body, casting of magic spells, the burial process used by the ancient Egyptians evolved throughout time as old customs were discarded and new ones adopted, but several important elements of the process persisted. Although specific details changed over time, the preparation of the body, the rituals involved. Though no writing survives from Predynastic Egypt, scholars believe the importance of the physical body and this would explain why people of that time did not follow the common practice of cremation, but rather buried the dead. Some also believe they may have feared the bodies would rise again if mistreated after death, early bodies were buried in simple, shallow oval pits, with a few burial goods. Sometimes multiple people and animals were placed in the same grave, over time, graves became more complex, with the body placed in a wicker basket, then later in wooden or terracotta coffins. The latest tombs Egyptians made were sarcophaguses and these graves contained burial goods like jewelry, food, games and sharpened splint. This demonstrates that this ancient period had a sense of the afterlife and this may be because admission required that the deceased must be able to serve a purpose there. The pharaoh was allowed in because of his role in life, human sacrifices found in early royal tombs reinforce this view. These people were meant to serve the pharaoh during his eternal life. Eventually, figurines and wall paintings begin to replace human victims, some of these figurines may have been created to resemble certain people, so they could follow the pharaoh after their lives ended. Note that not only the classes had to rely on the pharaoh’s favor. They believed that when he died, the became a type of god. This belief existed from the period through the Old Kingdom. In the First Intermediate Period, however, the importance of the pharaoh declined, funerary texts, previously restricted to royal use, became more widely available. The first farmers in Egypt are known from the villages of Omari, the people of these villages buried their dead in a simple, round graves with one pot. The body was neither treated nor arranged in a way as would be the case later in the historical period. Without any written evidence, there is little to provide information about contemporary beliefs concerning the afterlife except for the inclusion of a single pot in the grave
7.
Ancient Egyptian offering formula
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The Ancient Egyptian offering formula, generally referred to as the ḥtp-dỉ-nsw formula by Egyptologists, was written as an offering for the deceased in the ancient Egyptian religion. All ancient Egyptian offering formulas share the basic structure, but there is a great deal of variety in which deities and offerings are mentioned. That he may give a voice-offering of bread, beer, oxen, birds, alabaster, clothing, for the ka of the revered Senwosret, True of Voice. The offering formula is found carved or painted onto funerary stelae, false doors, coffins. Each person would, of course, have their own name, the offering formula was not a royal prerogative like some of the other religious texts such as the Litany of Re, and was used by anyone who could afford to have one made. The offering formula always begins with the phrase, ḥtp dỉ nsw This phrase comes from Old Egyptian, because the king was seen as an intermediary between the people of Egypt and the gods, the offering was made through him. Next the formula names a god of the dead and several of his epithets, usually Osiris, Anubis, or Geb or another deity. The following phrase is an invocation of Osiris, wsỉr nb ḏdw, nṯr ꜥꜣ, nb ꜣbḏw which means Osiris, the lord of Busiris, the great god. There was apparently no set rule about what epithets were used, however Lord of Busiris, Great God, after the list of deities and their titles, the formula proceeds with a list of the ḫrt-prw, or invocation offerings. The list is always preceded by the phrase, or dỉ=f prt-ḫrw or dỉ=sn prt-ḫrw which means He give invocation offerings, the last part of the offering formula lists the name and titles of the recipient of the invocation offerings. For example, n kꜣ n ỉmꜣḫy s-n-wsrt, mꜣꜥ-ḫrw which means for the ka of the revered Senwosret, Egyptian mythology Egyptian soul Ancient Egyptian burial customs Ancient Egyptian funerary texts Bennett, C. Growth of the ḤTP-DI-NSW Formula in the Middle Kingdom, the Middle Kingdom Offering Formulas—A Challenge. Die Opferformel des Alten Reiches unter Berücksichtigung einiger später Formen, mainz am Rhein, Verlag Philipp von Zabern. The Writing of the ḤTP-DI-NSW Formula in the Middle and New Kingdoms, telford, Mark Patrick, Death And The Afterlife
8.
Egyptian temple
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Egyptian temples were built for the official worship of the gods and in commemoration of the pharaohs in ancient Egypt and regions under Egyptian control. Temples were seen as houses for the gods or kings to whom they were dedicated and these rituals were seen as necessary for the gods to continue to uphold maat, the divine order of the universe. Housing and caring for the gods were the obligations of pharaohs, nevertheless, a temple was an important religious site for all classes of Egyptians, who went there to pray, give offerings, and seek oracular guidance from the god dwelling within. The most important part of the temple was the sanctuary, which contained a cult image. These edifices are among the largest and most enduring examples of Egyptian architecture and their typical design consisted of a series of enclosed halls, open courts, and massive entrance pylons aligned along the path used for festival processions. Beyond the temple proper was a wall enclosing a wide variety of secondary buildings. A large temple also owned sizable tracts of land and employed thousands of laymen to supply its needs, temples were therefore key economic as well as religious centers. The priests who managed these powerful institutions wielded considerable influence, temple-building in Egypt continued despite the nations decline and ultimate loss of independence to the Roman Empire. With the coming of Christianity, however, Egyptian religion faced increasing persecution, for centuries, the ancient buildings suffered destruction and neglect. Dozens of temples survive today, and some have become world-famous tourist attractions that contribute significantly to the modern Egyptian economy, Egyptologists continue to study the surviving temples and the remains of destroyed ones, as they are invaluable sources of information about ancient Egyptian society. Ancient Egyptian temples were meant as places for the gods to reside on earth, indeed, the term the Egyptians most commonly used to describe the temple building, ḥwt-nṯr, means mansion of a god. A gods presence in the temple linked the human and divine realms and these rituals, it was believed, sustained the god and allowed it to continue to play its proper role in nature. They were therefore a key part of the maintenance of maat, maintaining maat was the entire purpose of Egyptian religion, and it was the purpose of a temple as well. Because he was credited with divine power himself, the pharaoh, as a king, was regarded as Egypts representative to the gods. Thus, it was theoretically his duty to perform the temple rites, the pharaoh was nevertheless obligated to maintain, provide for, and expand the temples throughout his realm. Although the pharaoh delegated his authority, the performance of rituals was still an official duty. The participation of the populace in most ceremonies was prohibited. Much of the lay religious activity in Egypt instead took place in private and community shrines, however, as the primary link between the human and divine realms, temples attracted considerable veneration from ordinary Egyptians
9.
Ancient Egyptian deities
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Ancient Egyptian deities are the gods and goddesses worshipped in ancient Egypt. The beliefs and rituals surrounding these gods formed the core of ancient Egyptian religion, the gods complex characteristics were expressed in myths and in intricate relationships between deities, family ties, loose groups and hierarchies, and combinations of separate gods into one. Deities diverse appearances in art—as animals, humans, objects, and combinations of different forms—also alluded, through symbolism, to their essential features. In different eras, various gods were said to hold the highest position in society, including the solar deity Ra, the mysterious god Amun. The highest deity was usually credited with the creation of the world, some scholars have argued, based in part on Egyptian writings, that the Egyptians came to recognize a single divine power that lay behind all things and was present in all the other deities. Gods were assumed to be present throughout the world, capable of influencing natural events, people interacted with them in temples and unofficial shrines, for personal reasons as well as for larger goals of state rites. Egyptians prayed for help, used rituals to compel deities to act. Humans relations with their gods were a part of Egyptian society. The beings in ancient Egyptian tradition who might be labeled as deities are difficult to count, Egyptian texts list the names of many deities whose nature is unknown and make vague, indirect references to other gods who are not even named. The Egyptologist James P. Allen estimates that more than 1,400 deities are named in Egyptian texts, the Egyptian languages terms for these beings were nṯr, god, and its feminine form nṯrt, goddess. Scholars have tried to discern the nature of the gods by proposing etymologies for these words, but none of these suggestions has gained acceptance. The hieroglyphs that were used as ideograms and determinatives in writing these words show some of the traits that the Egyptians connected with divinity, the most common of these signs is a flag flying from a pole. Similar objects were placed at the entrances of temples, representing the presence of a deity, other such hieroglyphs include a falcon, reminiscent of several early gods who were depicted as falcons, and a seated male or female deity. The feminine form could also be written with an egg as determinative, connecting goddesses with creation and birth, or with a cobra, the Egyptians distinguished nṯrw, gods, from rmṯ, people, but the meanings of the Egyptian and the English terms do not match perfectly. The term nṯr may have applied to any being that was in some way outside the sphere of everyday life, Egyptian religious art also depicts places, objects, and concepts in human form. These personified ideas range from deities that were important in myth and ritual to obscure beings, only mentioned once or twice, confronting these blurred distinctions between gods and other beings, scholars have proposed various definitions of a deity. One widely accepted definition, suggested by Jan Assmann, says that a deity has a cult, is involved in some aspect of the universe, according to a different definition, by Dimitri Meeks, nṯr applied to any being that was the focus of ritual. From this perspective, gods included the king, who was called a god after his coronation rites, and deceased souls, likewise, the preeminence of the great gods was maintained by the ritual devotion that was performed for them across Egypt
10.
Amun
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Amun was a major Ancient Egyptian deity. He was attested since the Old Kingdom together with his wife Amaunet, with the 11th dynasty, he rose to the position of patron deity of Thebes by replacing Monthu. After the rebellion of Thebes against the Hyksos and with the rule of Ahmose I, Amun acquired national importance, expressed in his fusion with the Sun god, Ra, Amun-Ra retained chief importance in the Egyptian pantheon throughout the New Kingdom. Amun-Ra in this period held the position of transcendental, self-created creator deity par excellence, he was the champion of the poor or troubled and his position as King of Gods developed to the point of virtual monotheism where other gods became manifestations of him. With Osiris, Amun-Ra is the most widely recorded of the Egyptian gods, as the chief deity of the Egyptian Empire, Amun-Ra also came to be worshipped outside of Egypt, according to the testimony of ancient Greek historiographers in Libya and Nubia. As Zeus Ammon he came to be identified with Zeus in Greece, Amun and Amaunet are mentioned in the Old Egyptian Pyramid Texts. The name Amun meant something like the one or invisible. Amun rose to the position of tutelary deity of Thebes after the end of the First Intermediate Period, as the patron of Thebes, his spouse was Mut. In Thebes, Amun as father, Mut as mother and the Moon god Khonsu formed a family or Theban Triad. The history of Amun as the god of Thebes begins in the 20th century BC. The city of Thebes does not appear to have been of great significance before the 11th dynasty, major construction work in the Precinct of Amun-Re took place during the 18th dynasty when Thebes became the capital of the unified ancient Egypt. Construction of the Hypostyle Hall may have begun during the 18th dynasty, though most building was undertaken under Seti I. Merenptah commemorated his victories over the Sea Peoples on the walls of the Cachette Court and this Great Inscription shows the kings campaigns and eventual return with booty and prisoners. Next to this inscription is the Victory Stela, which is largely a copy of the more famous Israel Stela found in the complex of Merenptah on the west bank of the Nile in Thebes. Merenptahs son Seti II added 2 small obelisks in front of the Second Pylon, and this was constructed of sandstone, with a chapel to Amun flanked by those of Mut and Khonsu. The last major change to the Precinct of Amun-Res layout was the addition of the first pylon, the local patron deity of Thebes, Amun, therefore became nationally important. The pharaohs of that new dynasty attributed all their enterprises to Amun. The victory accomplished by pharaohs who worshipped Amun against the rulers, brought him to be seen as a champion of the less fortunate
11.
Amunet
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Amunet was a primordial goddess in Ancient Egyptian religion. She is a member of the Ogdoad and the consort of Amun and her name, meaning the female hidden one, was simply the feminine form of Amuns own name. It is possible that she was never an independent deity, as the first mention of either of them is in a pair, at Karnak, Amuns cult center, priests were dedicated to Amunets service. The goddess also played a part in ceremonies such as the Sed festival. Amunet was depicted as a woman wearing the Red Crown and carrying a staff of papyrus, in late texts from Karnak she was syncretized with Neith, although she remained a distinct deity as late as the Ptolemaic period. In the TV series Penny Dreadful, the character of Vanessa Ives is implied to be an incarnation of Amunet, in the TV series Stargate SG-1, Amaunet is a recurring Goauld character and consort of Apophis. Amunet will appear portrayed by Sofia Boutella in a fictionalized characterization, the film will serve as the first official installment in the Universal Monsters Cinematic Universe
12.
Anhur
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In early Egyptian mythology, Anhur was originally a god of war who was worshipped in the Egyptian area of Abydos, and particularly in Thinis. Myths told that he had brought his wife, Mehit, who was his counterpart, from Nubia. One of his titles was Slayer of Enemies, Anhur was depicted as a bearded man wearing a robe and a headdress with four feathers, holding a spear or lance, or occasionally as a lion-headed god. In some depictions, the robe was more similar to a kilt, due to his position as a war god, he was patron of the ancient Egyptian army, and the personification of royal warriors. Indeed, at festivals honoring him, mock battles were staged, during the Roman era the Emperor Tiberius was depicted on the walls of Egyptian temples wearing the distinctive four-plumed crown of Anhur. The Greeks equated Anhur to their god of war, Ares, in the legend of Olympian gods fleeing from Typhon and taking animal form in Egypt, Ares was said to have taken the form of a fish as Lepidotus or Onuris. Anhurs name also could mean Sky Bearer and, due to the headdress, Anhur was later identified with Shu. He is the son of Ra and brother of Bastet if identified as Shu, amenhotep, from the time of Thutmose IV. Amenhoteps wife Henut was a songstress of Anhur and their sons Hat and Kenna were Chariot Warriors of His Majesty. Known from a now in the British Museum. Nebwenenef High Priest of Anhur during the reign of Sety I, was appointed High Priest of Amun in the beginning of the reign of Ramesses II. Hori Minmose, son of the High Priest of Anhur Hori, from the reign of Ramesses II. Anhurmose, from the time of Merenptah, sishepset, from the time of Ramesses III Harsiese, mentioned on an ostracon in Abydos Anhur is a playable character in the multiplayer online battle arena, SMITE. Anhur is a hunter and bears title the Slayer of Enemies and is shown in his lion form maintaining his beard, robe, Anhur is also a chaotic god in the computer game NetHack/SlashEM. Onuris has a role in the 2012 fantasy novel The Serpents Shadow as a presumed dead god who is revived in order to destroy the Lord of Chaos
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Anubis
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Anubis or Anpu is the Greek name of a god associated with mummification and the afterlife in ancient Egyptian religion, usually depicted as a canine or a man with a canine head. Like many ancient Egyptian deities, Anubis assumed different roles in various contexts, depicted as a protector of graves as early as the First Dynasty, Anubis was also an embalmer. By the Middle Kingdom he was replaced by Osiris in his role as lord of the underworld, one of his prominent roles was as a god who ushered souls into the afterlife. He attended the weighing scale during the Weighing of the Heart, despite being one of the most ancient and one of the most frequently depicted and mentioned gods in the Egyptian pantheon, Anubis played almost no role in Egyptian myths. Anubis was depicted in black, a color that symbolized both rebirth and the discoloration of the corpse after embalming, Anubis is associated with Wepwawet, another Egyptian god portrayed with a dogs head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined and his daughter is the serpent goddess Kebechet. Anubis is a Greek rendering of this gods Egyptian name, in Egypts Early Dynastic period, Anubis was portrayed in full animal form, with a jackal head and body. A jackal god, probably Anubis, is depicted in stone inscriptions from the reigns of Hor-Aha, Djer, the oldest known textual mention of Anubis is in the Pyramid Texts of the Old Kingdom, where he is associated with the burial of the pharaoh. In the Old Kingdom, Anubis was the most important god of the dead and he was replaced in that role by Osiris during the Middle Kingdom. In the Roman era, which started in 30 BC, tomb paintings depict him holding the hand of deceased persons to them to Osiris. The parentage of Anubis varied between myths, times and sources, in early mythology, he was portrayed as a son of Ra. In the Coffin Texts, which were written in the First Intermediate Period, another tradition depicted him as the son of his father Ra and mother Nephthys. George Hart sees this story as an attempt to incorporate the independent deity Anubis into the Osirian pantheon, an Egyptian papyrus from the Roman period simply called Anubis the son of Isis. In the Ptolemaic period, when Egypt became a Hellenistic kingdom ruled by Greek pharaohs, Anubis was merged with the Greek god Hermes, the two gods were considered similar because they both guided souls to the afterlife. The center of this cult was in uten-ha/Sa-ka/ Cynopolis, a place whose Greek name means city of dogs, in Book XI of The Golden Ass by Apuleius, there is evidence that the worship of this god was continued in Rome through at least the 2nd century. Indeed, Hermanubis also appears in the alchemical and hermetical literature of the Middle Ages, in contrast to real wolves, Anubis was a protector of graves and cemeteries. Several epithets attached to his name in Egyptian texts and inscriptions referred to that role, the Jumilhac papyrus recounts another tale where Anubis protected the body of Osiris from Set. Set attempted to attack the body of Osiris by transforming himself into a leopard, Anubis stopped and subdued Set, however, and he branded Sets skin with a hot iron rod
14.
Anuket
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Anuket was the personification and goddess of the Nile river in the Egyptian mythology in Elephantine, at the start of the Niles journey through Egypt, and in nearby regions of Nubia. In Ancient Egyptian, she was known as Anuket, Anaka and her name meant the Clasper or Embracer. In Greek, this became Anoukis, sometimes also spelled Anukis, in the interpretatio graeca, she was considered equivalent to Hestia or Vesta. Anuket was usually depicted as a woman with a headdress of either reed or ostrich feathers and she was usually depicted as holding a Sceptre topped with an ankh, and her sacred animal was the gazelle. She was also shown suckling the Pharaoh through the New Kingdom, in later periods, she was assoiciated with the Cowry, especially the shell, which resembled the vagina. She was originally the daughter of Ra, but was related to Satet in some way. For example, both goddesses were called the Eye of Ra, along with Bastet, Hathor, and Sekhmet, also, they were both related in some way to the Uraeus. Anuket was part of a triad with the god Khnum, and she may have been the sister of the goddess Satis or she may have been a junior consort to Khnum instead. A temple dedicated to Anuket was erected on the Island of Seheil, inscriptions show that a shrine or altar was dedicated to her at this site by the 13th dynasty Pharaoh Sobekhotep III. Much later, during the 18th dynasty, Amenhotep II dedicated a chapel to the goddess, during the New Kingdom, Anuket’s cult at Elephantine included a river procession of the goddess during the first month of Shemu. Inscriptions mention the processional festival of Khnum and Anuket during this time period, ceremonially, when the Nile started its annual flood, the Festival of Anuket began. People threw coins, gold, jewelry, and precious gifts into the river, in thanks for the life-giving water, Anoukis, Encyclopædia Britannica, 9th ed. Vol. II, New York, Charles Scribners Sons,1878, p.90
15.
Apep
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Apep or Apophis was the ancient Egyptian deity who embodied chaos and was thus the opponent of light and Maat. He appears in art as a giant serpent and his name is reconstructed by Egyptologists as *ʻAʼpāpī, as it was written ꜥꜣpp and survived in later Coptic as Ⲁⲫⲱⲫ Aphōph. Apep was first mentioned in the Eighth Dynasty, and he was honored in the names of the Fourteenth Dynasty king Apepi, Ra was the solar deity, bringer of light, and thus the upholder of Maat. Apep was viewed as the greatest enemy of Ra, and thus was given the title Enemy of Ra, as the personification of all that was evil, Apep was seen as a giant snake or serpent leading to such titles as Serpent from the Nile and Evil Lizard. Some elaborations said that he stretched 16 yards in length and had a made of flint. Also, comparable hostile snakes as enemies of the sun god existed under other names already before the name Apep occurred, the etymology of his name is perhaps to be sought in some west-semitic language where a word root ꜣpp meaning to slither existed. A verb root ꜥꜣpp does at any rate not exist elsewhere in Ancient Egyptian, Apeps name much later came to be falsely connected etymologically in Egyptian with a different root meaning spat out, the Romans referred to Apep by this translation of his name. Apophis was a golden snake known to be miles long. He was so large that he attempted to swallow the sun every day, tales of Apeps battles against Ra were elaborated during the New Kingdom. Storytellers said that every day Apep must lie just below the horizon and this appropriately made him a part of the underworld. In some stories Apep waited for Ra in a mountain called Bakhu, where the sun set. The wide range of Apeps possible location gained him the title World Encircler and it was thought that his terrifying roar would cause the underworld to rumble. Myths sometimes say that Apep was trapped there, because he had been the chief god overthrown by Ra. The Coffin Texts imply that Apep used a magical gaze to overwhelm Ra, Ra was assisted by a number of defenders who travelled with him, including Set and possibly the Eye of Ra. Apeps movements were thought to cause earthquakes, and his battles with Set may have meant to explain the origin of thunderstorms. In some accounts, Ra himself defeats Apep in the form of a cat, Ra was worshipped, and Apep worshipped against. Ras victory each night was thought to be ensured by the prayers of the Egyptian priests, the Egyptians practiced a number of rituals and superstitions that were thought to ward off Apep, and aid Ra to continue his journey across the sky. The Egyptian priests had a guide to fighting Apep, referred to as The Books of Overthrowing Apep
16.
Apis (deity)
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In Egyptian mythology, Apis or Hapis is a sacred bull worshipped in the Memphis region. Identified as the son of Hathor, a deity in the pantheon of Ancient Egypt. Initially, he was assigned a significant role in her worship, being sacrificed, later, Apis also served as an intermediary between humans and other powerful deities. Apis was very important among all of the animals in Egypt, and, as with the others. Auguste Mariettes excavation of the Serapeum of Saqqara revealed the tombs of more than sixty animals, at first, each animal was buried in a separate tomb with a chapel built above it. The current available historical documentary and archaeological evidence suggests the Apis was the first god of Egypt, worship of an Apis bull began during the First Dynasty, which is after the year 2686 BCE. The Apis as a bull experienced by ancient Egyptians as holy, was worshipped at Memphis, worship of the Apis as a god seems to belong to ancient culture of Egypt during the Second Dynasty. According to Manetho, worship of the Apis was instituted by Kaiechos of the Second Dynasty, Apis is named on very early monuments, but little is known of the divine animal before the New Kingdom. This Osorapis was identified with Serapis of the late Hellenistic period, creating parallels to their own religious beliefs, ancient Greek writers identified Apis as an incarnation of Osiris, ignoring the connection with Ptah. During the start of the Hellenistic period, Ptolemy Soter, who ruled for the period 323-283 BCE, Apis was the most popular of three great bull cults of ancient Egypt, the others being the cults of Mnevis and Buchis. All are related to the worship of Hathor or Bat, similar primary goddesses separated by region until unification that eventually merged as Hathor, the worship of Apis was continued by the Greeks and after them by the Romans, and lasted until almost 400 CE. This animal was chosen because it symbolized the heart, great strength. Apis came to being considered a manifestation of the king, as bulls were symbols of strength and fertility, strong bull of his mother Hathor was a common title for Egyptian gods and male kings, being unused for women serving as king, such as Hatshepsut. As early as the time of the Narmer Palette, the king is depicted with a tail on one side. Occasionally, Apis was pictured with the symbol of his mother, Hathor. When the disk was depicted on his head with his horns below and the marking on his forehead. That symbol always was associated with Hathor. Early on, Apis was the herald of Ptah, the deity in the area around Memphis
17.
Aten
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Aten is the disk of the sun in ancient Egyptian mythology, and originally an aspect of the god Ra. The deified Aten is the focus of the religion of Atenism established by Amenhotep IV, in his poem Great Hymn to the Aten, Akhenaten praises Aten as the creator, giver of life, and nurturing spirit of the world. Aten does not have a Creation Myth or family, but is mentioned in the Book of the Dead, the worship of Aten was eradicated by Horemheb. By analogy, the term silver aten was sometimes used to refer to the moon, the solar Aten was extensively worshipped as a god in the reign of Amenhotep III, when it was depicted as a falcon-headed man much like Ra. The full title of Akhenatens god was Ra-Horakhty who rejoices in the horizon, the god is also considered to be both masculine and feminine simultaneously. All creation was thought to emanate from the god and to exist within the god, in particular, the god was not depicted in anthropomorphic form, but as rays of light extending from the suns disk. Furthermore, the name came to be written within a cartouche, along with the titles normally given to a Pharaoh. Ra-Horus, more usually referred to as Ra-Horakhty, is a synthesis of two gods, both of which are attested from very early on. During the Amarna period, this synthesis was seen as the source of energy of the sun god, of which the visible manifestation was the Aten. Thus Ra-Horus-Aten was a development of old ideas which came gradually, the real change, as some see it, was the apparent abandonment of all other gods, especially Amun-Ra, prohibition of idolatry, and the debatable introduction of quasi-monotheism by Akhenaten. The syncretism is readily apparent in the Great Hymn to the Aten in which Re-Herakhty, Shu, others see Akhenaten as a practitioner of an Aten monolatry, as he did not actively deny the existence of other gods, he simply refrained from worshipping any but the Aten. Other scholars call the religion henotheistic, principles of Atens religion were recorded on the rock tomb walls of Akhetaten. In the religion of Aten, night is a time to fear, work is done best when the sun, Aten, is present. Aten cares for every creature, and created a Nile river in the sky for the Syrians, Aten created all countries and people. The rays of the sun disk only holds out life to the family, everyone else receives life from Akhenaten. When a good person dies, he/she continues to live in the City of Light for the dead in Akhetaten, the conditions are the same after death. Akhenaten judged whether someone should be granted an afterlife, and operated the scale of justice, the explanation as to why Aten could not be fully represented was that the god has gone beyond creation. The cult centre of Aten was at the new city Akhetaten, some other cities include Thebes
18.
Atum
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Atum, sometimes rendered as Atem or Tem, is an important deity in Egyptian mythology. Atums name is thought to be derived from the word tem which means to complete or finish, thus he has been interpreted as being the complete one and also the finisher of the world, which he returns to watery chaos at the end of the creative cycle. As creator he was seen as the substance of the world. In the Heliopolitan creation myth, Atum was considered to be the first god, having created himself, sitting on a mound, early myths state that Atum created the god Shu and goddess Tefnut by spitting them out of his mouth. To explain how Atum did this, the uses the metaphor of masturbation. Other interpretations state that he has made union with his shadow, in the Old Kingdom the Egyptians believed that Atum lifted the dead kings soul from his pyramid to the starry heavens. He was also a deity, associated with the primary sun god Ra. Atum was linked specifically with the sun, while Ra or the closely linked god Khepri were connected with the sun at morning. Atum is the god of pre-existence and post-existence, in the binary solar cycle, the serpentine Atum is contrasted with the ram-headed scarab Khepri—the young sun god, whose name is derived from the Egyptian hpr to come into existence. Khepri-Atum encompassed sunrise and sunset, thus reflecting the solar cycle. Atum was a deity, the first being to emerge from the darkness and endless watery abyss that existed before creation. A product of the energy and matter contained in this chaos, he created his children—the first deities and he produced from his own sneeze, or in some accounts, semen, Shu, the god of air, and Tefnut, the goddess of moisture. The brother and sister, curious about the waters that surrounded them, went to explore the waters. Unable to bear his loss, Atum sent a fiery messenger, the tears of joy he shed on their return were the first human beings. He is usually depicted as a man wearing either the royal head-cloth or the white and red crown of Upper Egypt and Lower Egypt. Sometimes he also is shown as a serpent, the form he returns to at the end of the creative cycle, atums cult centered on the city of Heliopolis. The only surviving remnant of Heliopolis is the Temple of Re-Atum obelisk located in Al-Masalla of Al-Matariyyah and it was erected by Senusret I of the Twelfth dynasty, and still stands in its original position. The 68 ft high red granite obelisk weighs 120 tons, band I, Die heiligen Tiere des Atum
19.
Bastet
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Bastet was a goddess in ancient Egyptian religion, worshiped as early as the 2nd Dynasty. As Bast, she was the goddess of warfare in Lower Egypt and her name is also translated as Baast, Ubaste, and Baset. In Greek mythology, she is known as Ailuros. The uniting Egyptian cultures had deities that shared similar roles and usually the same imagery, in Upper Egypt, Sekhmet was the parallel warrior lioness deity. Often similar deities merged into one with the unification, but that did not occur with these deities having such strong roots in their cultures, instead, these goddesses began to diverge. During the 22nd Dynasty, Bast had transformed from a lioness deity into a major protector deity represented as a cat. Bastet, the associated with this later identity, is the name commonly used by scholars today to refer to this deity. Bastet, the form of the name which is most commonly adopted by Egyptologists today because of its use in later dynasties, is a modern convention offering one possible reconstruction, in early Egyptian, her name appears to have been bꜣstt. In Egyptian writing, the second t marks a feminine ending, but was not usually pronounced, by the first millennium, then, bꜣstt would have been something like *Ubaste in Egyptian speech, later becoming Coptic Oubaste. During later dynasties, the deity remained, but was assigned a role in the pantheon by bearing the name Bastet. This happened after Thebes became the capital of Ancient Egypt during the 18th Dynasty, diminishing her status, they began referring to the deity with the added suffix, as Bastet, and their use of the new name was well-documented, becoming very familiar to researchers. By the 22nd Dynasty the transition had occurred in all regions, what the name of the goddess means remains uncertain. One recent suggestion by Stephen Quirke explains it as meaning She of the ointment jar and this ties in with the observation that her name was written with the hieroglyph for ointment jar and that she was associated with protective ointments, among other things. The name of the known as alabaster might, through Greek. Bastet was originally a warrior goddess of the sun throughout most of ancient Egyptian history. Greeks occupying ancient Egypt toward the end of its civilization changed her into a goddess of the moon, as protector of Lower Egypt, she was seen as defender of the pharaoh, and consequently of the later chief male deity, Ra. Along with the lioness goddesses, she would occasionally be depicted as the embodiment of the Eye of Ra. She has been depicted as fighting the evil snake named Apep, images of Bastet were often created from alabaster
20.
Bat (goddess)
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Bat was a cow goddess in Egyptian mythology depicted as a human face with cow ears and horns. By the time of the Middle Kingdom, her identity and attributes were subsumed within the goddess Hathor, the worship of Bat dates to earliest times and may have its origins in Late Paleolithic cattle herding. Bat was the goddess of Seshesh, otherwise known as Hu or Diospolis Parva. The epithet Bat may be linked to the word ba with the suffix t. A persons ba roughly equates to his or her personality or emanation and is translated as soul. Although it was rare for Bat to be depicted in painting or sculpture. In other instances she was pictured as a bovine creature surrounded by stars or as a human woman. More commonly, Bat was depicted on amulets, with a face, but with bovine features, such as the ears of a cow. Bat became strongly associated with the sistrum, and the center of her cult was known as the Mansion of the Sistrum, the sistrum is a musical instrument, shaped like an ankh, that was one of the most frequently used sacred instruments in ancient Egyptian temples. Some instruments would include depictions of Bat, with her head and neck as the handle and base, the imagery is repeated on each side, having two faces, as mentioned in the Pyramid Texts. I am Praise, I am Majesty, I am Bat with Her Two Faces, I am the One Who Is Saved, the imagery of Bat as a divine cow was remarkably similar to that of Hathor, a parallel goddess from Lower Egypt. In two dimensional images, both goddesses often are depicted straight on, facing the onlooker and not in profile in accordance with the usual Egyptian convention, the significant difference in their depictions is that Bats horns curve inward and Hathors curve outward slightly. It is possible that this could be based in the different breeds of cattle herded at different times. Hathors cult center was in the 6th Nome of Upper Egypt, adjacent to the 7th where Bat was the cow goddess, by the Middle Kingdom, the cult of Hathor had again absorbed that of Bat in a manner similar to other mergers in the Egyptian pantheon. The goddess Bat - discussion on Philae The goddess Bat - discussion on Egyptian Myths
21.
Bes
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Bes and its feminine counterpart Beset are an Ancient Egyptian deity worshipped as a protector of households, and in particular, of mothers and children and childbirth. Bes later came to be regarded as the defender of everything good, while past studies identified Bes as a Middle Kingdom import from Nubia, more recent research indicates that he was present in Egypt since the start of Old Kingdom. Mentions of Bes can be traced to pre-dynastic Nile Valley cultures, modern scholars such as James Romano claim that in its earliest inception Bes was a representation of a lion rearing up on its hind legs. After the Third Intermediate Period, Bes is often seen as just the head or the face, images of the deity were kept in homes and he was depicted quite differently from the other gods. Normally Egyptian gods were shown in profile, but instead Bes appeared in portrait, ithyphallic and he scared away demons from houses, so his statue was put up as a protector. Since he drove off evil, Bes also came to symbolize the good things in life - music, dance, many instances of Bes masks and costumes from the New Kingdom and later have been uncovered. These show considerable wear, thought to be too great for occasional use at festivals, in the New Kingdom, tattoos of Bes could be found on the thighs of dancers, musicians and servant girls. In the late 500s BC, images of Bes began to spread across the Persian Empire, images of Bes have been found at the Persian capital of Susa, and as far away as central Asia. Over time, the image of Bes became more Persian in style, as he was depicted wearing Persian clothes, the Balearic island of Ibiza derives its actual name from this god, brought along with the first Phoenician settlers 654 BC. These settlers, amazed at the lack of any sort of creatures on the island thought it to be the island of Bes. Bes is an important character in the books of the saga The Kane Chronicles by Rick Riordan, Bes appears, as part of the delegation of Egyptian gods, in The Sandman, Season of Mists, by Neil Gaiman. Bes is a friend and helper to the heroes in Pyramid Scheme by Eric Flint and Dave Freer Statue of official Bes The Complete Gods and Goddesses of Ancient Egypt, ISBN 0-500-05120-8 The Oxford History of Ancient Egypt, Ian Shaw. Dwarfs in Ancient Egypt and Greece
22.
Four sons of Horus
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The four sons of Horus were a group of four gods in Egyptian religion, who were essentially the personifications of the four canopic jars, which accompanied mummified bodies. Since the heart was thought to embody the soul, it was left inside the body, the brain was thought only to be the origin of mucus, so it was reduced to liquid, removed with metal hooks, and discarded. This left the stomach, liver, large intestines, and lungs, there were times when embalmers deviated from this scheme, during the 21st Dynasty they embalmed and wrapped the viscera and returned them to the body, while the Canopic jars remained empty symbols. Their association with Horus the Elder specifically goes back to the Old Kingdom when they were not only to be his children. Others say their mother was Serket, goddess of medicine and magic, just as the sons of Horus protected the contents of a canopic jar, the kings organs, so they in turn were protected. As they were male in accordance with the principles of male/female duality their protectors were female, Imsety – human form – direction South – protected the liver – protected by Isis. Duamutef – jackal form – direction East – protected the stomach – protected by Neith, Hapi – baboon form – direction North – protected the lungs – protected by Nephthys. Qebehsenuef – hawk form – direction West – protected the intestines – protected by his mother Serket, the classic depiction of the four sons of Horus on Middle Kingdom coffins show Imsety and Duamutef on the eastern side of the coffin and Hapi and Qebehsenuef on the western side. The eastern side is decorated with a pair of eyes and the mummy was turned on its side to face the east and the sun, therefore. The sons of Horus also became associated with the compass points, so that Hapi was the north, Imsety the south, Duamutef the east. Their brother was Ihy, son of Hathor, until the end of the 18th Dynasty the canopic jars had the head of the king, but later they were shown with animal heads. Inscriptions on coffins and sarcophagi from earliest times showed them usually in animal form, Hapi the baboon headed son of Horus protected the lungs of the deceased and was in turn protected by the goddess Nephthys. The spelling of his name includes a hieroglyph which is thought to be connected with steering a boat, I have bound your head and your limbs for you. I have smitten your enemies beneath you for you, and given you your head, Hapi was associated with the north. Imsety the human headed son of Horus, protected the liver of the deceased and was in turn protected by the goddess Isis, to stand up meant to be active and thus alive while to be prone signified death. In Spell 151 of the Book of the Dead Imsety is given the words to say, I am your son, Osiris. I have strengthened your house enduringly, as Ptah decreed in accordance with what Ra himself decrees. Again the theme of making alive and revivifying is alluded to through the metaphor of making his house flourish and he does this with the authority of two creator gods Ptah and Ra
23.
Geb
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Geb was the Egyptian god of the Earth and later a member of the Ennead of Heliopolis. He had a snake around his head and was also considered the father of snakes. It was believed in ancient Egypt that Gebs laughter created earthquakes, the name was pronounced as such from the Greek period onward and was originally read as Seb or some guess as Keb. The original Egyptian was perhaps Seb/Keb and it was spelled with either initial -g-, or with -k-point. g. in a 30th Dynasty papyrus text in the Brooklyn Museum dealing with descriptions of and remedies against snakes. In later times he could also be depicted as a ram, Geb was frequently described mythologically as father of snakes. In a Coffin Texts spell Geb was described as father of the snake Nehebkau, in the latter case, one of his otherworldly attributes was an ominous jackal-headed stave rising from the ground onto which enemies could be bound. In this context, Geb was believed to have originally been engaged with Nut and had to be separated from her by Shu, consequently, in mythological depictions, Geb was shown as a man reclining, sometimes with his phallus still pointed towards Nut. As time progressed, the deity became more associated with the land of Egypt. He is also equated by classical authors as the Greek Titan Cronus, ptah and Ra, creator deities, usually begin the list of divine ancestors. There is speculation between Shu and Geb and who was the first god-king of Egypt, the story of how Shu, Geb, and Nut were separated in order to create the cosmos is now being interpreted in more human terms, exposing the hostility and sexual jealousy. Between the father son jealously and Shu rebelling against the divine order, Geb takes Shu’s mother, Tefnut, as his chief queen, separating Shu from his sister-wife. Just as Shu had previously done to him, in the book of the Heavenly Cow, it is implied that Geb is the heir of the departing sun god. After Geb passed on the throne to Osiris, his youngest son, some Egyptologists, have stated that Geb was associated with a mythological divine creator goose who had laid a world egg from which the sun and/or the world had sprung. This theory is assumed to be incorrect and to be a result of confusing the divine name Geb with that of a Whitefronted Goose, also called originally gb, lame one and this bird-sign is used only as a phonogram in order to spell the name of the god. An alternative ancient name for this species was trp meaning similarly walk like a drunk. The Whitefronted Goose is never found as a symbol or holy bird of Geb. A coloured vignet irrefutably depicts a Nile Goose with a beak in a context of solar creation on a mythological papyrus dating from the 21st Dynasty. Similar images of this bird are to be found on temple walls, showing a scene of the king standing on a papyrus raft
24.
Hapi (Nile god)
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Hapi was the god of the annual flooding of the Nile in ancient Egyptian religion. The flood deposited rich silt on the banks, allowing the Egyptians to grow crops. Hapi was greatly celebrated among the Egyptians, some of the titles of Hapi were, Lord of the Fish and Birds of the Marshes and Lord of the River Bringing Vegetation. Hapi is typically depicted as a person with a large belly and pendulous breasts, wearing a loincloth. The annual flooding of the Nile occasionally was said to be the Arrival of Hapi, since this flooding provided fertile soil in an area that was otherwise desert, Hapi, as its patron, symbolised fertility. He had large female breasts because he was said to bring a rich and he was thought to live within a cavern at the supposed source of the Nile near Aswan. The cult of Hapi was mainly located at the First Cataract named Elephantine and his priests were involved in rituals to ensure the steady levels of flow required from the annual flood. At Elephantine the official nilometer, a device, was carefully monitored to predict the level of the flood. Hapi was not regarded as the god of the Nile itself and he was also considered a friend of Geb the Egyptian god of the earth, and the lord of Neper, the god of grain. Although male and wearing the beard, Hapi was pictured with pendulous breasts. He also was given blue or green skin, representing water. Other attributes varied, depending upon the region of Egypt in which the depictions exist, in Lower Egypt, he was adorned with papyrus plants and attended by frogs, present in the region, and symbols of it. Whereas in Upper Egypt, it was the lotus and crocodiles which were present in the Nile, thus these were the symbols of the region. Hapi often was pictured carrying offerings of food or pouring water from an amphora and this symbolic representation was often carved at the base of seated statues of the pharaoh. The Complete Gods and Goddesses of Ancient Egypt, la Crue du Nil, Divinité égyptienne, à travers mille ans dhistoire 332 av. –641 ap. J. –C. daprès les auteurs grecs et latins, Hapi, God of the Nile, Fertility, the North and South Egyptian God - Hapi, Father of the gods Ancient Egypt, The Mythology - Hapi
25.
Hathor
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Hathor is an Ancient Egyptian goddess who personified the principles of joy, feminine love, and motherhood. She was one of the most important and popular throughout the history of Ancient Egypt. Hathor was worshipped by royalty and common people alike, in tomb paintings, she is often depicted as Mistress of the West, welcoming the dead into the next life. In other roles, she was a goddess of music, dance, foreign lands and she was believed to assist women in childbirth. She was also believed to be the goddess of miners. Hathor is commonly depicted as a cow goddess with horns in which is set a sun disk with Uraeus, twin feathers are also sometimes shown in later periods as well as a menat necklace. The Ancient Egyptians viewed reality as multi-layered in which deities who merge for various reasons, while retaining divergent attributes and myths, were not seen as contradictory but complementary. In a complicated relationship Hathor is at times the mother, daughter and wife of Ra and, like Isis, is at times described as the mother of Horus, the cult of Osiris promised eternal life to those deemed morally worthy. Originally the justified dead, male or female, became an Osiris but by early Roman times females became identified with Hathor, the Ancient Greeks sometimes identified Hathor with the goddess Aphrodite. Hathor is ambiguously depicted until the fourth dynasty, in the historical era Hathor is shown using the imagery of a cow deity. At times they are regarded as one and the goddess, though likely having separate origins. The evidence pointing to the deity being Hathor in particular is based on a passage from the Pyramid texts which states that the Kings apron comes from Hathor, from the Old Kingdom she was also called Lady of the Sycamore in her capacity as a tree deity. Hathor had a relationship with Ra. At times she is the eye of Ra and considered his daughter and she absorbed this role from another cow goddess Mehet-Weret who was the mother of Ra in a creation myth and carried him between her horns. As a mother she gave birth to Ra each morning on the eastern horizon, the Milky Way was seen as a waterway in the heavens, sailed upon by both the sun deity and the moon, leading the ancient Egyptians to describe it as The Nile in the Sky. Hathor also was favoured as a protector in desert regions, as Serabit el-Khadim was where turquoise was mined, Hathors titles included Lady of Turquoise, Mistress of Turquoise, and Lady of Turquoise Country. Hathors identity as a cow, perhaps depicted as such on the Narmer Palette, meant that she identified with another ancient cow-goddess of fertility. The assimilation of Bat, who was associated with the sistrum, in this later form, Hathors cult became centred in Dendera in Upper Egypt and it was led by priestesses and priests who also were dancers, singers and other entertainers
26.
Heka (god)
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Heka was the deification of magic in ancient Egypt. The name is the Egyptian word for magic, according to Egyptian writing, Heka existed before duality had yet come into being. The term Heka was also used to refer to the practice of magical rituals, the word Heka means action of the Ka or activation of the Ka, the Ka being the ancient Egyptian concept of the vital force. Egyptians believed that activating this power of the soul was how magic worked, Heka also implied great power and influence, particularly when drawing upon the Ka of the gods. In the Coffin Texts, Heka is created at the beginning of time by the creator Atum and he was also said to be the son of Khnum, who created specific individual Ba. As the son of Khnum, his mother was said to be Menhit, the hieroglyph for his name featured a twist of flax within a pair of raised arms, however, it also vaguely resembles a pair of entwined snakes within someones arms. Consequently, Heka was said to have battled and conquered two serpents, and was depicted as a man choking two giant entwined serpents. Medicine and doctors were thought to be a form of magic, so Hekas priesthood performed these activities
27.
Hemsut
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In Egyptian mythology, Hemsut were the Goddesses of Fate, destiny and protection in Ancient Egypt. They were closely associated with the concept of the ka and could be seen as the personification of the masculine ka. They could also be seen as the personification of the potential in the primeaval water from which everything was created. They were generally depicted as bearing a shield with two crossed arrows above it. Occasionally, they were depicted as kneeling women holding a child in their arms. According to the Memphite Theology they were created by Ptah but in Sais they were connected with Neith who was said to have drawn them from the waters of Nun
28.
Heqet
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Heqet is an Egyptian goddess of fertility, identified with Hathor, represented in the form of a frog. To the Egyptians, the frog was an ancient symbol of fertility, Heqet was originally the female counterpart of Khnemu, or the wife of Khnemu by whom she became the mother of Heru-ur. The name is written as ḥqt with the frog, or alternatively as ḥqtyt with the egg determinative. Its Middle Egyptian proununciation may have close to /ħaˈqaːtat/, whence possibly the name of Greek Hecate. The beginning of her dates to the early dynastic period at least. Her name was part of the names of some high-born Second Dynasty individuals buried at Helwan and was mentioned on a stela of Wepemnofret, early frog statuettes are often thought to be depictions of her. Later, as a fertility goddess, associated explicitly with the last stages of the flooding of the Nile and this association, which appears to have arisen during the Middle Kingdom, gained her the title She who hastens the birth. Some say that—even though no ancient Egyptian term for midwife is known for certain—midwives often called themselves the Servants of Heqet, women often wore amulets of her during childbirth, which depicted Heqet as a frog, sitting in a lotus. Heqet was considered the wife of Khnum, who formed the bodies of new children on his potters wheel, in the Osiris myth, it was Heqet who breathed life into the new body of Horus at birth, as she was a goddess of the last moments of birth. As the birth of Horus became more associated with the resurrection of Osiris. Eventually, this led to her amulets gaining the phrase I am the resurrection in the Christian era along with cross. A temple dedicated to Horus and Heqet dating to the Ptolemaic Period was found at Qus, media related to Heqet at Wikimedia Commons
29.
Horus
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Horus is one of the most significant ancient Egyptian deities. He was worshipped from at least the late prehistoric Egypt until the Ptolemaic Kingdom, different forms of Horus are recorded in history and these are treated as distinct gods by Egyptologists. He was most often depicted as a falcon, most likely a falcon or peregrine falcon. In another tradition Hathor is regarded as his mother and sometimes as his wife, Horus served many functions, most notably being a god of the sky, war and hunting. Horus is recorded in Egyptian hieroglyphs as ḥr. w Falcon, additional meanings are thought to have been the distant one or one who is above, over. As the language changed over time, it appeared in Coptic dialects variously as hoːɾ or ħoːɾ and was adopted into ancient Greek as Ὧρος Hōros and it also survives in Late Egyptian and Coptic theophoric names such as Har-si-ese Horus, Son of Isis. Nekheny may have been another falcon god worshipped at Nekhen, city of the falcon, Horus may be shown as a falcon on the Narmer Palette, dating from about the 31st century BC. In early Egypt, Horus was the brother of Isis, Osiris, Set, as different cults formed, he became the son of Isis and Osiris. Isis remained the sister of Osiris, Set and Nephthys, the Pyramid Texts describe the nature of the pharaoh in different characters as both Horus and Osiris. The pharaoh as Horus in life became the pharaoh as Osiris in death, New incarnations of Horus succeeded the deceased pharaoh on earth in the form of new pharaohs. The lineage of Horus, the product of unions between the children of Atum, may have been a means to explain and justify pharaonic power. The gods produced by Atum were all representative of cosmic and terrestrial forces in Egyptian life, the notion of Horus as the pharaoh seems to have been superseded by the concept of the pharaoh as the son of Ra during the Fifth Dynasty. Once Isis knew she was pregnant with Horus, she fled to the Nile Delta marshlands to hide from her brother Set, who jealously killed Osiris, there Isis bore a divine son, Horus. Since Horus was said to be the sky, he was considered to contain the sun. It became said that the sun was his eye and the moon his left, and that they traversed the sky when he. Later, the reason that the moon was not as bright as the sun was explained by a tale, known as the The Contendings of Horus and Seth. As Horus was the victor he became known as ḥr. w wr Horus the Great. In the struggle, Set had lost a testicle, explaining why the desert, Horus left eye had also been gouged out, then a new eye was created by part of Khonsu, the moon god, and was replaced
30.
Isis
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Isis is a goddess from the polytheistic pantheon of Egypt. She was first worshiped in ancient Egyptian religion, and later her worship spread throughout the Roman Empire, Isis was worshipped as the ideal mother and wife as well as the patroness of nature and magic. She was the friend of slaves, sinners, artisans and the downtrodden, Isis is often depicted as the mother of Horus, the falcon-headed deity associated with king and kingship. Isis is also known as protector of the dead and goddess of children, as the personification of the throne, she was an important representation of the pharaohs power. The pharaoh was depicted as her child, who sat on the throne she provided. Her cult was popular throughout Egypt, but her most important temples were at Behbeit El Hagar in the Nile delta, and, beginning in the reign with Nectanebo I, on the island of Philae in Upper Egypt. In the typical form of her myth, Isis was the first daughter of Geb, god of the Earth, and Nut, goddess of the Sky and she married her brother, Osiris, and she conceived Horus with him. Isis was instrumental in the resurrection of Osiris when he was murdered by Set, using her magical skills, she restored his body to life after having gathered the body parts that had been strewn about the earth by Set. This myth became very important during the Greco-Roman period, for example, it was believed that the Nile River flooded every year because of the tears of sorrow which Isis wept for Osiris. Osiriss death and rebirth was relived each year through rituals, the worship of Isis eventually spread throughout the Greco-Roman world, continuing until the suppression of paganism in the Christian era. The popular motif of Isis suckling her son Horus, however, the Greek name version of Isis is close to her original, Egyptian name spelling. Isis name was written with the signs of a throne seat. The grammar, spelling and used signs of Isis name never changed during time in any way, however, the symbolic and metaphoric meaning of Isis name remains unclear. The throne seat sign in her name might point to a role as a goddess of kingship. Thus, her name could mean she of the kings throne, but all other Egyptian deities have names that point to clear cosmological or nature elemental roles, thus the name of Isis shouldnt be connected to the king himself. The throne seat symbol might alternatively point to a meaning as throne-mother of the gods and this in turn would supply a very old existence of Isis, long before her first mentioning during the late Old Kingdom, but this hypothesis remains unproven. A third possible meaning might be hidden in the egg-symbol, that was used in Isis name. The egg-symbol always represented motherhood, implying a role of Isis
31.
Kek (mythology)
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Kek is the deification of the concept of primordial darkness in the Ancient Egyptian Ogdoad cosmogony. As a concept, Kek was viewed as androgynous, his form being known as Keket. Kek and Keket in some aspects also represent night and day, and were called raiser up of the light, the name is written as kk or kkwy with a variant of the sky hieroglyph in ligature with the staff associated with the word for darkness kkw. In the oldest representations, Kekui is given the head of a serpent, and Kekuit the head of either a frog or a cat. In one scene, they are identified with Ka and Kait, in this scene, Ka-Kekui has the head of a frog surmounted by a beetle and Kait-Kekuit has the head of a serpent surmounted by a disk. In the Greco-Roman period, Keks male form was depicted as a man. In relation to the 2016 United States presidential election, individuals associated with message boards, such as 4chan. This resulted in a resurgence of interest of the ancient deity, some members of 4chan jokingly attribute the victory of Donald J. Trump in the 2016 United States presidential election to meme magic. Kek and Kauket, Deities of Darkness, Obscurity and Night
32.
Khepri
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Khepri is a god in the ancient Egyptian religion. Khepri was connected with the beetle, because the scarab rolls balls of dung across the ground. Khepri was thus a solar deity, young dung beetles, having been laid as eggs within the dung ball, emerge from it fully formed. Therefore, Khepri also represented creation and rebirth, and he was connected with the rising sun. The Egyptians connected his name with the Egyptian language verb kheper, Kheper, is a transcription of an ancient Egyptian word meaning to come into being, to change, to occur, to happen, to exist, to bring about, to create, etc. Egyptologists typically transliterate the word as. pr, both Kheper and Xeper possess the same phonetic value and are pronounced as kheffer. There was no cult devoted to Khepri, and he was subordinate to the greater sun god Ra. Often, Khepri and another deity, Atum, were seen as aspects of Ra, Khepri was the morning sun, Ra was the midday sun. Khepri was principally depicted as a beetle, though in some tomb paintings. He is also depicted as a scarab in a solar barque held aloft by Nun, the scarab amulets that the Egyptians used as jewelry and as seals represent Khepri. Media related to Khepri at Wikimedia Commons
33.
Khnum
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Khnum was one of the earliest Egyptian deities, originally the god of the source of the Nile River. He later was described as having moulded the other deities, and he had the titles Divine Potter, Khnum was the god of rebirth, creation and the evening sun, although this is usually the function of Atum. The worship of Khnum centered on two principal sites, Elephantine Island and Esna, which were regarded as sacred sites. At Elephantine, he was worshipped alongside Anuket and Satet as the guardian of the source of the Nile River. His significance led to early theophoric names of him, for children, such as Khnum-Khufwy – Khnum is my Protector, Khnum has also been related to the deity Min. The temple at Elephantine was dedicated to Khnum, his consort Satet, the temple dates back to at least the Middle Kingdom. By the 11th dynasty Khnum, Satet and Anuket are all attested at Elephantine, during the New Kingdom finds from the time of Ramesses II show Khnum was still worshipped there. Opposite Elephantine, on the east bank at Aswan, Khnum, in Esna, known as Iunyt or Ta-senet to the Ancient Egyptians, a temple was dedicated to Khnum, Neith and Heka, and other deities. The temple dates to the Ptolemaic period, Khnum is sometimes depicted as a crocodile-headed god. Nebt-uu and Menhit are Khnums principal consorts and Heka is his eldest son, both Khnum and Neith are referred to as creator deities in the texts at Esna. Khnum is sometimes referred to as the father of the fathers and they later become the parents of Re, who is also referred to as Khnum-Re. The Beit el-Wali temple of Ramesses II contained statues of Khnum, Satis and Anukis, along with statues of Isis and Horus
34.
Khonsu
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Khonsu is the Ancient Egyptian god of the moon. His name means traveller, and this may relate to the travel of the moon across the sky. Along with Thoth he marked the passage of time, Khonsu was instrumental in the creation of new life in all living creatures. At Thebes he formed part of a triad with Mut as his mother. As the god of light in the night, Khonsu was invoked to protect against wild animals and it was said that when Khonsu caused the crescent moon to shine, women conceived, cattle became fertile, and all nostrils and every throat was filled with fresh air. This bloodthirsty aspect leads him to be referred to, in such as the Pyramid texts and he also became associated with more literal placentas, becoming seen as a deification of the royal placenta, and so a god involved with childbirth. Khonsu is typically depicted as a mummy with the symbol of childhood and he has close links to other divine children such as Horus and Shu. He is sometimes shown wearing a head like Horus, with whom he is associated as a protector and healer, adorned with the sun disk. Most of the construction of the complex at Karnak was centered on Khonsu during the Ramesside period. Khonsus reputation as a healer spread outside Egypt, a stele records how a princess of Bekhten was instantly cured of an illness upon the arrival of an image of Khonsu. King Ptolemy IV, after he was cured of an illness, called himself Beloved of Khonsu Who Protects His Majesty, locations of Khonsus cult were Memphis, Hibis and Edfu. Khonsu gradually replaced the war-god Monthu as the son of Mut in Theban thought during the Middle Kingdom, because the pool at the temple of Mut was in the shape of a crescent moon. The father who had adopted Khonsu was thought to be Amun, who had already been changed into a more significant god by the rise of Thebes, as these two were both considered extremely benign deities, Menthu gradually lost his more aggressive aspects. In art, Khonsu was depicted as a man with the head of a hawk and his head was shaven except for the sidelock worn by Egyptian children, signifying his role as Khonsu the Child. Occasionally he was depicted as a holding the flail of the pharaoh. He was sometimes pictured on the back of a goose, ram and his sacred animal was the baboon, considered a lunar animal by the ancient Egyptians. In the Egyptian Myth-based trilogy, The Kane Chronicles, Khonsu is allowed by Osiris to visit the characters, Sadie and Carter. He would give one hour for every piece they got off the board
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Maahes
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Maahes was an ancient Egyptian lion-headed god of war, whose name means he who is true beside her. He was seen as the son of the Creator god Ptah, Maahes was a deity associated with war, protection, and weather, as well as that of knives, lotuses, and devouring captives. His cult was centred in Taremu and Per-Bast, the first recorded reference to Maahes is from the New Kingdom. As a lion-god and patron, he was considered the son of Ra and of Bast, the feline war goddess and patron of Lower Egypt as well as Sekhmet. Since his cult was centred in Per-Bast or in Taremu, he was known as the son of Bast. As he became a deity of Egypt, his father was said to be the chief male deity at the time - either Ptah. In his role of son of Ra, Maahes fought the serpent Apep during Ras nightly voyage, considered to have powerful attributes, feline deities were associated with the pharaohs, and became patrons of Egypt. The male lion hieroglyphic was used in such as prince, mashead, strength. The name of Maahes begins with the hieroglyphs for the male lion, although in isolation it also means see in front. However, the first glyph also is part of the glyph for Maat, meaning truth and order and so it came to be that Maahes was considered to be the devourer of the guilty and protector of the innocent. Some of the titles of Maahes were Lord of Slaughter, Wielder of the Knife, Maahes was pictured as a man with the head of a male lion, occasionally holding a knife and wearing the double crown of Egypt, or the atef crown. Sometimes he was identified with Nefertem and was shown with a bouquet of lotuses near him, tame lions were kept in a temple dedicated to Maahes in Taremu, where Bast/Sekhmet were worshipped, his temple was adjacent to that of Bast. The ancient Greek historian Aelian wrote, In Egypt, they worship lions, media related to Maahes at Wikimedia Commons Caroline Seawright, Maahes, God of War and Protection, The Leonine Lord of Slaughter
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Mafdet
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In early Egyptian mythology, Mafdet was a goddess who protected against snakes and scorpions and was often represented as either some sort of felid or mongoose. She is present in the Egyptian pantheon as early as the First Dynasty, Mafdet was the deification of legal justice, or possibly of capital punishment. She was also associated with the protection of the chambers and other sacred places, and with protection against venomous animals. In reflection of the manner in which these animals kill snakes, the goddess was prominent during the reign of the First Dynasty pharaoh Den, whose image appears on stone vessel fragments from his tomb and is mentioned in a dedicatory entry in the Palermo Stone. She is also mentioned in the Pyramid Texts of the Old Kingdom as protecting the sun god Ra from poisonous snakes, in art, Mafdet was shown as a feline, a woman with a feline head, or a feline with the head of a woman. She also was depicted as a running up the side of an executioners staff of office. It was said that Mafdet ripped out the hearts of wrong-doers, during the New Kingdom, Mafdet was seen as ruling over the judgment hall in Duat where the enemies of the pharaoh were decapitated with Mafdets claw
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Menhit
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Menhit /ˈmɛnˌhɪt/ was originally a Nubian war goddess in Egyptian mythology. Her name depicts a warrior status, as it means massacres, in the 3rd Nome of Upper Egypt, particularly at Esna, Menhit was said to be the wife of Khnum and the mother of Heka. She was also worshipped in Lower Egypt, where she was linked with the goddesses Wadjet, wiesbaden 1995 Hans Bonnet, Lexikon der ägyptischen Religionsgeschichte, Hamburg 2000, ISBN 3-937872-08-6
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Meretseger
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She was closely connected with al-Qurn, the pyramid-shaped peak in the Valley of the Kings. As a cobra-goddess she is associated with Hathor. She was the deity of the workers in Deir el-Medina who built the tombs. She punished workers who committed crimes, but healed those who repented, in one instance Meretseger is petitioned to bring relief to one in pain. She answer the prayer by bringing sweet breezes A draftsman named Neferabu dedicated a stela to her, An ignorant man, without my heart, I was doing misdeeds against the Peak and she taught me a lesson. The peak strikes with the stroke of a savage lion. She is after him who offends her, merestseger takes pity on the man and She turned to me in mercy, She caused me to forget the sickness that has been upon me. As a cobra, she spat venom at anyone who tried to vandalise or rob the royal tombs. In art she was portrayed as either a coiled cobra, or as a cobra, or rarely as a triple headed cobra, where one head was that of a cobra, one of a woman. Her close association with the Valley of the Kings prevented her becoming anything more than a deity
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Meskhenet
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In Ancient Egyptian mythology, Meskhenet, was the goddess of childbirth, and the creator of each childs Ka, a part of their soul, which she breathed into them at the moment of birth. She was worshipped from the earliest of times by Egyptians, in ancient Egypt, women delivered babies while squatting on a pair of bricks, known as birth bricks, and Meskhenet was the goddess associated with this form of delivery. Consequently, in art, she was depicted as a brick with a womans head. At other times she was depicted as a woman with a cows uterus on her headdress. Since she was responsible for creating the Ka, she was associated with fate, thus later she was sometimes said to be paired with Shai, who became a god of destiny after the deity evolved out of an abstract concept. Meskhenet features prominently in the last of the folktales in the Westcar Papyrus, the story tells of the birth of Userkaf, Sahure, and Neferirkare Kakai, the first three kings of the Fifth Dynasty, who in the story are said to be triplets. Just after each child is born, Meskhenet appears and prophesies that he become king of Egypt
40.
Montu
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Montu was a falcon-god of war in Ancient Egyptian religion. Montus name, shown in Egyptian hieroglyphs to the right, is transcribed as mntw. Because of the difficulty in transcribing Egyptian, it is realized as Mont, Monthu, Montju. Montu was an ancient god, his name meaning nomad, originally a manifestation of the effect of the sun, Ra. The destructiveness of this led to him gaining characteristics of a warrior. Because of the association of raging bulls with strength and war, Montu was also said to manifest himself in a bull with a black face. Egypts greatest general-kings called themselves Mighty Bulls, the sons of Montu, in the famous narrative of the Battle of Kadesh, Ramesses II was said to have seen the enemy and raged at them like Montu, Lord of Thebes. He would hold various weaponry, including scimitars, bows and arrows, the Temple of Montu at Medamud was probably begun during the Old Kingdom era. Temples to Montu include one located adjacent to the Middle Kingdom fortress of Uronarti below the Second Cataract of the Nile, during the New Kingdom, large and impressive temples to Montu were constructed in Armant. In fact, the Greek name of the city of Armant was Hermonthis, Montu had several consorts, including the goddess Tenenet, the goddess Iunit, and a female form of Ra, Raettawy. Mentuhotep, a given to several pharaohs in the Middle Kingdom
41.
Min (god)
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Min is an ancient Egyptian god whose cult originated in predynastic times. He was represented in different forms, but was often represented in male human form, shown with an erect penis which he holds in his left hand. As Khem or Min, he was the god of reproduction, as Khnum, he was the creator of all things, the maker of gods and men. His cult was strongest in Coptos and Akhmim, where in his honour great festivals were held celebrating his “coming forth” with a procession and presentation of offerings. His other associations include the desert and links to the god Horus. Flinders Petrie excavated two statues of Min at Qift which are now in the Ashmolean Museum and it is thought by some that they are pre-dynastic. Although not mentioned by name a reference to he whose arm is raised in the East in the Pyramid Texts is thought to refer to Min and his importance grew in the Middle Kingdom when he became even more closely linked with Horus as the deity Min-Horus. By the New Kingdom he was fused with Amun in the deity Min-Amun-kamutef. Mins shrine was crowned with a pair of bull horns, as the central deity of fertility and possibly orgiastic rites Min became identified by the Greeks with the god Pan. He also had connections with Nubia, however, his main centres of worship were Qift and Akhmim. In Egyptian art, Min was depicted as being covered in shrouds, wearing a crown with feathers, and often holding his penis erect in his left hand and a flail in his upward facing right hand. Around his forehead, Min wears a red ribbon that trails to the ground, even some war goddesses were depicted with the body of Min, and this also led to depictions, ostensibly of Min, with the head of a lioness. In the 19th century, there was an erroneous transcription of the Egyptian for Min as ḫm. Since Khem was worshipped most significantly in Akhmim, the identity of Khem was reinforced. However, Akhmim is a corruption of ḫm-mnw, meaning Shrine of Min. In Hymn to Min it is said, Min, Lord of the Processions, God of the High Plumes, Son of Osiris and Isis, mins wives were Iabet and Repyt. The God Min to the End of the Old Kingdom, ISBN9780856686788 Media related to Min at Wikimedia Commons Site on Min, with some pictures
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Mnevis
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Mnevis or Mer-wer was an aspect of the Atum-Ra, the chief god in the pantheon of Heliopolis. The origin and meaning of its name is currently unknown, Mnevis was identified as being a living bull. This may be a vestige of the sacrifice of kings after a period of reign, who were seen as the sons of Bat or Hathor, the ancient cow deity of the early solar cults. Thus, seen as a symbol of the sun god, Ra. A suitable bull was selected from the area, said to be the living Mnevis bull, and was taken to a special temple, when a completely black bull could not be found, they chose one that was completely white, in contrast
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Mut
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Mut, which meant mother in the ancient Egyptian language, was an ancient Egyptian mother goddess with multiple aspects that changed over the thousands of years of the culture. Alternative spellings are Maut and Mout and she was considered a primal deity, associated with the waters from which everything was born through parthenogenesis. She also was depicted as a woman with a head dress, the rulers of Egypt each supported her worship in their own way to emphasize their own authority and right to rule through an association with Mut. Some of Muts many titles included World-Mother, Eye of Ra, Queen of the Goddesses, Lady of Heaven, Mother of the Gods, and She Who Gives Birth, But Was Herself Not Born of Any. Mut was a title of the waters of the cosmos, Naunet, in the Ogdoad cosmogony during what is called the Old Kingdom. The hieroglyph for Muts name, and for itself, was that of a vulture. Much later new myths held that since Mut had no parents, making up a complete triad of deities for the later pantheon of Thebes, it was said that Mut had adopted Menthu, god of war. Lower and upper Egypt both already had patron deities–Wadjet and Nekhbet–respectively, indeed they also had lioness protector deities–Bast and Sekhmet–respectively, when Thebes rose to greater prominence, Mut absorbed these warrior goddesses as some of her aspects. Later in ancient Egyptian mythology deities of the pantheon were identified as equal pairs, female and male counterparts, in that phase, Mut and Amun had a son, Khonsu, another moon deity. The authority of Thebes waned later and Amun was assimilated into Ra, Mut, the doting mother, was assimilated into Hathor, the cow-goddess and mother of Horus who had become identified as Ras wife. Subsequently, when Ra assimilated Atum, the Ennead was absorbed as well, and so Mut-Hathor became identified as Isis, the most important of the females in the Ennead, and the patron of the queen. Alternatively, as a result of her assimilations, Mut is sometimes depicted as a cobra, a cat, a cow, or as a lioness as well as the vulture. The last image on this shows the goddesss facial features which mark this as a work made sometime between late Dynasty XVIII and relatively early in the reign of Ramesses II. There are temples dedicated to Mut still standing in modern-day Egypt and Sudan, reflecting the widespread worship of her and that temple had the statue that was regarded as an embodiment of her real ka. Her devotions included daily rituals by the pharaoh and her priestesses, interior reliefs depict scenes of the priestesses, currently the only known remaining example of worship in ancient Egypt that was exclusively administered by women. Usually the queen, who carried the royal lineage among the rulers of Egypt. The pharaoh participated also and would become a deity after death, in the case when the pharaoh was female, records of one example indicate that she had her daughter serve as the high priestess in her place. Often priests served in the administration of temples and oracles where priestesses performed the religious rites
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Neith
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Neith was an early goddess in the Egyptian pantheon. She was the deity of Sais, where her cult was centered in the Western Nile Delta of Egypt. The Ancient Egyptian name of city was Zau. Neith was a goddess of war and of hunting and had as her symbol, however, she is a far more complex goddess than is generally known, and of whom ancient texts only hint of her true nature. In her usual representations, she is portrayed as a fierce deity and her symbol also identified the city of Sais. This symbol was displayed on top of her head in Egyptian art, in her form as a goddess of war, she was said to make the weapons of warriors and to guard their bodies when they died. As a deity, Neith is normally shown carrying the was scepter and she is also called such cosmic epithets as the Cow of Heaven, a sky-goddess similar to Nut, and as the Great Flood, Mehet-Weret, as a cow who gives birth to the sun daily. In these forms, she is associated with creation of both the time and daily re-creation. She is identified as a mother goddess in this role as a creator. As a female deity and personification of the waters, Neith encompasses masculine elements. She is a version of Ptah-Nun, with her feminine nature complemented with masculine attributes symbolized with her association with the bow and arrow. In the same manner, her personification as the waters is Mehetweret. Neith is one of the most ancient deities associated with ancient Egyptian culture and her first anthropomorphic representations occur in the early dynastic period, on a diorite vase of King Ny-Netjer of the Second Dynasty, found in the Step Pyramid of Djoser at Saqqara. That her worship predominated the early dynastic periods is shown by a preponderance of theophoric names within which Neith appears as an element. It has been suggested the hunt/war features of Neith’s imagery may indicate her origin from Libya, located west and southwest of Egypt, while Neith is generally regarded as a deity of Lower Egypt, her worship was not consistently located in that region. Her cult reached its height in Saïs and apparently in Memphis in the Old Kingdom, however, the cult regained political and religious prominence during the 26th Dynasties when worship at Saïs flourished again, as well as at Esna in Upper Egypt. Neiths symbol and part of her hieroglyph also bore a resemblance to a loom, at this time her role as a creator conflated with that of Athena, as a deity who wove all of the world and existence into being on her loom. As mother of Ra, in her Mehet-Weret form, she was described as the Great Cow who gave birth to Ra
45.
Nekhbet
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Nekhbet was an early predynastic local goddess in Egyptian mythology, who was the patron of the city of Nekheb. Ultimately, she became the patron of Upper Egypt and one of the two patron deities for all of Ancient Egypt when it was unified, egypt’s oldest oracle was the shrine of Nekhbet at Nekheb, the original necropolis or city of the dead. It was the city to Nekhen, the religious and political capital of Upper Egypt at the end of the Predynastic period and probably. The original settlement on the Nekhen site dates from Naqada I or the late Badarian cultures, at its height, from about 3400 BC, Nekhen had at least 5,000 and possibly as many as 10,000 inhabitants. The priestesses of Nekhbet were called muu and wore robes of Egyptian vulture feathers, Nekhbet was the tutelary deity of Upper Egypt. Nekhbet and her Lower Egyptian counterpart Wadjet often appeared together as the Two Ladies, one of the titles of each ruler was the Nebty name, which began with the hieroglyphs for of the Two Ladies. In art, Nekhbet was depicted as a vulture, alan Gardiner identified the species that was used in divine iconography as a griffon vulture. Arielle P. Kozloff, however, argues that the vultures in New Kingdom art, with their beaks and loose skin. In New Kingdom times, the vulture appeared alongside the uraeus on the headdresses with which kings were buried, Nekhbet usually was depicted hovering, with her wings spread above the royal image, clutching a shen symbol, frequently in her claws. As patron of the pharaoh, she was seen to be the mother of the divine aspect of the pharaoh, and it was in this capacity that she was Mother of Mothers. In some late texts of the Book of the Dead, Nekhbet is referred to as Father of Fathers, Mother of Mothers, who existed from the Beginning. Nekhbet is a monster in Final Fantasy 12. Nekhbet appears in Rick Riordans The Throne of Fire as a minor antagonist, Nekhbet is the name of a pet vulture in the anime Tenshi ni Narumon. Nikol, Hamburg 2000, ISBN 3-937872-08-6, S. 507f, harrassowitz, Wiesbaden 1999, ISBN 3-447-04027-0, S.199. Alexandra von Lieven, Grundriss des Laufes der Sterne – Das sogenannte Nutbuch, the Carsten Niebuhr Institute of Ancient Eastern Studies, Kopenhagen 2007, ISBN 978-87-635-0406-5. Alexandra von Lieven, Der Himmel über Esna – Eine Fallstudie zur religiösen Astronomie in Ägypten am Beispiel der kosmologischen Decken- und Architravinschriften im Tempel von Esna, marcelle Werbrouck, Fouilles de El Kab II
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Nephthys
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Nephthys or Nebthet or Neber-Het was a goddess in ancient Egyptian religion. A member of the Great Ennead of Heliopolis in Egyptian mythology, she was a daughter of Nut, Nephthys was typically paired with her sister Isis in funerary rites because of their role as protectors of the mummy and the god Osiris and as the sister-wife of Set. Nephthys is the Greek form of an epithet and this is a pervasive error repeated in many commentaries concerning this deity. Her name means specifically, Lady of the Enclosure which associates her with the role of priestess. Along with her sister Isis, Nephthys represented the temple pylon or trapezoidal tower gateway entrance to the temple which also displayed the flagstaff and this entrance way symbolised the horizon or akhet. At the time of the Fifth Dynasty Pyramid Texts, Nephthys appears as a goddess of the Heliopolitan Ennead and she is the sister of Isis and companion of the war-like deity, Set. As sister of Isis and especially Osiris, Nephthys is a goddess who symbolizes the death experience. Nephthys was known in some ancient Egyptian temple theologies and cosmologies as the Useful Goddess or the Excellent Goddess and these late Ancient Egyptian temple texts describe a goddess who represented divine assistance and protective guardianship. Nephthys is regarded as the mother of the funerary-deity Anubis in some myths, alternatively Anubis appears as the son of Bastet or Isis. As the primary nursing mother of the incarnate Pharaonic-god, Horus, though other goddesses could assume this role, Nephthys was most usually portrayed in this function. In contrast Nephthys is sometimes featured as a ferocious and dangerous divinity. Nephthys was typically paired with her sister Isis in funerary rites because of their role as protectors of the mummy and the god Osiris and as the sister-wife of Set. Less well understood than her sister Isis, Nephthys was no less important in Egyptian Religion as confirmed by the work of E. Hornung, along with the work of noted scholars. Ascend and descend, descend with Nephthys, sink into darkness with the Night-bark, ascend and descend, ascend with Isis, rise with the Day-bark. Pyramid Text Utterance 222 line 210, in the funerary role, Nephthys often was depicted as a kite, or as a woman with falcon wings, usually outstretched as a symbol of protection. Nephthyss association with the kite or the Egyptian hawk evidently reminded the ancients of the lamentations usually offered for the dead by wailing women, in this capacity, it is easy to see how Nephthys could be associated with death and putrefaction in the Pyramid Texts. Nephthys was clearly viewed as a force of heavenly transition, i. e. the Pharaoh becomes strong for his journey to the afterlife through the intervention of Isis. The same divine power could be applied later to all of the dead and it should here be noted that Nephthys was not necessarily viewed as the polar opposite of Isis, but rather as a different reflection of the same reality, eternal life in transition
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