DC Photojournal 151


	Amarna princesses Neferneferure and Neferneferuaten Tasherit. From a wall painting in the King's house. Ägyptischer Maler um 1360 v. Chr. 002 " ... “Daughters of Akhenaton,” fragment of a wall painting from a small residential building of Akhetaton, Tell el-Amarna, New Kingdom, 18th dynasty; in the Ashmolean Museum, Oxford" Holle Bildarchiv, Baden-Baden I call this photo: " Amarna princesses" Those are black African princesses ... * - Amarna Princess - Both naked and clothed. Shot blocked, used workaround - Egyptian Hermaphrodite - 2: Man bowing to topless King Akhenaten who was female. Both have dark brown skin on these ruins. - She's topless, but that was not an issue for men around her who were certainly dog-leashed at the minimum. Men around royalty in ancient cultures are almost always without sexual organs. - Egyptian Hermaphrodite - 3: Nude Meketaten under the canopy . In front of her nude Akhenaten, Nefertiti, Meritaten, Ankhesenpaaten and Neferneferuaten Tasherit. - Egyptian Hermaphrodite - 4 Alabaster sunken relief depicting topless Akhenaten, Nefertiti, and daughter Meritaten, with early Aten cartouches on king's arm and chest, from Amarna, Egypt, Eighteenth Dynasty. The Petrie Museum of Egyptian Archaeology, London - Egyptian Hermaphrodite - 5 Nude Akhenaten and daughters - The rock tombs of El Amarna . - Egyptian Hermaphrodite - 6 Nude colossal Akhenaten - Nothing is hidden here. The king is a woman. As clear as this is - it is impossible to find a single source that calls her a woman ... Akhenaten's snake/eros/pneuma is still psychoactive ... - Egyptian Hermaphrodite - 7 Topless Akhenaten in a skirt. Those are wide female hips. She also has a false beard as a sign of her male authority as the king. Akhenaten, 18th Dynasty, ca. 1353-1335 BCE. From the temple of Aton, Karnak, Egypt, Sandstone. - Egyptian Hermaphrodite - 8 Topless Akhenaten - with visible breasts and erect nipples. Karnak. Luxor Museum. Heidi Kontkanen - Egyptian Hermaphrodite - 9 Akhenaten as a sphinx, bathed in Aten's rays - Or Akhenaten as Sekhmet - Maybe even a phallic Sekhmet or Sekhmet-Min - Egyptian Hermaphrodite - 10 Topless Akhenaten entering a chariot. Akhenaten with stepping-stool. After: D.B. Redford, in: Redford (1976: pl. 12). Drawing by L.D. Hackley. This were the days of the Minoan bull-jumpers - so that was probably not a startling scene. - Egyptian Hermaphrodite - 11 A nude Akhenaten and Nefertiti riding a chariot. Ahmose (Amarna Tomb 3) Reconstruction from Davies. Akhenaten and Nefertiti are shown together in a chariot accompanied by one of their daughters. Akhenaten wears a khepresh crown, while Nefertiti is shown wearing her flat topped blue crown. This scene is unimaginable today. 2 nude black amazons and their daughter in a chariot commanding a pair of stallions. - Egyptian Hermaphrodite - 12 With dog-leashed men bent over double serving them... A scene with soldiers and a trumpeter. Ahmose (Amarna Tomb 3) Reconstruction from Davies. - Egyptian Hermaphrodite - 13 Banquet - from the Amarna tomb of Huy, steward of Queen Tiye. On the right is Tiye herself and on the left her son Akhenaten, Nefertiti and two of their daughters. Huy himself is the bowing tiny figure at Tiye’s feet. Courtesy Barry Kemp/The Amarna Trust. Topless Akhenaten. Also note the nude female musicians in the center and the bowing dog-leashed men. The bowing was probably not as demeaning as it seems though. It was probably a sensual thing enhanced by the caged penis. My subjective reaction is this was a hyper-erotic period in Egyptian history - All that public female nudity : Erotic without actual sex - which was probably even more sensual that actual sex. On the other hand, Nefertiti had 6 babies so there was actual sex going on ... And probably a lot of it in the Roman Egyptian style ... The reverse mulier equitans - or "horse riding" - which was done in front of servants and guests * " ... Depicted in Tomb of Huya in Amarna: South Wall, East Side: Tiye sitting at meal with Akhenaten and Nefertiti Akhenaten and Nefertiti are seated on the left. Akhnaten seems to wear a khat headdress and Nefertiti a short Nubian style wig. Next to Nefertiti seated on small chairs are Meritaten and one of her sisters - possibly Neferneferuaten-tasherit. Queen Tiye is shown opposite the King and Queen. She is seated and wears the double plumed headdress with the horned sundisk. She is accomponaied by her(?) daughter Baketaten, who is seated next to her on a small chair. ... "sites.google - Egyptian Hermaphrodite - 14 "A famous bas-relief in the tomb of Mahu, the Chief of Police, shows Akenhaten with his queen Nefertiti traveling by chariot with Mahu running ahead with the bodyguard – Mahu being clearly labelled by hieroglyphs. He was clearly proud of his prowess to be able to accompany his master in this way." civilization.org - Egyptian Hermaphrodite - 15 From Israeli Egyptologist Prof. Dr. Arlette David's lecture entitled: Akhenaten and Nefertiti’s ‘Monotheism’: What the Images Tell Us: ." ... I believe that the study of ancient Egyptian royal iconography during Akhenaten’s reign may clarify the essence of Akhenaten’s vision and expose the ways in which he reveals and proclaims his own divine essence. The striking royal image instigated by Akhenaten and the stylistic innovations it entailed were indeed meant to revisit the traditional and depleted formula of royal presentation, to reactivate the royal icon and to imbue it with fresh conceptual avenues. The innovative presentation appeared soon into the reign, before the King transferred his capital to Amarna, probably by Year 4 as demonstrated by the Theban material in Karnak. Much has been said about the King’s peculiar body-image; my interest however is in some peculiar motifs in Amarna that I found shedding light on essential aspects of Atenist Kingship. I’m discussing here three of them: the unusual motif of a queen sitting in Akhenaten’s lap, the Queen driving her chariot, and the recurrent motif of the King extending a scepter in the light of Aten. As for the connection between Akhenaten’s faith and pre-exilic/post-exilic Judaism, the similarities among Akhenaten’s most celebrated Great Hymn to Aten, Psalm 104, and pre-Atenist solar hymns to Amun are indeed many, but uncertainties abound too. Aten remains a ‘phenomenological’ god, directly experienced through the vivifying light and warmth from an astral body, the visible sun; theological, ritual, and perceptual materiality are part of Atenism. The divinity of Akhenaten and Nefertiti, as demonstrated by the analysis of three Atenist motifs, means that Aten is not an indivisible god: though for Akhenaten there was only one god to whom he addressed his thoughts and offerings, he saw himself as Aten’s son and divine, solar image on earth. His entourage had a divine trinity to worship (Aten, Akhenaten, and Nefertiti) and the Atenist individual religious experience had to pass through Akhenaten’s royal agency. Akhenaten is the early morning light on earth, early dawn symbolizing the ultimate potency of the sun when its orb not yet visible already brightens the horizon; Akhenaten is the earthly reflection of Aten’s heavenly energy, his divine image. ... "J ewish Museum of Greece * - What I noticed was the topless royal couple and the naked female worshipers behind them and the bowing men all around ... The women do not bow! Just the dog-leashed men ... - Egyptian Hermaphrodite - 16 Nude Akhenaten and Nefertiti and 2 daughters making an offering to the sun - Male priests bent over double. The tomb of Meryra - My guess is only the dog-leashed - or men had to bend over double. Most women are naked and standing up straight. The skin color is still visible and it is dark brown. " ... Here the scene shows the royal couple making an offering to the sun. ... The conventions of Egyptian drawing are perfectly respected. The scene shows the king and the queen one behind the other, but who were actually side by side, who throw a fragrant resin into the two braziers which surmount the offerings on the table. These braziers were in fact in front of the table on which one had stacked the usual animal and plant products. Akhenaten is crowned with the khepresh, and is clothed only with of a loincloth resting on his hips. The whole of his body is represented particularly gynoid (pear-shaped), very similar to that of Nefertiti. ... Behind the couple are two of their daughters who wear the hanging side lock of childhood - Merytaten and Maketaten (who shake sistra). Meryra is accompanied by another priest, both are much smaller than Akhenaten. He holds out to the king the products destined for the offering, probably a cone of incense. ... " osirisnet - Egyptian Hermaphrodite - 17 Nude Akhenaten and Nefertiti driving chariots surrounded by running troops and men bent over double. In small scenes to left their daughters are also riding in chariots. Tomb of Meyre. "The whole panel is occupied with a large representation of the royal family going toward the temple of Aten .... This scene continues on the west part of the north wall with the conclusion, the arrival and the welcome of the sovereigns ..."osirisnet - Egyptian Hermaphrodite - 18 Thinly dressed daughters in chariots surrounded by bent over men running alongside them. My impression is only women rode in chariots during Akhenaten's days ... Tomb of Meyre. " ... The eldest princesses, Merytaten and Maketaten, are in the first chariot, but are nearly erased; they are followed in the second by Ankh (es) -en-pa-aten and Nefer-Neferu-aten- (ta) -sheryt (lit.: Nefer-neferu-aten the younger, to distinguish her of her mother Nefertiti). ... In each of the chariots, one of the princesses holds the reins as well as a whip, while the second clings with her left hand to a handle and passes her right arm lovingly around the shoulder of her sister, thus protecting them both from the bouncing of the chariot . Each royal chariot is escorted by three more chariots each containing two female attendants, holding plume-shaped fans (omnipresent in Amarnian art). The princesses and the ladies-in-waiting are dressed alike, in a long mantle and a colourful shawl on the shoulders. These chariots had to be of a reasonable width because the driver is represented in a small enclosed area at the side, thus separated from the women, and not risking to touch them in case the chariot bounces. The Amarnian artists liked horses, and in the procession they are of course numerous. Their coat is a dark red, as almost always in Egyptian art in general. Note the stiffness and the lack of a naturalism in the animals. As elsewhere, the artists did not know how to really represent the horse, an animal newly introduced into the country and for which there was no traditional style. The princesses are further accompanied on all sides (but represented only above and below) by possibly the security service, whose agents are shown (as in all Amarnian tombs) in a bizarre, non natural manner, running while being bent to the extreme, and holding a stick in their hand. ... " - Egyptian Hermaphrodite - 19 Nude Akhenaten riding a chariot holding the reins and wielding a whip to a rearing stallion. Below are two men bent over double. Tomb of Meyre. That's an unlikely scene! But you can see it today at the Sambadrome in Brazil during Carnaval - submission to the sun-goddess and her "son" Akhenaten. See for example - Unknown 1998 Ketula Mello - Musa - Imperatriz Leopoldinense (2019) on this website - Its an ancient African legend - and maybe reality! " ... Akhenaten is represented at a greater scale than Nefertiti, but apart from scale, chariots and horses are almost identical. ... Their chariots are of a very light construction, even the sides of the wooden shell is lightened by a large hole (forming a handle grip at the top), and are similar to those found in the tombs of Thutmosis IV and Tutankhamun. The king wears a light tunic fastened at the waist by a decorated and fringed sash. He is crowned with the Khepresh helmet, from the bottom of which two red ribbons flow, giving the impression of movement. He holds the reins and a whip in his hands. The horses have rich harnesses. For instance on their backs, at the base of the neck, is a leather harness surmounted by a disk. Their heads are adorned with a leather hood to which are fixed tall feathers of alternating white red and blue. Two figures are seen under Akhenaten's horses. ... "osirisnet - Egyptian Hermaphrodite - 20 Running bent over troops of many nations alongside a nude Akhenaten in her chariot. Tomb of Meyre. I suppose this meant that many nations submitted to a female Akhenaten. Egypt was an empire during the days of the 18th dynasty that stretched into Asia, Arabia, Africa and Europe - especially Minoan Crete - which had a similar rule by Amazon set-up. It's safe to assume female domination was the rule in all of Egypt's colonies ... " ... In front of the chariots run the men of the royal guard, shown on three rows. The top row is formed of six standard bearers, with three types of standard. In front of them are four members of different races : at the front is an archer (possibly Nubian, with a plume in his hair), a man with a spear (probably Asiatic, with a beard), a man with a rounded axe (probably Libyan, with a strange hair style) and finally another archer (possibly Nubian again, plume in his hair). The second row is formed of soldiers carrying a spear, an axe and a shield; they are followed by a man with a baton (possible the sergeant). Finally, on the third row are four men who carry a kind of flail, again followed by a man with a baton. Directly below these rows of guards are four figures, two forerunners of the guard (judging by their stance and batons), greeted by two members of the temple staff. ... " osirisnet - Egyptian Hermaphrodite - 21 Reception at the Temple of Aten - nude women and girls hold out hands; all men bend over. Tomb of Meyre. Oxen are presented for sacrifice - My guess the virility of the Bulls was passed on to the women as in the Egyptian saying "the bull of my mother" - or the female phallus " ... In front of the temple All the people to the left of the temple are there to receive the royal procession. The characters at the bottom of the main register again show receipt of the procession, with (this time) four forerunners met by the head officials of the temple. This probably indicates that the rows are intended to be read from bottom to top. Thus, the individual in the fourth row could be Meryra (although the text which would have confirmed this is mainly missing). He is followed by a group of four, who from the text are : "Chief attendants of Aten in the temple of Aten in Akhetaten." . The next row up contains four fan-bearers, kneeling on the ground, preceding three priests carrying bouquets, the front two lead two fat oxen (which are richly adorned) intended to the sacrifice. In the top two rows, women clothed in long pleated dresses are the chantresses who come with tambourines. Note the small girl in the lower row, who holds a festive branch (pl 13 (detail). ... The chantresses are accompanied in each row by several male colleagues, one of which (on both rows) prostrates himself on the ground according to the Egyptian expression, "smell the earth". ... " - Egyptian Hermaphrodite - 22 Reception of nude Akhenaten and Nefertiti at the Temple of Aten by nude women singers. Tomb of Meyre. "Women clothed in long pleated dresses are the chantresses who come with tambourines ... " osirisnet Buth that's not true! They are fully nude on the front. They are only thinly veiled from behind. ... This fact - public female erotic nudity - was true to ancient Egypt in general - not just Akhenaten years. Unless you have access to the ruins, you will never see this ... - Egyptian Hermaphrodite - 23 A nude and towering Akhenaten making an offering in the open air courtyard of Aten temple. Below her is a small cowering bent over man. Tomb of Meyre. - Akhenaten is wielding a sekhem sceptre -which I assume is the same as the Sekhmet sceptre - or female phallus - Egyptian Hermaphrodite - 24 " ... The temple courtyard The royal couple dedicate the divine offerings on an altar in open air, between the main entry pylon of surrounding wall and the first pylon of the actual temple. Five small altars overladen with provisions and two with flowers are placed in front of and between the king and the queen, who both hold out a sekhem-sceptre. Their faces have been hammered out, but the headgear of Nefertiti still remains, composed of a double plume surrounding a solar disk. The Aten disk and its rays ending in hands surmount the scene. Notice the small character who presents a vase with one hand and the material for fumigation with the other. Could this be Meryra ? ... " osirisnet - Egyptian Hermaphrodite - 25 Nude princesses rattling sistra in the Temple of Aten - behind them are nude female attendants and clothed men bent over double. " ... Behind the royal couple, displayed on two rows in pseudo perspective, are the four small princesses with as many attendants . The princesses shake Hathoric sistra. They are standing within the main entry pylon of the outer wall. The inscription is historically important for the datings of the Amarnian period because it is one of the very rare mentions of the youngest of the daughters of the royal couple: "Nefer-neferu-jtn-ta-sheryt" ("Neferneferuaton - the younger"), so as not to be confused with her mother Nefertiti. Curiously, she is the only one of the princesses named. The artist took care to distinguish between them by their size and by the nudity of the youngest sisters at the top. ... " osirisnet - Egyptian Hermaphrodite - 26 Detail - " ... Behind the royal couple, displayed on two rows in pseudo perspective, are the four small princesses with as many attendants . The princesses shake Hathoric sistra. ... " osirisnet - Egyptian Hermaphrodite - 27 A nude and towering Akhenaten rewards a tiny but not bent over Meyra. Behind her is a nude Nefertiti and their nude daughters and attendants. Beyond that are men bent over double ... " ... The scene is the centre of activity for this register : the representation of Meryra's reward. As Sovereign and Great High Priest, Akhenaten thus thanks his faithful and zealous servant in the career of which this day has to represent an apotheosis. The scene takes place in the courtyard in front of the granaries, which seems logical, since it is in their management that Meryra has distinguished himself. Besides, it is very improbable that ceremonies of this type were held in the major cult areas of a temple. Meryra stands with his arms raised in salutation. By command of the king, the Superintendent of the Treasury of Golden Rings places another heavy gold necklace around the neck of Meryra, which is already adorned with several, as a reward from the king. Other precious rewards have already been given to him and are carried by servants or the priests of the temple. On Meryra's head is what is customarily called a "cone of ointment", the exact nature of which is again currently under debate. Attending the scene are three other groups of characters. At the top are two fan-bearers and four bearers of sunshades. Below them are probably priests and finally four scribes scrupulously noting all of the events (in front of them is probably another priest). In front of Meryra and the accompanying characters, stand the royal couple, in majestic size in relation to the others (Meryra himself is represented at the same size as the other subordinate characters, but not bent). Akhenaten nonchalantly rests his left hand on a long cane, while with his right hand he makes the sign of donation. He makes the following speech, shown before him in four columns of hieroglyphs : "Words spoken by the king of the South and the North, he who lives in Ma'at, the Lord of the Two Lands, Nefer-kheperu-ra Wa-en-re (Beautiful are the Manifestations of Re – the Unique of Ra) : May the Superintendent of the House of the Gold Rings take the High Priest of Aten in Akhetaten, Meryra, and place the gold on his neck, to his head and around his feet, because he is obedient to the teachings of Pharaoh (life, prosperity and health to him). Having done everything that was said concerning these beautiful places made by Pharaoh (l-p-h) in the House of the Benben, in the temple of Aten, for the Aten that is in Akhetaten, (he) filled it with all good and pure things, with wheat and barley in abundance, on the The Offering Table of Aten, for the Aten." We see in this last sentence the real role that Akhenaten assigned to the "High Priest" : the one of a Chief Superintendent, in charge of the material aspects of the cult but no means of its execution. Notice in the passage that Akhenaten behaves with the property of the temple as appropriate. He actually succeeded in uniting two powers, which were until then distinct : the regal power and the great priesthood of the principle God of the Empire. To this speech, Meryra replies : "The High Priest of Aten, in the Temple of Aten in Akhetaten, Fan-bearer at the King's right hand, Favourite of the Lord of the Two Lands, Meryra, says : "Health to Wa-en-Ra, the Fair Son of the Aten. Grant that you may accomplish your duration, grant for ever and ever" ." Behind Akhenaten, stands Nefertiti wearing on her head a cap decorated with the uraeus. The couple is bathed by the rays of the Aten which sits above of the scene. Behind the royal couple are the small princesses, of which only two are now visible. While above them are several fan and sunshade bearers, also a line of others, all possibly waiting to escort the royal entourage into the granary behind them. ... " - Egyptian Hermaphrodite - 28 Akhenaten offering in the Great Temple of Aten, atop his podium (Pendlebury 1951). All men bent over double - women standing nude and erect - This was an Amazon cult. It did not die but continued to rule in Greco-Roman forms like the Cybele/Artemis cult. - Which being the emperor's cult, was not really a cult, but the Roman state religion Roman elite religious practice was probably modeled on Akhenaten sun-worship - For example, the women only Vesta fire cult and worship of the female erect penis or fascinum and the curbing of the male phallus with the female controlled "dog-leash". It lost its original black African form though ... - The question still remains - why would hyper masculine Roman men submit to this? There must have been a benefit otherwise the Amazon cult would have ended in the 18th dynasty - Egyptian Hermaphrodite - 29 " Boundary stele of Akhenaten, marked Stele A by Finders Petrie, it was erected to mark the inclusion of the area to Akhenaten's new capital Amarna " - Alamy Nude Akhenaten and her 6 daughters. Egypt returned to polytheism after the death of Akhenaten - but the core values of her cult did not die with her - and also preceded her - worship of the sun-goddess - Egyptian Hermaphrodite - 30 "Wall fresco from a Temple wall in Karnak in the Amarna Style, during the reign of Akhenaten. 1365-1360 BC" - Alamy 2 men bent over double around an erect and topless Akhenaten. They have dark brown - or African skin - Egyptian Hermaphrodite - 31 " ... Amarna Column. The remains of the small temple at El Amarna, the columns being a modern recreation based on original fragments. ..."Aidan McRae Thomson - That's an erect phallus to me - Probably a female phallus - Egyptian Hermaphrodite - 32 Topless Akhenaten and her nude daughters receiving foreign dignitaries. They look like Arabs and African men to me. Probably representatives of her empire. My guess is it was the lands of the Queen of Sheba - east Africa and Arabia plus Libya and Minoan Crete and parts of Asia Minor and the black sea coast. The ambassadors are conservatively dressed. But Akhenaten seems seems topless and her daughters are nude. Her male servants are all bent over double and a pair of them is carrying a chariot - but the foreigners are not. Submissive men carrying a chariot - means the male servants were seen as horses. That's how elite Roman women viewed men they had sex with, or men in general - "Mulier equitans" - Egyptian Hermaphrodite - 33 Nude Amarna Princess with a sidelock of youth and elongated skull - Tell el Amarna, New Kingdom, 18th Dynasty - Egyptian Hermaphrodite - 34 Topless Akhenaten rewarding Merya from the window of appearance. Tomb of Merya Topless Akhenaten and Nerfititi and nude daughters of Akhenaten giving out gold necklaces as rewards to Merya. All men bent over except Merya and foreign dignitaries at top right . Below the royal couple are foreign men in chains. And at bottom right is a female attendant in chariot. Other chariots are empty awaiting their female passengers. - Egyptian Hermaphrodite - 35 Nude female dancers with Instruments - Dynasty 18. Reign of Akhenaten. - Egyptian Hermaphrodite - 36 Topless Akhenaten and nude Nefertiti and nude daughters and attendants offering in the Aten temple. All men bent over double. All women nude and erect except nude attendants behind daughters with bowed heads. " ... North wall of the entrance corridor This wall provides an example of the frequent representation of the worship of Aten by the royal family. The wall has suffered greatly at the top through exposure and, as can be seen, by damage caused by plunderers in antiquity. The king and queen (who was wearing the atef-crown) are followed by the three princesses. Still distinguishable in the upper register is the queen's sister, princess Mutnedjemet (or Mutbeneret, depending on the reading of the vertical sign, 'ndm' or 'bnr'), accompanied by her two dwarfs and courtiers. The dwarfs, who can also be found with her on the west wall of the tomb, have names which, according to Norman of Garis Davies, may have been chosen in jest : the first, a woman according to the determinative of the name, is designated as "the vizier of the queen, Erneheh", the second, a man, is "the vizier of his mother, Para". The lower part of the wall is occupied by a long prayer, at bottom-right of which are the kneeling figures of Ay and Tiy. The text once more combines the praises to Aten, in a style suitable for the Great Hymn, along with praise of the deceased, which aims to confer on them the benevolence of the god. "When he rises in the sky, he rejoices at his son; he embraces him with his rays; he gives him eternity as king like the Aten, Neferkheperure Waenre, my god who made me and who brought into being my ka. [… …] The divine father, the standard bearer at the right-hand of the king, chief of all of the cavalry of his Majesty, true scribe of the king, whom he loves, Ay, said : 'I was faithful towards the king …' ". ... " osiris.net - Egyptian Hermaphrodite - 37 Nude royals - Akhenaten Nefertiti and daughters - completely naked - throwing gifts to Ay - chief of the whole cavalry of his Majesty- and Tiy his wife from a balcony. Ay has standard male dress - while his wife Tiy has basic see-through attire. All males except Ay and foreign dignitaries at top right bent over double. " ... The reward ceremony On the right-hand side of the representation of the palace, the presentations to Ay and Tiy take place. The royal couple and three princesses are at the window of appearances, surmounted by the Aten disk. The queen's sister is relegated to the background, with her dwarfs (unfortunately, none of them can be seen on either the photo or the line drawing). An astonishing and unique fact: at least as far as can be seen, the whole royal family appear to be naked. For the small princesses this is nothing out of the ordinary, but this was not the custom for the king and the queen. There are no apparent traces of paint, which would have represented the clothes and which could have faded away. The rest of the reliefs are finished, which leaves a question without an answer… The royal family present rewards to Ay and Tiy. It should be noted that it is quite unusual for the wife to be present at the man's side at the time of the reward ceremony. The presence of Tiy is certainly due to his high status and to her close ties with the royal family as nurse for Nefertiti. The section of wall carrying the magnificent representations of Ay and Tiy had been cut away by relic traffickers. Fortunately, the block has now been recovered and is in the Cairo museum. The couple are attended by two fat dignitaries, who help them to gather the royal presents, amazingly represented as a shower of gifts, not only thrown from the balcony by the king but also by the queen and the small royal daughters. The necklaces pile up on the shoulders of the couple and on the ground (with other gifts). Norman de Garis Davies proposes these to be an enumeration, for which he doesn't rely on the texts, but on his own interpretation of the objects represented : - 18 double gold bead necklaces, at least two with pectorals - 2 plain necklaces - 5 collars of ceramic faience - 6 bands, also probably faience - 4 golden goblets, two with a foot, two without - 2 metal vases - 5 signet rings - 12 pairs of plain armlets - 1 pair of gloves This is the first representation of gloves known in Egyptian art. This present is certainly appropriate for Ay, with the title of "chief of the whole cavalry of his Majesty". He is apparently very satisfied, because no sooner has he left the palace, than he wears them and shows them to his friends. As can be seen, the king occupies a major place on the walls in the Amarnian tombs. These representations develop a festive ambience centred on the royal family. In fact they lose all religious appearance, since the god is represented as the solar disk which illuminates the scenes. Nevertheless, surely, the sense remained deeply religious, the king, along with the royal family, serving as intercessor and mediator between the people and the sun god. ... " osiris.net - Egyptian Hermaphrodite - 38 Ay and his gifts and gloves from the naked royals. In addition to chief of the Cavalry - he was also a sex "horse" or stud - he is called the father of the god - which I assume means Nefertiti used him as a sperm donor for one or more of her daughters. " ... Ay leaves the palace, whose door is surmounted by the Aten disk; he is covered with his jewelry rewards, and wearing the famous gloves . Some servants follow him, carrying the remaining royal presents on trays. Ay is received by his friends who are delighted and prostrated. Three chariots wait to take them to their destination. The group of Ay and his friends, as well as the characters cheering him a little further away, have only been executed in black ink. The necklaces are however drawn in red ink, as have also the bracelets and the gloves, enhancing these remarkable objects, and maybe also suggesting the precious materials. Above are represented the guards of the palace, to whom young boys bring news of the ceremony. The guard close to the door asks : "For whom is this rejoicing being made, my boy ?" The boy answers : "The rejoicing is being made for Ay, the father of the god, along with Tiy. They have been made people of gold !" Because the second guard does not receive the news as quickly, he loses patience and sends a boy to see what is happening while instructing him to hurry. Another young boy has already informed the third guard, who speaks with a friend and tells him what he knows. He tells him : "Rise up and you will see : This is the good thing which Pharaoh has done for Ay, the father of the god, and Tiy. Pharaoh has given them much gold and all manner of riches !" The boys are more fortunate than the guards in being able to leave their duties; so finally, a boy makes another look after his stool and his small bag while he goes to see what is happening. His friend answers him : "Don't be long, or I'll be off and keep them for myself !". These scenes constitute an example of this picturesque aspect of Amarnian representations; next to the great main themes previously quoted, there are often small amusing scenes, found in the margins of the main scene but which actually confer a living and varied aspect to the composition. ... " Osiris.net * Ay rose to the position of Pharaoh after the death of Tutankhamun: " ... Kheperkheperura-Ay was the 14th Pharaoh of the 18th dynasty, who had a short reign of 3 or 4 years (1346-1343 BC), succeeding the young Tutankhamon, who died prematurely. With him closed what was called "the Amarna period", during which Akhenaton, "the heretic", and his immediate successors tried to change the thousand-year-old religious system of the country. In fact these had never disappeared, and after these pharaohs they returned to their honourable state. The period after Akhenaten remained in a state of confusion; it is known that a certain Smenkare and a woman existed in between. It was necessary to wait for the accession to the throne of the legitimate heir, Tutankhamun, for things to be clearer. In spite of the absence of his biological connection with the reigning family and the fact that he organised the return to orthodoxy, Ay was bound too much to the Amarna period. He was included in the damnatio memoriae ("condemnation of memory") which erased the official history between the reigns of Amenhotep III and Horemheb, who succeeded him. ... " Osiris.net I think the focus is on the wrong gender: sovereign was not the King in Egypt - it was the Queen. Ay became Pharaoh married to the wife depicted above - Tiy the wet-nurse of Nefertiti - but he also had another wife who was probably his daughter and the reason he was made king: the great royal wife of the dead Tutankhamun and one of the daughters of Nefertiti: Ankhesenamun. She was probably the queen who wrote to a foreign king to send her a husband because she was afraid of her own subjects. "... Ankhesenpaaten was born in a time when Egypt was in the midst of an unprecedented religious revolution (c. 1348 BC). Her father had abandoned the old deities of Egypt in favor of the Aten, hitherto a minor aspect of the sun-god, characterised as the sun's disc. She is believed to have been born in Waset (present-day Thebes), around year 4 of her father's reign but probably grew up in the new capital city of Akhetaten (present-day Amarna). The three eldest daughters – Meritaten, Meketaten, and Ankhesenpaaten – became the "Senior Princesses" and participated in many functions of the government and religion. She is believed to have been married first to her own father. This was not unusual for Egyptian royal families. She is thought to have been the mother of the princess Ankhesenpaaten Tasherit (possibly by her father or by Smenkhkare), although the parentage is unclear. After her father's death and the short reigns of Smenkhkare and Neferneferuaten, she became the wife of Tutankhamun. Following their marriage, the couple honored the deities of the restored religion by changing their names to Tutankhamun and Ankhesenamun. The couple appear to have had two stillborn daughters. ... Some time in the ninth year of his reign, at about the age of eighteen, Tutankhamun died suddenly, leaving Ankhesenamun alone without an heir at about age twenty-one. A blue glass ring of unknown provenance obtained in 1931 depicts the prenomen of Ay and the name of Ankhesenamun enclosed in cartouches. This indicates that Ankhesenamun married Ay shortly before she disappeared from history, although no monuments show her as a royal consort. On the walls of Ay's tomb it is Tey (Ay's senior wife), not Ankhesenamun, who appears as queen. She probably died during or shortly after his reign and no burial has been found for her yet. A document was found in the ancient Hittite capital of Hattusa which dates to the Amarna period: the so-called "Deeds" of Suppiluliuma I. The Hittite ruler receives a letter from the Egyptian queen, while being in siege on Karkemish. The letter reads: My husband has died and I have no son. They say about you that you have many sons. You might give me one of your sons to become my husband. I would not wish to take one of my subjects as a husband... I am afraid. This document is considered extraordinary, as Egyptians traditionally considered foreigners to be inferior. Suppiluliuma I was surprised and exclaimed to his courtiers: Nothing like this has happened to me in my entire life! Understandably, he was wary, and had an envoy investigate, but by so doing, he missed his chance to bring Egypt into his empire. He eventually did send one of his sons, Zannanza, but the prince died, perhaps murdered, en route. The identity of the queen who wrote the letter is uncertain. She is called Dakhamunzu in the Hittite annals, a possible transliteration of the Egyptian title Tahemetnesu (The King's Wife). Possible candidates are Nefertiti, Meritaten, and Ankhesenamun. Ankhesenamun once seemed likely since there were no candidates for the throne on the death of her husband Tutankhamun, whereas Akhenaten had at least two legitimate successors. But this was based on a 27-year reign for the last 18th pharaoh Horemheb who is now accepted to have had a shorter reign of only 14 years. This makes the deceased Egyptian king appear to be Akhenaten instead rather than Tutankhamun. The phrase regarding marriage to 'one of my subjects' (translated by some as 'servants') is possibly a reference to the Grand Vizier Ay or a secondary member of the Egyptian royal family line. Since Nefertiti was depicted as powerful as her husband in official monuments smiting Egypt's enemies, she might be the Dakhamunzu in the Amarna correspondence as Nicholas Reeves believes. Ankhesenamun may have been pressured by Ay to marry him and legitimise his claim to the throne of Egypt (which she eventually did). ... " Wikipedia - Egyptian Hermaphrodite - 39 Topless Akhenaten and a nude Nefertiti - Great Royal Wife of the Egyptian Pharaoh Akhenaten. Relief in the Egyptian Museum in the Altes Museum Berlin. Nefertiti is fully naked in the front. Skin color is dark brown for the royals, except for white space over Nefertiti's nudity. Akhenaten is wearing the famous blue Minoan skull cap - Egyptian Hermaphrodite - 40 Two clearly nude and female Akhenaten and Nefertiti offering to the sun with their nude daughters behind them ... Below are men bent double and women bowing heads. It's a double dose of the female phallus - in my reading ... Clearly a delight to Egyptians including men who eagerly submitted to that female phallus ... " ... On the right hand side we see the King burning spices in a hawk headed censing-spoon, while the queen presents a bouquet of lotus flowers. Both wear an elaborate Atef-crown. Akhenaten wears a triple Atef crown flanked by uraei and topped with falcons wearing a sundisk and accompanying a double cartouche. Nefertiti wears a double Atef-crown flanked by two uraei. This crown is worn on a uraeus shaped modius and on top of what looks like a khat headdress. In the register below this scene we see the Queen's sister Mutnodjemet accompanied by her two dwarves , two male attendants and four female attendants.Nefertiti's titulary is given as follows: "The heiress, great of favor, mistress of all women - when she sayeth anything it is done - the great and beloved wife of the King, Lady of the Two Lands (Nefertiti)\| living for ever and ever" Panhesy (Amarna Tomb 6)" sites.google - Egyptian Hermaphrodite - 41 A large crowd of foreigners from all over offering tribute to a topless seated Akhenaten and Nefertiti and nude daughters They kneel or stand with their hands in the air. Egyptian men bent over double. My intuition is those foreign nations also had a goddess worship. For example, ancient Syrian priests castrated themselves for Artemis and a Syrian mermaid goddess - and in ancient Iraq you had fertility goddesses like Ishtar ... "... East Wall: Presentation of tribute. Akhenaten and Nefertiti are shown sitting on a throne holding hands. Their six daughters are shown behind them. Meritaten, Meketaten and Ankhesenpaaten are shown holding hands. Neferneferuaten is holding something in her hands. Neferure is hown holding a gazelle. The youngest daughter, Setepenre, holds a bouquet of flowers while petting the gazelle her older sister is holding. ... " Meryre II (Amarna Tomb 2) sites.google - Egyptian Hermaphrodite - 42 "Akhenaten and Nefertiti on procession with the army running out front (from a private tomb in Amarna)" brown.edu Nude Akhenaten and Nefertiti riding chariots with whips and harness. Each chariot with 2 stallions and towering over running male troops some bent over. Behind them in smaller chariots are their nude daughters and attendants. The audience includes men bent over or kneeling kissing the earth and women standing with raised hands. - Egyptian Hermaphrodite - 43 "Relief of Akhenaten and Nefertiti" Egyptian Museum/Cairo Nude Nefertiti driving a clothed Ahkenaten in a chariot. Note the dark brown skin of Nefertiti - same as brown horse and elongated skull. That's an African queen ... - Egyptian Hermaphrodite - 44 Nefertiti's sister Mutnodjemet in a see-through dress - the great queen or really the sovereign of the last king of the 18th dynasty - Horemheb. She is painted black - probably meaning "chthonic" or of the earth. But she may also have been east African The dress is designed to open up at the front revealing full nudity. This was clearly designed to raise the erotic temperature of the dog-leashed audience to a fever pitch. That's why you had grown men bent over double or even kissing the earth. Eventually that pent-up erotic energy created the "djed pillar" and the inner eye. It also created hot sex when the women wanted it. - Egyptian Hermaphrodite - 45 Topless Akhenaten and a nude Nefertiti and 3 nude daughters offering to the Aten sun disc. " ... Entrance tomb of Ipy in Amarna: The royal family making votive offerings to the Aten. Akhenaten and Nefertiti are shown offering votive items - cartouches of the Aten flanked by small statue(s) - to the Aten. Meritaten, Meketaten and Ankhesenpaaten are shown behind their parents shaking sistra ... " sites.google I saw an image of this online with a Nefertiti in what looked like a head to toe cloth covering under the open cotton dress - this is a lie for modern audiences! In truth, Nerfetiti was buck naked in public during religious festrivals ... Private rock tomb of Amarna - Egyptian Hermaphrodite - 46 Nude women in procession and bent - over man. The bending over was caused by long-term use of the penis cage and constant exposure to female nudity. Women did not bend - they rode the bent-over men or "horses" as Roman women would call them ... - Egyptian Hermaphrodite - 47 Nude female musicians - 18th dynasty. Music was a prelude to love-making ... - Egyptian Hermaphrodite - 48 " ... The defaced sarcophagus of King Akhenaten of Egypt. The sarcophagus was found in Tomb KV55, in the Valley of the Kings in Egypt. It was discovered by Edward R. Ayrton in 1907. Akhenaten, known before the fifth year of his reign as Amenhotep IV, was an ancient Egyptian pharaoh of the 18th Dynasty who ruled for 17 years and died perhaps in 1336 BC or 1334 BC. He introduced the monotheistic belief in the Aten or Sun God" Alamy - That's a woman's coffin from the hair - Egyptian Hermaphrodite - 49 " ... Painted sandstone statues of King Akhenaten and Queen Nefertiti, late 18th Dynasty, Egypt. These statues originated from the garden shrine in house L.50.9 at the site of Tell el-Amarna. The statues are on display in the galleries of the the Ashmolean Museum, Oxford University, England. The statue of Akhenaten is in the collections of the Ashmolean (AN1924.162) and that of Nefertiti is in the collections of the British Museum (BM EA925) and on loan to the Ashmolean. ... " sketchfab - There was a trend of women only royalty before and after Akhenaten - For example the king after Akhenaten was probably a woman. And images of king Tut look female - Egyptian Hermaphrodite - 50 " ... A young Tutankhamen emerging from a lotus flower. Discovered in 1922 in the tomb of King Tut in the Valley of the Kings Egypt. Currently in the Cairo Museum, Egypt. ... " sketchfab Looks like a black African girl to me ... - Egyptian Hermaphrodite - 51 " ... Detail from chest decorated with panels depicting Tutankhamun in his chariot attacking Nubians ... " Alamy - Used as proof that Tut was not black African Step between Kenyan counties and skin color changes drastically. Still black African. What is more intriguing is the gender of King Tut. During this time men did not ride in chariots - that was for women only! Men ran alongside - usually bent over in submission ... - Egyptian Hermaphrodite - 52 Bent-over male chariot attendants and other bent over males in procession. Amara rock tomb In other scenes men carry the chariot! My guess is this male submission was not just for royalty - it was taught from young age ... A concrete cause was the penis cage which caused male discomfort in the presence of female erotic power. The bending probably reduced blood flow to the penis ... On another level - there was almost certainly a powerful female spirit living in Egypt during the 18th dynasty - my inner vision is a female serpent or dragon One way past the caged penis discomfort was castration - evidently this was very popular not just in the goddess priesthood like Cybele or Artemis and maybe Isis - but in everyday men - The penis almost became vestigial like the appendix - and we are seeing this happen on a large scale today - they call it "toxic masculinity". But that penis space does not magically go away by cutting it - rather you get the famous Cybele frenzy - and the quickening pace of modern life - That anti penis bias was probably linked to the Nile plagues that had to be remedied by the summer orgy season and the Cybele orgies - almost a burning away of toxic gas build-up - Egyptian Hermaphrodite - 53 Nude princesses standing with arms around each others waists in a mobile chariot. Amarna rock tombs - Egyptian Hermaphrodite - 54 " ... Chariots are frequent subjects of Egyptian art and are nearly always depicted as an instrument of war or hunting with the Pharaoh in a grand pose about to lay waste to an enemy or slay a wild beast . Among the many representations of chariots in Egyptian art, are those found in the tombs of Ahmose at Abydos (Spalinger 2005), the Userhet, a royal scribe of the 18th Dynasty (Lloyd 1961), Khaemhet, Amenhotep Huy (Smith 1998), Tutankhamen (Smith 1998; Partridge 1996; Littauer & Crouwel 1985), and Thutmose IV (Partridge 1996) among others. Chariots are also found in temple art such as the depictions of Seti I on the exterior wall of the Hypostyle Hall at the temple of Amun at Karnak mounting his vehicle then trampling his enemy at Kadesh (Partridge 1996; Smith 1998). There are also a few artifacts of chariots that have proveniences from the pharaonic tombs of Amenhotep II, Thutmose IV, and Amenhotep III as well as the tomb of Yuya and Thuya, the parents-in-law of Amenhotep III (Littauer & Crauwel 1985; Partridge 1996). The first intact chariot was discovered in 1829 in a tomb whose owner remains unknown and is now on display at the Museo Archeologico in Florence, Italy (Littauer & Crouwel 1985). The Florence Chariot has wheels of four spokes and is considered to be of earlier construction and design than other chariots found, which have six spokes (Partridge 1996). While the exact date of the Florence Chariot’s tomb may not be known Partridge (1996) suggests that it probably originated from early in the 18th Dynasty, there is epigraphic evidence of chariot use in Egypt during the reign of Ahmose I at the beginning of the same Dynasty. In the biography left in the tomb of Ahmose, son of Eben, a military elite under the Pharaoh Ahmose and later Thutmose I (Spalinger 2005; Pritchard 1958), descriptions of his exploits in expelling the Hyksos from Egypt include mention of chariotry, though in a brief, even casual manner: “I served as soldier in his place in the ship, “The Wild Bull,” in the time of the Lord of the Two Lands: Neb-pehti-Re, the triumphant, when I was (still) a boy, before I had taken a wife […] But after I had set up a household, then I was taken on the ship, “Northern,” because I was valiant. Thus I used to accompany the Sovereign -life, prosperity, health! -on foot, following his excursions in his chariot” (Pritchard 1958, p. 173). ... " ahotcupofjoe by cfeagans - All those mentions of chariots are 18th dynasty. From experience with Akhenaten - the use of "he" does not always mean male. The evidence seems to point to female use only of the chariot during the 18th dynasty And when you hear the word "sovereign" in an 18th dynasty context - that usually means the "bull of my mother" - or the great wife of the King In the account above, the soldier takes care to note that he accompanied his sovereign on foot - also probably bent over when near "him" from the rock cave tomb images at Amarna ... - Egyptian Hermaphrodite - 55 - The scene outside the Temple of Aten during the reward of Merya by Akhenaten and Nefrititi - The chariots and horses are tended to by men - but not ridden by men. They are wooden, - have a feminine lightness of construction and can be carried by 2 men - The sacrifice of the bulls is for the virility of the royal couple who are both female. In myth Osiris lost his penis on ressurection, but Harpocrates gained in virility. Harpocrates, like Khonsu is female - as is shown by the sidelock of youth .. The boat captains are also men submitting to female authority - bent over for the royals. The 18th dynasty was a very kinky dynasty - this female domination amps up the erotic tension tremendously ... * " ... The scene is located between the warehouses and the Nile, by which all products arrive, including food since the agricultural lands are situated on the other bank of the river. The abundance of boats, shown by a forest of masts, highlights the intensity of the traffic. Each mast is held by ropes and carries at its top an ensign, most of which appear to be a double cartouche. The sails are folded. Every boat is moored to a stake by two ropes and a stepped gangway descends to the quay. At the prow, a man who is probably the captain, bows in front of the king. Behind him, the bridge is congested with goods. The cattle which the ships have transported have been regrouped in stalls, situated close to the quay. There appears to be two cattle-yards sounded by only a low wall. These have a large entrance in the middle and a smaller side door on the left. Each yard accommodates twenty head of cattle, an individual drover being in charge of a group of five beasts, which he seems to feed by the hand. Each beast is attached to what seems to be a tether point fixed to the ground. The animals are of different species, some having a humped back, possibly related to the zebu. Between the two parts of the scene, and waiting in front of the outside door of the temple for the king's return, are three chariots harnessed to finely bridled horses and accompanied by their driver and possibly a groom. At the top, also outside and waiting for the royal couple, are the king's body-guard, consisting of five soldiers each armed with a spear, shield, axe and one with a flail. ... " osirisnet Tomb of Meryra - Egyptian Hermaphrodite - 56 Architect Bek before a towering Akhenaten on left and his father architect Men before a statue of a seated Amenhotep III on the right. Akhenaten is clearly female. Bek and his father are not bent over - maybe because they are being rewarded: " ... Bek or Bak (Egyptian for "Servant") was the first chief royal sculptor during the reign of Pharaoh Akhenaten. His father Men held the same position under Akhenaten's father Amenhotep III; his mother Roi was a woman from Heliopolis.[ Bek grew up in Heliopolis, an important cult centre of the sun god Ra. The young prince Amenhotep (who became the pharaoh Akhenaten) had a palace here, and it is likely that his religious views were formed in part by the Heliopolitan teachings. Bek followed his lord to Akhet-Aten, the city founded by Akhenaten. He oversaw the construction of the great temple statues of the king and the opening of the Aswan and Gebel es-Silsila stone quarries, from where the stone was transported. A stela found in Aswan, made around the 9th regnal year of Akhenaten shows Men and his son Bek with the pharaohs they serve. On the right side Men stands before the statue of Amenhotep III. The statue is very likely to be one of the colossi of the pharaoh that was made by Men. This side of the stela reflects the traditional artistic style of the 18th dynasty, and the only indication of the Amarna period is that the name "Amenhotep" is left out, instead of it the pharaoh's throne name "Nebmaatre" is repeated, in order to avoid having to mention the god Amun whose cult was forbidden. On the left side of the stela Bek is shown before Akhenaten, who makes offerings to his god Aten; according to the inscription the depicted scene is set in the Great Temple of the Aten. A typical feature of Amarna era pictures, the rays of Aten end in hands. Aten's and Akhenaten's name was later chiseled out. On the stela Bek states that he is "the apprentice whom His Majesty taught". It is likely that he oversaw the making of the statues which show Akhenaten and his family in an overly naturalistic style, breaking with the idealised depiction that tradition demanded. ... " Wikiwand - Egyptian Hermaphrodite - 57 Architect Bek with his wife Taheret. Probably typical 18th dynasty marriage - The wife seems to be nude and sexually virile and dominant - Sekhmet or even a phallic Sekhmet-Min in contrast to the submissive and probably dog-leashed husband. - That's probably the first black African architect image availible - Egyptian Hermaphrodite - 58 Nude women and nude girl and standing erect with arms held high for Akhenaten - men bent over double and kissing the ground in submission - Reward of Mayre. " ... Relief from tomb of Meryre (Merera), High Priest of the Aten at Akhetaten' and 'Fanbearer on the King's Right Hand', women making offering of bread and vegetables, North Tombs, Amarna, Egypt, New Kingdom, 18th dynasty ... " Kenneth Garrett - Egyptian Hermaphrodite - 59 Nude statue of the wife of Nakhtmin - an official to King Tutankhamen and an heir to Pharaoh Ay. She has typical 18th dynasty clothes - very revealing as well as a large wig. In her hand was probably a flail or whip of authority. She was probably a candidate for sovereign. - Egyptian Hermaphrodite - 60 Pharaoh Horemheb - the last 18th dynasty and Min. My guess is the phallic Min is a stand-in for his wife a phallic sister of Nerfetiti - Mutnodjmet - She is usually depicted as a winged Sphinx - which probably means phallic sphinx or Sekhmet-Min. The erect phallus was for Harpocrates/Horus or the female phallus or the wife of Pharaoh - The king was associated with Osiris - who did not have a penis. " ... The inscriptions identify the headless king as Horemheb and the larger god as Amun-Ra, here shown in his fertility aspect. The deity's phallus, now lost, was made separately. ... "ancient.eu Osama Shukir Muhammed Amin The statue of Amun-Ra has breasts. I assume this is Sekhmet-Min in her benign state after she drank beer and returned to the eye of Amun. - Egyptian Hermaphrodite - 61 A seated 18th dynasty queen Mutnodjmet as a winged sphinx - Egyptian Hermaphrodite - 62 Naked male attendants of 18th dynasty Queen Hatshepsut. She was depicted as a bearded man in her public portraits. They have dark-brown skin - which means Hathepsut was black African. They also seem to be dog-leashed - with a visible penis cord. Wall Painting in the Mortuary Temple of Queen Hatshepsut in Egypt " ... Hatshepsut: "Foremost of Noble Ladies"; 1507–1458 BC) was the fifth pharaoh of the Eighteenth Dynasty of Egypt. She was the second historically-confirmed female pharaoh, the first being Sobekneferu.(Various other women may have also ruled as pharaohs regnant or at least regents before Hatshepsut, as early as Neithhotep around 1600 years prior.) Hatshepsut came to the throne of Egypt in 1478 BC. Her rise to power was noteworthy as it required her to utilize her bloodline, education, and an understanding of religion. Her bloodline was impeccable as she was the daughter, sister, and wife of a king. Her understanding of religion allowed her to establish herself as the God's Wife of Amun. Officially, she ruled jointly with Thutmose III, who had ascended to the throne the previous year as a child of about two years old. Hatshepsut was the chief wife of Thutmose II, Thutmose III's father. She is generally regarded by Egyptologists as one of the most successful pharaohs, reigning longer than any other woman of an indigenous Egyptian dynasty. According to Egyptologist James Henry Breasted, she is also known as "the first great woman in history of whom we are informed." Hatshepsut was the daughter and only child of Thutmose I and his primary wife, Ahmose. Her husband Thutmose II was the son of Thutmose I and a secondary wife named Mutnofret, who carried the title King's daughter and was probably a child of Ahmose I. Hatshepsut and Thutmose II had a daughter named Neferure. After having their daughter, Hatshepsut could not bear any more children. Thutmose II with Iset, a secondary wife, would father Thutmose III, who would succeed Hatshepsut as pharaoh. ... "Wikipedia - Egyptian Hermaphrodite - 63 Male attendants of 18th dynasty Queen Hatshepsut. Close to naked and very dark brown skin. These are usually described as Nubians by Egyptologists. But this was the skin tone in Hatsheput Egypt. I get the feeling that rule by Queens was universal and expected in most of ancient Egypt. Close study will probably show this to be true. - Egyptian Hermaphrodite - 64 Hatsheputs's voyage to Punt - which brought back east African animals like giraffes and elephant tusks and monkeys. Male attendants close to naked and dark to very dark brown skin. " ... A wall painting in the mortuary temple of Hatshepsut depicting her legendary expedition to Punt. Luxor, Egypt. ... " Alamy - Egyptian Hermaphrodite - 65 Black African Dwarf Queen from Punt. I had a nightmare about this several years ago. A conquest of central Africa by a dwarf race. My guess is Punt somewhere in the heart of the Congo jungles. Not just dwarf conquest - but maybe Amazon dwarf conquest. There are no examples of bent over dwarves in Akhenaten's days. They all stand up straight - so they are all probably female ... " ... Relief from Dayr al Bahri temple showing Queen Eti of Punt with her husband Perehu as they welcome the delegation by sea of Queen Hatshepsut. 15th c. B.C. Punt was a Pygmy kingdom or chieftainship on the Somalian or Eritrean Coast, of uncertain location. Kemet had friendly relations with it by sea, and traded with Punt for myrrh and other exotics. Initial maritime contact was in the Fifth Dynasty, and then renewed at the time of Hatshupset, lasting to the 12th century B.C."... " pinterest William Mathews - Egyptian Hermaphrodite - 66 Almost nude Black skinned Hatshepsut soldiers with lances and shields. Greek soldiers are depicted nude during the height of ancient Greek power. That's proof of the "dog-leash" to me - Men were turned into sex objects for the ruling ancient queens by the kynodesme ... Painted limestone depiction of soldiers sent by Queen Hatshepsut on an expedition to the Land of Punt to bring back ingredients for use in temple ritual, from the Mortuary Temple of Hatshepsut, c.1503-1482 BC, New Kingdom. - Egyptian Hermaphrodite - 67 Nude black skinned servants of Hatshepsut bearing myrrh trees from Punt. They are bare except for a penis sheath - or the "dog-leash". That could also be a sacred Sycamore tree - complete with a goddess - see plate 69: "Userhat with his wife Hatshepsut and mother Twosret in front of the Sycamore Tree Goddess..." Punt could also be south Arabia - the lands of the Queen of Sheba were both east Africa and south Arabia. South Arabia was famous for organized cultivation of fragrant plant life. The inhabitants of south Arabia were black African though in those days ... " ... Hatshepsut established the trade networks that had been disrupted during the Hyksos occupation of Egypt during the Second Intermediate Period, thereby building the wealth of the eighteenth dynasty. She oversaw the preparations and funding for a mission to the Land of Punt. The expedition set out in her name with five ships, each measuring 70 feet (21 m) long bearing several sails and accommodating 210 men that included sailors and 30 rowers. Many trade goods were bought in Punt, notably myrrh. Most notably, however, the Egyptians returned from the voyage bearing thirty-one live myrrh trees ... " Alamy * Moses and the Exodus was almost certainly a Hyskos event - ancient Israel ... " .... The Hyksos , Egyptological pronunciation: hekau khasut, "ruler(s) of foreign lands"; were people of probable Levantine origin, who established the Fifteenth Dynasty of Egypt (1650–1550 BC) based at the city of Avaris in the Nile delta, from where they ruled the northern part of the country. While the Hellenistic Egyptian historian Manetho portrayed the Hyksos as invaders and oppressors, modern Egyptology no longer believes that the Hyksos conquered Egypt in an invasion. Instead, Hyksos rule had been preceded by groups of Canaanite peoples settled in the eastern delta who probably seceded from central Egyptian control near the end of the Thirteenth Dynasty. The Hyksos period marks the first in which Egypt was ruled by foreign rulers. Many details of their rule, such as the true extent of their kingdom and even the names and order of their kings, remain uncertain. The Hyksos practiced many Levantine or Canaanite customs, but also many Egyptian customs. They have been credited with introducing several technological innovations to Egypt, such as the horse and chariot, as well as the sickle sword and the composite bow, but this theory is disputed. The Hyksos did not control all of Egypt. Instead, they coexisted with the Sixteenth and Seventeenth Dynasties, which were based in Thebes. Warfare between the Hyksos and the pharaohs of the late Seventeenth Dynasty eventually culminated in the defeat of the Hyksos by Ahmose I, who founded the Eighteenth Dynasty of Egypt. In the following centuries, the Egyptians would portray the Hyksos as bloodthirsty and oppressive foreign rulers. Josephus associated the Hyksos with the Exodus of the Israelites from Egypt. Many modern scholars believe the Hyksos may have partially inspired the Biblical account. ... " Wikipedia * There were Hyksos pharaohs; probably Jewish or semitic - the 15th dynasty. When you think of the behavior of a King Solomon for example - it's more pharaonic that it's Jewish. And among the many wives of Solomon has always been an Egyptian princess - if you read books like the Ethiopian "Kebra Negast." ... Solomon and Sheba - with Sheba as the sovereign in the African model and Solomon as her consort ... " ... While there is no archaeological evidence of a marriage between an Egyptian princess, the daughter of a Pharaoh, and a king of united Israel, claims of one are made at several places in the Hebrew Bible. A marriage alliance 1 Kings 3:1 says, "And Solomon became allied to Pharaoh king of Egypt by marriage, and took Pharaoh's daughter, and brought her into the city of David, until he had made an end of building his own house, and the house of the Lord, and the wall of Jerusalem round about." The fact that Pharaoh's daughter has been singled out in the accounts of Solomon is significant as similar treatment is not given to his "seven hundred wives, princesses, and three hundred concubines" (1 Kings 11:3). Some scholars believe this unique example was because this marriage in particular "demonstrates the wealth and power of the Hebrew monarchy, for Pharaoh's daughters did not ordinarily marry outside of their own family, and perhaps indicates the weakness of the Egyptian kingdom at this time." Another scholar points out that marrying Pharaoh's daughter is significant in light of the story of Exodus, "A descendant of former Egyptian slaves now became Pharaoh's son-in-law". Most scholars believe the alliance was a result of the reputation of Solomon's father, "Under David, Israel had become a factor to be reckoned with in Eastern politics, and the Pharaoh found it prudent to secure its friendship." The alliance through marriage is seen by scholars as the reason for the reported increase in trade with Egypt at 1 Kings 10:28–29. ... " Wikipedia * Manetho sees the fall of Troy happening at the end of the 19th dynasty under the female pharaoh Twosret - But there was another Twosret - the mother of Hatshepsut (see next plate 69) - the fall of Troy was more likely an 18th dynasty event ... Twosret ... d. 1189 BC conventional chronology was the last known ruler and the final Pharaoh of the Nineteenth Dynasty of Egypt. She is recorded in Manetho's Epitome as a certain Thuoris, who in Homer is called Polybus, husband of Alcandra, and in whose time Troy was taken. She was said to have ruled Egypt for seven years, but this figure included the nearly six-year reign of Siptah, her predecessor. Twosret simply assumed Siptah's regnal years as her own. While her sole independent reign would have lasted for perhaps one to one-and a half full years from 1191 to 1189 BC, this number now appears more likely to be two full years instead, possibly longer. Excavation work by the University of Arizona Egyptian Expedition on her memorial temple ("temple of millions of years") at Gournah strongly suggests that it was completed and functional during her reign and that Twosret started a regnal year 9, which means that she had two and possibly three independent years of rule, once one deducts the nearly six-year reign of Siptah. Her royal name, Sitre Meryamun, means "Daughter of Re, beloved of Amun." ... " - Egyptian Hermaphrodite - 68 Nude Hatshepsut at Deir El Bahri - Kenneth Garrett - Egyptian Hermaphrodite - 69 " ... Userhat with his wife Hatshepsut and mother Twosret in front of the Sycamore Tree Goddess, necropolis of Shaykh Abd El-Qurna, Tomb of Userhat , XVIII Dynasty, Amenhotep II, 1438-1412 BC, drawing by Hippolyte Boussac from a fresco . Egyptian civilisation, 15th century BC. Paris, Bibliothèque Des Arts Decoratifs (Library) ... " agefotostock - Egyptian Hermaphrodite - 70 Egyptian soldiers in the expedition to the Land of Punt, Temple of Hatshepsut, c, 1490 B.C. .18th Dynasty, New Kingdom, Deir el-Bahari, Egypt Black - Egypt was black in Hatshepsut's days ... (18th dynasty) - Egyptian Hermaphrodite - 71 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt Egyptian soldiers in the expedition to the Land of Punt, Temple of Hatshepsut, c. 1490 B.C.18th Dynasty, New Kingdom, Deir el-Bahari, Egypt - Egyptian Hermaphrodite - 72 Dwarf Queen Eti of Punt with her black dog-leashed consort Perehu and servants welcoming Hatshepsut. Although a dwarf she is depicted as larger than her husband - or having authority over him. The dog-leash is probably the cord under the men's mini-skirts. The dog-leash or penis-cage enhances eros, but also compels submissive behaviour to the leash-holder who controls the release of that eros. Her consort is also wearing an egyptian-style skull-cap. The reception of Hatshepsut's boat could be anywhere on the Indian ocean coast of east Africa. My guess is it was as far south as Tanzania or Mozambique. Pygmies today are found in Congo - not south Arabia or Asia or Eritrea or Somalia. Central Africa only. Congo is connected to the east African coast through those two countries, for the most part. Relief from Dayr al Bahri temple showing Queen Eti of Punt with her husband Perehu as they welcome the delegation by sea of Queen Hatshepsut. 15th c. B.C. - Egyptian Hermaphrodite - 73 Queen Hatshepsut's boats loading up in Punt - Egyptian Hermaphrodite - 74 " ... Left – Knot Amulet. Middle – Meskhetyu Instrument. Right – Ovoid Stone. On the knot amulet, Hatshepsut's name throne name, Maatkare, and her expanded name with Amun are inscribed. The Meskhetyu Instrument was used during a funerary ritual, Opening of the Mouth, to revive the deceased. On the Ovoid Stone, hieroglyphics was inscribed on it. The hieroglyphics translate to "The Good Goddess, Maatkare, she made [it] as her monument for her father, Amun-Re, at the stretching of the cord over Djeser-djeseru-Amun, which she did while alive." The stone may have been used as a hammering stone. ... " The knot was almost certainly the famous "dog-leash" or penis cage - This would be the main source of Hatshepsut's authority over her consort the King and the men in her empire - Hatshepsut presided over the annual festival of drunkenness - which is probably when there was a national removal of the Egyptian dog-leash * "The Good Goddess, Maatkare, she made [it] as her monument for her father, Amun-Re, at the stretching of the cord over Djeser-djeseru-Amun, which she did while alive." was probably a penis lock- up ritual ... " ... The Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies"), is a mortuary temple of Ancient Egypt located in Upper Egypt. Built for the Eighteenth Dynasty pharaoh Hatshepsut, who died in 1458 BC, the temple is located beneath the cliffs at Deir el-Bahari on the west bank of the Nile near the Valley of the Kings. This mortuary temple is dedicated to Amun and Hatshepsut and is situated next to the mortuary temple of Mentuhotep II, which served both as an inspiration and, later, a quarry. It is considered one of the "incomparable monuments of ancient Egypt." ... " Wikipedia - Egyptian Hermaphrodite - 75 Djed wall paintings in the Mortuary Temple of Queen Hatshepsut Those are probably 3 djed pillars that have been secured by the long term application of the penis cord. Probably 30 years in lock-up - like the vestal virgins That's a male Osiris - no penis; the mirror of the phallic Sekhmet -Min or the phallic Harpocrates/Horus incarnated by Hatshepsut and noble women who locked up their husbands. In ancient Egypt penis lock up was probably universal though - like Minoan Crete. It's what separated Egyptians from other populations living in Egypt - like the Hyksos or nation of Israel - and the reason Egyptian men were painted darker then their women; the dog-leash tan ... Universal penis lock up was also the reason Egyptian women walked around naked in public - It created a permanent female erotic tension and even female sexual aggression ... The Roman "spintra" or male brothel tradition probably originated in ancient Egypt - where young male prostitutes could make a living sexually servicing Egyptian women ... My guess is this was a trade open to Semitic Hyksos men who did not practice penis lock up - Egyptian Hermaphrodite - 76 Wall painting in the Anubis Chapel of the Mortuary Temple of Queen Hatshepsut/ Thutmosis III gives wine to Sokaris. Probably a prelude to the annual "festival of drunkeness" - when the dog-leash was removed A dog-leashed tanned Thutmosis III gives wine to Sokaris - my guess is Sokaris is the same as a phallic Harpocrates/Horus - incarnated by Hatshepsut. The next step is the temporary removal of the penis cage for the orgies of the "festival of drunkeness" - which was dedicated to pacify the phallic lioness god Sekhmet... - Egyptian Hermaphrodite - 77 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround Israel is like the blocked shot - a 3,000 year curse on the Hebrews! That's the image from last night's work ... It's not funny though - The last page - Roman Hermaphrodite - is frozen solid. The workaround does not work ... The Jews have unfinished business with ancient Egypt - they smashed it - but ended up stuck with the bill ... Freud was having ancient Egyptian Thoth dream images - I take that seriously ... The famous Jewish brain is more African that Babylonian ... - Egyptian Hermaphrodite - 78 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt - They are in "mini-skirts" that leave the penis open and visibly leashed to a cord that reaches down below the knees. The example the comes to mind is the nude Cybele dancing Korybantes: " .. According to Greek mythology, the Korybantes were the armed and crested dancers who worshipped the Phrygian goddess Cybele with drumming and dancing. ... " Wikipedia From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 79 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 80 Blue skinned Min with erection at right. That was probably the purpose of the rituals held in the temple. Only question was it male or female erection? My guess is female erection - for the Queen and the women of Egypt. Ancient painting at the Mortuary Temple of Hatshepsut, Deir el-Bahri, Luxor in Egypt - Marek Poplawski Shot blocked. Used workaround - Egyptian Hermaphrodite - 81 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt - extended scene. From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 82 Boat scene to Punt full of near-nude black Egyptian boatmen and a golden lion throne or Sekhmet throne for Hatshepsut in the middle From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 83 Nude, black and dog-leashed Egyptian soldiers during Hatshepsut's expedition to Punt - also a nude drummer. I assume the plant the nude men are carrying is an aphrodisiac associated with Min - lettuce: " ... Min's cult began and was centered around Coptos (Koptos) and Akhmim (Panopolis) of upper Egypt, where in his honour great festivals were held celebrating his "coming forth" with a public procession and presentation of offerings. ... 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 also fused with Amun in the form of Min-Amun, who was also the serpent Irta, a kamutef (the "bull of his mother" - aka father of his own mother as well as her son). ... As the central deity of fertility and possibly orgiastic rites, Min became identified by the Greeks with the god Pan. One feature of Min worship was the wild prickly lettuce Lactuca virosa and Lactuca serriola of which is the domestic version Lactuca sativa (lettuce) which has aphrodisiac and opiate qualities and produces latex when cut, possibly identified with semen. ... " Wikipedia - That's probably what happened in the temple - the penis cage was removed and semen came forth from the free and erect penis - like the lettuce ... The dog-leashed men with the lettuce were probably the men to be "milked" that day in the temple From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 84 Hatshepsut's lion or Sekhmet throne: carried by 16 nude and dog-leashed black "horses". From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") Shot blocked. Used workaround - Egyptian Hermaphrodite - 85 Hatshepsut's lion or Sekhmet throne: carried by 16 nude and dog-leashed black "horses". - rear view From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") 16 "horse-power"! There is no image of the queen - so no bowing. Images of the queen in the temple are male mostly ... One of them has her with the classic Min flail - but no erect penis. Another has her embracing Amun. And another has just a lion walking. I assume the erect blue Min above is the queen in her Amun--Min form - Egyptian Hermaphrodite - 86 Queen Hatshepsut in the bas-relief from Hatshepsut's Red Chapel in the Karnak Temple near Luxor (Thebes), Egypt. That's the queen in the classic Min pose - but no erection. Below her is probably the bull consecrated to her vitality. The dog leash may seem shocking to the 21st century - but to the ancients it was seen as a protection for the body given by the goddess. I concur - the male eros is subject to sinister leaks; especially during sleep; - and even worse - full blown "mounting" or possession ... - Egyptian Hermaphrodite - 87 Lion. Relief in the Mortuary Temple of Queen Hatshepsut at Deir el-Bahari near Luxor, Egypt. Probably Queen Hatshepsut in her Sekhmet form - note the red "Isis Knot" - or dog leash. Probably the dog-leash of her consort the Pharaoh. - Egyptian Hermaphrodite - 88 "Red Chapel Queen Hatshepsut .View of the Queen in the race of Heb-Sed,in front of god Min-Amon" - Alamy Heb-Seb was a 30th year of rule celebration. The queen is in her male form, and I assume is about to receive her erect phallus from Min. Note the Djed pillar with 2 hands holding up some sort of form on the bottom right. - Egyptian Hermaphrodite - 89 Red Chapel: Queen Hatshepsut's race at the Heb-sed Image partly blocked - My guess is all ancient Egyptian dynasties were female dominant. Not just the 18th ... The Egyptian male expected to be dog-leashed - and the pharaoh could only be leashed by a phallic queen ... Not all women are phallic though, - that requires integrating the snake or the dark side, rather than projecting it outside onto a phallic male ... 30 year sed is probably the root of the 30 years Vestal Virigins had to spend without sex ... - Egyptian Hermaphrodite - 90 Min Relief within The Red Chapel of Queen Hatshepsut in the open-air museum at Karnak Luxor Egypt Min is almost certainly for females only - the phallic female - Note the "X" on Min - it's on the Sekhmet lion above. The "X" is also an ancient Congo symbol. Min also is usually associated with Negro Africa - I suppose a Negro Amazon. - Egyptian Hermaphrodite - 91 Boat scene of Queen Hatshepsut's voyage to Punt full of near-nude black Egyptian boatmen. 18th dynasty From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") - Egyptian Hermaphrodite - 92 Dwarf Queen Eti (not pictured ) of Punt with her black dog-leashed consort Perehu meeting Hatshepsut and her black dog-leashed Egyptian soldiers. I assume the person in white is Hatshepsut Below is the sea full of fish From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") - Egyptian Hermaphrodite - 93 " ... Fragments of reliefs: Egyptian soldiers and Nubian mercenaries. New Kingdom, Dynasty 18, around 1470 BC Deir el-Bahri, the mortuary temple of Queen, Hatshepsut: limestone, painted ..." Alamy Those are the mini-skirt soldiers - My guess is they are dancing before being unleashed for sex during the annual "Festival of drunkenness" From the Mortuary Temple of Hatshepsut, also known as the Djeser-Djeseru (Ancient Egyptian: "Holy of Holies") - Egyptian Hermaphrodite - 94 " ... The pharaoh Maat-Ka-Ra Hatshepsut blessing god Min with lustral water ... Queen Hatshepsut in the bas-relief from Hatshepsut's Red Chapel in the Karnak Temple near Luxor (Thebes), Egypt. Hatshepsut and god Ptah hityphallic" Alamy - Egyptian Hermaphrodite - 95 " ... Relief showing Queen Hatshepsut receiving benediction, Temple of Amun, Karnak, Egypt, c1500 BC. Queen Hatshepsut (centre) receives benediction from Amun-Ra (left) & Sekhmet (right). ... " Alamy And on the right she walks away with an erect female phallus ... Or, Sekhmet-Min or Khonsu avatar - who had to be pacified with beer and wine ... and sex The phallic queen or Khonsu avatar on the right has a cord hanging down - I assume that's a loose or open dog-leash. As Khonsu the Queen is both male and female ... - Egyptian Hermaphrodite - 96 Line drawing Dwarf Queen Eti of Punt with her black dog-leashed consort Perehu and servants welcoming Hatshepsut. There is another female from Punt and she is wearing a see-through dress - just like Queen Eti. We can infer that Punt was a high female libido world. My guess is a mix of Egyptian and Pygmy/Amazon - Egyptian Hermaphrodite - 97 An elderly topless queen weilding the "dog-leash" as an emblem of her power - "Sma-tawy (insignia of unification of Upper and Lower Egypt, entwined papyrus and lotus) and the 2 Nile gods, Temple of Luxor, Egypt" shutterstock My reading is the dog-leash conserves eros/pneuma which is needed to maintain contact with the spirit world - and is also needed for daily sleep and dreamwork ... " ... The power of the magical knot is in its ability to both unite and “surround” things. The tied knot is a symbol of the coming together of two things in perfect wholeness, a condition that promotes a positive outcome. A passage in the Coffin Texts says that when the hair of Isis is knotted to the hair of Nephthys, the Two River Banks (the land of the living and the land of the dead) are united. Tying a knot could also refer to sexuality; the perfect coming together of two people in an act of creation. We still “tie the knot” when we get married. ... " isiopolis - Egyptian Hermaphrodite - 98 An elderly topless queen weilding the "dog-leash" as an emblem of her power - 2 "Divine twins Set and Horus uniting Upper and Lower Egypt, relief, and Nefertari, at foot of colossal statue of her husband Ramesses II, 1279-13 BC 19th dynasty New Kingdom Egyptian pharaoh, pylon (monumental gateway), Temple of Luxor, Egypt" shutterstock Horus as female is not a reach - Harpocrates is a female with a penis ... Not sure of the gender of Set - The barely coded message is that Queen Nefertari controlled the phallus of Ramesses II, her husband, and was the real sovereign of Egypt - Egyptian Hermaphrodite - 99 Seti I offering red linen to Amun-Re at his Abydos temple. 19th Dynasty - That's Seti I offering up control of his "dog-leash" to Amon-Re or Sekhmet as symbolized by the Djed pillars and Ankh. - Behind Seti is Min granting phallic power to his wife - Tuya That's just the Egyptian way - the phallus was female - Egyptian Hermaphrodite - 100 - Topless wife of Seti I (probably Tuya) offering up to Min - 19th dynasty - "Temple of Seti I at Abydos with defaced relief figures, all in bright colors" - Alamy - 19th dynasty -Ramesses -was another black African dynasty from the dark brown coloring of the skin of Seti I and his wife - Egyptian Hermaphrodite - 101 Labeled Relief of Horus and Seti in the Temple of Seti I at Abydos - But I think it's Seti's topless wife or sister. - Horus was female and phallic; male was Osiris and dog-leashed ... - Note the dark brown skin of Horus - 19th dynasty was black African. - Egyptian Hermaphrodite - 102 Labeled Relief of Sekhmet and Seti in the Temple of Seti I at Abydos - But I think it's Seti's topless wife or sister. The goddesses in the Temple are lighter skinned than the dark brown men though - meaning the dog-leash tan was in effect or dark means male ... - Egyptian Hermaphrodite - 103 Goddess - probably Isis giving the ankh or life to Seti I or his sister/wife "Fresco's in Ancient temple Abydos" 123rf - Sergey Strelkov - Egyptian Hermaphrodite - 104 Thoth giving the ankh or life to Osiris. Temple of Seti I at Abydos. Osiris would be the form of the King Seti I. His wife would be the phallic Horus Note the dark brown skin of both gods. Egypt was still under a ruling black African class during the Ramesses or 19th dynasty. That's the only ancient Egyptian dynasty with brothel scenes. The men sexually servicing the women in those scenes look white. I thought they were Trojans but now I think the male prostitutes were probably Jewish or Hyksos in the 19th dynasty Turin papyrus. The women having sex are also not black African - there was a large international community in Egypt at that time. ... - Egyptian Hermaphrodite - 105 Thoth and Horus giving the ankh or life to Osiris. Temple of Seti I at Abydos. Note the dark brown skin of all 3 gods - black male Osiris, black male Thoth and black female Horus ... The dog-leash tan does not mean much when everyone is dark brown skinned. - Egyptian Hermaphrodite - 106 That's a black skinned female with a false beard and a sidelock of youth. The whole image would include a large female phallus "Bas-relief of Horus Iunmutef (the Pillar of His Mother), wearing a panther or leopard skin and the sidelock of youth, in the Great Temple of Abydos" Alamy This was the Sekhmet-Min or female phallus dynasty - Probably more erotic than the 18th which was a re-building dynasty. The Ramesses were a wealthy world power - Egyptian Hermaphrodite - 107 A dark brown Anubis welcoming a dark brown Seti I. 19th dynasty. Black African gods ... "Bas-relief of the God Anubis on left, with the Pharaoh Seti I, Temple of Seti I, Abydos, Egypt" - Robert Harding - Egyptian Hermaphrodite - 108 Goddess - probably Isis giving the ankh or life to SetI i - Abydos 19th Dynasty. Seti I looks like one of those dog-leashed black Egyptians on Queen Hatshepsut's voyage to Punt. He might be partly from Punt by birth - hence the dark skin. - And he's wearing the same short skirt with an exposed dog-leash. The goddess is light-skinned. It's probably safe to call the 19th dynasty a Punt dynasty of ancient Egypt. The search for Punt is probably going to be solved by an outside source. My guess is India - ancient India almost certainly had contact with Punt through Indian ocean trade "Bas-relief, Pharaoh Seti I (left), Temple of Seti I, Abydos, Egypt" - Alamy - Egyptian Hermaphrodite - 109 Seti I being cradled in the lap of Isis like a baby. She helped him raise the Djed pillar - on the previous page ... That's a femdom relationship and Seti I was probably servicing a large female phallus in his sleep! Sekhmet-Min ... "Bas-relief of Pharaoh Seti I (left) and Goddess Isis (right), Temple of Seti I, Abydos, Egypt " ... " Alamy - Egyptian Hermaphrodite - 110 Seti offers up a basket of food to Isis. She has light skin ... " ... Abydos, Egypt, the mortuary temple of pharaoh Seti I, Menmaatra, (XIX° dyn. 1321-1186 B.C.) - The pharaoh offers a basket of goods ... " agefotostock - Egyptian Hermaphrodite - 111 Raising of the Djed Pillar, Temple of Seti I – Abydos, Egypt - My reading of this is the raising of the Kundalini by application of the penis-cage. 30 years is probably the average time necessary for enough energy to build up to open the inner eye chakra From: "Egypt - Abydos & the raising of the Djed": " ... The most interesting aspect of Egypt for me is the abundance of fantastic myths and stories along with a mind boggling array of Gods almost rivalling those in the Hindu pantheon. And the most intriguing among them is the myth of Osiris and Isis. The story of the murder, dismemberment and subsequent resurrection of Osiris (long enough for sister/wife Isis, in the form of a Kite, to conceive a child: the Falcon headed God Horus) is fascinating even if improbable. Do read about how she replaces his…ahem…family jewels, in order to facilitate the process. Just as fascinating is the story of the Djed pillar, intrinsic to the same story. When the coffin containing Osiris runs aground in Byblos [Lebanon], there sprouts a sacred tree that is cut and used as a pillar by the local king. Isis eventually locates it and releases and anoints the body of Osiris (before evil brother Set stumbles upon it again and goes about systematically cutting it into 14 bits and Isis finds, fixes him back and conceives Horus.) That tree is considered the backbone of Osiris and a symbol of stability. The ceremony of raising the Djed – represented by a wood pillar – became a symbol of Osiris’s triumph over Set. Inscriptions abound of the pharaoh raising the Djed Pillar with the help of priests and Gods. The resurrected Osiris earns himself the title of Lord of the Dead and the afterlife. That is also the reason he is sometimes shown painted dark green. It is believed that Isis found the head of Osiris in Abydos making it one of the most sacred centres of pilgrimage and a place, quite like Varanasi, where everyone desired to breathe their last. Of the many temples to be found in and around Abydos, the memorial temple of Seti I (father of Rameses the great) is the most important. Three of the original seven chapels inside, dedicated to the trinity of Osiris, Isis and Horus and the Pharaoh himself, are decorated with exquisite reliefs – both raised and sunken – with the colours still visible. Outside, is the Hall of Kings with an entire wall covered with cartouches in relief: the famed ‘List Of Kings’ showing names of pharaohs from Menes of the first dynasty until Ramesses I (father of Seti I). An incredible chronological record of nearly 1760 years from 3050BC to 1290BC. My favourite relief is that of the Pharaoh and his young son snaring a bull. A long arched passage leads out to a ruined sunken temple believed to be the Osireion connected with the worship of Osiris. Is this where the relic of Osiris was found? That it was a place of pilgrimage from pre dynastic days is certified by the unearthing of offerings of ivory and gold including an ivory statue of Cheops (of the Great pyramid fame.) Abydos is not on the standard tourist radar (Currently closed to tourists until further notice.), its spiritual ambience is undisturbed by noisy footfalls, its eerily lit chapels whisper untold stories of birth, death and the never ending cycle of life. ... " theurgetowander - Egyptian Hermaphrodite - 112 Isis taking Seti I to make an offering to Horus, Temple of Seti, Abydos The red straps at King Seti's waist are probably his dog-leash - he offers red straps above to Amun ... Both Seti and Horus have dark brown skin. Isis is light skinned ... "Relief of the handing over of an offering by King Seti I to the god Horus in the mortuary temple of Seti I in Abydos, Egypt" - Wikipedia - Egyptian Hermaphrodite - 113 "Smaller chapel of Seti I, Wepwawet offers insignia to the king, Temple of Seti I, Abydos, Egypt - 19th Dynasty" Wikipedia Both King Seti and Wepwawet have black African skin - although Wepwawet has gray fur on his wolf head " ... In late Egyptian mythology, Wepwawet was originally a war deity, whose cult centre was Asyut in Upper Egypt (Lycopolis in the Greco-Roman period). His name means opener of the ways and he is often depicted as a wolf standing at the prow of a solar-boat. ... In later Egyptian art, Wepwawet was depicted as a wolf or a jackal, or as a man with the head of a wolf or a jackal. Even when considered a jackal, Wepwawet usually was shown with grey, or white fur, reflecting his lupine origins. In later pyramid texts, Wepwawet is called "Ra" who has gone up from the horizon, perhaps as the "opener" of the sky. In the later Egyptian funerary context, Wepwawet assists at the Opening of the mouth ceremony and guides the deceased into the netherworld. ... " Wikipedia My guess is Wepwawet helps prevent zombie formation - ie the dead is transported to the land of the dead rather than lingering on the earth plane. - Egyptian Hermaphrodite - 114 "Abydos King List at the Memorial Temple of Seti I, Abydos, Egypt" - Alamy 1760 years from 3050BC to 1290BC "... The start of the king list, showing Seti and his son - Ramesses II - on the way to making an offering to Ptah-Seker-Osiris, on behalf of their 72 ancestors - the contents of the king list. Ramesses is depicted holding censers. ... " Wikipedia But that's probably not the king's son! The sidelock of youth means that's a daughter ... or Horus/Harpocrates That's the king's "dog-leash" holder - usually its his wife - but many times Pharaoh's submitted sexually to their daughters. For example there is a colossal statute of Meryetamun, daughter and royal wife of Ramesses II at Akhmim near Sohag, Middle Egypt. - She was the real sovereign - that's just the way it was in Egypt ... Above is probably Seti's daughter Princess Henutmire. " ...Her name means "The lady is like Rê". She married Ramesses II and became Great Royal Wife; ... She is shown on statues of Ramesses from Abukir and Heliopolis. On a colossus from Hermopolis she is depicted together with Princess-Queen Bintanath. Both have the titles The Hereditary Princess, richly favoured, Mistress of the South and the North, King's Daughter, Great Royal Wife. ... " Wikipedia " ... The Abydos King List, also known as the Abydos Table, is a list of the names of seventy-six kings of ancient Egypt, found on a wall of the Temple of Seti I at Abydos, Egypt. It consists of three rows of thirty-eight cartouches (borders enclosing the name of a king) in each row. The upper two rows contain names of the kings, while the third row merely repeats Seti I's throne name and nomen. Besides providing the order of the Old Kingdom kings, it is the sole source to date of the names of many of the kings of the Seventh and Eighth Dynasties, so the list is valued greatly for that reason. This list omits the names of many earlier pharaohs who were apparently considered illegitimate — such as the Hyksos, Hatshepsut, Akhenaten, Smenkhkare, Tutankhamen, and Ay. ... " Wikipedia - Egyptian Hermaphrodite - 115 Nude with whip Meryetamun, daughter and royal wife of Ramesses II at Akhmim near Sohag, Middle Egypt. Ramesses II handed over control of his penis to his daughter ... What was good for the king, was also good for Egypt - so that was the state of affairs for the Egyptian ruling class. - The large international class also probably copied this system - for example, the Roman's and later the Greeks. The one exception was Israel which was the template for the mass of the Roman world through their religion - Egyptian Hermaphrodite - 116 Seti and Iousas at Abydos. Seti is dark brown and Iousas is light brown and topless - She is the goddess of mastubation and is apparently initiating Seti in semen production " ... The goddess Iousas is giving pharaoh Seti I the breath of life, in the form of an “ankh” sign (symbolizing life) flanked by two “was” sceptres (symbols for prosperity). Iousas was associated with the creator god Atum. Her nickname “The Hand of Atum” recalls her role, i.e. the hand of Atum with which he masturbated to create the first divine couple, Shu and Tefnut. The relief is located on the west wall of the Second Hypostyle Hall of the Seti I Temple at Abydos, between the entrances of the Chapel of Ra-Horakhty and the Chapel of Amun. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " paulsmit.smugmug " ... Iusaaset, Iusaas, or, in Greek, Saosis, is a primordial goddess in Ancient Egyptian religion, a feminine counterpart to the male creator deity Atum. Iusaaset was depicted as a woman with a scarab beetle on her head. She was worshipped in the city of Iwnw or Iunu, the Greek Heliopolis, as was Atum. Iusaaset was associated with the acacia tree and acacias stood at the sanctuary dedicated to Iusaaset at Heliopolis. " ....The process of creation was said to have begun when Atum masturbated, or copulated with himself, to produce the deities Shu and Tefnut, thus beginning the process of creation. The hand he used in this act was personified as a goddess, the Hand of Atum. She was equated with Hathor or Iusaaset and Nebethetepet, two other, more minor goddesses. The earliest texts to mention them seem to treat Iusaaset and Nebethetepet as two names for a single goddess, but after the time of the Middle Kingdom (c. 2000–1700 BC) they were treated as separate, although similar, deities. The name "Iusaaset" means something resembling "She who grows as she comes" and "Nebethetepet" means "Lady of the Field of Offerings', so the Egyptologist Stephen Quirke suggests that they represented two aspects of creation: Iusaaset for growth and Nebethetepet for abundance. ... " Wikipedia * New to me - a goddess of the Acacia - The Acacia is not found in Egypt anymore - you have to go to east Africa to see Iusaaset ... A masturbation goddess - Masturbation was a religious ritual for the Egyptians... When the penis was not in the dog-leash - and from this example was driven by a dominant female on a passive male - “The Hand of Atum”. Semen production was important for the Egyptians and even had a sacred god - Min and a sacred plant - lettuce. The life long dog-leash meant women were masturbating men into old age ... An example being Rameses II - who spent most of his life in Nefertari's penis cage - but was later caged by his daughter. He was a very fertile Pharaoh. The Minoan bull-jumping tradition was certainly derived from Egypt and had the same meaning - control of the male phallus which ceased to be male controlled after a bull- sacrifice ceremony - the penis became the "bull of my mother" - or wife or daughter - or maybe even sister. Caligula in Rome was dog-leashed by his sister Drusilla: " .. Drusilla was born in Abitarvium, modern day Koblenz, Germany. After the death of her father, Germanicus, she and her siblings were brought back to Rome by their mother and raised with the help of their paternal grandmother, Antonia Minor. In 33, Drusilla was married to Lucius Cassius Longinus, a friend of the Emperor Tiberius. After Caligula became emperor in 37, however, he ordered their divorce and married his sister to his friend, Marcus Aemilius Lepidus. During an illness in 37, Caligula changed his will to name Drusilla his heir, making her the first woman to be named heir in a Roman imperial will. This was probably an attempt to continue the Julian line through any children she might have, leaving her husband to rule in the meantime. Caligula recovered however, and in 38, at the age of twenty-one, Drusilla died. Her brother went on to deify her, consecrating her with the title Panthea (all-goddess) and mourning at her public funeral as though he were a widower Reportedly, Drusilla was her brother's favourite. There also are rumours that they were lovers. If true, that role probably gained her great influence over Caligula. Although the activities between the brother and sister might have been seen as incestuous by their contemporaries, it is not certain whether they were sexual partners. Drusilla earned a rather poor reputation because of the close bond she shared with Caligula and even was likened to a prostitute by later scholars, in attempts to discredit Caligula. Some historians suggest that Caligula was motivated by more than mere lust or love in pursuing intimate relationships with his sisters, thinking instead, that he may have decided deliberately to pattern the Roman lineage after the Hellenistic monarchs of the Ptolemaic dynasty where marriages between jointly ruling brothers and sisters had become tradition rather than sex scandals. This also has been used to explain why his despotism apparently was more evident to his contemporaries than those of Augustus and Tiberius. ... " Wikipedia - Ancient Egyptian incest was common with Royalty - but it was probably more religious than sexual - ie. it was governed by the dog-leash and who was qualified to hold the leash of the pharaoh. - Egyptian Hermaphrodite - 117 Corridor of the Bull at Abydos. A dog-leashed Ramses II and his daughter and wife Meryetamun on on a bull-hunt. The dog leash is the third cord between his legs. Symbolically that's what his daughter is grasping onto and taking control of ... That's the female "bull-jumping" tradition ... For female sexual potency - Although that's labelled as Ramses's son. - It's really his daughter from the sidelock of youth " ... The north wall of the so called Corridor of the Bull in the Seti I Temple at Abydos has the famous scene of Ramses II and his son Amunherkhepeshef in a bull hunt. While his son is holding the bull by the tail, Ramses is poised to throw a lasso. It appears that this will be his second throw, as the bull is already restricted in his movements by a rope that connects his horns to his left hind leg. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Paul Smit.... " paulsmit.smugmug - Egyptian Hermaphrodite - 118 Lettuces of Min at Abydos. " ... This relief detail shows two lettuces separated by a fan, standing on a small shrine. The growing of prickly lettuce was associated with Min, a fertility god of male sexual potency. Egyptians believed the lettuce to be an aphrodisiac, as it was tall and straight and released a milk-like substance which resembled semen. Min is often depicted with two of these sacred lettuces standing behind him. The relief can be found on the north wall in the Chapel of Amun, one of the seven chapels that are located directly west of the Second Hypostyle Hall of the Seti I Temple at Abydos. The detail in this picture is part of the 36 episodes of the Daily Temple Ritual that are shown in the chapel, ranging from Seti entering the sanctuary to cleaning and dressing the statue of Amun and Min, who was closely associated with Amun. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " paulsmit.smugmug.com - That's not lettuce - that's a spray of semen bursting out of an erect phallus. - The dog-leash effect ... Men in the dog-leash did not need brothels - that need was taken care of by their "leash-holder." That's why there is so little evidence of prostitution in ancient Egypt. If any does exist - like the 19th dynasty Turin papyrus - its female oriented ... - Egyptian Hermaphrodite - 119 Seti, Sekhmet and Hathor at Abydos. Sekhmet and Seti have dark brown skin. Hathor is light skinned. Seti, Sekhmet and Hathor at Abydos. " ... The west wall of the Second Hypostyle Hall of the Seti I Temple at Abydos is decorated with superb reliefs. Here we see a portion of wall that is located between the entrances of the Chapel of Ptah and the Chapel of Ra-Horakhty. On the left we see the lion-headed goddess Sekhmet clasping hands with Seti and holding the “ankh” sign before the mouth of the king. The sign is entwined in her “menat” necklace. On the right Hathor gives the king the breath of life, in the form of an “ankh” sign (symbolizing life) flanked by two “was” sceptres (symbols for prosperity). The niche in the centre of the picture at one time probably held a statue of either Ptah or Ra-Horakhty. The decoration in the niche shows Seti offering incense to Ra-Horachti. The niche could also have been used to store sacred scrolls pertaining to the rites which were performed in the adjoining chapel. As the lower part of the niche is without decorations a stash of scrolls wouldn’t have obscured the sacred images on its three walls. The lower register on each side of the niche is decorated with a series of Nile gods, kneeling, hermaphrodite personifications of Egyptian nomes (districts). Each figure is basically male, with the breasts of a woman (symbolizing fecundity), and on its head there is an emblem which indicates the name of the nome. The figures carry food and jars of wine and water which they present to the gods. On the right we see the Lower Egyptian nomes number 15 and 13. On the left we see the Lower Egyptian nomes number 10 (with ox emblem) and 4. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " ’Seti, Sekhmet and Hathor at Abydos.’ paulsmit.smugmug. - The hermaphrodite personifications of nomes or districts are a basic ancient Egyptian archetype - the female phallus. Women with a penis - not men with breasts. The modern western conception of this is a Trans - a former male. That's not the same thing as a woman with a penis. A trans is what the Romans would call a "Gallus" - they were the priests of Cybele and probably a secret Roman ruling class - Here Sekhmet is probably giving life to Seti's dog-leash holder - probably one of his daughters or his wife Tuya. Sekhmet was an aggressive lioness deity that had to be calmed down by sex and alcohol. Those were female domains in ancient Egypt. Also the figure being given the ankh by Sekhmet has what looks like the basic see-through dress worn by Egyptian royalty - Egyptian Hermaphrodite - 120 Inmutef burning incense before a mummified Seti. Inmutef and Seti have dark brown skin. Isis is light skinned " ....The Seti Shrine is one of three small sanctuaries that are located north of the Inner Osiris Hall in the Seti I Temple at Abydos. In this shrine Seti appears as the dead, deified king, who is identified as an Osiris himself. Here we are looking at a relief on the west wall of the shrine. It shows the god Inmutef (dressed as a sem-priest) burning incense before a mummified Seti. Inmutef (a god who symbolizes the son who attends to his dead father) must be identified in this scene with the young Ramses II, who performs the Opening of the Mouth Ritual on the mummy of his father, enabling him to breath in the afterlife. Behind Inmutef stands Isis who is making sacred music by rattling a sistrum and a “menat” necklace. The text next to her reads: “shaking the sistrum before your beautiful face forever and ever.” ...The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Paul Smit. ... "paulsmit.smugmug - Only that's not a male Inmutef - from the female sidelock of youth it's probably one of Seti's daughters - Isis and Horus and probably Inmutref were incarnated by female royalty. The Opening of the Mouth Ritual on the mummy is new to me. I learnt about it from one of the tools associated with Hatshepsut . The image that came to me was of a snake exiting the mouth at death - almost a second birth at death ... The other image was of this not happening today as it is supposed to - ie the dead not really going anywhere ... - Another reading is the "hieros-gamos" - which is always a death and rebirth event. The mummified or dog-leashed Seti's eros or snake travels upwards through the chakras and at a certain level leaves his body - beginning his second birth. That's a shamanic event today - ie only shamans who have no choice in the matter go though this ritual ... - Egyptian Hermaphrodite - 121 " ... Horus and Seth pacified performing the Sema-Tawy Ritual (lotus and papyrus entwined, the Union of the Two Lands, Upper and Lower Egypt); on the top, above the Sema-Tawy symbol, is represented the Royal Cartouche with the name of King Sesostris I as "King of Upper and Lower Egypt", KheperKaRa; detail from the throne of a statue of King Sesostris I (1971-1926 BC) ... " amentetneferet.wordpress - That's the dog-leashing of the King. Horus is a phallic female. Not sure about Set. This was intended to create a balance between the two lands or the lands of the living and the lands of the dead. Note the djed pillar symbols - The dog-leash created it ... - This image is usually a bare-breasted older woman in two forms - physical and non-physical ... The Habi Nile god - Egyptian Hermaphrodite - 122 " ... Carving of Habi Nile god tying lotus and papyrus to symbolise joining of upper and lower Egypt on Temple of Abu Simbel Egypt ... " Alamy - Bare breasted twin queens - physical and spiritual dog-leashing a King. The Queen is depicted standing in the nude on right. The King is seated above. Below are chained foreigners. - Egyptian Hermaphrodite - 123 Two bare-breasted Queens dog-leasing a seated King. " ... Relief at Dendera, Egypt showing, presentation the unity of Upper and Lower Egypt. Sematawy, (Hor-Sematawy-pa-hered) a son of Hathor of Dendera and of Horus of Edfu. His name means "Uniter of the Two Lands. ... " Alamy - Egyptian Hermaphrodite - 124 Two bare-breasted Queens dog-leashing a central pole - the Sema-Tawy. In my reading those are testicles at the bottom and the pole being the leashed penis. The queens have breasts but also a false beard and have a masculine or amazon build. Usually there is a seated - or passive King at the center of it all ... " ... Hapi (Hep, Hap, Hapy) was probably a predynastic name for the Nile - later on, the Egyptians just called the Nile iterw, meaning 'the river' - and so it became the name of the god of the Nile. ('Nile' comes from the Greek corruption - Neilos - of the Egyptian 'nwy' which means 'water'.) He was mentioned in the Pyramid Texts ("who comest forth from Hep") where he was to send the river into the underworld from certain caverns, where he was thought to have lived at the 1st Cataract. The Nile was thought to have flown through the land of the dead, the heavens and finally flowing into Egypt where it rose out of the ground between two mountains which lay between the Islands of Abu (Elephantine) and the Island of Iat-Rek (Philae). Hapi was also mentioned in the Pyramid Texts as a destructive power, but one that worked for the pharaoh. As a water god, Hapi was a deity of fertility - he provided water, food and the yearly inundation of the Nile. He was also known as 'Lord of the Fishes and Birds of the Marshes,' indicating that he provided these creatures to the Egyptians along with the Nile itself. Without Hapi, Egypt would have died, and so he was sometimes revered even above Ra, the sun god. The depiction of Hapi himself, though, was that of a rather well-fed, blue or green man with the false beard of the pharaoh on his chin. Other than showing his status as a god of fertility by his color, the Egyptians showed Hapi as having rather large breasts, like those of a mother with a baby. At a very early period he absorbed the attributes of Nun, the primeval watery mass from which Ra, the Sun-god, emerged on the first day of the creation; and as a natural result he was held the father of all beings and things, which were believed to be the results of his handiwork and his offspring. When we consider the great importance which the Nile possessed for Egypt and her inhabitants it is easy to understand how the Nile-god Hapi held a unique position among the gods of the country, and how he came to be regarded as a being as great as, if not greater than Ra himself. Hapi was also both god of Upper and Lower Egypt - this duality was shown by having twin Hapi deities, one wearing the papyrus of the north (Upper Egypt) as a headdress, the other wearing the south's (Lower Egypt) lotus as a headdress. The Upper Egyptian Hapi was called 'Hap-Meht' while the Lower Egyptian Hapi was known as 'Hap-Reset'. They were depicted together, pouring water from a carried vase or together, tying the two plants of the northern or southern region into a knot with the sema hieroglyph, symbolising the union of Upper and Lower Egypt. He was thought to be the husband of the vulture goddess Nekhebet in Lower Egypt, and of the cobra goddess Uatchet (Uatch-Ura, Wadjet) in Upper Egypt. When he took on the attributes of Nun (Nu), Hapi became husband to Nun's wife, the primeval goddess Naunet of the Ogdoad. He was also linked with Osiris - another water-related fertility god - and thus Nekhebet and Uatchet were also seen as a form of Isis, Osiris' wife. ...the Egyptians had no clue how or why the Nile flooded each year. They believed that the gods Khnemu, Anqet, and Satet were the guardians of the source of the Nile. Their duty was to make sure that the right amount of silt was released during the yearly inundation. Hapi was in charge of the waters that flowed during the floods. During the inundation flood, the Egyptians would throw offerings, amulets and other sacrifices into the Nile at certain places, sacred to Hapi. Hapi was thought to come with the inundation (the 'Arrival of Hapi') with a retinue of crocodile gods and frog goddesses, and the sacrifices were given in the hopes that the flood would not be too high, nor too low. If the inundation was too high, many homes would be destroyed (the Egyptians built their homes and even palaces out of mud brick, which was easily washed away in a large flood). On the other hand, if the flood was too low, there would not be enough water for the fields and cattle - Egypt would be in drought. During inundation, statues of Hapi were carried about through the towns and villages so that the people could honor and pray to him - it was a solemn occasion. Even Akhenaten, the 'heretic king', could not banish Hapi completely as he did with the other gods. Instead, he tried to suggest that Hapi was an incarnation of the Aten (Akenaten's god, the sun disk ... " Hapi, God of the Nile, Fertility, the North and South By Caroline Seawright -- In my reading Hapi was a female with a penis - an Egyptian archetype - or the Egyptian wife after leashing her husband. .The knot was the "dog-leash" that was released in tandem with the Nile flood during the "dog-days" of ancient Egypt - Egyptian Hermaphrodite - 125 Relief in a mastaba in Saqqara necropolis/ lions and sema-tawy hieroglyph -Two Sekhmet-Min lions one physical, the other spiritual or in the land of the dead. - The X means they are women with the Min erect phallus. The red band behind the X is the "dog-leash" of the King or husband .... That's also Cybele and her lions - the cult of the Roman Emperor - Egyptian Hermaphrodite - 126 "Carvings in the ancient Abydos temple near the Nile north of Luxor" - Jerry Kent That's probably Hapi - But it could also be the hermaphrodite representations of the Nomes or districts of Egypt " ... Hapi was the god of the annual flooding of the Nile in ancient Egyptian religion. The flood deposited rich silt (fertile soil) on the river's 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 an androgynous figure with a big belly and large drooping breasts, wearing a loincloth and ceremonial false beard. 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 symbolised fertility. He had large female breasts because he was said to bring a rich and nourishing harvest. Due to his fertile nature he was sometimes considered the "father of the gods", and was considered to be a caring father who helped to maintain the balance of the cosmos, the world or universe regarded as an orderly, harmonious system. 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. His priests were involved in rituals to ensure the steady levels of flow required from the annual flood. At Elephantine the official nilometer, a measuring device, was carefully monitored to predict the level of the flood, and his priests must have been intimately concerned with its monitoring. Hapi was not regarded as the god of the Nile itself but of the inundation event. 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 false beard, Hapi was pictured with pendulous breasts and a large stomach, as representations of the fertility of the Nile. He also was usually 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 more present in the Nile, thus these were the symbols of the region, and those associated with Hapi there. Hapi often was pictured carrying offerings of food or pouring water from an amphora, but also, very rarely, was depicted as a hippopotamus. During the Nineteenth Dynasty Hapi is often depicted as a pair of figures, each holding and tying together the long stem of two plants representing Upper and Lower Egypt, symbolically binding the two halves of the country around a hieroglyph meaning "union". This symbolic representation was often carved at the base of seated statues of the pharaoh. Egyptian historian Al Maqrizi (1364–1442) related in his "El Khutat El Maqrizia (The Maqrizian Plans) that living virgins were sacrificed annually as "brides of the Nile" ("Arous El Nil") and this has been historically accepted as late as the 1970s. but this claim is disputed by some Egyptologists such as Bassam El Shammaa. ... " Wikipedia - That's not a male. Same as Akhenaten was called King but was a female. Once Egyptian women locked up the penis of their husbands - it became a female phallus - and they earned the right to be called men ... * I am not sure about sacrificing a virgin to the Nile. I have not seen anything like that from the Romans. They were the last classical Egyptians. If anything, it's male sacrifice, not female ... My impression is the flooding of the Nile - caused by runoff from the annual monsoon rains in east Africa has a relation to removing the penis from it's cage. Caging the penis was like subduing a bull - that's what the femaleMinoan "bull - jumpers" did. It must have been a difficult path to take - but eventually produced the phallic female and the docile male. Docile as in the famous Egyptian stillness and mysticism. Phallic female as in women with strong lust ... - Egyptian Hermaphrodite - 127 " ... Relief depicting queen Hatshepsut embracing the ithyphallic god Min-Amun, detail from the Red Chapel of Hatshepsut, Karnak Temple Complex. ... " egypt-museum - Min is the mummified or dog-leashed Egyptian male during one of his periodic penis releases. - Egyptian Hermaphrodite - 128 " ... Osiris begetting Horus by Isis, who is in the form of a hawk ; the second hawk is Nephthys. At the head of the bier sits Hathor and at the foot the Frog-goddess Heqet. ... " Wallis Budge, Osiris and the Egyptian resurrection (1911) - I'm sure this was part of the annual Hapi or Nile flood ritual. The releasing of the caged or mummified penis: That's four goddesses and one god - Or four phallic women and one dog-leashed man. Women on top in the Roman Mulier Equitans sexual position * Heqet the frog goddess is explicitly linked to the final stages of the Nile flood: " ... 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, related to the annual flooding of the Nile. Heqet was originally the female counterpart of Khnum, or the wife of Khnum by whom she became the mother of Her-ur. It has been proposed that her name is the origin of the name of Hecate, the Greek goddess of witchcraft. ... The beginning of her cult 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 and in the Pyramid Texts. Early frog statuettes are often thought to be depictions of her. Heqet was considered the wife of Khnum, who formed the bodies of new children on his potter's 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 intimately associated with the resurrection of Osiris, so Heqet's role became one more closely associated with resurrection. Eventually, this association led to her amulets gaining the phrase I am the resurrection in the Christian era along with cross and lamb symbolism. A temple dedicated to Horus and Heqet dating to the Ptolemaic Period was found at Qus. As a fertility goddess, associated explicitly with the last stages of the flooding of the Nile, and so with the germination of corn, she became associated with the final stages of childbirth. This association, which appears to have arisen during the Middle Kingdom, gained her the title She who hastens the birth (cf. the role of Heqet in the story of The Birth of the Royal Children from the Westcar Papyrus). Some say that—even though no ancient Egyptian term for "midwife" is known for certain—midwives often called themselves the Servants of Heqet, and that her priestesses were trained in midwifery. Women often wore amulets of her during childbirth, which depicted Heqet as a frog, sitting in a lotus. ... " Wikipedia Note the Sekhmet or Sekhmet-Min bed : That's the boudoir of an female Egyptian sexual domme - Egyptian Hermaphrodite - 129 " ... Isis (in bird form) impregnated by body of Osiris, Dendera The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan. ... " Aidan McRae Thomson - Egyptian Hermaphrodite - 130 " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " egyptology - Early scenes are the caging of the penis and the raising of the Djed pillar. Ritual sex probably did not occur until several years in the cage. My guess is the Roman system of caging the penis at puberty or 14 years until 25 years old and marriage originated in Egypt. Later on the penis is released for mounting - but the male is in the passive position First mounting as a man, second mounting as Osiris. Second mounting involves the dangerous and sexually aggressive Sekhmet. Then he is re-caged - also in the passive or prone position ... - Egyptian Hermaphrodite - 131 " ... This scene, a detail from above, illustrates the reanimation of Osiris. Here are portrayed the goddess Nepthys on the left and on the right the goddess Isis, both using hand gestures to help in his invigoration. ... " egyptology The hand gestures are probably "the hand of Atum" or sacred masturbation ... The two goddesses are topless - Thats the first mounting of the young man. Looks like two topless standing women and one kneeling man. Male prone in a Sekhmet bed. - Probably a standard procedure during the "dog-days" of summer of ancient Egypt. " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " - Egyptian Hermaphrodite - 132 Caging of the young Egyptian male. Looks like a glass jar that blocks sex with the Isis kite ... Probably happened young - that looks like a young boy. My guess is Minoan men and Egyptian men were sexually caged as young as 6 years old ... You get that dog-leash tan on very young Minoan boys The earlier the caging the less trauma from caging and the easier it was to build up the Djed pillar. " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " - Egyptian Hermaphrodite - 133 Raisng the Djed pillar. My guess is that happens 30 years after caging. - Related to the Seb Heb festival Looks like two topless goddesses and one god " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " - Egyptian Hermaphrodite - 134 I suppose that's the start of the "hieros-gamos" - the male becomes a potential mate of Isis. Middle aged Egyptian male - 30 years and up. Penis still in the cage though. - Penis leaves the cage in the next plate ... Plate 131 above - the reanimation of Osiris One goddess - probably his wife and dog-leash holder ... " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " - Egyptian Hermaphrodite - 135 More advanced sex for the more mature Egyptian man - my guess is sex up to old age ... A specialty was young women dog-leashing old men on their second or third marriages. You find that a lot in ancient Rome. Roman emperors and aristocrats enjoyed being ruled by virile young women ... " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " - Egyptian Hermaphrodite - 136 Hatshepsut the female pharaoh in the land of Punt: gold, ivory and mounds of myrrh On the right The Egyptian envoy and expedition leader Nehesy - accompanied by a troop of soldiers. Note the nakedness of the Punt females and the dog-leashed men of both Punt and Egypt. The female nudity probably shortened the time necessary to generate energy to raise the Djed pillar - The sexual stimulation that could not find an outlet at the locked penis moved up the spinal cord. The caging of the young Egyptian penis on plate 132 is a very rare direct statement of penis caging from the ancient Egyptians. - Egyptian Hermaphrodite - 137 "The sequence of scenes of the punt expedition ends with the announcement of the successful execution by the queen in front of the entire court. Hatshepsut sits on her throne, behind her stands her ka. The throne is carried by two striding lions, both of which are depicted opposite one another. nefershapiland.de - Photo by kairoinfo4u Note the phallic Min "X" and the red cord bearing the dog-leash. My guess is that's the dog-leash of Thutmose II the queens brother. Hatshepsut is the phallic lioness - Egyptian Hermaphrodite - 138 Lion relief, mortuary Temple of Hatshepsut, Deir el-Bahari, Theban Necropolis, Luxor, Egypt Shot blocked. User workaround The other lion with the Min "X" and the red dog-leash. The imagery is clearly related to the mirror Hapi dog-leash images above. There's an earthly queen Hatshepsut and a spiritual Hatshepsut leashing the penis of her brother king Thutmose II Note the dark brown leg above. Egypt was black African during Hatshepsut's day. Ancient Egypt was not the death and mummy fixated place it seems to be. The penis cage and the public female erotic nudity means it was throbbing with eros at all times. - Egyptian Hermaphrodite - 139 Mut in her phallic form: the ithyphallic leonine deity is designated as Mut-A’at or Mut the Great at at the Hibis Temple. Late Period built by the Persian pharaohs. From: "Sekhmet-Min" satsekhem Shot blocked. Used workaround. - Amun was the consort of Mut. Which translated as penis-caged Egyptian Kings being the consorts of phallic Queens - Mut still exists today in west Africa and Brazil - the phallic Yemonja or "Mami Wata" - Egyptian Hermaphrodite - 140 Mut in her phallic form: the ithyphallic leonine deity is designated as Mut-A’at or Mut the Great at at the Hibis Temple. Photo: Tatiana Matveev Late Period built by the Persian pharaohs. Shot blocked. Used workaround. It seems unlikely - but if you focus on the great wives of some of these Persian pharaohs you find phallic queens - whe were really in control. For example Parysatis the wife of Darius II: " ... Parysatis was a powerful Persian Queen, consort of Darius II and had a lot of influence during the reign of Artaxerxes II. Parysatis was the illegitimate daughter of Artaxerxes I, Emperor of Persia and Andia of Babylon. She was the half-sister of Xerxes II, Sogdianus, and Darius II. She married her half-brother Darius II and had 13 sons, of which four survived to adulthood: Artaxerxes II, Cyrus the Younger, Ostanes, and Oxathres. and one daughter - Amestris Parysatis was very powerful and had a network of spies and informants. Ctesias, who was her physician, mentions in his books how she would identify and order the execution of various people who were a threat to the throne. Parysatis was very savvy and succeeded in assisting Darius II's ascent to the throne, even though he was a bastard and not a legitimate child. Ctesias records that he was very dependent on her counsel. In addition, she is mentioned to have held a lot of land and villages in Syria, Media and Babylon, and a record of the taxes paid directly to her remained, as well as the servant who was in charge of managing her holdings and tax collections - Ea bullissu. Her favorite son was Cyrus, and it was on account of her influence that he was given supreme command in western Anatolia as a teenager in around 407 BC. When her husband died, she supported Cyrus. When Cyrus was defeated in the Battle of Cunaxa, she blamed the satrap Tissaphernes for his death, and thus had him assassinated a little later. . According to the chapter on Artaxerxes II in Plutarch's Life, a young Persian soldier named Mithridates unknowingly struck Cyrus the Younger during the Battle of Cunaxa , making him fall from his horse, dazed. Some eunuchs found Cyrus and tried to bring him to safety, but a Caunian among the king's camp followers struck a vein behind his knee with a dart, making him fall and strike his head on a stone, whereupon he died. Unwisely, Mithridates boasted of killing Cyrus in the court, and Parysatis had him executed by scaphism. She likewise got vengeance on Masabates, the king's eunuch, who had cut off Cyrus' hand and head, by winning him from her son Artaxerxes in a game of dice and having him flayed alive... " Wikipedis - That reads more like the ruler or Sovereign than a stereotypical submissive Persian queen - That was an amorous queen - 13 children ! I find it unlikely those were all by her brother. That was for ritual sex during Nile flood Osiris resurrection rituals. She was doing what Roman women did - marriage, lock up of husbands penis - then rampant sexual promisquity. - Egyptian Hermaphrodite - 141 A priest watering the germinating Osiris figure, in a depiction from the Temple of Philae. From " ... The Osiris Mysteries as portrayed in the Temple of Isis at Philae.(images After H. Rosellini, Monumenti dell'Egitto e della Nubia, Vol. III (Pisa, 1844), Pl. XXIII.) ... " The transmission of Egyptian power seems to have continued unbroken through Great Wives of Egyptian Kings from the Persians to Alexander the Great who married a Persian Great queen and on through the Roman Augustas. But what about the Osiris side of the equation? What for example are the final two images from the Osiris Mysteries plates? In the image above, Osiris seems to be dead and buried - them brought back to life as germinating corn - Something like the Maize god of the Maya. And in the final panel, he seems to have merged with the female god Horus. - Like the final alchemical phallic noble Empress - or a woman with a penis - Answers may be forthcoming from a recent claim that the great Egyptian Labyrinth with tombs going back 3,600 years has been found: See the documentary "Finding Ancient Egypt's Great Lost Labyrinth!" - The Mataha Expedition in 2008 claims to have verified to existence of a vast underground network at Hawara below levels where Petrie Flinders was digging in, in his search for the lost Egyptian Labyrinth ... At the present time, however, the Egyptian govenment has closed down work at the site * Those germinating shoots could also be individual sexual mountings. A certain number of sexual mountings - or "germinating" was probably necessary to reach to the final stage of merging with the Horus archetype. - Egyptian Hermaphrodite - 142 Isis, in the form of a bird, copulates with the deceased Osiris. At either side are Horus, although he is as yet unborn, and Isis in human form." - Wikipedia Persian Emperors were locked up by their queens and ritually mounted like all Pharaohs! That's just the way it was. Now I understand the image on page 151 of a female Persian Dionysus with breasts ... The sex act was a religious ritual in ancient Egypt and was female driven ... The Roman "Mulier Equitans" The phallus was Horus and female, and the male was Osiris and locked up sexually by his wife ... But it was more than locked up - The female phallus meant that power remained with women. I think it was a collective avoidance of the Saturn complex - In the upper class world of Isis there was collective wealth and security as opposed to the "scarcity and competition" of the Saturn ruled lower class world - Egyptian Hermaphrodite - 143 " ... From right to left: Isis, her husband Osiris, and their son Horus, the protagonists of the Osiris myth, in a Twenty-second Dynasty statuette ... " Wikipedia Horus has breasts! That's a woman ... And Osiris is restrained. - That would be the penis cage ... - Egyptian Hermaphrodite - 144 Nude Persian or Greek Egyptian woman. - Although the nudity is glossed over - it's just a regional costume! - If you saw a woman dressed like that walking down a garden path you would think you were in a porn movie! - Ancient Egypt probably was a long porn movie ... And a painful one if you were in a tight penis cage or fibula ... As were all Egyptian men from a very young age ...That's were all the bowing of men to women comes from. ... From: "Ancient Egyptian, Assyrian, and Persian costumes and decorations" (1920) Houston, Mary G., Hornblower, Florence S - Egyptian Hermaphrodite - 145 Osiris re-animation ritual - from Greek Egyptian days. False coffin and false mummy and real erection - My guess is the ritual involved the "Hand of Atum" or sacred masturbation given by a priestess of Isis or by the "mummy's" wife and dog-leash holder. Ithyphallic pseudo-mummy, inside a coffin. Wood, gold, day and bandages. Ptolemaic Period, reign of Ptolemy - Egyptian Hermaphrodite - 146 Sed Festival Block of Akhenaten in the Fitzwilliam - The raising of the Djed pillar was probably the main focus of the Sed festival - my guess it marked the emergence from mummification of the caged penis of an age group after thirty years in lockup - or the "reanimation of Osiris" - This is a rare time when Akhenaten was clothed during ceremonies. She is usually naked in public " ... The hieroglyphs tell also that the attendant behind the king is his chief prophet carrying his sandals. The attendant in front of the king is his lector priest holding a papyrus roll and the third attendant is in front of the lector priest but only the back of his leg remains of this figure. ... " tim-theegyptians.blogspot " ... The Sed festival; also known as Heb Sed or Feast of the Tail was an ancient Egyptian ceremony that celebrated the continued rule of a pharaoh. ... Eventually, Sed festivals were jubilees celebrated after a ruler had held the throne for thirty years and then every three to four years after that. They primarily were held to rejuvenate the pharaoh's strength and stamina while still sitting on the throne, celebrating the continued success of the pharaoh. ... Sed festivals implied elaborate temple rituals and included processions, offerings, and such acts of religious devotion as the ceremonial raising of a djed, the base or sacrum of a bovine spine, a phallic symbol representing the strength, "potency and duration of the pharaoh's rule ... " ... Several pharaohs seem to have deviated from the traditional 30-year tradition, notably two pharaohs of the Eighteenth Dynasty, Hatshepsut and Akhenaten, rulers in a dynasty that was recovering from occupation by foreigners, reestablishing itself, and redefining many traditions. Hatshepsut, an extremely successful pharaoh, celebrated her Sed jubilee at Thebes—in what some Victorian-era historians insist was only her sixteenth regnal year—but she did this by counting the time she was the strong consort of her weak husband, and some recent research indicates that she did exercise authority usually reserved for pharaohs during his reign, thereby acting as a co-ruler rather than as his Great Royal Wife, the duties of which were assigned to their royal daughter. Upon her husband's death, the only eligible male in the royal family was a stepson and nephew of hers who was a child. He was made a consort and, shortly thereafter, she was crowned pharaoh. Some Egyptologists, such as Jürgen von Beckerath in his book Chronology of the Egyptian Pharaohs, speculate that Hatshepsut may have celebrated her first Sed jubilee to mark the passing of 30 years from the death of her father, Thutmose I, from whom she derived all of her legitimacy to rule Egypt. He had appointed his daughter to the highest administrative office in his government, giving her a co-regent's experience at ruling many aspects of his bureaucracy. This reflects an oracular assertion supported by the priests of Amun-Re that her father named her as heir to the throne. Akhenaten made many changes to religious practices in order to remove the stranglehold on the country by the priests of Amun-Re, whom he saw as corrupt. His religious reformation may have begun with his decision to celebrate his first Sed festival in his third regnal year. His purpose may have been to gain an advantage against the powerful temple, since a Sed-festival was a royal jubilee intended to reinforce the pharaoh's divine powers and religious leadership. At the same time he also moved his capital away from the city that these priests controlled. ... " Wikipedia - My guess is Akhenaten had already been a co-ruler with her father Amenhotep III or Memnon for a long time. She probably became his penis dog-leash holder and superior after the death of his Minoan "Great Wife" . This was a trend with Egyptian kings - being ruled by their daughters after their wives passed away. - Egyptian Hermaphrodite - 147 Nude player of a Mandore - Necropole Thebes - 18th Dynasty - Egyptian Hermaphrodite - 148 Topless and mostly nude offering of flowers and fruit - Necropolis of Thebes - 19th dynasty - Sacred nudity, probably connected to sacred sex. Egypt was a bee-hive - constantly making psychic honey. For those in the penis cage - this was an secret internal process that built up the astral body and aided in sleep and dreams. - Egyptian Hermaphrodite - 149 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty. The bull is probably symbolic of the phallic power of the princess Note the female "sidelock of youth" on two the four women walking up front. Two of them are topless and all are wearing male skirts. The African states they were coming from were probably also female-dominant like ancient Egypt. The Kikuyu founding myth is female dominated - polyandry, female led clans, and female warriors - or Amazons - they could be from Mt Kenya. There are actually two African states represented - one dark brown skinned and the other black skinned. The black skinned ladies are topless. The two men are one dark brown and the other black skinned - and they are both in a submissive role to the women. Punt and another ancient African state probably... The dark skinned and topless is probably Punt. The female dominance is probably done the same way as in Egypt - the curbed male libido or the penis cage. Maybe that's why Kikuyu men are so aggressive about circumcision. They remember the world of the female phallus that required an uncircumcised penis . The Kikuyu used sex to defeat the Amazons, who were physically stronger than the men - but also vulnerable to sexual flattery. The men got them pregnant all at once - and six months late grabbed power when the women were incapacitated. - Egyptian Hermaphrodite - 150 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty. - Larger image - Alamy Note the bowing and kneeling black and brown men and the standing women. In front of the four women in front of the chariot is a light brown woman is an almost nude dress - She's probably another Ethiopian princess. Behind the chariot are chained male prisoners in both black skin and brown skin. There are also nude black and brown children and their topless maids. Below are offerings - four bulls, a giraffe and food and more bowing and kneeling black and brown men. The time period was during the reign of Amenhotep III - or Memnon - Memnon's wife Tiye was dark skinned black - as was Memnon so these were not really colonies. The bowing and kneeling is probably to Memnon's great wife - either his mother who may have been a black Minoan amazon or queen Tiye. The male bowing to Amazons probably came from central Africa - it is most visible during the dark skinned reigns - like Memnon and Akhenaten. The dwarf Amazons of central Africa probably made male bowing to female authority a requirement. * " ... Tomb of Amenhotep-Huy "... Amenhotep-Huy was a Vizier of Ancient Egypt during the reign of Amenhotep III. Besides being Amenhotep III's Vizier, Amenhotep-Huy was also director of Upper and Lower Egypt and overseer of all the works of the King in Upper and Lower Egypt. ... " Wikipedia " ...The tomb of Amenhotep Huy, ruler of Lower Nubia Kush under king Tutankhamun, is famous for its colorful and detailed wall paintings. The small tomb is located at Qurnet Marei on Luxor’s west bank. It consists of a court and a burial chamber. The wall paintings “The images depict figures painted in Nubian attire walking behind a chariot driven by a light brown figure, a black rider painted in traditional Nubian garb, and pulled by a cow. Walking before the chariot are more Nubian figures,” explained Aly El-Asfar, head of the central administration of Upper Egypt. “Hunting scenes similar to those found in Tutankhamun’s tomb are also depicted on walls as well as scenes showing Huy being greeted by high priests and among his family.” Overseer of the Southern lands Amenhotep, called Huy, was a viceroy of Nubia. The Lower Nubian Kush was a province of Egypt from the 16th century BC to eleventh century BC. During this period it was ruled by a viceroy who reported directly to the Egyptian Pharaoh. The viceroy was appointed directly by the Egyptian king and usually bore the titles “overseer of the southern lands” and “king’s son of Kush”. Huy would have been responsible for organizing construction on Tutankhamun’s behalf, as well as being responsible for military operations in the region of Nubia. ... " archaeology.wiki - Egyptian Hermaphrodite - 151 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty. - Larger image - 2 Two more layers below. From the hair those are three topless dark skinned women in male skirts at left of third level from top in front of another offered bull. The men standing on this level are either tending the bulls or holding food up. The rest are bowing and kneeing. On the bottom level are almost all women standing - except for one bowing man. The women are dark skinned and brown and bald or with hair - and all wear men's skirts. There is an obscured and very tall dark skinned standing woman who they are probably bowing to - maybe Akhenaten- and another two tall Egyptians one standing and the other on his knees. The standing tall Egyptian is probably female. Akhenaten's sun cult is probably central African. Her weird male dress is not so weird when you view this tomb painting. It seems in central Africa male did not necessarily mean born with a penis Another female signal is the sandals. Akhenaten wore male clothes but also the classic female Egyptian sandals. - Egyptian Hermaphrodite - 152 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty - Nude Ethiopian princess out in front of bull chariot and bowing and kneeling black and brown men. - Egyptian Hermaphrodite - 153 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty Boats carrying black male prisoners and other goods. The expedition was not by land - it was probably a long distance trip to east Africa like the trade that Hatshepsut opened up. The King in the Tomb is not Amenhotep III - its King Tutankhamen. But the Amarna culture of men bowing to women remains the same - There is a man bowing to the middle the boat - which means a female dignitary was on board. " TT40, the tomb of Amenhotep Huy Transverse Hall, West Wall, South Side: The grand arrival of Huy with Nubian tribute at Thebes. "Coming from Kush with all the goodly tribute consisting of all the choicest and best of the southern lands. Landing at the Southern City (i.e. Thebes) by the Kings son of Kush, Huy" ... " kairoinfo4u - Egyptian Hermaphrodite - 154 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty Boats carrying black and brown male prisoners and other goods. Note the man bowing to the middle the boat - which means a female dignitary was on board. The goods are probably slaves. Male only though. Probably sex slaves to service Egyptian women who wanted to have sex outside the restricted Egyptian system ... Like the spintra male prostitutes in ancient Rome - Egyptian Hermaphrodite - 155 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty Three topless black skinned women in silver sandals and male skirts in front of men tending bull offerings. Below are black and brown women. Brown women seem to have an offering of lettuce which in the 18th dynasty was associated with Min and sexual potency. - Egyptian Hermaphrodite - 156 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty "Sailing barge of the viceroy of Nubia, Amenhotep Huy, wall painting from his tomb at Thebes, 18th Dynasty, c. 1330 BC" - Shutterstock - Egyptian Hermaphrodite - 157 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty New Kingdom, 18th dynasty, a wall image: representation of Panther fur in a private grave TT40 of Huy - Those are central African buildings. Not Sudan. There are few giraffes in Sudan/Nubia. Those are central African or Bantu animals. " ... Lepsius' drawing The image by Carl Richard Lepsius in the book Monuments from Egypt and Ethiopia: Vol III: published in 1900. It isn't entirely Zecharia's fault if he really can't see anything in the picture beyond his easily criticised science fictional outlook. The shapes are strange enough to ask what they are for a moment before just considering them to be odd buildings. Around the side of the so-called capsule are heads of nubian people with the vertical feather sticking out of their caps rather than peep-holes. The spike leading down from the capsule has become the tail of a leopard skin draped down the side. The scorch marks become the black and white hide of oxen. Are these simply decorative ornaments spread across a table top?" alienexplorations.blogspot - Egyptian Hermaphrodite - 158 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty New Kingdom, 18th dynasty, a wall image: detail from mural featuring additional buildings in a private grave TT40 of Huy - - Those are central African pyramids and other buildings. They use a form of Egyptian writing. - That's a sun rising from the hide of a slaughtered bull - The Egyptian "Bull of my mother" or the female phallus. There might also have been human sacrifice - The impression is of extreme violence towards non-members of the giraffe pyramid tribe .... - Egyptian Hermaphrodite - 159 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty Sun - worship with giraffes - Men on knees and women standing. Palm trees and pyramids - Somewhere in central Africa. "... a) Zecheriah Sitchin Another proponent in the Ancient Astronaut theory was Zecheria Sitchen. Amongst the many claims that he made centred around a civilisation of extra-terrestrials named the Annunaki having visited Earth and being responsible for the human race as we see it, he had the idea that a mural from the tomb of Huy circa 1300BCE depicted what appears according to Zecharia Sitchin in his book, The Stairway To Heaven, is a rocket in a silo. And he was able to provide a lined drawing. Huy was known to be a viceroy in Nubia and in the Sinai peninsula during the reign of the Pharaoh Tutenkhamun. Decorated with scenes of people, places and objects from the two domains of which he was viceroy, his tomb was preserved with a depiction of a very curious looking scene that Zecharia perceived in his individual way as a rocket ship with its shaft contained in an underground silo, it's upper stage with the command module above the ground, The shaft, as he perceived, was subdivided like a multi-staged rocket. Inside the lower part, two people attended hoses and levers and there is a row of circular dials above them. The cutaway of what he perceived as the silo, he imagined were surrounded by tubular cells for heat-exchange or some other energy-related function. Above ground, the hemispherical shape beneath the pyramid, was the base of his imagined upper stage of the rocket and was painting as scorched, as though from re-entry into Earth's atmosphere and there are "peep holes" all around it's bottom. The cabin is surrounded by worshippers, in a landscape of date palm trees and giraffes. The underground chamber is decorated with leopard skins, and this provided a direct link with certain phases in the Pharaoh's Journey to Immortality. The leopard skin was the distinctive garb symbolically worn by the Shem priests as he performed the Opening of the Mouth ceremony. It was the distinctive garb symbolically worn by the gods who towed the Pharaoh through "The Secret Path of the Hidden Place" of the Duat—a symbolism repeated to stress the affinity between the Pharaoh's journey and the rocketship in the underground silo. ... " alienexplorations.blogspot - Egyptian Hermaphrodite - 160 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty That's probably the central African woman pharaoh "depiction of part of the mural from Huy's tomb showing "Rocket Silo" alienexplorations.blogspot - Egyptian Hermaphrodite - 161 Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty - The whole mural - I think the rule is all men bow or kneel except Huy himself on the right by his boats. The prisoners are probably not for sex. Sex was unrestricted for Egyptian and Roman women after the age of majority - They were free to pay men to unlock their manhood for as much sex as they wanted. " ....The whole mural as redrawn by Lepsius in the 1900s, stitched together from separate images from 116b, 117 und 118 from the Lepsius-Projekts at the Universitäts- und Landesbibliothek Sachsen-Anhalt in Halle. »Der Vizekönig von Nubien Huj führt dem Könige Tut-anchamun die Tribute der Neger vor« (Steindorff I, 67) Farbige Reproduktion (Lepsius III, 116b-118) einer Wandmalerei aus dem Grab des Vizekönigs von Kusch, Amenhotep, genannt Huy in Theben (Qurnet murrai, TT40).). Bildquelle: Digitalisate von Lepsius III, 116b, 117 und 118 des Lepsius-Projekts der Universitäts- und Landesbibliothek Sachsen-Anhalt in Halle. ... " alienexplorations.blogspot The current view is this is a straight forward Nubian - Egyptian affair. My impression is more central African ... " ... The Theban Tomb TT40 is located in Qurnet Murai, part of the Theban Necropolis, on the west bank of the Nile, opposite to Luxor. It is the burial place of the Ancient Egyptian Viceroy of Kush named Amenhotep called Huy, who lived during the end of the 18th during the reign of Tutankhamen. Huy was the son of a lady named Werner. His father is not known. Huy was married to Taemwadjsy, chief of the harem of Amun and of the Harem of Nebkheperure (Tutankhamun). They had a son named Paser. In the tomb there is reference to a Temple named "Satisfying the Gods" in Nubia. Huy is shown being greeted there by Khay, High Priest of Nebkehperure (Tutankhamen), Penne, Deputy of the fortress of Nebkheperure (Tutankhamen), Huy, the Mayor, and Mermose, (his brother) the second prophet of Nebkheperure. Taemwadjsy was Chief of the Harem of Nebkheperure (Chief of the female attendants of the temple) at this temple.On one of the walls in the tomb chapel is depicted a Nubian delegation coming to Egypt. One of the officials named there is the chief of Miam Heqanefer, who is also known from his tomb in Nubia. ... " wikipedia - Egyptian Hermaphrodite - 162 Egyptian papyrus depicting a nude Queen Nefertari making an offering to Isis. 19th dynasty. - There is also another nude to the far right. She looks African. - Sex as religion again. That's why there is so little material on Egyptian brothels. If that need was taken care of in church, then there was no need for prostitution. But the concept of Harem exists from ancient Egypt. Not sure that's a modern day harem though. I think it's probably more like a female religious order that managed the "sex in church" or sex in temple of ancient Egypt. - The bound Africans at the base of the Punt pyramids are probably sexually caged men . That's probably the message - a sexually caged physical African and a sexually caged spiritual African on the other side - that's the base of the pillar that ends in the sun and the two buildings - the rising of the Kundalini and the djed pillar - central African style... - Egyptian Hermaphrodite - 163 "Ancient Egyptian god Min, the god of reproduction and fertility, illustration from the book 'Pantheon Egyptien' by Leon Jean Joseph Dubois, 1824." - alamy - My reading is Min is the female, not male libido. Similar to Legba - Min and his lettuce is the female "Animus". Min is in female sandals ... and has a false beard - Egyptian Hermaphrodite - 164 Topless Egyptian woman kneading the barley loaves from whose fermentation beer was obtained (towards the middle of the third millennium BC). Beer was needed for the summer "festival of drunkeness" that pacified the lioness goddess Sekhmet. - Egyptian Hermaphrodite - 165 Pharaoh Thutmose I of the 18th dynasty of Ancient Egypt, with his chief wife Queen Ahmose and daughter Neferubity. The father, mother and sister of Hatshepsut. - K. R. Lepsius - Denkmäler aus Aegypten und Aethiopien by Karl Richard Lepsius (1810–1884) The Queen and princess are nude. Thutmose was probably the consort of Queen Ahmose. Their daughter is in the classic Harpocrates pose: ie a female Horus with a finger in her mouth. When the queen died, one of her daughters probably took over control of Thutmose's caged phallus. Looks like it was Hatshepsut not her sister. - Egyptian Hermaphrodite - 166 Nude statue with whip of the God's Wife of Amun and Divine Adoratrice of Amun, Ankhnesneferibre " ... Ankhnesneferibre was an ancient Egyptian princess and priestess during the 26th Dynasty, daughter of pharaoh Psamtik II and his queen Takhuit. She held the positions of Divine Adoratrice of Amun and later God's Wife of Amun between 595 and 525 BC, during the reigns of Psamtik II, Apries, Amasis II and Psamtik III, until the Achaemenid conquest of Egypt. ... " Wikipedia " ... God's Wife of Amun ... was the highest-ranking priestess of the Amun cult, an important religious institution in ancient Egypt. The cult was centered in Thebes in Upper Egypt during the Twenty-fifth and Twenty-sixth dynasties (circa 740–525 BC). The office had political importance as well as religious, since the two were closely related in ancient Egypt. Although the title is first attested in the Middle Kingdom, its full political potential was not realized until the advent of the Eighteenth Dynasty. At the beginning of the New Kingdom, the God's Wife of Amun royal title started to be held by royal women (usually the wife of the king, but sometimes by the mother of the king), when its extreme power and prestige was first evident. The New Kingdom began in 1550 BC with the Eighteenth Dynasty. These were the rulers who drove the Hyksos out of Egypt and their native city was Thebes, which then became the leading city in Egypt. They believed that their local deity, Amun, had guided them in their victory and the cult rose to national importance. Adjustments to the rituals and myths followed. The title, God's Wife of Amun, "referred to the myth of the divine birth of the king, according to which his mother was impregnated by the god Amun." While the office theoretically, was sacred, it was essentially wielded as a political tool by the serving Egyptian pharaoh to ensure "royal authority over the Theban region and the powerful priesthood of Amun" there. The royal lineage was traced through its women and, the rulers and the religious institutions were inexorably woven together in traditions that remained quite stable over a period of three thousand years. This title was used in preference to the title, Great Royal Wife, which was the title of the queen who was the consort to the pharaoh and who officiated at the temple. The new title conveyed that the pharaoh would be a demigod upon birth. Previously the pharaoh was considered to become divine only at death. The first royal wife to hold this new title (not to be mistaken with the title of God's Wife) was Queen Ahmose-Nefertari, the wife of Ahmose I, and this event is recorded in a stele in the temple of Amun at Karnak, and the role was a priestly post of importance in the temple of Amun in Thebes. She then passed it on to her daughter Ahmose-Meritamun, who in turn handed it to Hatshepsut, who used it before she ascended the throne as pharaoh. Both Ahmose-Nefertari and Hatshepsut sometimes used the title as an alternative to that of "King's Principal Wife", which shows how important they felt the role was. Hatshepsut passed the title on to her daughter Neferure. A series of scenes in Hatshepsut's Chapelle Rouge show the God's Wife of Amun (her daughter) and a male priest undergoing a ritual or ceremony that seems to be aimed at destroying the names of enemies. Other scenes elsewhere show the God's Wife of Amun worshiping the deities, being purified in the sacred lake, and following the king into the sanctuary. These again show the importance of the role, but give very little indication of the tasks and responsibilities involved. Hatshepsut was the daughter of Thutmose I and, upon his death, she became the wife of the youthful Thutmose II who was her young half-brother, born to a lesser wife than her mother. She seems to have been a de facto co-regent with him, having a great deal of influence upon the affairs of state. They had only one child who survived childhood, a daughter, Neferure, to whom the title of God's Wife of Amun was passed. Upon the death of her husband Thutmose II, Hatshepsut was appointed regent for the very youthful Thutmose III, who was not born to her—the royal wife and queen of his father—rather, he was born of a lesser wife. He was her stepson and nephew. Shortly thereafter, Hatshepsut was named pharaoh. Her daughter, Neferure, took her place in many functions that required a royal queen serving as the Great Royal Wife and, as God's Wife of Amun in the temple, while Thutmose III remained as co-regent to Hatshepsut. He became the head of the armies. Hatshepsut died after a 22-year reign and, Thutmose III became pharaoh. At the end of a thirty-year reign of his own, he entered into a co-regency with a son by a lesser wife who would become, Amenhotep II. Neferure had died without leaving another heir, but there were others in line to become pharaoh, so the co-regency assured that these royal offspring with closer ties to Hatshepsut would be removed from the line of descent, and Thutmose III's chosen heir would rule. The records of holders of the title, God's Wife of Amun, after Thutmose III became pharaoh deviate from the established pattern, perhaps because of the line of royalty issue. After Neferure the list notes, Iset, the mother of Thutmose III, but it is quite certain that she never officiated, and was awarded the title after her death. Next is, Satiah, a lesser wife of Thutmose III in the early part of his reign. She is followed by, Merytre-Hatshepsut, another lesser wife of Thutmose III, who became the mother of his ultimate heir. She was the daughter of the Divine Adoratrice of Amun, Huy. Next on the list is, Meritamen, a daughter of Thutmose III and Merytre-Hatshepsut, thereby the sister of his ultimate heir. After all of those changes during his long reign, the office holder was the daughter of Thutmose III, returning to the traditional association. Amenhotep II seems to be the one who initiated the attempts to remove records of Hatshepsut's reign while his father was an old man and continued these efforts after he became pharaoh in his own right, claiming many of her achievements as his own, but failing to be thorough. Amenhotep II also tried to break traditions by preventing the names of his wives from being recorded and introducing women who were not from the royal lineage into the line of descent—without success—as his designated heir was overlooked. After his death, which is estimated as 1400 BC, Thutmose IV was selected from the royal lineage as the next pharaoh. The power and prestige of the role of the God's Wife of Amun was greatly diminished by Amenhotep II. He may have declined to have one, unless it remained as his sister, Meritamen. The woman listed as holding the office next is Tiaa. That is the name of a wife of his who was the mother of Thutmose IV and it is possible that she was named to this title by her son since he gave her other titles, however, the daughter of Thutmose IV also was named Tiaa. Later in that dynasty, with religious changes affecting the status of the cult, the title then fell out of favour. The pharaoh Amenhotep IV, ruling from 1353 or 1351, initially followed the religious traditions. Soon he instituted a new religion that elevated Aten, not only to become the dominant cult, but as a monotheistic cult, suppressing the worship of others. The pharaoh changed his name to Akhenaten and moved his court to a new capital he had built, Akhetaten Horizon of Aten, at the site known today as Amarna. He and his royal wife, Nefertiti (whom he treated as a co-regent) became the intermediaries between Aten and the people. The worship of Amun was especially targeted for suppression and many of his temples were defaced and no idols were permitted. Aten became The Aten, represented only as a solar disk. Religious rituals were performed in open air settings. The death of Akhenaten occurred circa 1336 BC and it was not long before the traditional religious practices began to resume. It is possible that Nefertiti ruled under another name and, perhaps, was an influence in the royal family until near the end of the rule of Tutankhamun (1333–1324 BC), but if she did, she did not prevent the revival. Tutankhamun began ruling as a child of nine under the name of Tutankhaten. Some think that he was the son of Akhenaten by a minor wife. During his reign his name was changed away from the deity of his father, replacing aten with amun. This marks the beginning of a transition back to Thebes as the capital as well. The last ruler of the Eighteenth Dynasty, Horemheb (1320–1292 BC), restored the priesthood of Amun, but he prevented the Amun priesthood from resuming the powerful position they had held before Akhenaten dissolved the powerful cult and moved the capital away from their city. Horemheb had reformed the army and had developed a loyal chain of command within it. By appointing priests to the cult of Amun from the high ranks of his trusted army, he avoided any attempts to reestablish the powerful relationships that had provoked the drastic change made by Akhenaten. The title, God's Wife of Amun, was revived during the Twentieth Dynasty, when Ramesses VI (1145–1137 BC) conferred this office as well as the additional title of Divine Adoratrice of Amun on his daughter, Iset; the king's actions inaugurated the tradition where every subsequent holder of this office had to be "a king's daughter, and was expected to remain an unmarried virgin. In order to assist [in] the royal succession, she would adopt the daughter of the next king as her heiress." The office of the God's Wife of Amun reached the very heights of its political power during the late Third Intermediate Period, when Shepenupet I, Osorkon III's daughter, was first appointed to this post at Thebes. The Nubian king Kashta, in turn, appointed his daughter, Amenirdis, as her successor. The high status of this office is illustrated by the tomb of Amenirdis at Medinet Habu. Later, during the Saite Twenty-sixth Dynasty, Psamtik I would forcibly reunite Egypt in March 656 BC under his rule and compel the God's Wife of Amun serving at the time, Shepenupet II, daughter of Piye, to adopt his daughter Nitocris as her chosen successor to this position. The office continued in existence until 525 BC under Nitocris' successor, Ankhnesneferibre, when the Persian Empire overthrew Egypt's last Saite ruler, Psamtik III (526–525 BC), and enslaved his daughter. Thereafter, the powerful office of God's Wife of Amun disappears from history. ... Wikipedia - God's wife of Amun is Mut. Amun is the consort of Mut. Mut is a phallic water goddess as opposed to Amun who is probably in the penis cage ... The office did not die with the Persians - Rome called it the Augusta. - Egyptian Hermaphrodite - 167 Nude 22nd dynasty Karomama Meryetmut (God's Wife) before Amun-Re in a Ram's head " ... This statue was usurped by a 22nd dynasty priest and the scene was changed to depict Karomama Meryetmut. Karomama shakes two sistra before a seated statue of Amen-Re who is depicted with a Ram’s head and two double plumes. Karomama wears a long pleated dress. She wears a short Nubian style wig with a uraeus on her brow. Her modius is by a fairly large vulture whose outstretched wings seem to protect a crowned cobra. [Dodson-Hilton, pg 219] The inscription mentions that Karomama is the daughter of a King's Wife. Her mother is named as Nebettawy Henuttawy. It is not clear if this is just giving the mother's titles - Lady of the Two Lands and Mistress of the Two Lands - or if this could be her name. If the later is true, her mother would be a Lady of the Two lands named Henuttawy. Line drawing from Dodson and Hilton. Egyptian Museum Berlin 2278 ... " sites.google - That's an example of an ancient Egyptian tradition of a King handing over control of his penis to his daughter. More than control of the penis - the king became financially and politically submissive to his daughter - the "dog-leashholder" - Egyptian Hermaphrodite - 168 Topless statue of Amenirdis with a whip - 25th dynasty Nubian Divine Wife of Amun. She was her father's penis cage holder - continuing a long tradition of Emperor's sexually submitting to their daughters. The tradition stretched into the Roman empire. I guess it rejuvenated old goats with the added benefit of not having to worry about a stranger taking over ... "This statue of Egyptian alabaster on a base of black granite represents Amenirdis. Daughter of Kashta, one of the kings of the Nubian 25th dynasty, she bore the title of Divine wife of Amun. Ground floor, gallery 30. Cairo Museum" Heidi Kontkanen * List of Divine wives of Amun - from Wikipedia All serious research into ancient Egypt has to be based on this list - that's the queen bee of the ancient Egyptian hive: " ... Royal women holding the office of God's Wife of Amun Holders of the office from the tenth through the twelfth dynasties are not noted on this list because they were not women from the royal line. Ahhotep I – wife of Seqenenre Tao II and mother of Ahmose, the title God’s Wife only appears on her coffin, first to hold this title Ahmose Nefertari – daughter of Seqenenre Tao II and sister-wife of Ahmose – first royal woman known to hold the office Sitkamose – probably a daughter of Kamose, may have become God's Wife only posthumously Ahmose-Meritamon – daughter of Ahmose and sister-wife of Amenhotep I (Ahmose-)Sitamun – daughter of Ahmose, represented as a colossal statue in front of the eight pylon at Karnak Hatshepsut – daughter of Tuthmosis I and Queen Ahmose, given title of Divine Adoratrice of Amun also, became pharaoh Neferure – daughter of Tuthmosis II and Queen-Pharaoh Hatshepsut, possibly first royal wife of Tuthmosis III Iset – mother of Tuthmosis III, received the title of God's Wife after her death Satiah – next wife of Tuthmosis III in the early part of his reign Merytre-Hatshepsut – next wife of Tuthmosis III, mother of his heir, she was the daughter of the Divine Adoratrice of Amun Hui Meritamen – daughter of Tuthmosis III and Merytre-Hatshepsut Tiaa – wife of Amenhotep II and mother of Tuthmosis IV (hiatus – when the title was not used, due to political and religious changes that occurred and reverted again) Sitre – wife of Ramesses I, mother of Seti I, use of the title resumes after hiatus imposed by Amenhotep II (Mut-)Tuy – wife of Seti I and mother of Ramesses II Nefertari-Merymut – wife of Ramesses II, Nefertari was de facto God's Wife based on epithets in her royal tomb, on scarabs, on a fragment of a statue from Dendara (PM V, 115), her insignia, and the designation of the royal couple as incarnations on earth of the divine couple Amun(-Rê) and Mut(-Hathor); K. A. Kitchen mentions she is attested twice as God's wife in her tomb QV66 Twosret – wife of Seti II, regent for Siptah Iset Ta-Hemdjert – wife of Ramesses III Tyti – the wife (and daughter) of Ramesses III (Dua)Tentopet – wife of Ramesses IV, she was a Divine Adoratrice of Amun Aset – daughter of Ramesses VI, also given title of Divine Adoratrice of Amun, stipulation established by Ramesses for the holder of the God's Wife title to remain a virgin and facilitate the transfer of power by adopting the daughter of the next pharaoh Maatkare (prenomen: Mutemhat) – daughter of Pinudjem I and Henuttawy Q Henuttawy – daughter of Isetemkheb IV and Pinudjem II Karomama Meritmut (prenomen: Sitamen Mutemhat) – possibly a daughter of Osorkon II (?)Tashakheper – daughter of Osorkon II, may be the God’s Wife mentioned during the reign of Takelot III Shepenwepet I (prenomen: Khnemet-ib-amun) – daughter of Osorkon III and Karoatjet, served as God’s Wife of Amun from the beginning of her father’s reign, and adopted Amenirdis I Amenirdis I (prenomen: Khaneferumut) – daughter of Kashta, served through the reigns of Shabaka and Shabataka Shepenwepet II (prenomen: Henut-neferumut-iryetre) – daughter of Piye, served as God’s Wife from the reign of Taharqa until after year 9 of Psamtik I Amenirdis II – daughter of Taharqa, adopted by Shepenwepet II, may have been passed over after the death of Shepenwepet II to have the position go to Nitokris Nitokris I Shepenwepet III (prenomen: Nebetneferumut) – daughter of Psamtik I Ankhnesneferibre (prenomen: Hekatneferumut) – daughter of Psamtik II, adopted by Nitokris I, became God’s Wife of Amun in year 4 of the reign of her brother Wahibre ... " Wikipedia - Egyptian Hermaphrodite - 169 Nude 20th dynasty Queen Iset and Ptah-Sokar from the valley of the Queens- Lepsius Denkmahler (1849 - 1859) Ptah is probably her husband Ramesses III " ... Iset Ta-Hemdjert or Isis Ta-Hemdjert, simply called Isis in her tomb, was an ancient Egyptian queen of the Twentieth Dynasty; the Great Royal Wife of Ramesses III and the Royal Mother of Ramesses VI. She was probably of Asian origin; her mother's name Hemdjert (or Habadjilat or Hebnerdjent) is not an Egyptian name but a Syrian one. ... Apart from the Great Royal Wife designation, she also held the titles of God's Wife, and, during the reign of her sons, "King's Mother". She is shown on a statue of Ramesses III in the Mut temple at Karnak. She was still alive during the reign of Ramesses VI, when her granddaughter Iset became God's Wife of Amun ... "Wikipedia * Ramesses VI made his daughter Iset God's wife of Amun - but instituted a celibacy requirement. Not sure what that meant but from all the evidence, this probably did not last past his death. Egyptian women, like Roman women, were sexually aggressive - and she was probably no different. The office itself was sexual - it involved the control of the Kings penis - and probably many more below him ... " ... Iset (Aset, Isis) was an ancient Egyptian princess and God's Wife of Amun during the 20th Dynasty. Iset was the daughter of Pharaoh Ramesses VI and his Great Royal Wife Nubkhesbed, and a sister to Pharaoh Ramesses VII. She was the first to hold the revived titles of God's Wife of Amun and Divine Adoratrice of Amun, both of which had been of great importance during the early 18th Dynasty but fell into disuse later. From her time on, the position of God's Wife became more and more influential, reaching the peak of its power during the Third Intermediate Period. Iset was probably the first God's Wife of Amun to live in celibacy (the previous holders of the title were queens, usually Great Royal Wives). ... " Wikipedia - Egyptian Hermaphrodite - 170 A nude with a whip Princess Ankhenesneferibre, daughter of Psamtik II, ca. 586-525 The last God's Wife of Amun. 26th dynasty was Nubian. They say she was enslaved by an invading Persian army and the office ended with her. But if you study the Persian and Greek rulers of Egypt, it seems the native priests of Amun accepted foreigners to continue holding the office. This seems to have continued into the Roman empire. - Egyptian Hermaphrodite - 171 A censing nude Princess Iset, daughter of Ramesses VI and God's wife of Amun during the 20th dynasty According to Egypt at the Manchester Museum " .... This finely wrought limestone slab likely once formed the upper part (the curved ‘lunette’) of a larger stela commemorating the daughter of King Ramesses VI (c. 1143-1136 BC), a princess named Iset – or Isis. The stela was excavated by Flinders Petrie at the site of Coptos. Central text The Osiris, King, Lord of the Two Lands, Neb-Maat-Re Mery-Amun, Son of Re, Ramesses, Heka-Iunu, Father of the God’s Wife of Amun, The Divine Adoratrice Isis. Above the figure of Re-Horakhty (on the left): Re-Horakhty, by whose shining all is illuminated, Great God, Ruler of Eternity. Above the scene of the princess shaking a sistrum and censing: I play the sistrum before your fair face, gold is in front of you. May you allow [me] to see the sunrise, the Osiris, the Hereditary Princess, great of favours, the God’s Wife of Amun, the King’s Daughter, the God’s Adoratrice Isis, true of voice. Behind the princess: Her mother, the Great Royal Wife, whom he loves, the Lady of the Two Lands, Nub-khesbed, true of voice. Above the figure of Osiris (on the right): Osiris, who awakens complete, Lord of the Sacred Land, Great God, Chief of Silence Above the scene of the princess pouring liquid over a table of offerings: Making a libation to Osiris, Lord of Eternity. May you allow me to receive offerings that go out upon your offering tables, consisting of everything good and pure for the Osiris, the God’s Wife of Amun, the King’s Daughter, Lady of the Two Lands, the Divine Adoratrice, Isis, true of voice. Behind the princess: Her father, the king, Lord of the Two Lands, Neb-Maat-Re Mery-Amun, Son of Re, Ramesses, Heka-Iunu […]. The scene makes an important religious statement, showing two deities as different aspects of the sun god – representing both night (Osiris) and day (Re-Horakhty). As is typical of many such scenes, the text captions and reinforces what is depicted in figural scenes. Isis performs rituals with a rattle, or sistrum, burns incense and pours libations. These were important aspects of the role of the ‘God’s Wife’, as chief ritualist who entertained the god. In some sense, the ‘God’s Wife’ (or ‘God’s Adoratice’ or ‘God’s Hand’) was a sexual companion for the god Amun. This position was an important religious and political one, because the princess was a representative of her father the king at Karnak – when the Pharaoh was largely based in the Delta at this period. From recent excavations of chapels at Dra Abu el-Naga on the West Bank at Thebes, it seems the office of God’s Wife and of High Priest were closely linked at this time. The stela’s inscription is important in making explicit the parentage of Isis, which has been used by Egyptologists to help build a picture of royal family relationships in the Twentieth Dynasty. ... " egyptmanchester.wordpress - Egypt at the Manchester Museum * My guess is God's wife of Amun regulated the ritual "animation of Osiris" which was a sexual act - probably ritual masturbation or the "Hand of Amun". Not sure she masturbated her father or was permitted to assign that duty to another priestess: as God's wife of Amun her main task was control over the kings' caged penis. But from the ritual nudity - female on top or female dominant sex was involved. - In some scenes Isis as a kite sexually mounts a prone Osiris. This was probably a regular sexual ritual that occurred in a Temple setting ... - Egyptian Hermaphrodite - 172 "Lords of the West" - seated topless at front of the bottom row is a black skinned 18th dynasty Ahmose-Nefertari - the first God's wife of Amun. The standing nude is probably the God's wife of Amun during the reign of Ramesses IV - Tentopet From the 20th dynasty tomb of Inherkau "Lepsius - Lepsius-Denkmahler Scene from the tomb of Inherkau (TT359) showing the Lords of the West: Top row, right to left: Amenhotep I, Ahmose, Ahhotep I, Ahmose-Meritamun, Sitamun, Siamun,?, Ahmose-Hennuttamehu, Ahmose-Tumerisy, Ahmose-Nebetta, Ahmose-Sipair Bottom row, right to left: Ahmose-Nefertari, Ramesses I, Mentuhotep II, Amenhotep II, Seqenenre Tao, Ramose?, Ramesses IV, ?, Tuthmosis I. (ref: Dodson-Hilton)" ... " Wikipedia * " ... by Osama Shukir Muhammed Amin (CC BY-NC-SA) The cult of Amun had been growing in power since the period of the Old Kingdom of Egypt (c. 2613-2181 BCE) and had amassed considerable wealth by the time of Ahmose I. The monarchs of the Old Kingdom had conferred tax-exempt status on the priesthood in return for the rituals they performed at mortuary complexes, and this policy enriched the clergy at the expense of the crown. By the time of the New Kingdom, the cult of Amun was so popular and so wealthy they were able to exert considerable influence on policy. The New Role of God's Wife When Ahhotep I conferred the title on Ahmose-Nefertari, Ahmose I increased the power of the God's Wife dramatically and, perhaps, in a deliberate effort to diminish the power of the priests. The God's Wife was no longer a mere figurehead nor was she any kind of understudy for the king in times of crisis; now the God's Wife of Amun was effectively the female counterpart of the high priest. She was granted her own private income in compensation for performing rituals previously reserved for the high priesthood. Bryan identifies the duties of the position starting with Ahmose-Nefertari: 1. Participation in the procession of priests for the daily liturgies of Amun. She was shown accompanying the priests called "god's fathers," a general designation that could include the top four priests of the temple, known by numbered position, i.e., "first priest," etc. 2. Bathing in the sacred lake with the pure priests before carrying out rituals. 3. Entering the most exclusive parts of the temple together with the high priest. This included the holy of holies. 4. With the high priest, "calling the god to his meal," reciting a menu of food offering being presented to Amun. 5. With the high priest, burning wax effigies of the enemies of the god to maintain the divine order. 6. Shaking the sistrum before the god to propitiate him. 7. Theoretically, as the "god's hand," assisting the deity in his self-creative masturbation. In this way and in her sistrum activity (a sexual allusion) she performed as the god's wife. (Bryan, 2) These responsibilities and honors were rewarded with tax-exempt land, housing, food, clothing, gold, silver, and copper, male and female servants, wigs, ointment, cosmetics, livestock, and oil. While most of this payment was used in the performance of her duties, the lands would generate further revenue which would go directly to the God's Wife as her personal property, not to the temple. God's Wives After Ahmose-Nefertari The God's Wives who came after the reign of Ahmose I all held this same power and prestige to greater or lesser degrees. Although some of these women were the daughters of high priests, the majority were related to the king. In addition to the God's Wife, there were the honorary titles of Divine Adoratrice and God's Hand. These two lesser positions could be held by non-royal women, though usually they seem to have been filled with younger sisters or relatives of the God's Wife. The responsibilities of the position of God's Hand are unclear as it is obvious that the God's Wife performed the function of God's Hand in the ritual act of creative masturbation. The Divine Adoratrice was a high priestess who assisted the God's Wife and presided over festivals and ceremonies. She seems to have held equal power to the highest priests of the temple and a Divine Adoratrice is known to have become a God's Wife a number of times. For the most part, the dates of the women's lives below are unknown. The dates given are those of their fathers or husbands. Details of their duties as God's Wife are equally lacking and, except for notable exceptions, they are known only through their tombs. When a God's Wife date is known it is given below right after her name. 18th Dynasty Sit-Kamose: Most likely a daughter of Kamose, brother of Ahmose I. Possibly awarded the title posthumously. Ahmose-Meritamun: Also known as Meryetamun. Eldest daughter of Ahmose I and Ahmose-Nefertari. Succeeded Ahmose-Nefertari as God's Wife and was sister-wife of Amenhotep I (c.1541-1520 BCE). Ahmose-Sitamun: A daughter of Ahmose I and one of his lesser wives. Her name means "Child of the Moon-Daughter of Amun." She was clearly quite important since a large statue of her was erected at Karnak but little is known of her. Hatshepsut: (1479-1458 BCE) The daughter of Thutmose I and Queen Ahmose, Hatshepsut is the most powerful and successful female ruler of ancient Egypt. Shortly after she became pharaoh, she surrendered the title of God's Wife to her daughter Neferu-Ra to further consolidate her power. Neferu-Ra: Also known as Neferure, Daughter of Thutmose II Hatshepsut. Possibly the wife of Thutmose III (1458-1425 BCE). Seniseneb: Not the same woman as the mother of Thutmose I and not an actual God's Wife but a Divine Adoratrice of Amun. She was the daughter of high priest and vizier Hapuseneb and his wife Ahhotep and began her career as a temple singer. Later married to Puyemra, a priest of Amun. Isis: Also known as Iset, the mother of Thutmose III. Awarded the title of God's Wife posthumously among other honors bestowed by her son. Sitiah: Also known as Satiah, the first wife of Thutmose III who was given the title of God's Wife by his mother Isis. She died and was succeeded by Merytre-Hatshepsut as Thutmose III's second wife. Huy: The mother of Merytre Hatshepsut and a Divine Adoratrice. She may have been given the title posthumously and is known only from a statue showing her in a family setting with her grandchildren. Merytre-Hatshepsut: Wife of Thutmose III and mother of Amenhotep II (1425-1400 BCE). She succeeded Sitiah as principal wife and God's Wife and is regularly depicted as a regal queen. Merytamun: Also known as Meritamen and, to modern-day scholars, as Merytamun C (to distinguish her from her sister and others of the same name). She was the daughter of Tuthmosis III and Merytre-Hatshepsut. Tiaa: The wife of Amenhotep II and mother of Thutmose IV (1400-1390 BCE). Maetka: Not a God's Wife but Divine Adoratrice during the reign of Amenhotep III (1386-1353 BCE). Maetka was the wife of a man named Senena, the head goldsmith of Amun, who assisted in creating the sacred statuary and temple ornaments. It is probable that Maetka would have become God's Wife in any other era but the position fell out of favor during Amenhotep III's reign. Amenhotep III's wife Tiye (1398-1338 BCE) held all of the traditional titles associated with the queen but not God's Wife. Amenhotep III was an effective ruler who reigned over Egypt at one of its highest cultural and economic peaks and Tiye was a powerful presence at court. It is well established that the couple did not approve of the cult of Amun or its influence and Tiye would support her son Akhenaten (1353-1336 BCE) in abolishing the cult and reforming religious beliefs in Egypt. No God's Wives are mentioned for the rest of the 18th Dynasty. Akhenaten, of course, had eliminated the office during his reign and his successors Tutankhamun (c. 1336-1327 BCE) and Horemheb (1320-1295 BCE) were too busy trying to repair the damage done to the state by Akhenaten's reforms to reinstate it or, possibly, the position was revived but not conferred. The God's Wife of Amun appears again in the 19th Dynasty with the same prestige as earlier. 19th Dynasty Sitre: The wife of Ramesses I (1292-1290 BCE), who founded the 19th Dynasty, and the mother of Seti I (1290-1279 BCE). Possibly known as Tiy or Tiye before becoming queen and taking the title God's Wife. Tuya: Also known as Mut-Tuya and Tuy, she was the wife of Seti I and mother of Ramesses II (1279-1213 BCE, better known as Ramesses the Great). She is depicted in statuary as a regal queen and God's Wife through a number of inscriptions and statuary but little is known of her life. Meritamen: Also known as Merytamun, the fourth daughter of Ramesses II and Nefertari. It is assumed that Meritamen received the title of God's Wife from Nefertari, but this is uncertain. It is only known she held the position of "Superior of the Harem of Amun-Ra" while Nefertari lived. Most likely, she became God's Wife when she was elevated by her father to Great Royal Wife following the death of Nefertari. Twosret: Also known as Tawosret (1191-1190 BCE) was the step-mother of Siptah (1197-1191 BCE) who died at the age of 16. Twosret then ruled Egypt until her death when she was succeeded by Setnakhte (1190-1186 BCE) who founded the 20th Dynasty. 20th Dynasty Isis-Ta-Hemdjert: The wife of Ramesses III (1186-1155 BCE) and mother of Ramesses IV (1155-1149 BCE). She conferred the title of God's Wife on her granddaughter Isis (daughter of Ramesses VI). Isis: Also known as Iset and Aset, the daughter of Ramesses VI. She is the first known celibate God's Wife of Amun and initiated the policy which was adhered to from that time forward. God's Wives would henceforth be virgin daughters only, no longer wives or mothers. Tyti: Possibly the wife of Ramesses X (1111-1107 BCE) but probably his maiden daughter. Very little is known of her. 21st Dynasty to the Invasion Maatkare: The daughter of the high priest Pinedjem I (1070-1032 BCE) and sister to the pharaoh Psusennes I (1047-1001 BCE). The cooperation of the high priest of Amun at Thebes and the king at Tanis during this time is well documented, though little is known of Maatkare's actual duties. She is best known from her tomb which contained her mummified pet monkey. Henuttawy: The daughter of Pinedjem II (c.990-969 BCE) and his queen Isetemkheb. Karomama: Also known as Karomama-Meryetmut and, to modern scholars, as Princess Karomama C, daughter of Osorkon II (872-837 BCE). Best known for her exquisite statue now in the Louvre, Paris. Nefertari: (c. 1255 BCE) Also known as Nefertari-Meritmut, wife of Ramesses II. She was highly educated and so was influential in her husband's diplomatic efforts and a great power at court. Ramesses II had the Temple of Abu Simbel constructed in her honor and her tomb is the largest in the Valley of the Queens. She remains one of the most famous figures in Egyptian history. Tashakheper: Another daughter of Osorkon II who does not seem to have held the title of God's Wife very long. Shepenwepet I: The daughter of Osorkon III (c. 790 BCE) and Queen Karoatjet. Amenirdis I: (c. 714-700 BCE) The daughter of Kashta (c. 750 BCE) and Queen Pebatjma, Sister of Piye (747-721 BCE) and his successor Shabaka (721-707 BCE). One of the most powerful of the God's Wives who effectively ruled Upper Egypt. She held the position of Divine Adoratrice before becoming God's Wife and High Priestess of Amun at Thebes. Shepenwepet II: The daughter of Piye and half-sister of King Taharqa (c. 690-671 BCE). Amenirdis II: (c. 650-640 BCE) The daughter of Taharqa. She was selected as heir by Shepenwepet II but never actually occupied the position. Amenirdis II had adopted Nitokris I as her heir and the title passed directly to her when the Nubian rule in Egypt ended. Amenirdis II remained as the Divine Adoratrice to Nitokris I. Nitokris I: (655-585 BCE) Also known as Neitiqert and Shepenwepet III, daughter of Psamtik I (c. 665-610 BCE) and his queen Mehytenweskhet. One of the wealthiest of God's Wives who ruled over seven districts in Upper Egypt and four in Lower Egypt and who commanded tribute of 420 pounds (190 kilograms) of bread, cereals, herbs, and milk daily from the priests of Amun as well as a monthly tribute of various foods and cattle (van de Mieroop, 275). She is among the most famous of God's Wives owing to inscriptions at Karnak, Abydos, and elsewhere and the Adoption Stele which recounts how Nitokris I became a God's Wife. Shepenwepet IV: Most likely a daughter of King Necho II (610-595 BCE) and his queen Khedeb-neith-hirbinet. Ankhenesneferibre: (c. 595-525 BCE) The daughter of Psamtik II (595-589 BCE) and his queen Takhuit. She ruled at Thebes until the Persian Invasion. Nitokris II: The daughter of Amasis II (also known as Ahmose II, 570-526 BCE) who was chosen as Ankhenesneferibre’s successor. She held the office of High Priestess of Amun at Thebes and Divine Adoratrice to Ankhenesneferibre. She is the last woman to be adopted as a successor to the title of God's Wife of Amun before the Persian Invasion. The Persian Invasion Amasis II was an exceptional military leader and administrator, but his son Psamtik III (526-525 BCE) was young and inexperienced when he came to the throne. According to Herodotus, the Persian king Cambyses II had sent to Amasis asking for one of his daughters as a wife but there was a long-standing policy in Egypt that daughters of royalty were not sent to foreign lands as wives. Amasis II, therefore, could not comply but at the same time wished to avoid conflict, so he sent the daughter of a former ruler, Apries, instead. This princess of Egypt was deeply insulted by Amasis' decision and especially so because of the ancient Egyptian tradition which Amasis II had just ignored at her expense. When she arrived at Cambyses II's court, she revealed to him who she really was, and Cambyses II swore to avenge the insult of having been sent a 'fake wife.' Whether the details of this story are all true, the Persian army marched on Egypt in 525 BCE and met the forces of Psamtik III at the city of Pelusium. The city was heavily defended and Cambyses II understood he was probably facing heavy losses. He had long been an admirer of Egyptian culture, however, and knew of their deep devotion to cats and respect for animals. He, therefore, ordered his men to round up cats and as many animals as they could find, and to also paint the image of Bastet, the Egyptian cat goddess, on their shields. The Persians drove the animals toward the city while raising their shields and demanding the Egyptian surrender. The defenders, not wishing to have the animals harmed and fearing lest they offend Bastet, complied; and Egypt fell to the Persians. Although Egypt prospered under Persian rule, and the Persians respected the culture and the Egyptian religion, the title of God's Wife of Amun was abolished. The high priests of Amun now served the Persian kings and there was no longer an Egyptian royalty of any real power to confer the position on their daughters or to worry about the power of the priesthood in Egypt. The office of God's Wife of Amun was revived by the Nubian kings later, but after the massacre of the priests of Amun in 285 BCE by the king Ergamenes, it fell out of use, and the cult of Amun itself finally disappeared with the rise of Christianity. ... " ancient.eu * Ritual masturbation was the main task of the female "God's hand". This almost certainly a required a regular ritual of men in the prone Osiris position on a Sekhmet bed - the roman "Mulier equitans" or horse riding position. The implication is the penis was not usually free to have an erection - or was in a penis cage. "God's fathers," - a general designation that could include the top four priests of the temple was probably literal - ie like Ay was the "father of the god" of one of Nerfetiti's daughters - Princess Ankhesenamun - and later the husband of that daughter - meaning his penis was caged by his daughter. - Egyptian Hermaphrodite - 173 Nude queen Nerfetiti - she would have been the God's wife of Amun and probably performed the same functions - although her husband Akhenaten did not have a penis to cage. This did not prevent her having six daughters though ... - Egyptian Hermaphrodite - 174 First God's wife of Amun Ahmose-Nefertari and her son the Pharaoh Amenhotep I. She is topless and black skinned on right. She was probably a princess of Punt. 18th dynasty Lepsius Abt III, Band 7, Bl. 99 She was the penis cager of her husband Ahmose I. The cult of Amun was a massive masturbation temple - it was where most sex in Egypt took place. When the Egyptians say Osiris was the same as Dionysus - then the Dionysus cult also involved female manipulation of the penis ...Dionysus was said to be the son of Ammon - a king of central Africa. Dionysos is Dio Nysa or a god of Nysa - or central Africa. Ammon was probably a king of Punt. In Punt the king was the consort of the Queen ... "Ahmose-Nefertari and her son Amenhotep I as depicted in a tomb in Qurna. Ahmose Nefertari is shown here with the title God's Wife (hmt nTr).On the right she bears both titles as God's Wife and as Great Royal Wife (Hmt nTr wrt)" sites.google - Egyptian Hermaphrodite - 175 God's wife of Amun Princess Neferure, c.1500 BC Egypt, Thebes, Temple of Deir el-Bahri Limestone relief fragment. Neferure is visibly black African with a sidelock of youth " ... Neferure (or Neferura) was an Egyptian princess of the Eighteenth Dynasty of Egypt. She was the daughter of two pharaohs, Hatshepsut and Thutmose II. She served in high offices in the government and the religious administration of Ancient Egypt. ... Following her mother's accession to the Egyptian throne, Neferure had an unusually prominent role in the court, exceeding the normal role played by a royal princess to the pharaoh. As Hatshepsut took on the role of pharaoh, so Neferure took on a queenly role in public life. Many depictions of her in these roles exist. She was given the titles Lady of Upper and Lower Egypt, Mistress of the Lands, and God's Wife of Amun. The latter title being one that Hatshepsut had to abandon upon becoming pharaoh. These offices had to be filled by a royal woman in order to fulfill the religious and ceremonial duties, normally of the queen, in the government and the temples. The interpretation of one scene depicted on Hatshepsut's Chapelle Rouge (Red Chapel) in the Karnak temple depicts her fulfilling the rituals required of God's Wife of Amun. Perhaps significantly, this royal title had been held by several queens of her dynasty including her mother, and this woman played an important role in temple rituals with the pharaoh. .... " Wikipedia - Egyptian Hermaphrodite - 176 God's wife of Amun Merytre-Hatshepsut with her son Amenhotep II - tomb in Abd-el-Qurna . Lepsius Abt III, Band 5, Bl. 62 Those are djed symbols below - maybe that "raising of the Djed pillar ceremony for Amenhotep II "... Queen Merytre-Hatshepsut (or sometimes Hatshepsut-Meryet-Ra) was the principal wife of Pharaoh Thutmose III and the mother of Amenhotep II. Merytre-Hatshepsut is known to have held the titles Hereditary Princess (iryt-p`t), Sole One, Great of Praises (wrt-hzwt-w’tit), King’s Mother (mwt-niswt), Lady of The Two Lands (nbt-t3wy), King’s Wife (hmt-nisw), Great King’s Wife (hmt-niswt-wrt), God’s Wife (hmt-ntr), God’s Hand (djrt-ntr). ... Merytre-Hatshepsut became a Great Royal Wife after the death of queen Satiah. She is attested in the mortuary temple of Thutmose III in Medinet Habu. The queen is depicted standing behind a seated Tuthmosis III. She's depicted in full Queenly regalia, including the vulture cap, modius with double plumes and the fly-whisk. She is called "great royal wife". .... In the tomb of Ra (TT72) in Thebes. Merytre Hatshepsut is depicted seated next to / behind her son Amenhotep II. A scene in another tomb in Sheikh Abd el-Qurna seems to depict a statue of Merytre-Hatshepsut that is shown in a small structure on a sled. The other statues depicted all represent Tuthmosis III. A stela (borne by the statue of a courtier) depicts Merytre-Hatshepsut standing before Tuthmosis III. The Queen is shown wearing a modius and double plumes. She is shown holding a fly-whisk in one hand and an ankh in the other. ... " Wikipedia - She served as "God's hand" - or senior masturbator in the Temple of Amun. That may seem vulgur to modern ears, but to the Egyptians it was religious - kind of like Papa Legba in Voodoo - That's how you gain access to the chthonic or inner sun- or "dragon fire" ... In Voodoo that's also the key to access to the world of the spirits - The Romans went from the Egyptian and Minoan "sacral knot" to a bronze dog-leash pin or fibula. That's how precious they considered the "dragon fire" . - Egyptian Hermaphrodite - 177 " ... Osiris of Denderah lying on his bier which is supported by Thoth, two goddesses, and an Ape-god. The three hawks are Isis, Nephthys, and Hathor. At the head stands Isis, and at the foot Heqet. Mariette, Dendérah, IV, 70. ... " Osiris and the Egyptian Ressurection, vol. 2 - Wallis Budge - Scenes from Ptolemaic Egypt Five women and one prone man enacting a resurrection of Osiris ritual. Three of the women probably had ritual female-on-male sex with a prone Osiris in the form of kites. The other two women at the sides of the bed were probably in a "hand of God" or masturbation capacity. This was probably a standard rite in the temple of Amun - Egyptian Hermaphrodite - 178 "Seker-Osiris of Memphis; the goddess at the head is Isis. Osiris-Tet in Busiris. Mariette, Dendérah, IV, 71." Osiris and the Egyptian Ressurection, vol. 2 - Wallis Budge Looks to me like the rising of the djed pillar. - Four levels which I guess is 40 years in the dog-leash But the Egyptian unit was 7 years not 10. So that's probably 28 years in the dog-leash - Egyptian Hermaphrodite - 179 Fourth Dynasty - Giza pyramid age - funeral rites and ceremonies including slaughtering a white bull at bottom. - Lepsius Women all have lighter skin then men who are all dark brown or black African. That's the penis cage effect. Lepsius' prints from of "Arrival in Thebes of an Ethiopian princess in a bull driven chariot - 18th dynasty" has a feature that might be related to the Giza pyramids - the unusual structures under the giraffes. Plates 157 and 158 above. Those a probably underground structures built by the same people who build the great pyramids. "Dynastie IV. Pyramiden von Giseh [Jîzah], Grab 24. [ Grabkammer No. 2 im K. Museum zu Berlin.]. Lepsius, Richard, 1810-1884 (Author) Frey, Johann Jakob (1813-1865) (Artist) Reubke, Gustav (Lithographer). Denkmaeler aus Aegypten und Aethiopien nach den Zeichnungen der von seiner Majestat dem Koenige von Preussen Friedrich Wilhelm IV nach diesen Landern gesendeten und in den Jahren 1842-1845 ausgefuhrten wissenschaftlichen Expedition. Denkmaeler aus Aegypten und Aethiopien, Band III. Date Created: 1849 - 1856 Place: Berlin Publisher: Nicolaische Buchhandlung. Egypt - Antiquities Pyramids of Giza (Egypt) Jîzah (Egypt) Food - Egypt Funeral rites & ceremonies - Egypt Pharaohs - Religious aspects Scepters Animals Königliche Museen zu Berlin Slaughtering - Egypt. Prints colored lithograph. Still image. German." - Alamy - Egyptian Hermaphrodite - 180 Fourth dynasty - or Pyramid age Egyptian- funeral rites & ceremonies - Lepsius. Lone female in red dress is lighter skinned than the dark brown skinned males. That's the "dog-leash" effect. - There might be a dark skinned woman at top left Two fully nude males but most males have a loin cloth. Leopard skin on royal similar to central African leopard skins on plates 157 and 158. Those central African prints probably depict below ground structures. - My guess is large underground commmunities under the great Savannah's of east and central Africa. But central African males are black skinned as opposed to dark brown skin on the Pyramid builders. " ... Dynastie IV. Pyramiden von Giseh [Jîzah], Grab 24. [ Grabkammer No. 2 im K. Museum zu Berlin.]. Lepsius, Richard, 1810-1884 (Author) L. Steffen & Co. (Printer) Frey, Johann Jakob (1813-1865) (Artist). Denkmaeler aus Aegypten und Aethiopien nach den Zeichnungen der von seiner Majestat dem Koenige von Preussen Friedrich Wilhelm IV nach diesen Landern gesendeten und in den Jahren 1842-1845 ausgefuhrten wissenschaftlichen Expedition. Denkmaeler aus Aegypten und Aethiopien, Band III. Date Created: 1849 - 1856 Place: Berlin Publisher: Nicolaische Buchhandlung. Egypt - Antiquities Pyramids of Giza (Egypt) Jîzah (Egypt) Food - Egypt Funeral rites & ceremonies - Egypt murals - Egypt Pharaohs - Religious aspects Scepters Animals. Prints colored lithograph. Still image. German. ... " Alamy - Egyptian Hermaphrodite - 181 Woman in white dress seated in front of food from fouth and five dynasties. - Lepsius Again, female skin lighter than male - that's the penis cage effect. " ... Old empire. Dynasty IV, V. Pyramids of Giza [Jizah]: Grave 54. Lepsius, Richard, 1810-1884 (Author) Weidenbach, Ernst (1818-1882) (Artist) Reubke, Gustav (Lithographer). Monuments from Egypt and Ethiopia based on the drawings of the scientific expedition sent by His Majesty the King of Prussia Friedrich Wilhelm IV to these countries and carried out in the years 1842-1845. Monuments from Egypt and Ethiopia, Volume IV. Date Created: 1849 - 1856 Place: Berlin Publisher: Nicolaische Buchhandlung. Egypt - Antiquities Containers Pyramids of Giza (Egypt) Jizah (Egypt) Hieroglyphics murals - Egypt Food. Prints. German." - Egyptian Hermaphrodite - 182 Mitri, the scribe: 5th dynasty blue-eyed brown skinned male Egyptian scribe. - Giza pyramid age Looks like a blue-eyed black African to me. You find those in east Africa. The blue-eyed gene is probably African ... " ... Statue of Mitri as a scribe The statue depicts Mitri, an overseer of the scribes during the fifth dynasty, sitting in the traditional pose of scribes with his legs crossed. He spreads a roll of papyrus on his lap and holds it with his left hand. In his right hand he holds a pen. Around Mitri's neck is a broad, multiple-strand necklace, with patches of the original colour surviving ( light blue, green and white). The whites of his eyes are inlaid with opaque quartz and the pupils with rock crystal. His name and titles are written on a wooden pedestal on which the statue rests. He held many titles, among which were Nome Administrator, Priest of the Goddess Maat, the Greatest of the Tens of Upper Egypt, and the Close Counselor. There was another small standing figure beside him but it is now almost completely broken. 5th dynasty, from the mastaba of Mitri, Saqqara, JE 93165, Ground floor, room 32, Egyptian Museum, Cairo ... " Merja Attia - Egyptian Hermaphrodite - 183 Mitri, the scribe: 5th dynasty blue-eyed brown skinned male Egyptian scribe. Giza pyramid age 5th dynasty, from the mastaba of Mitri, Saqqara, JE 93165, Ground floor, room 32, Egyptian Museum, Cairo Mitri Looks more African here. After 40 years scribes would lose their profession as natural near sightedness kicks in. That would have spurred glass technology. I have had dreams of Romans with glasses. And eye-ware technology is supposed to have existed in Nero's Rome. It probably came from Egypt which had an ancient glassmaking technology. - Egyptian Hermaphrodite - 184 Mitri, the scribe: 5th dynasty blue-eyed brown skinned male Egyptian scribe. Giza pyramid age - Heidi Kontkanen 5th dynasty, from the mastaba of Mitri, Saqqara, JE 93165, Ground floor, room 32, Egyptian Museum, Cairo - Egyptian Hermaphrodite - 185 " ... Osiris (father) coming back to life and helped by Isis (his wife) and Horus (his son). Relief from the temple of Seti I in Abydos. XIX Dynasty. ... " hairanddeathinancientegypt Shot blocked. Used workaround - Although that's Osiris reanimated by his wife and daughter - Horus is female. This image is probably why so many Egyptian, Greek and Roman emperors were penis caged by their daughters. That's a scene from the temple of Amun - Egyptian Hermaphrodite - 186 Topless Nubian queen decapitating her enemies. Shot blocked. Used workaround " ... A Meroitic queen slaughtering prisoners of war. From a bas-relief at Nagaa. ... " Osiris and the Egyptian resurrection; (1911) Wallis Budge - The temple of Amun survived into Roman times. The general view is worship of Amun died in Nubia during the time of the Greek Ptolemy's. But according to Wikipedia the Romans razed a Nubian temple of Amun that was rebuilt in Roman times ... - That's the seed-corn of Islam. Mecca is just a short boat ride on the other side of the Red Sea. " ... The Temple of Amun is an archaeological site at Jebel Barkal in Northern State, Sudan. It is situated about 400 kilometres (250 mi) north of Khartoum near Karima. The temple stands near a large bend of the Nile River, in the region that was called Nubia in ancient times. The Temple of Amun, one of the largest temples at Jebel Barkal, is considered sacred to the local population. Not only was the Amun temple a main centre of what at one time was considered to be an almost universal religion, but, along with the other archaeological sites at Jebel Barkal, it was representative of the revival of Egyptian religious values Up to the middle of the 19th century, the temple was subjected to vandalism, destruction, and indiscriminate plundering, before it came under state protection. Construction of the temple occurred in the 13th century BC. The temple's foundation probably occurred during the reign of Thutmose III, while the temple was shaped during his reign and that of Ramses II. Especially at the time of the Napatan empire, the temple was of great importance for the Kushite kingdom. The Nubian king Piye and subsequent Nubian pharaohs expanded Barkal's Amun temple complex, creating a southern rival to the northern Amun temple at Thebes. Although early Meroe rulers had their own capital, government officials took a coronation journey to the Amun Temple of Jebel Barkal. Here, the king went into the Holy of Holies, where he was confirmed as king by a divine oracle. In the years 25/24 BC, the Romans invaded Nubia during a campaign against the Kushites led by Gaius Petronius. He destroyed the temple and took Jebel Barkal from queen Amanirenas, one of the ruling Kandakes. However, the Romans were unable to make permanent gains and withdrew after razing Napata to the ground. The last large-scale construction works were by the Kushite king Natakamani, who restored some of the Roman destruction, enlarged the temple complex, and renovated the first pylon and other parts of the temple. ... The original temple was relatively small, consisting of one pylon and a courtyard with ten columns. During the Nineteenth Dynasty reign of Pharaoh Ramesses II, the structure included the Second and Third Pylons, a hypostyle court, a hall with annexes, a chapel, and a pronaos and naos complex. Additions included a second temple behind a pylon, another courtyard, probably without pillars, and several chapels. A notable temple renovation and enlargement, attributed to Piye, occurred in three stages. First, the old temple was strengthened by a wall and another small portico. For the second step, a large hall with 50 columns, was built. Only the pillars, foundation walls and entrances were made of sandstone, the remaining walls were of unbaked bricks. Lastly, Piye built a large farm, which was also decorated with columns. The court and the portico each had its own pylon. The whole temple complex became over 150 metres (490 ft) long. North of the First Pylon, a cache of statues was excavated, which included the headless statue of Tantamani (known also by his Amon name, "Tenutamon"), Taharqa's successor. Many rulers built additional stele, decorated walls or put up statues in the temple. As the religious center was important to both Egyptians and Nubians, Thutmose III stele contains the inscription, "Home of Amun and the Throne of the Two Lands"; found at the Amun temple, it is now at the Museum of Fine Arts, Boston. There are stelea attributed to Horemheb and Seti I. Taharqa built ten colossal figures. Tantamani erected a small shrine in the portico. In the first courtyard, there are pillars attributed to Piye and Harsiotef. ... " Wikipedia - Egyptian Hermaphrodite - 187 Nude Queen Amanimalil of Napata, c. 630 BC - discovered in 1916 Shot blocked, used workaround - Temple of Amun was still a sex and masturbation temple in 630 BC in Sudan For men sex was "lie back and think of Egypt" ! ... ... As sex was for Victorian women: "Lie back and think of England." - Egyptian Hermaphrodite - 188 Djed pillar tree - growing from the coffin of Osiris - Isis and Nephthys on either side ... Shot blocked, used workaround Probably end of the penis-cage process - Osiris has become Horus - Egyptian Hermaphrodite - 189 "Soul of Osiris or USAR (w-s-r) as a bird in the tree from which the Tet Pillar is hewn. The Book of the Dead calls the tree the ASER TREE " Wallis Budge, Egyptian Religion - I used to experience that last year at U.Va (1989) - "astral projection". That's not the end - its more of the beginning really. There is a vast world out there in the "dreamspace" and not all of it pleasant by any means ... Sept 13, 2020 - Last night's dream images were Mars related - The literal images were that dinosaurs might have gotten to Mars before the great extinction event. - I am comfortable with a literal reading of this dream - Mars might have some surprises up its sleave ... According to "The Concept of the Djed Symbol" by Vincent Brown: " .... One of the most enigmatic symbols of Ancient Egypt is the Tet, or Djed. Although it was widely used as a religious icon throughout much of the history and geography of Ancient Egypt, it is still not clearly understood what the Djed was originally conceived to represent. Determining its meaning from its appearance alone is not an easy task so we shall take some of the suggested definitions and analyse each individually. But first of all lets look at the key elements that make up the symbol. Typical Distinctive Features of the Djed symbol: Four horizontal bars surmounting a vertical shaft Vertical striations between each bar These striations are shown in profile on the sides of the Djed creating a curved appearance Four bands around neck of the shaft Sometimes a small capital can be seen surmounting the Djed The Djed often stands on a rectangular base Raymond Faulkner sees the Djed as 'a cult object resembling a tree trunk with lopped-off horizontal branches, sacred to Osiris, Ptah and Sokar'1 He interprets the meaning of its use hieroglyphically as 'stable', 'enduring'. Alan Gardiner suggests that it represents 'a column imitating a bundle of stalks tied together' Yet he describes this hieroglyph: F41, the top section of the Djed,3 as 'vertebrae conventionally depicted'.It is used in the word pesed, meaning 'back', as in 'spine'. According to Wallis Budge, the Djed is the oldest symbol of Osiris, and symbolizes his backbone and his body in general. He states that originally Osiris was probably represented by the Djed alone, and that he had no other form. He regards the Djed hieroglyph as a conventional representation of a part of his spinal column and gives its meaning as "to be stable, to be permanent, abiding, established firmly, enduring. The reconstruction of the body of Osiris occurred at a place called Djedu,in the Delta region of Lower Egypt and it was here that the yearly ceremony of 'Raising the Djed Pillar' took place on the last day of the month of Khoiak, the eve of the agricultural New Year. The next day marked the beginning of the four month long season of Pert, or 'Going Forth' during which the lands rose out of the flood waters allowing the fields to be sown. Djedu was also referred to as Per-Asar-Neb-Djedu, meaning "The House of Osiris - the Lord of Djedu". The Greeks called it Busiris, after the shortened title Per-Asar - "The House of Osiris" Mythologically, the 'Raising of the Djed' symbolised the resurrection of Osiris, and with its annual re-enactment represented the death and renewal of the yearly cycle. Osiris is referred to as "Lord of the Year" in the Pyramid Texts and that he was also the god of agriculture meant that his annual resurrection ensured the stability of the abundance of the next season's crops. A Tree: From the descriptions above it can be understood that the general concept of the Djed symbol appears to be a combination of the backbone of Osiris, a column or pillar, and the trunk of a tree. The Legend of Osiris as told by Plutarch reinforces this interpretation. The story involves the murder of Osiris in which his body is trapped inside a chest and becomes enclosed in a huge tree at Byblos. The trunk of this tree containing the body of Osiris is then cut down and turned into a pillar for the house of the King. This pillar is referred to by the Djed hieroglyph and the branches of this magnificent tree were said to have been turned to the four cardinal points. The rituals and spells described in the archaic Pyramid Texts are most likely the source of this later legend related by Plutarch. Without including the occasions when expressed as a title prefixed to the King's cartouche, the god Osiris is mentioned in over 170 different utterances or spells in the Pyramid Texts. Utterances such as 478, 482, 532, and 535, for example tell of Isis searching for the body of Osiris, while utterance 364 describes the gathering together of the body parts by Nephthys leading to his resurrection. In utterance 532 Osiris is struck down by Seth. The body of Osiris becomes enclosed in the trunk of a tree and is associated with the Djed pillar in utterance 574. Much later, the detail was added that the tree enclosing of the body of Osiris was located at Byblos. This probably refers to the tradition related in the Hymn to Osiris, dating from the Middle Kingdom, of sending sailing expeditions to Byblos to obtain trees from which to make coffins. The Backbone of Osiris: Chapter 155 of the Book of the Dead associates the Djed with the backbone and vertebrae of Osiris. Budge states that the oldest form of his spinal column was probably represented by part of the back bone with portions of the ribs attached to it. He suggests that as time went on it was drawn on a stand with a broadened base to form what we see as the Djed.11 Even when pictured without the ribs attached, four vertebrae supported by a stand take on the appearance of the Djed ... In utterance 321 of the Pyramid Texts the King ascends to the sky with Re on the backbone of Osiris. An Old Kingdom variant of the determinative hieroglyph in this word 'backbone' is F41, which is the top part of the Djed Pillar: F41 A Pillar: Most of the Djeds found in later tombs have been flat objects, usually no thicker than a quarter of its width, these flat representations of the Djed probably being derived from the hieroglyphic renditions. But in ... ivory Djeds from the First Dynasty ..., we see that the Djed was originally more of a round pillar than a flat object. Being such old pieces, they give us valuable insight into the original design and therefore the original function of the Djed before it became a flat icon. ... " "The Concept of the Djed Symbol" by Vincent Brown (2002) - Egyptian Hermaphrodite - 190 Osiris as the Djet/Tet pillar wearing a linen funerary garment. Jean Francois Champollion. Le Pantheon Egyptien. [reprint of 1823 edition]. Inter-Livres. - Note the eye of Osiris. That's the eye chakra opening up. My reading of the four levels is four periods in the penis cage of seven years each - or an average of 28 years in the dog-leash for most men. The Roman Vestal Virgins were the ancient female versions of this - 30 years of strict sexual abstinence. - The sexual energy was re-directed up the spine instead of out through normal sexual channels lighting up what Hindu's call the "chakras". - Egyptian Hermaphrodite - 191 A kneeling Rameses II and the Tree of Life, Karnak, Egypt, 13th century BC. Behind him stands Thoth who records the event In front of him is the lion godddess - Sekhmet. That's probably who Rameses is kneeling to: a power-sex goddess or goddess of erotica ... and the famous "female phallus" or Sekhmet-Min - Egyptian Hermaphrodite - 192 "Detail of Tree of Life, judge of the underworld, king Ramesses II 1304-1237 BC third king of 19th dynasty, Temple of Karnak" - Alamy - Ramesses is kneeling to two goddesses: a standing Sekhmet and a seated Horus. In real life those would have been two priestesses of the Temple of Amun. Horus was probably his wife, his mother, sister - or even his daughter; - whoever was in charge of his caged penis ... - The best candidate for the seated Horus is Queen Nefertari Meritmut - the first of the Great Royal Wives of Ramesses the Great. But Ramesses II had a long life and is famous for a mural of his subduing a bull with his daughter Meritamen. At the death of Nefertari, Meritamen became Great Royal Wife, along with her half-sister Bintanath. - Egyptian Hermaphrodite - 193 A nude Queen Meritamen with a whip in front of the colossal statue of her father Ramesses II. Though small compared to her father - my guess is Ramesses deferred to her politically and financially and sexually - as was the ancient Egyptian custom. That's why so many daughters became great wives of Egyptian and Roman emperors - it was a "best bet" for best treatment ... - Egyptian Hermaphrodite - 194 Tree of life iconography. When I first posted a tree of life - I received the subjective impression that this archetype has not been seen in a long, long time - thousands of years ... - Prior to 1994 I had a vivid lucid dream of a spectacular tree that strangely had no roots. I read it as my then current state as a "rootless cosmopolitan" - I had the impression that the tree was from a past life and was being re-rooted In this image a man in the penis restrained state of ptah is presented to the Tree of life by the phallic lion goddess Sekhmet. Thoth records the result, while inside the tree is the pharoah in his final form. There is no wiki yet on the Egyptian tree of life - but the tree of life is a common religious motif in many cultures. The obvious example being the tree in the garden of eden and the forbidden fruit Other readings: " ... The persea tree presents identification problems in the iconography. According to some authors it is the ... while others identify it with the ished . It has a penis leaf and can reach 20 meters high. Linked to Heliopolis, it was an emblem of cyclical renewal and as such was the tree of Ra, although Osiris resided in it. The Persean was also related to Thot and Seshat. In the first case it was associated with the rise of the Nile and in the second and third it was linked to writing and destiny, since both deities, from the reign of Hatshepsut were responsible for supervising the registration of the titles, names and number of years of reign of each of the monarchs over their fruits. The persea grew in the world where the gods lived and was guarded by the great cat of Heliopolis who, with a knife, defended it from the attacks of the enemy serpent of the Sun, Apophis. Because of its close relationship with the holy city Heliopolis, it seems that this tree was cultivated in the temple that the Sun had in this city. The fruits of the persea were edible and it is common to find them as part of the funerary food that was deposited in the tomb. Perhaps this offering is due to the fact that they had a shape similar to that of the Sun and a maturity that reminded them of the rising of the Nile. Thus, the Persean was linked with the daily rebirth of the star and by extension with the deceased, as such appears by example in the story of Bata (The Two Brothers). The elaboration of funerary elements was used for the New Kingdom and the Low Era. ... " amigosdelantiguoegipto - Egyptian Hermaphrodite - 195 The cat god Mau defending the Tree of Life from Apophis. According to Joshua J. Mark " ... Apophis (also known as Apep) is the Great Serpent, enemy of the sun god Ra, in ancient Egyptian religion. The sun was Ra's great barge which sailed through the sky from dawn to dusk and then descended into the underworld. As it navigated through the darkness of night, it was attacked by Apophis who sought to kill Ra and prevent sunrise. On board the great ship a number of different gods and goddesses are depicted in differing eras as well as the justified dead and all of these helped fend off the serpent. Ancient Egyptian priests and laypeople would engage in rituals to protect Ra and destroy Apophis and, through these observances, linked the living with the dead and the natural order as established by the gods. Apophis never had a formal cult and was never worshiped, but he would feature in a number of tales dealing with his efforts to destroy the sun god and return order to chaos. Apophis is associated with earthquakes, thunder, darkness, storms, and death, and is sometimes linked to the god Set, also associated with chaos, disorder, storms, and darkness. Set was originally a protector god, however, and appears a number of times as the strongest of the gods on board the sun god's barque, defending the ship against Apophis. Although there were probably stories about a great enemy-serpent earlier in Egypt's history, Apophis first appears by name in texts from the Middle Kingdom (2040-1782 BCE) and is acknowledged as a dangerous force through the Late Period of Ancient Egypt (525-332 BCE), especially, and on into the Ptolemaic Period (323-30 BCE) and Roman Egypt. Most of the texts which mention him come from the New Kingdom (c. 1570-1069 BCE), including the one known as The Book of Overthrowing Apophis which contains the rituals and spells for defeating and destroying the serpent. This work is among the best known of the so-called Execration Texts, works written to accompany rituals denouncing and cursing a person or entity which remained in use throughout ancient Egypt's history. Apophis is sometimes depicted as a coiled serpent but, often, as dismembered, being cut into pieces, or under attack. A famous depiction along these lines comes from Spell 17 of The Egyptian Book of the Dead in which the great cat Mau kills Apophis with a knife. Mau was the divine cat, a personification of the sun god, who guarded the Tree of Life which held the secrets of eternal life and divine knowledge. Mau was present at the act of creation, embodying the protective aspect of Ra, and was considered among his greatest defenders during the New Kingdom of Egypt. Egyptologist Richard H. Wilkinson reprints an image in his book The Complete Gods and Goddesses of Ancient Egypt from the tomb of Inerkhau at Deir el-Medina in which Mau is seen defending the Tree of Life from Apophis as he slices into the great serpent's head with his blade. The accompanying text, from Spell 17 of the Book of the Dead, relates how the cat defends Ra and also provides the origin of the cat in Egypt; it was divinely created at the beginning of time by the will of the gods. Mythological Origins According to the most popular creation myth, the god Atum stood on the primordial mound, amidst the swirling waters of chaos, and began the work of creation. The god Heka, personification of magic, was with him, and it was through the agency of magic that order rose from chaos and the first sunrise appeared. A variation on this myth has the goddess Neith emerge from the primal waters and, again with Heka, initiate creation. In both versions, which come from the Coffin Texts, Apophis makes his earliest mythological appearance. In the story concerning Atum, Apophis has always existed and swam in the dark waters of undifferentiated chaos before the ben-ben (the primordial mound) rose from them. Once creation was begun, Apophis was angered because of the introduction of duality and order. Prior to creation, everything was a unified whole, but after, there were opposites such as water and land, light and dark, male and female. Apophis became the enemy of the sun god because the sun was the first sign of the created world and symbolized divine order, light, life, and if he could swallow the sun god, he could return the world to a unity of darkness. The version in which Neith creates the ordered world is similar but with a significant difference: Apophis is a created being who is given life at the same moment as creation. He is, therefore, not the equal of the earliest gods but their subordinate. In this story, Neith emerges from the chaotic waters of darkness and spits some out as she steps onto the ben-ben. Her saliva becomes the giant serpent who then swims away before it can be caught. When Neith was a part of the waters of darkness, as in the other tale, everything was unified; now, though, there was diversity. Apophis goal was to return the universe to its original, undifferentiated state. ... One of the most popular literary motifs of the Middle Kingdom of Egypt was order vs. chaos which can be seen in a number of the most famous works. The Admonitions of Ipuwer, for example, contrasts the chaos of the narrator's present with a perfect 'golden age' of the past and the Discourse Between a Man and his Soul does the same on a more personal level. It is not surprising, therefore, to find the Apophis myth emerging during this period because it epitomizes this motif. The gods, the forces of order, enlist the aid of humanity to defend light against darkness and life against death; in essence, to maintain duality and individuality against unity and collectivity. The personality of an individual was highly valued in Egyptian culture. All the gods were depicted with their own characters and even lesser deities and spirits had their own distinct personalities. The autobiographies inscribed on stelae and tombs was to ensure that the person buried there, that specific individual and their accomplishments, would never be forgotten. Apophis, then, represented everything the Egyptians feared: darkness, oblivion, and the loss of one's identity. Overthrowing Apophis The Egyptians believed that all of nature was imbued with divinity and this, of course, included the sun which gave life. Eclipses and cloudy days were concerning because it was thought the sun god was having problems bringing his ship back up into the sky. The cause of these problems was always Apophis who had somehow gotten the better of the gods on board. During the latter part of the New Kingdom era, the text known as The Book of Overthrowing Apophis was set down from earlier oral traditions in which, according to Egyptologist Geraldine Pinch: The most terrifying deities in the Egyptian pantheon were evoked to combat the chaos serpent and destroy all the aspects of his being, such as his body, his name, his shadow, and his magic. Priests acted out this unending war by drawing pictures or making models of Apophis. These were cursed and then destroyed by stabbing, trampling, and burning. Long before the text was written, however, the ritual was enacted. No matter how many times Apophis was defeated and killed, he always rose again to life and attacked the sun god's boat. The most powerful gods and goddesses would defeat the serpent in the course of every night, but during the day, as the sun god sailed slowly across the sky, Apophis regenerated and was ready again by dusk to resume the war. In a text known as the Book of Gates, the goddesses Isis, Neith, and Serket, assisted by other deities, capture Apophis and restrain him in nets held down by monkeys, the sons of Horus, and the great earth god Geb, where he is then chopped into pieces; the next night, though, the serpent is whole again and waiting for the barge of the sun when it enters the underworld. Although the gods were all-powerful, they needed all the help they could get when it came to Apophis. The justified dead who had been admitted to paradise are often seen on the celestial ship helping to defend it. Spell 80 of the Coffin Texts enables the deceased to join in the defense of the sun god and his ship. Set, as noted earlier, is one of the first to drive Apophis off with his spear and club. The serpent god Mehen is also seen on board springing at Apophis to protect Ra. The Egyptian board game mehen, in fact, is thought to have originated from Mehen's role aboard the sun barque. Along with the souls of the dead, however, the living also played a part. Egyptologist Margaret Bunson describes the ritual: The Egyptians assembled in the temples to make images of the serpent in wax. They spat upon the images, burned them and mutilated them. Cloudy days or storms were signs that Apophis was gaining ground, and solar eclipses were particular times of terror for the Egyptians, as they were interpreted as a sign of Ra's demise. The sun god emerged victorious each time, however, and the people continued their prayers and anthems. (198) Each morning the sun rose again and moved across the sky and, watching it, the people would know they had played a part in the gods' victory over the forces of darkness and chaos. The first act of the priests in the temples across Egypt was the ritual of Lighting the Fire which re-enacted the first sunrise. This was performed just before dawn in defiance of Apophis' desire to snuff out the light of creation and return all to darkness. Following Lighting the Fire came the second most important morning ritual, Drawing the Bolt, in which the high priests unlocked and opened the doors to the inner sanctum where the god lived. These two rituals both had to do with Apophis: Lighting the Fire called upon the light of creation to empower Ra and Drawing the Bolt woke the god of the temple from sleep to join in defending the barque of the sun against the great serpent. Conclusion Rituals surrounding Apophis continued through the Late Period, in which they seem to be taken more seriously than they were previously, and on through the Roman Period. These rituals, in which the people struggled alongside the gods against the forces of darkness, were not particular only to Apophis. The festivals celebrating the resurrection of Osiris included the entire community who participated as two women, playing the parts of Isis and Nephthys, called on Osiris to wake and return to life. At the king's Sed Festival, and others, participants played the parts of the armies of Horus and Set in mock battles re-enacting the victory of Horus (order) over Set (chaos). At Hathor's festival, people were encouraged to drink to excess in re-enacting the time of disorder and destruction when Ra sent Sekhmet to destroy humanity but then repented. He had a large vat of beer, dyed red, set down in Sekhmet's path at Dendera, and she, thinking it was blood, drank it, became drunk, and passed out. When she woke, she was the gentle Hathor who then restored order and became a friend to humanity. These rituals encouraged the understanding that human beings played an important role in the workings of the universe. The sun was not just an impersonal object in the sky which appeared to rise every morning and set each evening but was imbued with character and purpose: it was the barge of the sun god who, throughout the day, ensured the continuation of life and, at night, required the prayers and support of the people to ensure they would see him the next day. The rituals surrounding the overthrow of Apophis represented the eternal struggle between good and evil, order and chaos, light and darkness, and relied upon the daily attention and efforts of human beings to succeed. Humanity, then, was not just a passive recipient of the gifts of the gods but a vital component in the operation of the universe. This understanding was maintained, and these rituals observed, until the rise of Christianity in the 4th century CE. At this time, the old model of humanity as co-workers with the gods was replaced by a new one in which human beings were fallen creatures, unworthy of their deity, and utterly dependent upon their god's son and his sacrifice for their salvation. Humans were now considered recipients of a gift they had not earned and did not deserve, and the sun lost its distinct personality and purpose to become another of the Christian god's creations. Apophis, however, would live on in Christian iconography and mythology, merged with other deities such as Set and the benign serpent Sata, as the adversary of God, Satan, who also worked tirelessly to overturn divine order and bring chaos. ... " Joshua J. Mark, ancient.eu - Left unsaid is Atum began creation by masturbation "the hand of Atum" - probably carried out for him by a goddess - in this case Heka - the goddess of magic. That's what happened in Temple of Amun rituals - The reanimation of Osiris ... - Egyptian Hermaphrodite - 196 " ... [A topless] Nut in Her form of Sycamore Tree-Goddess giving water and food to Sennedjem and his wife Iyneferti. Sennedjem and Iyneferti are dressed in festive garments, kneeling on a building representing their “House of Eternity” in the Netherworld. From the “House of Eternity” of Sennedjem, “Servant in the Place of Righteousness and Truth (the ‘Valley of the Kings’)”, TT1, West ‘Uaset’-Thebes ... " akalle.tumblr - Note the dark brown skin color of this 19th dynasty couple. The goddess is a little lighter skinned. - One striking feature of Hatshepsut's voyage to Punt was the importation of tree's that look like this ... - Egyptian Hermaphrodite - 197 18th dynasty couple drinking from Nut in a tree of life anchored in a pool of water and a boat " ... In addition to flowing vases, tree goddesses are often depicted in relation to pools of water as seen [here] wherein the goddess emerges from a tree pouring water that grows near a pool complete with fishes, lotus plants, and a boat shrine. ... "John S. Thompson, journal.interpreterfoundation - Egyptian Hermaphrodite - 198 Ramesses II sits beneath the cosmic Ished as the gods Atum, Seshat and Thoth write his names and years on its leaves. - Ramesseum - Egyptian Hermaphrodite - 199 19th Dynasty Pharaoh Seti in front of his tree of life kneeling before Ptah. Behind him is Horus recording his name on the tree. My guess is a tree or many trees were planted when a man was placed in the penis-cage. 28 years later he earned to right to sex with the gods ... The tree was a monument to the growth of his libido " ... ’Seti in front of Ished tree at Abydos.’ This relief shows a kneeling Seti I presenting his jubilees to an enthroned Ptah. The jubilees are visualized by a figure of Heh, the god of eternity, depicted in a crouching position. He his holding a (leafless) palm stem in each hand, which symbolized long life to the Egyptians, the years being represented by the notches on the stem. Ptah, wearing his distinctive blue cap, is writing on a small table, which he holds in his lower hand, probably recording the jubilees. On the right we see Ra-Horakhty inscribing the name and the jubilees of the pharaoh on the leaves of the Ished tree. The Ished tree was a sacred tree of which it was thought that the gods wrote the name of the kings at coronation and jubilee festivals, to assure them that their names, and thus their lives, would be perpetuated. The original Ished tree was said to have grown in the temple of Ra at Heliopolis. It can probably be identified as a Desert Date (Balanites aegyptica). The relief is located on the west wall of the Second Hypostyle Hall of the Seti I Temple at Abydos, between the entrances of the Chapel of Ptah and the Chapel of Ra-Horakhty. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " paulsmit.smugmug- Note the dark brown skin of Seti. 19th dynasty was black African - maybe a Punt dynasty. - Horus is either Seti's wife Queen Tuya or one of his daughters - probably Princess Henutmire. Queen Tuya was : "Hereditary Princess, Chief of the Harem, greatly favoured, God's Wife and Queen Mother, Great Royal Wife." Princess Henutmire was: " ... supposedly the third and youngest child of Seti I and Tuya, and the younger sister of Ramesses II and Tia. This theory is based on a statue of Queen Tuya, now in the Vatican. The statue shows Tuya with Henutmire, thus it is assumed that they were mother and daughter. ... Her name means "The lady is like Rê". She married Ramesses II and became Great Royal Wife; .... She is shown on statues of Ramesses from Abukir and Heliopolis. On a colossus from Hermopolis she is depicted together with Princess-Queen Bintanath. Both have the titles The Hereditary Princess, richly favoured, Mistress of the South and the North, King's Daughter, Great Royal Wife. ... " Wikipedia - Egyptian Hermaphrodite - 200 Entrance of the Tomb of Rekhmire a high court official under Tuthmosis III and Amenophis II Provides a side by side comparison of Punt, Nubia, Minoan Crete and Syria during the 18th Dynasty. All men except the Syrians are tan or black - meaning in the penis cage. Note the sacred tree at the top - that's from Punt. " ... On the northern wall are pictures of tributes paid to Egypt. Tribute is of five types: 1) the people of Punt bringing incense trees, baboons, monkeys and hides. 2) Kefti (Crete) carrying pots and cubs 3) Kuchites (Nubians) bring giraffes, leopards, baboons, monkeys, and dogs, and ivory, hides, and gold . 4) Syrians, bringing lots, carts, weapons and horses, a bear and an elephant, and 5) people from different lands" famouspharaohs [Skintone of Punt is dark brown and black - probably two central African states.] [Skintone of Kush is dark brown with one black skinned] I think the bottom layer is women of Minoan Crete in their distinctive pleated dresses. They are pale unlike their tanned men. The men of Punt on the top level are wearing short skirts that are similar to the men from Minoan Crete in the second level. - Egyptian Hermaphrodite - 201 Entrance of the Tomb of Rekhmire a high court official under Tuthmosis III and Amenophis II - More detail - petersommer Provides a side by side comparison of Punt, Nubia, Minoan Crete and Syria during the 18th Dynasty. According to osirisnet " ... The tribute of foreign peoples (Translations of Michel Dessoudeix) Thutmose III, a conquering king, greatly expanded the borders of Egypt and placed the Egyptians in contact with, for them, new peoples.. With their natural gift for observation, Egyptian painters reproduced these strangers on the walls of their chapels highlighting their characteristics, sometimes even to a caricature. The parade in the chapel of Rekhmire commemorates an annual ceremony at which foreign nations' contributions are presented to Pharaoh in the presence of his Vizier who will be responsible for recording and storing them. The riches are piled in heaps which the scribes are carefully observing (see sh-41). Some are taxes directly levied by Egyptian officials in vassal regions, such Nubia. Others, the "inu", are real tributes since they are imposed on the vanquished Syrian-Palestinian regions: an Egyptian official assesses every year the amount of the contribution as a duty for the local Government to collect. Finally there are ‘gifts’ made by the ambassadors of Asian countries, by the Cretans or the inhabitants of the land of Punt, which are actually exchanges and require reciprocity, although the Pharaonic propaganda is careful to specify that in the ideal world of its representations, all these people are subject to the king of Egypt. The sequence of compositions in the five registers (pl Davies-paintings-XXII/1) show, from top to bottom, the tributes of, and ambassadors from, 1) of Punt, 2) the Aegean world, 3) Nubian peoples, 4) Syrian populations and finally in 5) Nubian and Syrian captives accompanied by women and children. There is though a problem: "if the contents of the text and image are truly identical, the order is upset in that the text first mentions countries of the South and then those from the North, while the pictures alternate. " (Valérie Angenot) . ... " osirisnet - The black southerners probably came first because the ruling family was black and southern - maybe from Punt ... Also I do not think the bottom register are slaves. They are Minoan women with their dark skinned children. Probably mixed race babies. - Syrian is described here as Syrian/Palestinian. That's another way of saying Jewish or Israel or Hyksos ... - Egyptian Hermaphrodite - 202 Photo of tribute parade of foreigners in Rekmire's tomb - Osirisnet " Register 1 (top) : Punt arbre à myrrhe This is a very distant and mysterious country, which is best known by the representations that Queen Hatshepsut left in her temple at Deir el-Bahri, and had always attracted Egyptians. Punt was never a vassal of Egypt and it is therefore presented here as sending gifts or trade items. The wealth brought consists largely of fragrant resins, essentially myrrh and incense, cones in pieces or in baskets , stacked before accounting scribes in a pyramidal heap . The two white-spotted, red obelisks are probably made of incense. A myrrh tree being carried by two men, will be for an attempted planting. The Puntites also bring gold, elephant tusks, ebony, ostrich eggs and feathers, leopard skins, giraffe tails, collars besides some live animals: cheetah , monkeys, hamadryas baboons, ibexes. The men have a dark skin tone ranging from red to black. They are dressed in a loincloth with a flap, which goes down between their legs, and has a colourful border. Accompanying text: "Coming in peace by the grandees of Punt bowing down their backs and bending down their heads, with their tribute to the place where is found His Majesty, the King of Upper and Lower Egypt Menkheperre, living forever, and with all the beautiful presents from their country which has never been trodden by others, so his power is (spread) across their borders, while each foreign country is the servant of the Crown. It is the prince, governor, confidant of the King, who presides over […] which receives all the tributes of all the foreign lands that are made because of the power of His Majesty for his victory." Register 2: Crete, the Keftiu The Keftiu, residents of Crete, and perhaps a few islands around it who share Minoan culture, are represented in some Theban tombs whose owners lived during fifty years spanning the reigns of Hatshepsut, Thutmose III, or Amenhotep II. After this period Crete is absorbed into the Mycenaean culture; the Keftiu no longer appear, and there is no trace of commercial activity between Crete and Egypt, as does continue with the continental Aegean world. In the tomb of Rekhmire there is an indication that allows the dating of the transition which takes place in Crete during his lifetime, the Mycenaeans replacing by conquest the Minoans between 1436 and 1426 BC (Sylvie Hodel) : the (tribute) carriers were initially represented wearing the belted Minoan loincloth, but the painters, after seeing the newcomers, had replaced it with the Mycenaean loincloth (however the value of the loincloth as a chronological criterion is not accepted by all specialists). The Keftiu are shown, unexpectedly, with a dark red skin colour, just as one finds in Cretan painting. They have long hair with curls on the top of the skull. They wear sandals with straps, along with colourful leggings . They bring the products of their crafts, mainly vessels of gold and silver in the form of decorated with, or shaped like. animals (lion, bull, ibex) : jugs, drinking cups, amphorae, rhytons . They also provide the products they have obtained by trade: ingots and rings of silver, daggers, chains and pieces of lapis lazuli. These riches will be piled up at the feet of the scribes. Accompanying text: ""Coming in peace by the Great of Crete, islands that are in the middle of the sea, bending, bowing of the head, because of the power of His Majesty, the King of Lower Egypt, Menkheperre, given life forever, on learning of his strength in all foreign countries, their tribute being on their backs, in order that they may be given the breath of life, desiring to be faithful (literally: to be upon the water) to His Majesty, to ensure that his power protects them. It is the confidant of the King, Mayor of the City, Vizier Rekhmire, who receives all the tribute of all foreign countries, which are brought due to the power of His Majesty." Register 3: Countries of the South, Nubia and the Sudan At the beginning of the eighteenth dynasty, Egypt quickly resumed control of these areas after the interlude of the Hyksos. The new state of these vassal lands was government by Egypt and their contributions were taxes. Their (tribute) bearers are of course black, have frizzy hair and are wearing little skin loincloths. Six Nubians are wearing fly pendants suspended around their necks, very different in their general shape from Egyptian fly pendants of the same time period. The latter is always made of gold and seldomly given by Pharaoh to high rank militaries only (this issue has been studied in 2015 by A. Marshall). Nubians bring dogs, oxen with curved horns , a hamadryas baboon and vervet monkeys , one of which climbs the neck of a beautifully painted giraffe , a feline . Then there are animal skins , giraffe tails, ostrich eggs and feathers , ebony logs , gold rings and bars, elephant tusks , ointments, red stones (amethyst?) and green (malachite?), oil of Nubia in large white jars . Accompanying text: "Coming in peace by the Great of southern countries, Nubia, Lower Nubia and Khenethennefer, bending, touching the ground with their foreheads, bringing their tribute to the place where His Majesty is found, The King of Upper and Lower Egypt (Menkheperre) \|., living forever, in order for him to give them the breath of life, It is the Prince, Governor, Chancellor of the King of Lower Egypt, sole friend, Mayor of the City, Vizier, Rekhmire, who receives the tribute of all foreign countries that are brought due to the power of His Majesty, through force […] efficiency […]". Register 4 : Retenu (Syria-Palestine) All men have very fair skin and wear the same long white robe with sleeves decorated with red and blue stripes. Their hairstyles are, in contrast, all different: close cropped hair or shaved head, hair falling over the shoulders, a tousled mop of hair encircled by a ribbon. The products they bring do not suggest wealth, nor a high degree of sophistication, two characteristics which must have evolved later. The men bring a baby elephant, a bear - the brown bear disappeared from Syria in the last century - , vases, some of which are gold , a chariot and its two horses - an animal that the Egyptians had never previously drawn , rare woods, weapons (bows, quivers, swords), some copper ingots, ivory unguent containers and two beautiful vases which seem to be made of a veined glass paste and must be among the very first imported into Egypt . Accompanying text: "Coming in peace by the Great of Retenu of all the northern regions upon the borders of Asia, bending, bowing their heads, bringing their tribute in order that they be given the breath of life, desiring to be faithful to His Majesty, seeing his great strength, the fear he inspires taking possession of their hearts. Thus it is, the Prince, Governor, servant of god, great confidant of the Lord of the Two Land, Mayor of the City, Vizier Rekhmire, who receives the tribute of all foreign countries […]”. Register 5: The captives of vassal countries, Nubia and Retenu These are both prisoners and hostages. In particular, Pharaoh required the sons of the high dignitaries of the conquered countries to be sent to his court, which calmed down tendencies to revolt, Moreover; these children received an education in Egypt and could be powerful supporters after returning to their own countries. The captives are divided into two groups, preceded and followed by guards armed with clubs and throwing sticks. To the right are the Nubians, seven men and seven women . The women, wearing long red skirts, bring with them children, with the youngest in a basket on their backs. On the left advance fourteen Syrians divided into two groups in the first group, the men wear a sleeved tunic and in the second, a loincloth covered with a thin tunic. They are followed by women who have donned a white dress with a curious three-tier form over their legs and which are tied at the waist with a belt. They also are accompanied by children, one in a basket. Text : "Bringing the children of the Great of the southern countries together with the children of the Great of the northern countries, which were fetched away as the better part of the spoils of His Majesty, the King of Upper and Lower Egypt Menkheperre, endowed with life, from all foreign countries, to fill the workshops and to (be) servants of the divine offerings for (his) father Amon, Lord of the thrones of the Two Lands, as that which has been given him, all foreign countries having been gathered into his grasp, their Great having been overthrown under his sandals. For the prince, Governor, who is in the heart of one who is in the palace (= the Pharaoh), the Mayor of the City, Vizier Rekhmire, who receives the loot of each foreign country which is carried back here through the strength of His Majesty." ... " Osirisnet Note: the Egyptians receiving the tribute are all dark skinned black African. -The Minoans are also black or dark brown. Thats a mix of the penis cage tan and African/Egyptian migration to the Greek Isles. - During the time of this mural Minoan Crete suddenly disappeared replaced by the Mycenaeans - My thesis is this was the fall of Troy to the Greeks ... - There are a few black "Syrians". Those are black Jews! Israel has always had negros ... - This is a very rare description of Israel by the ancient Egyptians. It is the general view that Egypt ignored the Exodus. But this is probably not true if you consider the Hyksos Israel of the Exodus - Egyptian Hermaphrodite - 203 Standing nude with whip Queen Merytre-Hatshepsut depicted in the mortuary temple of Thutmose III in Medinet Habu. - Not sure what king they are referring to: "His Majesty, the King of Upper and Lower Egypt Menkheperre" - but this was during the time of Tuthmosis III when women were the rulers of Egypt. During the time of Tuthmosis III the sovereign was Merytre-Hatshepsut: "known to have held the titles Hereditary Princess (iryt-p`t), Sole One, Great of Praises (wrt-hzwt-w’tit), King’s Mother (mwt-niswt), Lady of The Two Lands (nbt-t3wy), King’s Wife (hmt-nisw), Great King’s Wife (hmt-niswt-wrt), God’s Wife (hmt-ntr), God’s Hand (djrt-ntr). Queen Merytre-Hatshepsut also held those titles during the reign of the next king her son Amenhotep II. She was the God's wife of Amun or the head of the temple of sex and masturbation. She also held the title of God's Hand - which was the hand of Atum or divine masturbation. That's the cause of the "unexpected" tan of the Minoans and what separated the circumcised Israelites from the rest of the Egyptian world. "... In the Heliopolitan creation myth, Atum was considered to be the first god, having created himself, sitting on a mound (benben) (or identified with the mound itself), from the primordial waters (Nu). Early myths state that Atum created the god Shu and goddess Tefnut by spitting them out of his mouth. Atum did so through masturbation, with the hand he used in this act representing the female principle inherent within him. Other interpretations state that he has made union with his shadow. In the Old Kingdom, the Egyptians believed that Atum lifted the dead king's soul from his pyramid to the starry heavens. He was also a solar deity, associated with the primary sun god Ra. Atum was linked specifically with the evening sun, while Ra or the closely linked god Khepri were connected with the sun at morning and midday. In the Book of the Dead, which was still current in the Graeco-Roman period, the sun god Atum is said to have ascended from chaos-waters with the appearance of a snake, the animal renewing itself every morning. Atum is the god of pre-existence and post-existence. In the binary solar cycle, the serpentine Atum is contrasted with the scarab-headed god 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 entire cycle of morning and evening. ... " Wikipedia - Egyptian Hermaphrodite - 204 "Scene from a tomb in Sheikh Abd el-Qurna. The scene seems to depict a statue of Merytre-Hatshepsut." Wikipedia My guess is that's Memnon or Amenhotep III up front. He was described as "Ethiopian" by the Greeks. Probably a prince of Punt. Next to him is probably an infant Amenhotep IV or Akhenaten in the stance of Harpocrates - the infant Horus with a finger in the mouth. She is also dark skinned and probably from Punt which had a more basic and brutal Amazon sungoddess cult. - That's another example of a father emperor submitting sexually to his daughter or penis-cager. Memnon and Akhenaten were co-rulers. - Egyptian Hermaphrodite - 205 "Relief of the circumcision scenes in The Temple of Mut the Great at Karnak, Luxor" - Alamy That's the center of the Temple of Amun - The rite being depicted is probably the penis-caging of young boys - not circumcision. - A circumcised penis is not going to perform well during a God's hand ceremony. A caged penis, on the other hand, will always be at full potency ... - Also, the circumcised man does not produce sexually potent Amazons which is what distinguished Minoan women and Egyptian women from women of the bible This scene seems to depict women participating in the "circumcision" ceremony. This is never the case in real life anywhere in the world. What is probably happening here is the female ownership of the erect penis is being imprinted on young Egyptian boys ... - Egyptian Hermaphrodite - 206 The end point of the penis cage: the tree of life - That's probably linked to the 30 year Sed festival. The women are nude as usual in ancient Egypt - but I cannot pinpoint the original source. - Moses saw one of these in the desert - the burning bush - he was adopted by an Egyptian princess and was probably sexually caged as a young man. Circumcision seems to be uncertain when it comes to ancient Egypt. The current view is it was the general practice - but some mummies have been found uncircumcised. - My guess is the elite were not circumcised in ancient Egypt and had a strange reversed sexual life with phallic Amazon women and sexually restrained men. - Egyptian Hermaphrodite - 207 Tree of life ceremony - food and some liquid is being served to a kneeling couple by a spirit in the tree - probably the goddess Nut " ... Nut , also known by various other transcriptions, is the goddess of the sky, stars, cosmos, mothers, astronomy, and the universe in the ancient Egyptian religion. She was seen as a star-covered nude woman arching over the Earth, or as a cow. She was depicted wearing the water-pot sign (nw) that identifies her. Nut is a daughter of Shu and Tefnut. Her brother and husband is Geb. She had four children–Osiris, Set, Isis, and Neophytes–to which is added Horus in a Graeco-Egyptian version of the myth of Nut and Geb. She is considered one of the oldest deities among the Egyptian pantheon, with her origin being found on the creation story of Heliopolis. She was originally the goddess of the nighttime sky, but eventually became referred to as simply the sky goddess. Her headdress was the hieroglyphic of part of her name, a pot, which may also symbolize the uterus. Mostly depicted in nude human form, Nut was also sometimes depicted in the form of a cow whose great body formed the sky and heavens, a sycamore tree, or as a giant sow, suckling many piglets (representing the stars). A sacred symbol of Nut was the ladder used by Osiris to enter her heavenly skies. This ladder-symbol was called maqet and was placed in tombs to protect the deceased, and to invoke the aid of the deity of the dead. Nut and her brother, Geb, may be considered enigmas in the world of mythology. In direct contrast to most other mythologies which usually develop a sky father associated with an Earth mother (or Mother Nature), she personified the sky and he the Earth. Nut appears in the creation myth of Heliopolis which involves several goddesses who play important roles: Tefnut (Tefenet) is a personification of moisture, who mated with Shu (Air) and then gave birth to Sky as the goddess Nut, who mated with her brother Earth, as Geb. From the union of Geb and Nut came, among others, the most popular of Egyptian goddesses, Isis, the mother of Horus, whose story is central to that of her brother-husband, the resurrection god Osiris. Osiris is killed by his brother Set and scattered over the Earth in 14 pieces, which Isis gathers up and puts back together. Ra, the sun god, was the second to rule the world, according to the reign of the gods. Ra was a strong ruler but he feared anyone taking his throne. When he discovered that Nut was to have children, he was furious. He decreed, "Nut shall not give birth any day of the year." At that time, the year was only 360 days. Nut spoke to Thoth, god of wisdom, and he had a plan. Thoth gambled with Khonsu, god of the Moon, whose light rivaled that of Ra's. Every time Khonsu lost, he had to give Thoth some of his moonlight. Khonsu lost so many times that Thoth had enough moonlight to make five extra days. Since these days were not part of the year, Nut could have her children. She had five children: Osiris, later ruler of the gods and then god of the dead; Horus the Elder, god of war; Set, god of chaos and the desert; Isis, goddess of magic; and Nephthys, goddess of water. When Ra found out, he was furious. He separated Nut from her husband Geb for eternity. Her father, Shu, was to keep them apart. Nevertheless, Nut did not regret her decision. ... Nut was the goddess of the sky and all heavenly bodies, a symbol of protecting the dead when they enter the afterlife. According to the Egyptians, during the day, the heavenly bodies—such as the Sun and Moon—would make their way across her body. Then, at dusk, they would be swallowed, pass through her belly during the night, and be reborn at dawn. Nut is also the barrier separating the forces of chaos from the ordered cosmos in the world. She was pictured as a woman arched on her toes and fingertips over the Earth; her body portrayed as a star-filled sky. Nut's fingers and toes were believed to touch the four cardinal points or directions of north, south, east, and west. Because of her role in saving Osiris, Nut was seen as a friend and protector of the dead, who appealed to her as a child appeals to its mother: "O my Mother Nut, stretch Yourself over me, that I may be placed among the imperishable stars which are in You, and that I may not die." Nut was thought to draw the dead into her star-filled sky, and refresh them with food and wine: "I am Nut, and I have come so that I may enfold and protect you from all things evil." She was often painted on the inside lid of the sarcophagus, protecting the deceased. The vaults of tombs were often painted dark blue with many stars as a representation of Nut. The Book of the Dead says, "Hail, thou Sycamore Tree of the Goddess Nut! Give me of the water and of the air which is in thee. I embrace that throne which is in Unu, and I keep guard over the Egg of Nekek-ur. It flourisheth, and I flourish; it liveth, and I live; it snuffeth the air, and I snuff the air, I the Osiris Ani, whose word is truth, in peace.'' ... " Wikipedia - Egyptian Hermaphrodite - 208 A nude black-skinned Nut over an erect and prone black skinned Geb with 2 topless goddesses at either side. - The painted sarcophagus of Butehamun 21st dynasty. c 1069 BC That's the sexual position of the Temple of Amun. The Roman "Mulier Equitans" or horse-riding woman on top position. After a certain number of sexual mountings the Osiris/aristocrat was set free by Nut and given a set of wings as he entered the sky or Nut which was female as opposed to the male earth. That's the voodoo sexual polarity. Earth is the phallic Legba and Sky is a creator goddess - Egyptian Hermaphrodite - 209 A nude light-skinned Nut over an erect and prone dark skinned Geb. That's probably the "dog-leash" tan. " ... Nut and Geb: The two were originally locked in a close embrace according to the Egyptian belief. This scene here is from the papyrus of Tamenhill (c 1000 BC) now in the British Museum. It shows Nut (the vault of heaven) arched over her brother (the earth god) Geb. “It is interesting to note that the Egyptian cosmogeny differs from most others in making the earth male and the sky female. One remarkable feature of the ancient Egyptian creation myths is that they show no concern whatsoever to explain the origin of mankind.” (Source: Encyclopedia of World Mythology, Octopus Books Limited 1975)" melekmediahouse - Egyptian Hermaphrodite - 210 Topless goddess of the Sycamore - maybe Nut, serving a drink to a kneeling man. That's holy grail imagery ... the ancient Egyptian version of the grail: " ... The Holy Grail ... is a treasure that serves as an important motif in Arthurian literature. Different traditions describe it as a cup, dish or stone with miraculous powers that provide happiness, eternal youth or sustenance in infinite abundance, often in the custody of the Fisher King. ... " My guess is the Roman dog-leash tradition continued until the days of days of King Arthur: - probably black or Egyptian roman aristocrats in Roman France and England. 30 years in the penis cage produced Holy grail effects ... That might have something to do with the "wound to the thigh" of the Fisher King ... - Egyptian Hermaphrodite - 211 Nude standing woman and standing man worshipping two sycamore trees, a sun, and a white bull - Tomb of Arinefer, Thebes, 20th Dynasty - The white bull was the embodiment of the phallic sexual potency of the standing nude woman - that's an image that can be found from the 4th dynasty up to Minoan Crete - the female phallus. The standing man is probably sexually restrained or in the penis cage of the nude woman. - It sounds vulgar - but that's the source of the sun in the middle of the picture - the dragon fire ... The bull sacrifice and the penis cage create the inner sun " ... In the register above, the couple prays to a young bull-calf standing in between 2 sycamores, the sacred trees of Heliopolis,the calf being a prefiguration of the solar bull as it moves through the sky (Germond, 2001, 239). ... " deirelmedina - Egyptian Hermaphrodite - 212 " ... A detail of a relief in the tomb of Ankhmahor at Saqqara depicting a priest performing ritual circumcision on a young boy. ... 6th dynasty c. 2345 - 2181 BC. Place of Origin: Saqqara. ... " Alamy - My reading is insertion of the penis-cage not circumcision. Like getting an ear-ring hole - the foreskin was perforated and the Isis "Sacral knot" was threaded in - preventing erection of the penis without permission of the dog-leash holder. - Those are Negros - 6th dynasty was black. - Egyptian Hermaphrodite - 213 Topless goddess of the Sycamore - maybe Nut, serving food and drink to a kneeling man on an incline. 19th dynasty. Tree Goddess from the tomb of Pashedu in the Valley of the Kings. The ancient Egyptian artisan Pashedu lived in Deir el-Medina on the west bank of the Nile, opposite Thebes, during the reign of Seti I. " ... Tomb of the royal tomb builder Pashedu, Deir el-Medina, Egypt, 19th Dynasty, 1295-1186 BC. Wall painting showing the deceased receiving sacred water from the sycamore goddess. The tree, often depicted as a semi-anthropomorphic figure is identified with the goddess Hathor, 'Lady of the Sycamore', but also linked with other goddesses such as Isis and Nut. Pashedu is known to have lived and worked during the reign of Seti I (1290-1279 BC). ... " mediastorehouse - Egyptian Hermaphrodite - 214 Mummy with an erection. Probably a "re-amination of Osiris" ritual in the Temple of Amun. - Egyptian men has sex in church ... That penis cage was the cause of all that female public nudity in ancient Egypt. But how prevalent was the cage? My guess is it was universal. If it was good enough for the king, it was good enough for all. - Foreigners were probably the only exception - Mostly the Asiatics from Isreal, Syria and the other Asians. - But Syrians worshipped a goddess too and probably also practiced penis caging. The only real exception was ancient Israel ... And certain Egyptian priests who had probably renounced the "re-animation of Osiris" masturbation and sex rite - Egyptian Hermaphrodite - 215 Hathor in a sycamore tree serving food and a liquid to deceased priestess - Egyptian Hermaphrodite - 216 Goddess in a sycamore tree feeding seated people around a pool full of fish, ducks and lotus plants - Egyptian Hermaphrodite - 217 " Between Taweret and Sekhmet is the Egyptian Tree of Life, with a perching bird figure wearing the double crown of upper and lower Egypt. The trunk of the tree, has 2 plant-like bindings at its centre, in a format that can been seen repeated in many tombs and temples." tescera - Temple of Opet, Karnak, Luxor - My guess is the bindings are the Isis "sacral knot" or penis cage - in this case the cage of the King. The Tree of Life and its divine food and drink was probably a common image seem in dreams and even waking life after 30 years in the penis cage. - The King has been elevated to a bird-like state or has evolved from the prone subterranean Osiris to the free avian Horus Taweret on the left is a mid-wife goddess - she helped the king's re-birth. Sekhmet is a war goddess but also a power sex goddess - she probably elevated his eros. - Egyptian Hermaphrodite - 218 "Now Thoth and Horus pull on the bindings around the Tree of Life, even using their feet for better leverage. Ramesses II sits atop the tree but doesn’t wear the crown of upper and lower Egypt. " tescera - Hypostyle Hall: South Wall. Karnak Temple Luxor - Penis caging of Ramesses II by Horus who was probably his wife Nefertari and Thoth - probably another princess or priestess of the temple of Amun - Egyptian Hermaphrodite - 219 A nude starry Nut with a large erect phallus and a false beard over a man - Geb -with an erect penis. On the right, a female Nut over a black skinned man - Geb - with the head of a snake. - Egyptians rarely speak of sex openly - but my guess here is some sort of alchemical reaction between the female sky goddess and and the sexually aroused male worshipper. - She gets a penis and he becomes a snake ... - The head of a snake is probably the Kundalini exiting the crown chakra - the Egyptian "opening of the mouth" ritual performed to allow the dead to breath ... " ... The ceremony involved a symbolic animation of a statue or mummy by magically opening its mouth so that it could breathe and speak. There is evidence of this ritual from the Old Kingdom to the Roman Period. Special tools were used to perform the ceremony, such as a ritual adze, an arm shaped ritual censer, a spooned blade known as a peseshkaf, a serpent-head blade, and a variety of other amulets. A calf's leg was also held up to the lips painted on the coffin. The ancient Egyptians believed that in order for a person's soul to survive in the afterlife it would need to have food and water. The opening of the mouth ritual was thus performed so that the person who died could eat and drink again in the afterlife. The ceremony involved up to 75 "episodes" and, in its most complete version, included the following stages Episodes 1–9 Preliminary rites Episodes 10–22 Animation of the statue Episodes 23–42 Meat offerings aligned with upper Egypt Episodes 43–46 Meat offerings aligned with lower Egypt Episodes 47–71 Funerary meal Episodes 72–75 Closing rites The Book of the Dead also contains a spell for this process, which the deceased may use on themselves: My mouth is opened by Ptah, My mouth's bonds are loosed by my city-god. Thoth has come fully equipped with spells, He looses the bonds of Seth from my mouth. Atum has given me my hands, They are placed as guardians. My mouth is given to me, My mouth is opened by Ptah, With that chisel of metal With which he opened the mouth of the gods. I am Sekhmet-Wadjet who dwells in the west of heaven, I am Sahyt among the souls of On. Translating literally as "opening of the mouth," the Egyptian terms for the ritual are wpt-r and um-r. According to Ann Macy Roth, the verb wpi connotes an opening that splits, divides or separates: "it can be used, for example, to describe the separation of two combatants, the dividing of time, or even an analysis or determination of the truth." Wikipedia - My reading is Zombie prevention. The dead can move on rather then remaining stuck on the earth plane ... Samba is a ritual enactment of this - The phallic earth papa Legba and the Queen or sky poto-mitan. Their dance gives the queen a phallus and helps the male rise ... - Egyptian Hermaphrodite - 220 " Nut as she is traditionally depicted. ... Nut, in Egyptian religion, a goddess of the sky, vault of the heavens, often depicted as a woman arched over the earth god Geb. Most cultures of regions where there is rain personify the sky as masculine, the rain being the seed which fructifies Mother Earth. In Egypt, however, rain plays no role in fertility; all the useful water is on the earth (from the Nile River). Egyptian religion is unique in the genders of its deities of earth and sky. As the goddess of the sky, Nut swallowed the sun in the evening and gave birth to it again in the morning. ... " - britannica Shot blocked. Used workaround. I disagree though - the female phallus in the previous print fructifies Father Earth! That's Ostrich or bird sex ... Or Futa Semen Nut's mother Tefnut had a phallus - but it was taken away from her by Set. Tefnut is a rain goddess who withdrew from Egypt and returned to Nubia. " ...In a magical text used to charge certain items in the defense of Osiris from Seth, we read among a list of Seth’s crimes that he has “taken away the penis [mt] of Tefnut on the day of saying that Sia is pure” (Papyrus New-York 35.9.21, col. 31, 16-32,1). Goyon (392 and n. 5) would emend the text here to read “the heritage [mtt] of Tefnut”; however, van Dijk (41) would keep the original reading, seeing here a reference to a primordial phallic power of Tefnut’s required for the rebirth of Re, which Seth attempts to frustrate. ... " Tefnut - henadology The phallic lion goddess Tefnut was popular during the reign of Akhenaten - my guess is Tefnut's main cult center was Punt and other African Amazon cultures that traded with Egypt but were never conquered by Egypt: " ... Tefnut is a leonine deity, and appears as human with a lioness head when depicted as part of the Great Ennead of Heliopolis. The other frequent depiction is as a lioness, but Tefnut can also be depicted as fully human ... During the 18th and 19th Dynasties, particularly during the Amarna period, Tefnut was depicted in human form wearing a low flat headdress, topped with sprouting plants. Akhenaten's mother, Tiye was depicted wearing a similar headdress, and identifying with Hathor-Tefnut. The iconic blue crown of Nefertiti is thought by archaeologist Joyce Tyldesley to be derived from Tiye's headdress, and may indicate that she was also identifying with Tefnut. ... " Wikipedia Another example of a phallic lioness and an earth diety mating was Menhit and the Ram- headed Khnum. " ... Menhit was originally a Nubian war goddess in ancient Egyptian religion. Her name depicts a warrior status, as it means (she who) massacres. Due to the aggressive attributes possessed by and hunting methods used by lionesses, most things connected to warfare in Egypt were depicted as leonine, and Menhit was no exception, being depicted as a lioness-goddess. She also was believed to advance ahead of the Egyptian armies and cut down their enemies with fiery arrows, similar to other war deities. ... 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 became identified with another lioness goddess, Sekhmet. ... " Wikipedia " ... Khnum was one of the earliest-known Egyptian deities, originally the god of the source of the Nile. Since the annual flooding of the Nile brought with it silt and clay, and its water brought life to its surroundings, he was thought to be the creator of the bodies of human children, which he made at a potter's wheel, from clay, and placed in their mothers' wombs. He was later described as having moulded the other deities, and he had the titles "Divine Potter" and "Lord of created things from himself". ... In art, Khnum was usually depicted as a ram-headed man at a potter's wheel, with recently created children's bodies standing on the wheel. He was also shown holding a jar from which flowed a stream of water. ... " Wikipedia - A phallic Lioness mating with a child creating Ram! The ancient Africans worshipped the Amazon female phallus ... But why? Probably heightened eros ... - The better answer is the penis-cage or "Knot of Isis". The dog-leash transfered control of the phallus to the female ... This confirms that the ancient Nubians and Punt were in the penis-cage ... - Egyptian Hermaphrodite - 221 "Rainbow Serpent" (Dan-Ayido-Houedo) (2007) by Romuald Hazoumè , Benin - That's the current state of the rainbow serpent - when she does not get enough to eat. But the seed of classical ancient Egypt still survives in west African religions. And it's not dead - the Brazilian Canaval is a living example. " ... Romuald Hazoumè fashions a monumental, predatory creature—the rainbow serpent—out of recycled jerry cans that are typically used to carry gasoline. He addresses in this and other work the exploitation of human and natural resources and how this affects communities around the world and over time, including the horrors of the transatlantic slave trade centuries ago and its economic equivalents today. The circular image of the rainbow serpent swallowing its tail is a powerful symbol among Fon and Yoruba peoples in Benin and Nigeria, where it refers to spiritual forces and positive ideas about fertility, prosperity, and the eternal cycle of life. Rather than embodying the incandescent beauty that one typically associates with rainbows, Hazoumè’s “Rainbow Serpent” feels reptilian in a scientific way and is somewhat frightening in its visual impact. The work communicates an aggressive, terrorizing quality and a real sense of power, emphasized by its monumental size. According to the artist, “The body of my serpent has been made with dozens of masks representing all the slaves of the world in all their diverse forms.” The work suggests the vicious cycle of exploitation and suffering eternally wrought on the general populace by those in power. ... " Smithsonian African Art Museum - Egyptian Hermaphrodite - 222 "Mortuary temple of Ramses III, Tefnut statue, deity with lionhead" - Alamy Tefnut (Tefenet; transliterated in Greek as Thphênis) A complex Goddess, Tefnut is the daughter of Atum, the twin sister and consort of Shu, and the mother of Geb and Nut. She is usually depicted either as a lioness-headed woman or in fully leonine form, in the latter case often back-to-back with Shu in similarly leonine form; when depicted like this Shu and Tefnut are known as Ruty, ‘the Two Lions’. Tefnut is created together with her brother through Atum’s act of masturbation at the beginning of the cosmos. The name of Tefnut is thus sometimes linked to a verb tefen, meaning to spit or eject something from the body, although it is sometimes also linked to a noun tefen, meaning ‘orphan’, as in PT utterance 260, where the deceased king affirms, “I the orphan [tefen] have had judgment with the orphaness [tefenet, i.e. Tefnut].” This idea may be linked to the notion that Tefnut created herself, and is therefore parentless, inasmuch as it is said in PT utterance 301 that Atum and Ruty, that is, Atum, Shu and Tefnut, “yourselves created your godheads and your persons.” Similarly, the cosmogonic account in the Papyrus Bremner-Rhind (xxvii) states that the children of Geb and Nut, who are Shu and Tefnut’s grandchildren, are the first “brought forth from the body,” that is, in contrast to the more mysterious manner in which the prior Gods came forth. This is in accord with a statement earlier in the text in which Atum states “Many were the beings which came forth from my mouth before heaven came into being, before earth came into being … I put together some of them in Nun as inert ones, before I could find a place in which I might stand,” (xxvi). This existence of Shu and Tefnut together with Atum in a state of latency or ‘inertness’, manifests in a certain fusion of persons in the triangular relationship among these Gods. Hence PT utterance 685 says of the reborn king that “his feet are kissed by the pure waters which exist through Atum, which the phallus of Shu makes and which the vagina of Tefnut creates,” identifying the original creative emission from Atum, in which Shu and Tefnut were present, with the sexual union of Shu and Tefnut. In the fully differentiated relationship, Shu seems to embody the more heavenly or transcendent aspect and Tefnut the more earthly or immanent aspect of Atum’s emission or utterance. This triangular relationship is further developed in the sequel to the Atum cosmogony, the saga of the ‘Eye’. This myth, which is only imperfectly understood, concerns the relationship between Atum—who, however, yields his place to Re in the most developed formulations of the myth (a substitution which is explained in CT spell 76: “The phoenix of Re was that whereby Atum came into being in chaos, in the Abyss, in darkness and in gloom”)—and his ‘Eye’, irt, which projects itself into the world, a play on words since ir.t means ‘doing’ or agency. The myth, which takes on many varied forms expressing different but analogous sets of ideas, concerns in its simplest terms the return of the ‘Eye’ to Atum or Re. This ‘Eye’ is the effective will of solar deities such as Re in the world, its ‘return’ therefore expressing the circling back of this energy to its source. The symbolism of the return of the Eye has different qualities on the different levels of the cosmos upon which the symbol operates. Sometimes it has the sense of the God’s coming to consciousness through the experience of separation and reunion. Hence in the Bremner-Rhind Papyrus (xxvii), Atum states that his ‘Eye’ “followed after” Shu and Tefnut, who, after having been ejected from his body, were “brought up by” and “rejoiced in” Nun, the precosmic abyss, and were hence “distant” from him. In returning to him, Atum says that Shu and Tefnut “brought to me my Eye with them.” This leads to a new stage in the creation, for Atum states that “After I had joined together my members”—Shu and Tefnut being like parts of his body—”I wept over them. That is how humans came into being from the tears which came forth from my Eye,” a play on the words rm.yt, ‘tears’, and rm?, ‘humans’. From another perspective, Shu states in CT spell 76 that “Atum once sent his Sole Eye [lit. ‘his Sole One’] seeking me and my sister Tefnut. I made light of the darkness for it and it found me as an immortal.” The ‘Eye’ which seeks out Shu and Tefnut is sometimes identified with Hathor, as in CT spell 331. This cosmogonic myth in turn expresses itself through a rather different myth also involving Tefnut, which is generally known as the myth of the ‘Distant’, ‘Returning’, or ‘Wandering’ Goddess. In this myth, Tefnut is induced by Shu to return with him to Egypt from a vaguely-determined, semi-mythical distant land called Bougem or Keneset, regarded as lying to the south of Egypt. (Though on at least one occasion, Sekhmet as the Returning Goddess comes from Asia; see pBrooklyn 47.218.50, 2, 8-9 in Goyon, Confirmation du pouvoir royal.) The return of the fiery and wrathful ‘Distant Goddess’ involves her appeasement or purification through ecstatic rites and by immersion in a sacred lake identified symbolically with the Nun. This process of appeasement/purification of the Returning Goddess takes place paradigmatically at Abaton on the island of Bigêh, the site of the ‘tomb’ of Osiris. Although only imperfectly understood, it is clear that the myth of the ‘Distant Goddess’ unites cosmogonic and Osirian themes. The myth of the ‘Distant Goddess’ is told with an ever-shifting cast of deities, though we may say that Shu and Tefnut are in some sense the most primordial or paradigmatic couple. It is alluded to in many temple inscriptions but not preserved in any early narrative form. Attempts have been made to reconstruct it with the help of a demotic narrative (part of which also survives in Greek translation) which seems to tell a folktale version of it. In this text (translated in de Cenival 1988), Thoth, in the form of a monkey, convinces Tefnut, at first in the form of a “Kushite cat”, later taking the forms of a lioness, a vulture and a gazelle before returning to “her beautiful form of Tefnut,” (22, 2) to return with him by a series of arguments, fables, and hymns. Thoth’s role in this demotic narrative echoes his classical function of pacifying wrathful Goddesses. Scholars have also suggested diverse natural cycles as the myth’s referent: the lunar cycle, the sun’s annual north-south motion, and the disappearance and heliacal rising of Sirius (for the latter, see Quack 2002). It seems most reasonable to conclude that the myth is applicable to all of these, as well as other phenomena, and that this flexibility is part of its appeal. Attempts to reconstruct the myth of the ‘Distant Goddess’ have sometimes been overly ambitious in their synthesis (see the critique in Inconnu-Bocquillon 2001). The arrival of the ‘Distant Goddess’ is seemingly conceived in two ways: first, as Re’s daughter (the ‘Distant Goddess’ is identified, not as the daughter of Atum, but of Re) coming to his defense against his enemies and the enemies of the cosmic order he represents; and second as the theogamy (or divine marriage) of Shu and Tefnut, this being understood, not as that which produced Geb and Nut at the beginning of the world, but rather as a reunion of Shu and Tefnut and an indwelling of each in the other which also, in its most theologically complex form, entails the reunion of Geb and Nut with Shu and Tefnut (see especially the texts from Kom Ombo edited and translated by Gutbub). This reunion thus confirms the creation, so to speak, closing a cosmic circle in which the conflict characterizing the later generations of the Gods gives way to reconciliation and the spiritualization of the cosmos: “Shu, the son of Re, rejoices with his son Geb as Tefnut with her daughter Nut, they are in joy here [Kom Ombo] eternally, having put an end to rebellion, having expelled calamity,” (Gutbub 2f). An ancient commentary on BD spell 17 identifies the soul of Re and the soul of Osiris, who come together in the resurrection, as indwelling in Shu and Tefnut. Tefnut embodies, in relation to Shu, the whole latter development of the cosmos, for it is she “who bore the Ennead,” (a generic term for the pantheon) (CT spell 78). Hence Tefnut is closely associated with Ma’et (e.g., in CT spell 80) as the principle of order and harmony in the cosmos which has as its prerequisite, however, the development of complexity, for there cannot be order without complexity. Tefnut bridges the gap between the primeval stages of the cosmos and its evolved, complex state. A further mythic cycle involving Tefnut which seems to overlap in complicated ways with the Distant/Returning Goddess cycle concerns her rape and imprisonment at the hands of her son Geb, followed by his punishment, which in turn has links to the Osirian cycle as precondition either for Osiris’ resurrection or for the conception of Horus. This cycle, which seems to emphasize a suffering dimension of the Goddess, is often attributed to Horit. As attributed to Tefnut, this cycle takes its place as in effect the furthest symbolic extension of the original cosmogonic moment in which Tefnut embodies the self-conscious difference within the primordial triad. Tefnut’s experience as the autonomous activity, or ir.t, of the demiurge thus posits itself on every plane of formation, taking up into itself even the tumultuous events pertaining to the generation of the children of Nut and finding in them expressions of itself. The Distant/Returning Goddess cycle needs to be grasped as a cultic framework in which the cults of many Goddesses and Gods participate to varying degrees (Tefnut being perhaps at the maximal degree of this continuum), at the core of which is ecstatic worship that through intoxication, music, feasting, and sexual license makes present a Goddess who comes ‘from afar’ just by virtue of the fact that she is brought here, now. Certain texts, such as PT utterance 562, where it is said that “The earth is raised on high under the sky by your arms, O Tefnut, and you have taken the hands of Re,” have been interpreted as indicating that Tefnut is to be understood as a ‘lower sky’, an atmosphere or ocean beneath the earth which supports it, but it may be that Tefnut is here rather that force which spiritualizes the earth, raising it up to sky in her reunion with Shu. There is slightly more explicit support in Egyptian texts for Shu and Tefnut being considered as solar and lunar principles. In CT spell 607, the two eyes of Horus, “which issued from Atum, are Shu and Tefnut,” the Horus referred to here being Horus-the-Elder or Haroeris, the aspect of Horus which is the sky itself, his two eyes the sun and moon, which are here Shu and Tefnut. As for which is solar and which lunar, Tefnut is perhaps the more convincing candidate for lunar principle only inasmuch as the myth of the ‘Distant Goddess’ is at times applied to the lunar cycle and the ‘Eye of Re’ which returns to him is identified with the Eye of Horus (the wedjat) which is wounded and healed or stolen and restored, a myth referring to the moon among other things. Tefnut’s principal associations, however, are strongly solar. BD spell 130 seems to identify Tefnut in some fashion with the exhalation of Re: “He inhales Shu, he creates Tefnut.” Tefnut here may be the sun’s radiance, kindled by the inhalation of air. In BD spell 136B, “for sailing in the great bark of Re to pass by the ring of fire,” Osiris says of the operator, identified with Horus, “I have cut off harm from him, and in its place I have brought to him Tefnut, that he may live on her.” From the surrounding context, it appears that Tefnut here embodies the fiery or radiant solar power. BD spell 152 wishes that the deceased may “drink the water of Tefnut,” which is perhaps the morning dew. In BD spell 169, it seems that Tefnut provides a sort of ambrosia: “Tefnut the daughter of Re feeds thee with what her father Re gave her.” In CT spell 660 the ‘waters’ of Tefnut seem to be a symbol for the cosmos itself: “Tefnut is she who allots what is to be allotted by eternity; you shall adore her upon the waters which are in her, you who follow after the Eye of Horus, and I [the operator] will adore her waters.” In a magical text used to charge certain items in the defense of Osiris from Seth, we read among a list of Seth’s crimes that he has “taken away the penis [mt-] of Tefnut on the day of saying that Sia is pure” (Papyrus New-York 35.9.21, col. 31, 16-32,1). Goyon (392 and n. 5) would emend the text here to read “the heritage [mt-t] of Tefnut”; however, van Dijk (41) would keep the original reading, seeing here a reference to a primordial phallic power of Tefnut’s required for the rebirth of Re, which Seth attempts to frustrate. ... " henadology * - The return of the phallic Tefnut is full of black African symbols - but somehow ends up being Asian ... The Orisha's and Negroes are a better bridge to work with here ... " This cosmogonic myth in turn expresses itself through a rather different myth also involving Tefnut, which is generally known as the myth of the ‘Distant’, ‘Returning’, or ‘Wandering’ Goddess. In this myth, Tefnut is induced by Shu to return with him to Egypt from a vaguely-determined, semi-mythical distant land called Bougem or Keneset, regarded as lying to the south of Egypt. (Though on at least one occasion, Sekhmet as the Returning Goddess comes from Asia; see pBrooklyn 47.218.50, 2, 8-9 in Goyon, Confirmation du pouvoir royal.) The return of the fiery and wrathful ‘Distant Goddess’ involves her appeasement or purification through ecstatic rites and by immersion in a sacred lake identified symbolically with the Nun. This process of appeasement/purification of the Returning Goddess takes place paradigmatically at Abaton on the island of Bigêh, the site of the ‘tomb’ of Osiris. Although only imperfectly understood, it is clear that the myth of the ‘Distant Goddess’ unites cosmogonic and Osirian themes. .... " henadology - Egyptian Hermaphrodite - 223 Probably Lion headed Shu and Tefnut. Roman era. These are probably gods of Punt. - The oldest Orisha's for the Yoruba and Fon are "Primordials" - ie not from Earth at all ... " ... 'Lions, snakes and a sphinx on astronomical ceiling at Dendera.' Snakes and lions in all kind of forms populate the astronomical ceiling in the outer hypostyle hall of the Hathor Temple at Dendera. The ceiling consists of seven separate strips but here we are looking at a detail of the upper register of the SECOND STRIP WEST from centre. The right hand of the picture shows a sphinx reclining on a pedestal and the caption above him tells us that he is the 'ka' (life force) of the sun god Ra. The rest of the figures in this photo represent decans. Decans were essentially 36 stars or star groups near the ecliptic whose rise or transit could be used to tell the time during the night. Eventually they were also used by astronomers as place-markers in the sky to divide up the Ecliptic in equal portions. Decans first appear during the Middle Kingdom on the inside of coffin lids, providing the deceased with his own private start clock. Unfortunately, during the subsequent centuries many different lists of decanal stars were developed and very few of these stars can be identified on a modern star map. The decans in this register were listed by Neugebauer and Parker as belonging to the Seti I B decan family. A peculiarity of these decans is that each is associated with a certain mineral, metal or type of wood. It is mentioned in a little caption near the lower part of each figure. Thus the group of snakes represent decan number 3 and is paired off with garnet. The lion-headed seated goddess next to them is decan no. 4 and is associated with glass and gold. And the lion-headed god holding a wadjet eye, no.4a, is coupled with turquoise and gold. ... This part of the Dendera Temple was built during the Roman period (first century AD) Photo Paul Smit ... ".paulsmit.smugmug - Egyptian Hermaphrodite - 224 More Punt goddesses from the Roman era part of the Temple of Dendera. - My guess is Rome had a presence in Punt. " ... 'The sixth and eight hour of the day at Dendera.' Entering the outer hypostyle hall of the Hathor Temple at Dendera is like stepping into an ancient time machine. The entire ceiling of the hall is covered with hundreds of figures who have some relation to Time and the revolving Heavens. So it is very appropriate that, at the very entrance of the hall, the architraves that rest on the facade columns are decorated with the goddesses of the hours of the night and the day. In this picture we see, crowned with a sun disk, the goddesses of the sixth (above) and eight hour (below) of the day. Both goddesses seem to be of Nubian descent and are followed by a deity who is associated to that particular hour. This part of the Dendera Temple was built during the Roman period (first century AD). Photo Paul Smit." paulsmit.smugmug - The Swahili and Kikuyu clock is the same as Roman and Egyptian clock: ie the first hour is 7 AM. There are markers for noon and 2 PM - Egyptian Hermaphrodite - 225 Nubia gods Menhit on the left with Khnum on the right, shown on the outside wall of the temple at Esna Menhit was a Nubian Lion goddess of war - but also of power sex during Temple of Amun rituals. She probably had a large female phallus Her husband Khnum was a Nubian Ram god of the Nile flood and making babies. Khnum was probably penis-caged by Mehnit. A lion mating with a sheep - that's the lion feasting on the sheep! Thats the coded message of the "dog-leash" - a sexually insatiable wife and a fecund, tanned and virile husband - Egyptian Hermaphrodite - 226 Khnum birthing Harpocrates. That's the Roman Horus - and has a penis, but is really a female - or phallic female. The image suggests a sexually caged female too ! The Ram - headed deity is today clearly satanic - but not in an ancient Egyptian context. His Roman counterpart is probably the fecund the river god Nilus. The Ram-headed god is usually associated with the male Pharaohs - as opposed to Horus who is associated with Queens of the Nile. © Brian McMarrow - Egyptian Hermaphrodite - 227 Khnum birthing Harpocrates. To the right is probably a male pharaoh being led to the new born Harpocrates. Harpocrates was often the emperor's daughter and penis-cager too ... Rome and Egypt were Hyena tribes - led by the female Phallus. Or Lion tribes - Hyena's have a bad reputation in Africa. And it's mostly true that female lions are the true rulers of lion tribes - the males just mate and eat ... © Brian McMarrow - Egyptian Hermaphrodite - 228 " ... Temple of Khnum - Temple in Esna Photo © travelure * " ... Construction of the Temple of Khnum, the ram-headed creator god who fashioned humankind on his potter’s wheel, was begun by Ptolemy VI Philometor (180–45 BC). The Romans added the hypostyle hall, the only part of the temple that is excavated and can be visited today, with well-preserved carvings from as late as the 3rd century AD. The Temple of Khnum today sits in a 9m-deep pit, which represents 15 centuries of desert sand and debris, accumulated since it was abandoned during the Roman period. Most of the temple, similar in size to the temples of Edfu and Dendara, is still covered by the old town of Esna. A quay connecting the temple to the Nile was built by Roman emperor Marcus Aurelius (AD 161–180). The central doorway leads into the dark, atmospheric vestibule, where the roof is supported by 18 columns with wonderfully varied floral capitals in the form of palm leaves, lotus buds and papyrus fans; some also have bunches of grapes, a distinctive Roman touch. The roof is decorated with astronomical scenes, while the pillars are covered with hieroglyphic accounts of temple rituals. Inside the front corners, beside the smaller doorways, are two hymns to Khnum. The first is a morning hymn to awaken Khnum in his shrine; the second is a wonderful ‘hymn of creation’ that acknowledges him as creator of all, even foreigners: ‘All are formed on his potter’s wheel, their speech different in every region but the lord of the wheel is their father too.’ On the walls, Roman emperors dressed as pharaohs make offerings to the local gods of Esna. The northern wall has scenes of Emperor Commodus catching fish in a papyrus thicket with the god Khnum and, next to this, presenting the temple to the god. The back wall, to the northeast, constructed during the Ptolemaic period, features reliefs of two Ptolemaic pharaohs, Ptolemy VI Philometor and Ptolemy VIII Euergetes (170–116 BC). A number of Roman emperors, including Septimus Severus, Caracalla and Geta, added their names near the hall’s rear gateway. Outside, an underground pump struggles to move groundwater away from the structure. ... " lonelyplanet - Egyptian Hermaphrodite - 229 An adult Harpocrates - center right. Probably the Augusta - or a Vestal Virgin - that being the meaning of the female penis cage. " ...The modern Egyptian village of Esna, which was ancient Iunyt or Ta-senet (from which the Coptic Sne and Arabic Isna derive), was built in the area of ancient Latopolis and is the site of a major temple dedicated to the god Khnum. Under the Greeks and Romans, the city became the capital of the Third Nome of Upper Egypt. Besides Khnum, the temple was dedicated to several other deities, the most prominent of whom were Neith and Heka. This was the ram god that was worshipped through out this area and who fashioned mankind from mud of the Nile on his potter's wheel. Esna is located about fifty kilometers south of Luxor. The temple now stands in the middle of the modern town at a level about nine meters below that of the surrounding grounds. However, texts mentions that it was built on the site of a temple that may have been constructed as early as the reign of Tuthmosis III. Some blocks of the earlier 18th Dynasty structure are preserved. The present structure dates to the Greek and Roman periods and is one of the latest temples to have been built by the ancient Egyptians. Though only the hypostyle hall was excavated by Auguste Mariette, it is well preserved. Other remains of the temple lie buried beneath the surrounding buildings of the modern town. The back wall of the hypostyle hall is the oldest part of this construct, having been the facade of the old Ptolemaic (Greek) temple. It has depictions of both Ptolemy VI Philometer and VIII. The remainder of the building was built by the Romans (Claudius through Decius) and some of its decorations date as to as late as the third century AD. The roof of the hall, which is still intact, is supported by four rows of six tall (twelve meters high) columns with composite floral capitals of varying design that retain some of their original painted color. They are adorned with texts describing the religious festivals of the town and several Roman emperors before the gods. One of the columns shows the Emperor Trajan dancing before the goddess Menheyet. The facade of the hall is in the form of an intercolumnar screen wall similar to those of the temples at Dendera and Edfu. This structure, prior to its ruin, may have resembled those temples. The whole, remaining structure at Esna is extremely regular in design and symmetrical except for a small engaged chamber on the southern side of the entrance, perhaps serving as a robe room for priests. This feature is also found at Edfu. The facade of this structure measures some forty meters wide by seventeen meters high. The decorations and inscriptions in the Temple of Khnum are frequently well executed and some are of special interest. There is a scene depicting the king netting wild fowl, said to represent inimical spirits, on the north wall that continues very ancient Egyptian themes. However, other depictions such as the king offering a laurel wreath to the gods, represented on a column at the rear of the hall, are decidedly new motifs. Decoration of the south wall was carved for Septimus Servus and his sons, Geta and Caracalla, depicting them before several divinities. The ceiling of the hypostyle shows Egyptian astronomical figures on the northern half and Roman signs of the zodiac on the southern half. There is also interesting text within the temple, including a pair of cyptographic hymns to Khnum, one written almost entirely with hieroglyphs of rams and other other written with crocodiles. These are located inside the front corners of the hypostyle hall, next to the small doors used by the priests to enter and exit the temple. Other texts records four smaller temples in the region that probably had cultic connections with this temple, though none of these have survived . One of the smaller temples, dedicated to Isis and built by Ptolemy IX Soter II and Cleopatra Cocce on the East Bank of the Nile near el-Hilla (Contralatopolis), was recorded during Napoleon's expedition. It fell victim to the construction of an administrative building in 1828. Another temple mentioned in this text has been excavated at Kom Mer, south of Esna. In the courtyard in front of the temple there is a statue of the goddess Menheyet or Menhyt who was a little known lion-headed goddess named as the consort of Khnum at Esna. Here, there are also blocks from an early Christian church. There is also an inscription found on the back of a block from Emperor Decius decreeing that Christians will suffer death if they do not sacrifice to the pagan gods. Originally, the temple was linked by a ceremonial way to the Nile, where its ancient quay, adorned with the cartouches of Marcus Aurelius, is still discernable. ..." touregypt - The Temple of Khnum at Esna Jimmy Dunn writing as Mark Andrews - Egyptian Hermaphrodite - 230 Esna Temple relief by John Campana A nude adult Harpocrates on right, Khnum center and a Greek or Roman Pharaoh on the left. Again, the nude Harpocrates is probably the Augusta or a Vestal Virigin. Her penis has been scrubbed off - but in real life the Augusta was almost certainly nude in public in the ancient Egyptian way. - Egyptian Hermaphrodite - 231 Seti in front of portable barque of Amun at Abydos. - Those are probably two heads of Khnum emerging from a Lotus not Amun. The sphinx with a false beard is a phallic woman ... " ... The Chapel of Amun in the Seti Temple in Abydos at one time probably housed a sacred portable barque of Amun. The sacred barque would have been used to carry a portable statue of the deity around the temple during festival processions, in imitation of the gods who were believed to cross the sky on their magical boats. The chapel, which is located directly west of the Second Hypostyle Hall, is decorated with detailed images of the sacred barque. Here we are looking at a relief on the south wall of the chapel. On the left pharaoh Seti I is burning incense in front of the open doors of a large shrine which houses the barques of Amun. The finials at the prow and stern consist of the ram-headed [Khnum?] Amun emerging from a lotus flower. The ornate collar beneath it is depicted in a frontal view but would have been turned ninety degrees in reality. Amidships stands the portable shrine which houses the statue of the god. It is partially concealed from profane eyes by a white linen cloth. Behind the ram head at the prow a royal symbol - a sphinx with a human head and false beard - is shown on a standard. The rest of the “crew” is formed by (probably wooden) statuettes with pharaonic crowns. The one at the stern is manipulating the two steering oars. The standing figure near the prow is offering a “nemset” vessel, while the seated statuette before him presents a “nw” vessel, probably filled with wine. Finally there are two statuettes who are steadying the poles that carry the canopy which is overarching the shrine. Behind the barque stand two big colourful fans, made of ostrich feathers. The barque is placed on carrying poles that would have been supported by priests’ shoulders during a procession. But in this image the poles rest on a pedestal which is decorated with four pharaonic figures. Beside the pedestal we see flowers, vases and different kinds of food which have been placed around the barque as offerings. ... The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " paulsmit.smugmug - Egyptian Hermaphrodite - 232 Finial of Amun [Khnum?] barque at Abydos. " ... The Chapel of Amun in the Seti Temple in Abydos at one time probably housed a sacred portable barque of Amun. The sacred barque would have been used to carry a portable statue of the deity around the temple during festival processions, in imitation of the gods who were believed to cross the sky on their magical boats. The chapel, which is located directly west of the Second Hypostyle Hall, is decorated with detailed images of the sacred barque. Here we are looking at a relief detail on the north wall of the chapel. It shows the finial which decorated the prow of the barque, consisting of the ram-headed Amun emerging from a lotus flower. The ornate collar beneath it is depicted in a frontal view but would have been turned ninety degrees in reality. In the right lower corner of the picture we see flowers and different kinds of food which have been placed around the barque as offerings. ... The temple was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Paul Smit. ... " paulsmit.smugmug * - Probably Khnum not Amun. But Amun and the Nubian Khnum seem to have been merged by the Egyptians in the 18th dynasty after the fall of the Hyksos: " ... Subsequently, when Egypt conquered Kush, they identified the chief deity of the Kushites as Amun. This Kush deity was depicted as ram-headed, more specifically a woolly ram with curved horns. Amun thus became associated with the ram arising from the aged appearance of the Kush ram deity, and depictions related to Amun sometimes had small ram's horns, known as the Horns of Ammon. A solar deity in the form of a ram can be traced to the pre-literate Kerma culture in Nubia, contemporary to the Old Kingdom of Egypt. The later (Meroitic period) name of Nubian Amun was Amani, attested in numerous personal names such as Tanwetamani, Arkamani, and Amanitore. Since rams were considered a symbol of virility, Amun also became thought of as a fertility deity, and so started to absorb the identity of Min, becoming Amun-Min. This association with virility led to Amun-Min gaining the epithet Kamutef, meaning "Bull of his mother", in which form he was found depicted on the walls of Karnak, ithyphallic, and with a scourge, as Min was. ... " Wikipedia - Egyptian Hermaphrodite - 233 Colonnade, hypostyle hall, Temple of Khnum, Esna " ... Perspective view of the colonnade, hypostyle hall, Temple of Khnum, Esna (Latopolis), Egypt, engraving by Sellier after a drawing by Jean-Baptiste Prosper Jollois and Edouard de Villiers du Terrage, from Description de l'Egypte, ou Recueil des observations et des recherches qui ont ete faites en Egypte pendant l'expedition de l'armee francaise (Description of Egypt, or the collection of observations and researches which were made in Egypt during the expedition of the French Army), Antiquites, Planches, Volume I, Plate 83, Impremerie Imperiale, 1809, Paris. ... " Getty Images - That's a Greco-Roman temple of Amun - or even Amun-Min the Amun with an erect phallus A Greco-Roman Temple of Amun means there was a Greco-Roman God's wife of Amun - Officially that died in the 26th Nubian Dynasty but this seems not to be true. The office endured until the 3rd century AD - and had the support of the Roman emperors. That's the ancient Egyptian female dominated sex and masturbation cult ... God's wife of Amun was probably the Augusta. - Ram's are virile but also domesticated sheep. The Nubian Ram's were ruled by phallic females. The mechanism can only be the famous "dog-leash" or penis cage ... - Egyptian Hermaphrodite - 234 Portable barques of Amun, Mut and Khonsu at Abydos. " ... The Chapel of Amun in the Seti Temple in Abydos at one time probably housed the portable barques of Amun, Mut and Khonsu. The sacred barques would have been used to carry portable statues of the deities around the temple during festival processions, in imitation of the gods who were believed to cross the sky on their magical boats. The chapel, which is located directly west of the Second Hypostyle Hall, is decorated with detailed images of the sacred barques. Here we are looking at a relief on the south wall of the chapel. On the left pharaoh Seti I is burning incense in front of the open doors of a large shrine which houses the barques of the three gods. The barques can be identified by the finials that decorate their prow and stern. The largest barque belongs to Amun-Ra and has finials that consist of the ram-headed Amun emerging from a lotus flower. The ornate collar beneath it is depicted in a frontal view but would have been turned ninety degrees in reality. Amidships stands the portable shrine which houses the statue of the god. It is partially concealed from profane eyes by a white linen cloth. Behind the barque stand two big colourful fans, made of ostrich feathers. The barque is placed on carrying poles that would have been supported by priests’ shoulders during a procession. But in this image the poles rest on a pedestal which is decorated with four pharaonic figures. In the lower right corner of the picture we see the smaller portable barque of Mut, the consort of Amun. Above that is the barque of Khonsu, child of Mut and Amun, and recognizable by its finials consisting of the falcon head of Khonsu. The Seti Temple at Abydos was begun by Seti I and completed by his son Ramses II in the 13th century BC. Photo Mick Palarczyk. ... " paulsmit.smugmug * Amun was the consort of the phallic Mut: The double crown of Egyopt is on Mut's barge on the lower right. And probably sexually subordinate to his daughter the falcon Khonsu. Memnon and Akhenaten were the basic model - Memnon as the caged Amun and Akhenaten as his daughter and penis - cager after the death of his wife who was probably a Minoan princess - Egyptian Hermaphrodite - 235 "... King Taharqa and the gods of Gematen (the temple of Kawa). Taharqa offers a loaf, a necklace, a pectoral and a figure of Ma'at (symbol of cosmic order) to the ram-headed god Amun-Re. Behind the god's throne stand the goddesses Anukis Nethy, Satis and Anukis Ba. ... " Ashmolean Museum, Oxford University Facts: " ... Taharqa’s shrine is part of a temple built at Kawa in about BC 680. It was built on the orders of Taharqa who was Pharaoh from 690 - 664 BC.The shrine was dedicated to the sun and fertility god Amun-Re. It was intended to give help to Taharqa in ruling over his large kingdom. It was abandoned in the 3rd Century AD and lay buried in sand until excavations in 1930. Taharqa’s shrine is the largest intact Egyptian building in this country. ... " Ashmolean Museum, Oxford University - That's a Nubian dynasty of ancient Egypt. Or maybe a Punt dynasty - Still needs research - Egyptian Hermaphrodite - 236 Two 3,000-pound statues of the lion-headed goddess Sekhmet at the Walters Gallery, Baltimore. On left Statue of Sekhmet from the Temple of Mut in Karnak 18th dynasty - reign of Amenhotep III 1391-1353 BC - one of more than 700 such 18th dynasty Amenhotep III or Memnon statutes of Sekhmet. On the right is a later dynasty Sekhmet. Oct 10, 2020 - After many years visiting this museum, yesterday was the first time I noticed that these were images of Sekhmet! - Egyptian Hermaphrodite - 237 "Depicted here in a double image are Ptah, one of the main creator gods (and a patron of artisans), and Sekhmet, the daughter of the sun-god Re and Ptah's consort. Her ill will brought destruction to mankind. This group was once part of a larger configuration. Date between 664 and 525 BC (Late Period)" Wikipedia - Thats an allusion to an erect female phallus in her hand - And it's the other way around - Ptah is her consort ... Ptah is probably a "dog-leashed" 26th dynasty Nubian pharoah of Egypt black steatite, Walters Art Museum, Baltimore Not on view - Egyptian Hermaphrodite - 238 Man with Calf and Dog, late 4th -5th dynasty c. 2490-2323 BC "Once part of the wall decoration of a private tomb chapel, this fragment preserves only the deceased's foot (in the lower right corner). His hunting hound has fared better, and even the dog's name survives, Beha. The small servant figure seems to be having some difficulty in herding the calf, both pulling on its rope halter and pushing its hindquarters. Above the calf is an inscription that reads "One who takes the calf." ..." Walters Art Gallery - That's probably an allusion to the penis "dog leash" on the hunting dog That's not a small issue! An untamed dog or penis will take control of the ego and burn itself out 4th dynasty was the Giza pyramid age - Egyptian Hermaphrodite - 239 Relief of People in Boats - Sakkara, Egypt, 5th dynasty c. 2400 - 2300 BC 5th dynasty is the Giza Pyramid age - note the black African skin They are in the dog-leash - a thin thong and the leash. The dog-leash was not just for the royals - Egyptian Hermaphrodite - 240 Seated Isis, Seated Osiris and standing nude Harpocrates. 26th to 30th Dynasty, 664-525 BC, Walters Gallery of Art A nude Harpocrates or Horus is a woman with a penis The dog-leash of Osiris was usually transferred to the emperor's daughter (Harpocrates) from his wife or mother or sister (Isis). - Its' a long pattern of the rule by dog-leashed Pharaohs and their sexually virile daughters - and it extended into the Roman empire ... 26th dynasty - last Negro dynasty Egyptian Hermaphrodite - 241 Nude Imti Standing. Painted wood. 12th dynasty, c. 1900-1800 BC, Walters Art Gallery Patrons occasionally commissioned sculptors to show them at a particular time of life. Imti is represented as a youth with close-cropped hair. A necklace of alternating white and black beads with amulet and a blue bracelet bordered in white and black adorn his otherwise nude body. Nudity may also suggest rebirth into the afterlife. Typical of wooden statues, the arms and front of the feet were carved separately and attached to the body or base with pegs. The inscription on the base translates as "Revered before Osiris, Imti, the blessed." - Nude dog-leashed male Egyptian. Rare to see this. - Egyptian Hermaphrodite - 242 Zeus-Ammon on an Urn with Lid, Roman, 50-100 AD, Walters Art Gallery "The name of the deceased, Novia Clara, appears on the front of this urn. The two handles are each in the form of a mask of Zeus-Ammon, the Hellenistic version of the powerful Egyptian god Amen, whose ram-horns curl under his ears. The lid preserves the lead clamps used to secure it to the vase." Walters Gallery - Zeus-Ammon - which tells me Zeus was a consort of a dog-leashing goddess - Ammon was the consort of Mut - The great Zeus was dog-leashed! Probably to his powerful wife Hera who he was constantly cheating on ... - In the Egyptian model, that's where his daughter Apollo gets her penis; from dog-leashing Zeus - Apollo is a Greek Harpocrates - Egyptian Hermaphrodite - 243 " This rhyton (wine vessel) was made with two different molds, combining the right side of a ram’s head with the left side of a donkey’s head. Rhyta such as this one were used in drinking parties, and their lack of a base meant that their contents had to be consumed before the vessel could be put down. ... The juxtaposition of the ram and braying donkey may have been made to contrast the positive and negative attributes ascribed to the animals respectively, and the donkey had close associations with the wine god Dionysus (Bacchus), often acting as one of the god’s preferred mounts. The scene on the neck of the rhyton, where three satyrs participate in an outdoor drinking party, alludes to the use of this type of cup. Two older satyrs, one perched on a rock and the other crouching at attention, focus on the center of the composition where a younger satyr is about to drink directly from a large amphora (storage jar) of wine. ... " Walters Gallery - Ram was Ammon - The donkey was a sexual image - but not how we assume it was - that's a donkey phallus attached to an amorous Greek or Roman matron! Ram was sky and day or Zeus, and the black donkey was earth or chthonic and female - the Roman world was ruled by the rutting female phallus at night - On the right is the tall phallic Amazon Ampelus and a young Bacchus - Zeus-Ammon probably meant there was a Greco-Roman "god's wife of Ammon" in the Egyptian model. Looks like the temple of Zeus was really the Temple of Amun and all that implies in the Egyptian model. Egyptian Hermaphrodite - 244 Black-figure amphora with Herakles bringing Kerberos out of the underworld Circle of Exekias , Greek, 540-520 BC terracotta; black figure - Walters Gallery "In another of his labors, Herakles has returned from the underworld with Kerberos (or Cerberus), the multi-headed dog who guards its entrance, while the messenger-god Hermes leads the way, with two women looking on. On the back, a warrior draws his sword on a modestly veiled woman in the presence of two onlookers; this scene has been identified as Menelaos' recovery of Helen after the capture of Troy." - I have a different reading: It's the freeing of the dead from prison. They can now leave earth and move on rather than haunt the living. The mad three headed dog is the untamed dog in life that prevents spiritual and psychological growth - what the famous "dog-leash" is designed to prevent. - Note the black skin of Herakles as opposed to the white skin of the females. That's the "dog-leash" tan ... * " ... In Greek mythology, Cerberus , often referred to as the hound of Hades, is a multi-headed dog that guards the gates of the Underworld to prevent the dead from leaving. Cerberus was the offspring of the monsters Echidna and Typhon, and is usually described as having three heads, a serpent for a tail, and snakes protruding from multiple parts of his body. Cerberus is primarily known for his capture by Heracles, one of Heracles' twelve labours. Descriptions of Cerberus vary, including the number of his heads. Cerberus was usually three-headed, though not always. Cerberus had several multi-headed relatives. His father was the multi snake-headed Typhon, and Cerberus was the brother of three other multi-headed monsters, the multi-snake-headed Lernaean Hydra; Orthrus, the two-headed dog who guarded the Cattle of Geryon; and the Chimera, who had three heads: that of a lion, a goat, and a snake. And, like these close relatives, Cerberus was, with only the rare iconographic exception, multi-headed. ... Cerberus' only mythology concerns his capture by Heracles. As early as Homer we learn that Heracles was sent by Eurystheus, the king of Tiryns, to bring back Cerberus from Hades the king of the underworld. According to Apollodorus, this was the twelfth and final labour imposed on Heracles. In a fragment from a lost play Pirithous, (attributed to either Euripides or Critias) Heracles says that, although Eurystheus commanded him to bring back Cerberus, it was not from any desire to see Cerberus, but only because Eurystheus thought that the task was impossible. Heracles was aided in his mission by his being an initiate of the Eleusinian Mysteries. Euripides has his initiation being "lucky" for Heracles in capturing Cerberus. And both Diodorus Siculus and Apollodorus say that Heracles was initiated into the Mysteries, in preparation for his descent into the underworld. According to Diodorus, Heracles went to Athens, where Musaeus, the son of Orpheus, was in charge of the initiation rites, while according to Apollodorus, he went to Eumolpus at Eleusis. Heracles also had the help of Hermes, the usual guide of the underworld, as well as Athena. In the Odyssey, Homer has Hermes and Athena as his guides. And Hermes and Athena are often shown with Heracles on vase paintings depicting Cerberus' capture. ... While in the underworld, Heracles met the heroes Theseus and Pirithous, where the two companions were being held prisoner by Hades for attempting to carry off Hades' wife Persephone. Along with bringing back Cerberus, Heracles also managed (usually) to rescue Theseus, and in some versions Pirithous as well. According to Apollodorus, Heracles found Theseus and Pirithous near the gates of Hades, bound to the "Chair of Forgetfulness, to which they grew and were held fast by coils of serpents", and when they saw Heracles, "they stretched out their hands as if they should be raised from the dead by his might", and Heracles was able to free Theseus, but when he tried to raise up Pirithous, "the earth quaked and he let go." The earliest evidence for the involvement of Theseus and Pirithous in the Cerberus story, is found on a shield-band relief (c. 560 BC) from Olympia, where Theseus and Pirithous (named) are seated together on a chair, arms held out in supplication, while Heracles approaches, about to draw his sword. The earliest literary mention of the rescue occurs in Euripides, where Heracles saves Theseus (with no mention of Pirithous). In the lost play Pirithous, both heroes are rescued, while in the rationalized account of Philochorus, Heracles was able to rescue Theseus, but not Pirithous. In one place Diodorus says Heracles brought back both Theseus and Pirithous, by the favor of Persephone, while in another he says that Pirithous remained in Hades, or according to "some writers of myth" that neither Theseus, nor Pirithous returned. Both are rescued in Hyginus. ... There are various versions of how Heracles accomplished Cerberus' capture. According to Apollodorus, Heracles asked Hades for Cerberus, and Hades told Heracles he would allow him to take Cerberus only if he "mastered him without the use of the weapons which he carried", and so, using his lion-skin as a shield, Heracles squeezed Cerberus around the head until he submitted. In some early sources Cerberus' capture seems to involve Heracles fighting Hades. Homer (Iliad 5.395–397) has Hades injured by an arrow shot by Heracles. A scholium to the Iliad passage, explains that Hades had commanded that Heracles "master Cerberus without shield or Iron". Heracles did this, by (as in Apollodorus) using his lion-skin instead of his shield, and making stone points for his arrows, but when Hades still opposed him, Heracles shot Hades in anger. Consistent with the no iron requirement, on an early-sixth-century BC lost Corinthian cup, Heracles is shown attacking Hades with a stone, while the iconographic tradition, from c. 560 BC, often shows Heracles using his wooden club against Cerberus. Euripides, has Amphitryon ask Heracles: "Did you conquer him in fight, or receive him from the goddess [i.e. Persephone]? To which, Heracles answers: "In fight", and the Pirithous fragment says that Heracles "overcame the beast by force". However, according to Diodorus, Persephone welcomed Heracles "like a brother" and gave Cerberus "in chains" to Heracles. Aristophanes, has Heracles seize Cerberus in a stranglehold and run off, while Seneca has Heracles again use his lion-skin as shield, and his wooden club, to subdue Cerberus, after which a quailing Hades and Persephone, allow Heracles to lead a chained and submissive Cerberus away. Cerberus is often shown being chained, and Ovid tells that Heracles dragged the three headed Cerberus with chains of adamant. ... " Wikipedia - Egyptian Hermaphrodite - 245 Corinthian-Type Helmet Greek - 7th-6th century BC, bronze - Walters Art Museum " ... This type of helmet is commonly called "Corinthian" because it is worn by the goddess Athena on Corinthian coins, but helmets of this kind were not restricted to any one production center. The mask-like form covers the entire head, with openings only around the eyes and mouth. ... " - It's a woman! I always thought this was a man's helmet. - Athena is another phallic Amazon - Egyptian Hermaphrodite - 246 Head of a Goddess Roman copy after Phidias, Greek, c. 500-432 BC 1st century BC-1st century AD, marble - Walters Art Museum " ... This head is a fragment of one of the finest existing replicas of Phidias' statue known as the "Hera Borghese." The preeminent sculptor of Athens in the High Classical period, Phidias was also the creator of the famous gold and ivory statue of "Athena Parthenos" and oversaw the elaborate sculptural decoration of the Parthenon, the temple of Athena built on the highest part of the Acropolis at Athens. ... " That's probably the goddess in the helmet - Athena - Her men - like the statue in the background are nude, buff, dog-leashed and tanned ... Classical studies do not really explain why that is ! - Egyptian Hermaphrodite - 247 Torso of Diadoumenos Roman copy after Polykleitos - Greek 460-415 BC ; Roman copy: 1st century BC-4th century AD, marble " This powerful torso was part of a copy of the "Diadoumenos," a Greek statue by the famous master sculptor Polykleitos that has not survived. The original depicted a youthful nude athlete with both arms raised to tie a ribbon, the prize of athletic victory, around his head. The statue was much admired for the skillful representation of the musculature of the chest and the naturalistic and supple pose. ... " - Walters Art Gallery, Baltimore - It's a temple of whiteness - The Walters were Confederate supporters who made a fortune by early investing in the Railroads. At their level of wealth their only peers were the royals of Europe where the younger Walters spent a lot of time on his yacht. Unlike other railroad robber barons though like the Astors the Walters did not enter the British aristocracy and donated their art to Baltimore. - Their art betrays a heavy Negro presence at the core of white civilization though - that's just incontestable - Egyptian Hermaphrodite - 248 Head of an Athlete 1st century BC - 1st century AD, Walters Art Museum, Marble " ... The unusual hairstyle, with twisted locks falling down the back of the head, the receding forehead, and the flaring nostrils suggest that the subject is an athlete. The exaggerated features are characteristic of a Greek artist's portrayal of a foreigner, perhaps an Egyptian. ... " Walters Art Museum - They mean Negro ... The Xibalbans of the classical world were Negros... Persephone was abducted to the underworld which was also in traditionally in Nysa - The meaning is the underworld was ruled by Africans! After more than 26 dynasties of Negro rule in Egypt that's not that surprising ... Egyptian Hermaphrodite - 249 Minoan Goddess or Priestess Minoan - 16th century BC, ivory and gold - The Walters Art Gallery, Baltimore " ... This statuette closely resembles the ceramic and faience examples found in the sanctuary known as the “Pillar Shrine” in the Minoan palace of Knossos on the island of Crete. Many of these objects are identified as priestesses or goddesses and are associated with fertility, painting the picture of a matriarchal Cretan society. However, current research suggests that most of the gold and ivory statuettes were made in the late 19th and early 20th centuries. At that time, the idea of a Mother Goddess (now discredited by scholars) was popular in archaeological circles. ... " - My bet is on the old theories of a Mother Goddess - These are my Minoan Amazon "bull-jumpers". Its probably real - Minoan art is Trojan Art which is Egyptian and African which is still a taboo in classical studies. Egyptian Hermaphrodite - 250 The death of Caesar Jean-Leon Gerome 1859-67 " ... Henry Walters purchased this painting, which he had long admired, in 1917. The Death of Caesar had prevously belonged to two other prominent East Coat collectors:John Taylor Johnston and John Jacob Astor III. Both Johnston and Astor, like Henry's father, William T. Walters, were railroad investors and were involved at an early stage with the Metropolitan Museum of Art in New York City. " Walters Gallery * " ... The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, United States, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th century. The Museum's collection was amassed substantially by major American art and sculpture collectors, a father and son: William Thompson Walters, (1819–1894), who began serious collecting when he moved to Paris as a nominal Southern/Confederate sympathizer at the outbreak of the American Civil War in 1861; and Henry Walters (1848–1931), who refined the collection and made arrangements for the construction of a later landmark building to rehouse it. After allowing the Baltimore public to occasionally view his father's and his growing added collections at his West Mount Vernon Place townhouse/mansion during the late 1800s, he arranged for an elaborate stone palazzo-styled structure built for that purpose in 1905–1909. ... " Wikipedia " ... Henry Walters (September 26, 1848 – November 30, 1931) was noted as an art collector and philanthropist, a founder of the Walters Art Gallery (now the Walters Art Museum) in Baltimore, Maryland, which he donated to the city in his 1931 will for the benefit of the public. From the late 19th century, Walters lived most of the time in New York City, where from 1903 on, he served on the executive committee of the Metropolitan Museum of Art in Manhattan on Fifth Avenue. He was selected as second vice president in 1913, a position he held until his death. Like his father William Thompson Walters, (1820-1894), he was a businessman in the railroad industry, serving as president of the Atlantic Coast Line Railroad (1894-1902), which had been established by his father. ... " Wikipedia * - After this recent visit to the Walters I had a dream of swallowing a gold and jewel-studded bracelet - with predictable results! At the Walters level of wealth you enter the eating gold stage - it's bad for the digestion ... I have an aphorism for it: "ingress, but no egress" - money goes in, but nothing comes out! This point was driven home to me during my recent one year trip home to Kenya ... Henry Walters died in 1931 - at the height of a movement that ended badly in World War 2 - the "Aryans". Nominally that was a big win for America - but I have always had doubts about that - there's a whale of tale here that is not being told ... - Egyptian Hermaphrodite - 251 "Opening of the Mouth" ritual 26th Dynasty Egypt " ... A mortuary priest, traditionally clothed in animal skin and long kilt, performs the "Opening of the Mouth" ritual, an essential part of the funeral ceremony in which the mummy is restored to life. Behind the priest is a table with special tools for the rites. He makes an offering and burns incense before the upright mummy (missing). This finely sculpted fragment comes from the tomb of the vizier Nes-pa-ka-shuty, a government official whose power was second only to that of the king. It demonstrates the elegant style of the 26th Dynasty. ... "The Walters Art Museum, Baltimore. - My inner vision is the "Opening of mouth" ritual happened at least 30 years after insertion of the penis dog-leash - I saw it as the snake of Kundalini leaving the mouth or crown chakra. It's probably not a literal mummy ritual. - But what about women? Women do not have a penis to leash. ... Not sure how that works - but its probably along the lines of the phallic nude Harpocrates - the "son" of Osiris - 26th was the last Negro dynasty - that's an black priest - Egyptian Hermaphrodite - 252 Isis Holding a Cobra late 1st century BC-2nd century AD (Roman) bronze "...This attire of the Egyptian goddess Isis features the characteristic "Isis knot" between the breasts. The sheaves of grain flanking her crown are not an Egyptian attribute but associate Isis with Demeter, the Greek goddess of agriculture. Isis had an enormous following during the Hellenistic and Roman periods, not only in Alexandria (where she was worshiped jointly with Serapis) and Rome, but also in the most important provincial cities. ... " Walters Art Museum - That's the penis dog-leash knot between the breasts of Isis. The Cobra is probably the male Kundalini rising. ... Egyptian Hermaphrodite - 253 The Cobra above is probably the female Kundalini rising - or the female phallus as in this femdom BDSM erotic movie ... Oct 12, 2020 - Thats rare: just putting on the costume is not enough -this mornings dream image is of not being able to reach that red phallus! - Natural selection will sort that out ... Egyptian Hermaphrodite - 254 Young Athlete of Westmacott Type (right) Roman Copy after Polykleitos (Greek 460-415 BC) Original 420 BC; Roman copy: 1st century BC-4th century AD, marble " ... On better preserved copies of this figure, the athlete raises his right arm to place a wreath, perhaps a prize for an athletic victory, on his head. The statue may be based on the "Cyniscus" by Polyclitus, a work depicting an Olympic champion boxer of the mid 5th century. The famed master sculptor brings the human form to life, catching the figure as he begins to move. The base, right foot, and tree trunk are ancient, but were not originally part of this statue. A complete version of the statue, now in the British Museum, was named for its previous owner, the sculptor Sir Richard Westmacott. ... " Walters Art Museum Egyptian Hermaphrodite - 255 Base with Two Prostrate Figures Egyptian, c. 1880 BC, 12th dynasty carved and incised red quartzite " ... Two provincial governors are shown prostrate before a higher authority. A third governor was once between them, but both his figure and his name have been removed. This unique sculpture must have been combined with the statue of a god or king. It is possible that the work was once part of a larger group that may have shown all the provincial governors of Upper and Lower Egypt. The removal of the middle figure may either have been a "damnatio memoriae" to destroy the commemoration of the depicted person, or to replace his image by the figure of another person. ... " Walters Art Museum - I did not notice it but the figures have elongated skulls like skulls during 18th dynasty Akhenaten times. That bowing is probably from a Punt or central African dynasty of ancient Egypt - and is probably bowing towards a nude black African queen. Egyptian Hermaphrodite - 256 Female Fertility Figure (right) Egyptian 20th century BC (Middle Kingdom) hippopotamus ivory (Ivory & Bone) " ... Female fertility figures became popular during the Middle Kingdom. They were found in tombs of men and women, and were also later donated to the temples. This statuette displays a nude girl. She is adorned with a belt, and a long necklace with a pectoral. The figure once had a wig attached which is now lost, but the dowel holes where it would have been attached are preserved. The pubic triangle is marked by incised dots and a line. ... " The Walters Art Gallery, Baltimore. Nubian Woman (left) c. 1250-1070 BC (New Kingdom) plaster " ... This figure may have been used as a model for other figurines. ... " Walters Art Museum - That's probably what those prostate figures are bowing to - a nude black African queen ... - Almost certainly a standard feature of Temple of Amun sex and masturbation rituals - the nude girls and women sexually brought the prone men to orgasm or even sexually mounted them. After which they were re-caged until the next planned sexual/religious encounter Egyptian Hermaphrodite - 257 Amphora with Scenes of the Hermes and Dionysus Greek, c. 540-520 BC - terracotta; black figure " ... The vase painter known as "The Affecter" had a long career, beginning before 550 BCE and lasting into the 520s. His style is one of the most easily recognized in all of Greek vase-painting, characterized by thick figures with tiny heads and exaggerated, angular joints. Both sides of the amphora show scenes of the messenger-god Hermes leading the wine-god Dionysus towards a woman (perhaps Ariadne, wife of Dionysus) who welcomes them, in the company of satyrs. ... " The Walters Art Gallery, Baltimore. - Men have black skin, women white: Probably the penis "dog-leash" tan - or maybe black African men ... Minoan Crete was full of black Africans and was for a long time in a colonial domination relationship with the Greek cities. The satyrs are not in the "dog-leash" - they both have a fully erect penis ... Egyptian Hermaphrodite - 258 "Mastos" with Combat Scenes Greek, c. 530 BC terracotta; black figure " ... This shape of drinking-cup is called a "mastos" and resembles a woman's breast. On the front, a soldier whose nudity signifies heroic status advances against two warriors dressed in short tunics; two heralds watch from either side. On the back, a nude warrior confronts a clothed one in a similar scene. Beneath the horizontal handle stands a siren, a mythical creature with a woman's head and a bird's body, whose powers included knowledge of the outcome of battles. ... " The Walters Art Museum, Baltimore - The black skinned nude warrior has an exposed "dog-leashed" penis but also breasts - that could be an Amazon. Maybe one of the Minoan "bull jumpers". Maybe that's why the cup is shaped like a woman's breast ... Egyptian Hermaphrodite - 259 "Mastos" with Combat Scenes Greek, c. 530 BC terracotta; black figure Another view of the Mastos cup. In this view the black-skinned warrior's head is visible and there is no beard - there is also the suggestion of long hair falling out the helmet. Women are usually painted white - but that could be a black African or black Minoan Amazon. Oct 17, 2020 Shot blocked. Used workaround. I suppose I am not in the "flow". I think a little extra energy is needed to go against the conventional narrative, or the consensus flow ... - That's probably a scene from a Greek "Amazonomachy": " ... In Greek mythology, Amazonomachy ... was one of various mythical battles between the ancient Greeks and the Amazons, a nation of all-female warriors. Many of the myths portrayed were that of Heracles' ninth labor, which was the retrieval of the girdle of Hippolyta, Queen of the Amazons, and of Theseus' abduction of Hippolyta (or Antiope), whom he claimed as his wife -- which led to the Attic War. Another famous scene portrayed is that of Achilles' victorious battle against Penthesilea during the Trojan war. The subject was popular in ancient Greek art and Roman art. Amazonomachy represents the Greek ideal of civilization. The Amazons were portrayed as a savage and barbaric race, while the Greeks were portrayed as a civilized race of human progress. According to Bruno Snell's view of Amazonomachy For the Greeks, the Titanomachy and the battle against the giants remained symbols of the victory which their own world had won over a strange universe; along with the battles against the Amazons and Centaurs they continue to signalize the Greek conquest of everything barbarous, of all monstrosity and grossness. Amazonomachy is also seen as the rise of feminism in Greek culture. In Quintus Smyrnaeus's The Fall of Troy, Penthesilea, an Amazonian queen, who joined on the side of the Trojans during the Trojan war, was quoted at Troy, saying: Not in strength are we inferior to men; the same our eyes, our limbs the same; one common light we see, one air we breathe; nor different is the food we eat. What then denied to us hath heaven on man bestowed? According to Josine Blok, Amazonomachy provides two different contexts in defining a Greek hero. Either the Amazons are one of the disasters from which the hero rids the country after his victory over a monster; or they are an expression of the underlying Attis motif, in which the hero shuns human sexuality in marriage and procreation. In the 5th century, the Achaemenid Empire of Persia began a series of invasions against Ancient Greece. Because of this, some scholars believe that on most 5th-century Greek art, the Persians were shown allegorically, through the figure of centaurs and Amazons. ... " Wikipedia - My analysis is the war against Minoan Crete and the "bull-jumper" Amazons. Persia was not an Amazon state - but Minoan Crete and ancient Egypt were. The Amazon penis was created by the male "penis-cage" ... Egyptian Hermaphrodite - 260 Etruscan Amphora with Running Satyrs Shot blocked, used workaround. Etruscan, c. 530-480 BC terracotta; black figure " ... Etruscan artists imitated Greek black-figure ware during the later 6th through the mid-5th centuries BCE. On this amphora (two-handled storage vessel), running satyrs gesture wildly beneath a procession of birds. The vivid animation of the figures is typical of Etruscan art, and their dance-like poses and proportions are probably inspired by the wall-paintings of contemporary Etruscan tombs. ... " Walters Art Museum - Although there are bearded nude satyrs, most of them seem like black running women satyrs with a penis Egyptian Hermaphrodite - 261 Etruscan Mirror with Heracles, Dionysus, Ariadne, and Eros Shot blocked, used workaround Etruscan, c. 300 BC, bronze " ... In order to create a reflective surface, the front of ancient mirrors were either highly polished or covered with a thin layer of silver. Engraved on the back of this mirror is a scene from the Greek myth of the marriage of Dionysus. The figures are identified by engraved inscriptions with the Etruscan names for Heracles (Herkle), Ariadne (Vesuna), Dionysus (Fufluns), and Eros (Svutaf?). ..." Walters Art Museum - Ariadne (center) and Eros (right) are nude standing women with a "dog-leashed" penis - That's probably what happened: the phallic black Amazons married the Greeks and later the Romans creating a hybrid civilization. By day a conventional patriachy, but by night the province of the black female phallus ... Egyptian Hermaphrodite - 262 Drawing of "Mirror with Heracles, Dionysus, Ariadne, and Eros" Shot blocked used workaround Etruscan, c. 300 BC, bronze " ... The figures are identified by engraved inscriptions with the Etruscan names for Heracles (Herkle), Ariadne (Vesuna), Dionysus (Fufluns), and Eros (Svutaf?). ..." Walters Art Museum - Ariadne (center) and Eros (right) are nude standing women with a "dog-leashed" penis - Egyptian Hermaphrodite - 263 Etruscan Cista Depicting an Assembly of Warriors - A satyr and a maenad with their arms intertwined form the lid's handle Etruscan, 4th-3rd century BC, bronze " ... Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th to 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects. A scene of warriors assembled within a large palace or hall is a common decoration on cistae. On the front, at left are two running figures carrying shields; an eagle flies over the left figure. Three helmeted warriors appear to the right. On the back is a seated young man, his armor gathered around him and a horse at ready nearby. A satyr and a maenad with their arms intertwined form the lid's handle. The vessel's feet have the four toes of a lion but are shaped like a bird's claws; each is topped by winged youth. ... " Walters Art Museum - Nude male and female athletes in boots only. The male seems to be in the penis-cage. In Etruscan culture women controlled their own property and participated openly in drunken orgies. Often times the father of child was not known and Etruscan women retained control over their children. That's probably an ancient Egyptian colony. Probably the closest the modern world can get to the inner workings of the Temple of Amun ... - Egyptian Hermaphrodite - 264 Pyxis and Lid with Sphinx-Shaped Handle Shot blocked, used workaround Etruscan, 650-625 BC, Ivory " ... This pyxis (box) was fashioned in imitation of Phoenician luxury goods imported from the Near East. Although it incorporates many Near Eastern elements in its decoration, including sphinxes, a lotus plant, and chariots, the style of the figures shows it is clearly the product of a local Etruscan workshop. The handle of the lid takes the form of a standing sphinx wearing a lotus crown. The 7th and early 6th centuries BC are known as the Orientalizing period because of the many eastern, or "Oriental," elements in the art. In this prosperous era of international trade, Etruscan artists manufactured luxury goods, such as those seen in this case, that reflect influences from the art of the eastern Mediterranean. ... " The Walters Art Gallery, Baltimore. - A better source is the 26th dynasty of ancient Egypt - last Negro Dynasty - Egyptian Hermaphrodite - 265 Cista Depicting Helen of Troy and Paris - handle consists of a satyr and a maenad (followers of the wine-god Dionysus) with arms intertwined. Shot blocked - used workaround Praenestine 4th century BC bronze, traces of silver " ... Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th to 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects. The body of this cista is decorated with scenes from the most notorious love story of ancient times, that of Helen of Troy and Paris. On the right side, Helen is presented to Paris. Following which, on the front, he carries her off to his waiting chariot. On the lid, two flying figures carry ribbons to crown the pair. The handle consists of a satyr and a maenad (followers of the wine-godDionysus) with arms intertwined. Lions stand atop the vessel's clawed feet. ... " The Walters Art Gallery, Baltimore - Again, the athletes are nude except for boots, and the male looks to be in the penis cage - Egyptian Hermaphrodite - 266 Cista Handle in the Form of a Woman Somersaulting Shot blocked, used workaround 5th-4th century BC, bronze " ... Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th and 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects. This female athlete performs a somersault. She wears only a diadem (headband) and shoes. Etruscans loved to incorporate human figures, including those of athletes, into their everyday objects. ... " Walters Art Museum - Nude female athlete except for boots That's like a Minoan "bull-jumper". - Female nudity is rare for females in the classical world - but very common in the ancient Egyptian world. - Egyptian Hermaphrodite - 267 Standing Pataikos Egyptian, 664-525 BC 26th dynasty, Egyptian faience with green glaze " ... The dwarf god Pataikos offered protection from evil. He was a manifestation of the creator god Ptah, and became popular beginning in the New Kingdom. The name was introduced by the Greek writer Herodotus. Representations of the god were used as amulets. This was probably made during the 26th Dynasty. ... " Walters Art Museum - My intuition is that's a Punt Harpocrates - or a central African dwarf princess in her Horus form. The penis says male, but the sidelock says female and princess ... - At some point at the dawn of ancient Egypt, central African dwarves were in a colonial dominant relationship with their central African neighbors - that's the dream image. And further - they were ruled by dwarf women ... - There's a sexual component to rule by African Amazons that does not translate in modern western discourse though ... They are more like modern Brazilian Samba "Rainha de Bateria's" - Egyptian Hermaphrodite - 268 Horus the Child Standing on Crocodiles Egyptian, c. 380-343 BC, 30th dynasty, black steatite "... Horus the Child stands on crocodiles and controls snakes, scorpions, an oryx, and a lion. Called a "cippus," this is a magical device believed to ward off poisonous and dangerous animals and to heal those who had been bitten or stung. Liquid would be poured over the "cippus" to absorb the strength of the images and spells and then be drunk by, or poured on, the afflicted. ... " The Walters Art Museum, Baltimore - Again, the penis says male, but the sidelock of youth says young princess ... - For the ancient Egyptians, penis says female though ... Osiris lost his penis to Set and had to re-grow it through 30 years in the penis cage which was female controlled. The penis cage causes the female phallus ... And also amplifies eros ... - Egyptian Hermaphrodite - 269 Figure Ensemble of the Goddess Neith with Horus the Child (twice) and a Worshiper Egyptian, 380-342 BC, 30th Dynasty, bronze " ... During the 1st millennium BCE, individuals could receive permission to donate not only single figures of a specific deity to a temple but also more complex group arrangements of one or several gods with the donor himself as a worshiper or bringer of offerings. This ensemble exhibits the goddess Neith seated on a throne, accompanied by two figures of the juvenile Horus (one with double-crown here for Upper Egypt, and one with the lower Egyptian crown). The donor is depicted as the kneeling worshipper in front of the feet of the goddess. ... The inscription on the base names the donor. [Translation] Neith may give life to Hor-em-kheb, son of Naf-jah, born of Hepty. ... " The Walters Art Museum, Baltimore. - That's a double Harpocrates - 30th Dynasty Egypt in 343 BC probably had two "God's wife of Amun" - probably the Kings wife (sister) and his daughter - Egyptian Hermaphrodite - 270 The Head of a Statue of Amenhotep III, Re-Carved for Ramesses II Egyptian, c. 1380 BC, 18th Dynasty; Recarved: 1279-1213 BC, 19th dynasty, granodiorite (red granite) " ... King Amenhotep III carried out a number of large-scale architectural and sculptural programs during his long reign (1388-1348 BCE). Ramesses II, a king of the succeeding 19th Dynasty, much admired his predecessor's accomplishments and set out to copy them. At times, he simply usurped or recarved Amenhotep III's works, as in the case of this statue. The khepresh, or "blue crown," appears frequently in royal sculpture of the New Kingdom. The king wore this crown on campaigns or in ceremonial processions. As with all royal headdresses, the coiled, protective uraeus serpent appears at the brow. ... " Walters Art Museum - Memnon! Recarved as Rameses II ... Egyptian Hermaphrodite - 271 Quartzite King with a Cobra's Body Egyptian, 12th to 13th dynasty, c. 1780 - 1700 BC Walters Art Museum - That's a black African king. I've read in Manetho that the 12th dynasty worshipped Set. That was probably a no female penis dynasty They were probably the dynasties that enslaved the Israelites - or the Hyksos who broke free in the 15th dynasty


	Amarna Princesses Mutbenret behind Meritaten, Meketaten and Ankhesenpaaten and their nurse. Award scene from the tomb of Parennefer. (From Lepsius Denkmäler) Daughters of Pharaoh Akhenaten and Queen Nefertiti I call this photo: "Amarna Princesses" I think there was an ascension event in the Akhenaten years - most people went the Moses way - but a few people ascended to a higher plane. The royals were all naked and all female in public during the Amarna period - ie both the body and the head or crown of Egypt were in sync and in high heat for a brief period ... There is some evidence of this in the death-of-Memnon poem on the previous page. Memnon was Amenohotep III - After his death at the hands of Achilles, his Ethiopian host were given wings by his mother the goddess of dawn Eos and flew away from the Trojan plain ... Nor were his Ethiopian comrades left to wander of their King forlorn : Eos suddenly winged those eager souls with speed such as should soon be theirs for ever, changed to flying fowl, the children of the air. Wailing their King in the winds' track they sped . . . so they left far behind that stricken field of blood, and fast they followed after those swift Winds with multitudinous moaning, veiled in mist unearthly. Trojans over all the plain and Danaans marvelled, seeing that great host vanishing with their King. All hearts stood still in dumb amazement. ... " Callistratus, Descriptions 9 :
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