There are two main countries in the world that call themselves the Celestial Empire - Egypt and China. They put the same thing in this name, so the culture of both countries is largely identical. Therefore, white spots from the history of Egyptian culture are easily restored by surviving data from China, and vice versa.
The most common of the names that the Chinese call their country is a combination of two characters "Tian Xia", where:
"Tien" - translated as "sky".
"Xia" - means "bottom", "foot", "to be under something."
So it turns out something similar to "Celestial Empire".
For a long time, the basis of the Chinese worldview was the idea of the Great Sky. They considered China to be the middle of the Middle Kingdom (Oycumene). From there, the official name of China, which has survived to our time, is the "Middle State". Even during the reign of Mao Zedong, China was officially called (in literal translation) the "Middle Blooming People's Republic".
In Beijing there is an ancient temple of Heaven, where the emperor consulted with Heaven only in extremely difficult state situations.
Promotional video:
Since the time of Dong Zhongshu, the emperor has been viewed in Confucian ideology as the representative of heaven on Earth. According to the Confucian worldview, the entire celestial world seemed to be the territory under his control. The main sanctuary of the imperial capital was called the Temple of Heaven.
According to such views, the center of the world is the court of the Chinese emperor, which is consistently surrounded by concentric circles: high officials, lower officials, ordinary citizens and, finally, vassal kingdoms and "barbarians." Classical Chinese political thought argued that the Chinese emperor is the ruler of the entire world, and all known foreign kingdoms are only his vassals. In classical Chinese philosophy, the term "Celestial Empire" is used as a synonym for civilization and order in the Chinese sense, and denotes the place of the Chinese people in the world.
In Egypt, as well as in China, Heaven was the legislator of everything. The forces of vibration that formed all the surrounding matter were called gods by people. The ancients wrote that gods (vibrations, frequencies, sound …) are everywhere - in every object, in the air, water, earth and every small grain of sand. But they are most comfortable in the air. And the higher from the earth, the more rarefied the air, and the gods (vibrations …) have more room for activity. One way or another, but all cultures of the earth agreed on one thing - the gods (vibrations …) live in Heaven. The sky is their home.
The Greeks even introduced the concept of ether. Ether (mountain air) in ancient Greek mythology is the upper layer of air (sky), the abode of the gods. Ether as part of the world is the upper (mountain), lightest (thin, rarefied), transparent and radiant layer of air, the upper layer of the sky, which the gods breathe and in which they live. Ether reaches the summit of Olympus, where the Olympic gods are.
In Egypt, as well as in China, the world was divided into two bases:
1. Sky - Upper Egypt - Tien (China) - circle (symbol).
2. Earth - Lower Egypt - Xia (China) - square (symbol).
The priests of Egypt and China worked hard to develop their vocal abilities. In order to develop in oneself the ability to reproduce the necessary notes by voice and find resonant frequencies with those objects or materials with which they worked. The ability to find a common language with the gods (vibrations …) and to influence them was greatly appreciated among people. You know how to communicate with the gods (vibrations …) - the gods (vibrations …) help you, you don't know how - you are a forgotten person by God (vibrations …). Therefore, both in Egypt and in China they considered their countries Celestial - they knew how to communicate with the gods (vibrations …) and believed that they live in harmony with Heaven, according to the laws of Heaven. And everyone else who did not know how to work with the gods (vibrations …), they considered flawed, living out of tune with Heaven.
It all started like this:
According to the Heliopolis legend, Atum appeared from the primordial waters, and by his will the sacred Benben stone began to grow from them. Standing on its top, Atum gave birth to Shu, the god of air, and Tefnut, the goddess of moisture. This couple gave birth to their children: Hebe, the god of the earth, and Nut, the goddess of the sky.
According to the Hermopolitan version, starting with the New Kingdom, the apex of the Ennead is headed by Amon and Amaunet, personifying invisibility and air.
Memphis theology has many things in common with Heliopolis, but teaches that Ptah preceded the sun god, and the latter was created by his language. This is the first known theology based on the principle of logos, that is, creation by word.
One way or another, everyone agrees on one thing - initially there was a universal ocean, from which a common god (vibration, full scale, …) formed matter. Which he later divided into:
1. Heaven - Upper Egypt - not material.
2. Earth - Lower Egypt - material.
Air is a circle.
The earth is a line or a cross (or, as in China, a square).
The earth is inhabited by people, the sky is the home of the gods (vibrations …). People live their own lives. Gods (vibrations …) also live their own lives, and people, as such, are not interested in them. Physical phenomena "live" according to their own laws. And only priests who know how to work with a voice with Sound are able to use the possibilities of these physical phenomena, thereby, speaking in poetic language, to conduct a dialogue with the gods (vibrations …), connecting Heaven and Earth.
Ankh as a symbol realized these beliefs of the ancient Egyptians. Everything is important in it. And Air is the Ring, as the source of everything and the place of residence of the gods (vibrations …). And the Earth is the horizontal line, the place where people live. And the Knot connecting Heaven and Earth. This is an important symbolism for the ancient Egyptians, and therefore the Earth (horizontal bar) must be firmly tied to the Heaven (circle) with a reliable knot.
According to the canons, if the Ankh was in the hands of the pharaoh, he held it by the bottom, and the gods (vibrations..) held the Ankh by the Air (Ring). And only when necessary, this rule changed. For example: at a time when the gods (vibrations …) wished the pharaoh or priest health, easy breath and a good voice, they held the Ankh by the bottom, and with Air (Ring) blessed the chosen one's nose. Thus, as if introducing the earthly man to Heaven. And this ritual was never performed with any other rod or amulet. Only Air - Nose.
The connection between Earth and Heaven runs as a leitmotif throughout the culture of ancient Egypt, and the Knot of Isis - Tyet - emphasizes this once again.
The symbol of Sema-Tawy is a ritual of tying the Earth and Heaven with a single Knot, people (priests) or gods (vibrations …). There are many descriptions of the ritual of the union of Earth and Heaven. It is not known whether this was possible, a ceremony that would have been adopted at the beginning of the reign, or simply a symbolic representation. There are scenes that show the performance of the ritual by the pharaohs (Amenhotep III, Seti I and Ramses III …).
The Egyptians also emphasized the symbolism of the unification of the world in the crown of the pharaohs - Pshente, which absorbed both Hedget, the crown of White Air, and Deshret, the Crown of the Earth. And also animal patrons are united in the Nebty union (Two ladies, Two Ladies). Nekhbet, patroness of Air, represented by the Bird (vulture). Butoh, the patroness of the Earth, the Snake. And as the apotheosis of the symbolism of the unification of Upper and Lower Egypt (Heaven and Earth) - the Feathered Serpent (the Serpent with wings). Plant symbols: Lotus - Sky, Papyrus - Earth.
1. Sky (Air) - the crown of the Hedget, the symbol of the Circle, the animal Bird, the Lotus plant.
2. Earth - the crown of Deshret, the symbol of the Horizontal bar, the animal Snake, the plant Papyrus.
And all together - the World.
In the place where Heaven and Earth meet, Amon placed the Horizon and filled it with Air (Shu). Akera, a pair of lions, holding the Horizon on their shoulders, were assigned to guard the Horizon (air). It was at the border of the Horizon (at the borders of aggregate states) that it was easier for the priests of Egypt to find the Gate (border of resonance). Since each object, each matter has its own resonant frequency, there were many gods (vibrations of a certain frequency), and it was necessary to look for the Gate (the boundaries of resonance) for each object.
The importance of finding the boundaries of resonance (Gate), and the Gate itself in ancient cultures was emphasized in architecture. In Egypt - by Pilons, and, for example, in India - by Gopuram.
Pylon (gate, entrance): A tower-like structure in the form of a truncated pyramid (rectangular in plan). The pylons were built on both sides of the narrow entrance to the ancient Egyptian temple.
Gopuram (or gopura) is a gate tower in the temple fence of Hindu temples, a distinctive feature of Indian medieval architecture. Serves as the entrance to the temple complex.
Both the Pylons and the Gopuramas were simply monumental entrances to the temple grounds that did not have functional premises and, as a rule, were much larger than the temple itself in size.
In the culture of ancient Egypt, this was realized in the so-called "false doors", which the Egyptians applied to both bas-reliefs and papyri.
The gates in the form of "false doors" in the Aksum obelisks were immortalized in the likeness and shape of the Gopuram of India, but in a monolithic design.
What is a Gate? Let's say the Gate of Granite. This is a segment on the sound scale, at which frequencies the resonance of the granite crystal lattice begins and at which frequencies it ends. All materials have different resonances (their gods) and the Gateway is different. Some Gates can be measured with a width of 2-3 Hz, while others will not even have tenths of a Hz. But it's better to see once than hear a hundred times. In the video, the experiment is not carried out with granite, but the opening and closing of the Gate is very significant.
Where is the best place to work with your voice, simulating the desired frequencies? Of course, in an enclosed soundproof room, away from any background noise. So people built pyramids, dolmens, barrows for their needs …
The pyramids of Egypt were very different in shape and execution. But there was something that united them all - the so-called "Chambers of the Kings", which were present in each pyramid.
In a comparative analysis of the "Kings' Chambers" from different pyramids, I was interested in the structure of the ceiling in these chambers. All rooms are of standard quadrangular shape, but the ceilings in some of them differ in their design. The earliest "kings' chambers" were equipped with "stepped" ceilings (pyramidal Christmas trees). But they were abandoned for a century. Then flat and domed ceilings were tried. But the quality characteristics of flat ceilings did not satisfy the ancient priests. Beginning with the pyramid of Cheops, gable ceilings (houses) were used, and for 600 years they were dominant. Domed ceilings were reintroduced on a permanent basis from 1897 BC, and no further experiments were made with the shape of the ceilings. Hence,The domed shape of the ceilings of the "chambers of the kings" fully satisfied the working requirements of the priests. Why is the dome shape the most optimal? The dome-shaped ceiling reflects sound waves to the center of the room (where the altar can be installed), collects the waves into one beam and does not have a signal scattering effect.
The gods (resonant vibrations, infrasounds of certain frequencies and combinations) are at the very beginning of the sound scale. The average person does not hear sound below 60 Hz, but people have noticed that under certain circumstances, in the absence of audible sounds, amazing things happen. For example: nothing portends troubles, and animals leave their homes, and after a while this area is covered by fire, hurricane or earthquake. People did not have sensors and detectors of sound and they could not figure out that the animals were driven from their places by the low-frequency sounds of the impending danger. But our ancestors were very patient and observant. The first teachers of humans were Snakes. Who and how noticed that the snake reacts to low-frequency throat mooing, history is silent. But the fact remains:all ancient cultures began their "sound revolutions" with the Serpent.
In Egypt, India, the Americas … across the planet, snakes have played a key role in the development of cultures. All the peoples of the Earth in ancient times called the Serpent Teachers.
Remember the legend where the Serpent (namely the Serpent, and no one else) invited people, Adam and Eve, to taste the fruit from the Tree of Knowledge? Did the Snake offer Knowledge? It was then that the god of the monotheists came and became so angry that in a fit of rage he “cut off the Snake's arms and legs” (he would have also pulled out the “buzzer” for her, but apparently he hadn't thought of it). Monotheists asserted, and subsequently instilled, that Knowledge should belong to them. And all other people do not need Knowledge and even harmful. And in every possible way this dogma was promoted and vigilantly monitored its implementation.
But it will be a little later. And initially, any pagan culture repelled from the cult of Snakes, from interaction with Snakes.
At the same time, the profession of snake charmers was born in Egypt, or, as in the English version, "The Enchanted Snake." The priest generated a prayer with a voice (mantra, om, de …), and the Snake reacted to certain frequencies (responded - it rose and opened its hood in excitement). Pay attention to the poses of the priests when working with the Serpents and the location of their hands - this will be reflected in Egyptian hieroglyphs. Remember this symbolism and, having met it while reading a papyrus or a bas-relief, you will immediately understand that they are talking about working with Sound.
Sound detectors, Snakes, priests needed more and more over time. Both the skills and tools of the Conjurers have improved. This is how the staffs of Ouasa appeared.
Under stones, in crevices, snakes hide from the unbearable heat when the sun is at its zenith. The serpent with a voice lures the snake to the surface, then the Uas staff is used. By manipulating the hook, an experienced catcher can catch almost any snake. With a fork (bifurcated at the end), he presses the snake's head for fixation and subsequent grasping with his hand, or he can raise the lying snake above the ground and transfer it to a more suitable surface.
Progress did not stand still, people discovered other sound detectors. One such indicator was Perot. With good vision, you can see how the Pen reacts to infrasound.
Feathers, like Snakes, occupied one of the leading places among the ancients in terms of accessibility and ease of use. In addition to its qualities as an indicator, the pen was also a carrier of the lightness of Sound, its low frequency. Therefore, ancient artists "covered with feathers" to indicate the Lightness of the Serpent (earthly symbol). They were depicted with Feathers, and not rarely with wings. America is the Feathered Serpent. China - Kite, Heavenly Dragon. Egypt - Feathered Cobra …
The people themselves stuck these Feathers into their hairstyles, made necklaces, brooches, amulets from them. The Pharaohs of Egypt included Feathers in their crowns as well, as one of the obligatory symbols of their connection with Heaven (Air, work with Sound).
In all ancient Egyptian images, where the artist introduces the Pen into the scene, you should know that we are talking about working with Sound. The peasant plowing the land, the Egyptians did not "cape" with Feathers. A feather is a sacred object, not a household decoration.
In addition to Serpents and Feathers, the ancient Egyptians worked out a whole arsenal of infrasound indicators. Reed Brushes, Scarabs, Flags, ribbons of fine matter … Many of these Sound detectors, like the Snake and the Feather, entered the Egyptian hieroglyphs. Meeting them in pictures, you will also understand what is at stake.
Fire smoke, Incense smoke, Incense smoke were excellent indicators of low frequencies. Incense burners, like Snakes and Feathers, made a huge contribution to the culture of ancient Egypt. It can be said that the entire human civilization, and in particular the culture of ancient Egypt, came out of the Smoke of the Centers.
I have to say a few words about incense burners. Incense, and incense in particular, traces its history back to Egypt. Frankincense is classified into two types - direct and indirect combustion. Indirect, also compulsory, combustion is carried out by putting incense resins on already burning coals. Direct burning - crushed incense is mixed with combustible material and a pyramid, a cone, is fashioned from the resulting mixture, which is subsequently set on fire from above.
The Eye of Horus is "attention", or rather, "look carefully."
The burning of incense was used by priests to produce smoke, which is a good indicator of infrasound. In order to hone the prayer (mantra, om …) well, the priest had to carefully monitor the reaction of the smoke while working.
On many Egyptian steles in the form of a heading at the very top of the stele, the Eyes of Horus look at the Censer and the waves of Sound (or, more correctly, Vibration?). To avoid controversy in the future, following the example of Egyptologists, I will refer to the “broken line” symbol as a general concept - “WAVE”.
For the ancient priests, the incense burner, extinct, cold, without burning incense, was a clear and easily readable symbol. An empty censer is an incomprehensible subject for us. And why the Eyes of Horus are directed at him (at the empty incense burner) is also meaningless.
I had to spend a lot of work, but the search was crowned with success - artifacts were found on which a BURNING INCENSE was drawn in this censer! And at once everything fell into place: the Eyes of Horus urged the priest to “watch carefully” the stream of rising smoke and, judging by the reaction of the smoke, to improve the quality of his prayer, to bring his voice to perfection.
“Enneada (Ptah) created a representation through the eyes, hearing through the ears, breathing through the nose; these amounts are felt by the censer, and this censer, allows you to manifest all this knowledge, and the smoke is the language of the censer, which repeats what Ptah intended."
- Shabaka Stone (extract). Translated by Claire Lalouette.
Eye of Horus, Shen ring, Censer, Waves of vibration - in general, this composition reads like this: To connect the Earth with Heaven, be attentive, watch the vibrations of the smoke (and, accordingly, sharpen your voice, guided by its behavior).
It is curious that the hieroglyph F35 in the lists of Gardiner's signs appears as "Nefer" - "sheep's heart and trachea"!
In 1822, the Frenchman Jean-Francois Champollion translated the Rosetta Stone, which gave a start to deciphering the Egyptian letter.
At the beginning of the last century, Sir Alan Gardiner created a list of signs of the ancient Egyptian hieroglyphs with their decoding. Egyptologists use Gardiner's list to this day.
One hundred fifty or two hundred years ago, the ability of a scientist to comprehensively examine a large number of artifacts was limited. Conclusions were made on the basis of fragmentary knowledge. Could some mistakes have crept into their judgments?
Approximately in the same years, beliefs about the solar gods of antiquity appeared. And only recently the timid voices of young historians began to be heard that with the solar gods they "boiled" a little. Well, the pagans did not give priority to the solar gods. And their pantheons were headed by the gods of Heaven, Air, and not the Sun.
Zeus (ancient Greek Ζεύς, Mycenaean. Di-we "Diy") - in ancient Greek mythology, the god of the sky.
Jupiter (Latin Iuppiter) - in ancient Roman mythology, the god of the sky, the father of the gods, the supreme deity of the Romans.
Indra (Hinduism) is the king of the gods (devas) and the lord of the heavenly kingdom.
Odin is the supreme god in German-Scandinavian mythology, the father and leader of the Aesir, the grandson of the Storm. Sage and shaman.
Perun is the God-Thunderer in Slavic mythology.
Stribog - the god of the winds, associated with the atmosphere.
Returning to the F35 hieroglyph, I would like to add: how could you confuse the "incense burner" with the "sheep's heart"? And what translation will be obtained if we replace these two incompatible concepts?
And what is the meaning of the translation text?
Hieroglyph F35 in Gardiner's list of signs is listed as "Nefer" - "sheep's heart and trachea"! But look at the photo of the artifact that I found in the Bonn Museum - in common with the "sheep's heart" is somehow not enough.
In a nutshell, I will quote what the official scientists write about this vessel:
“A metal vessel belonging to Hatshepsut, a powerful queen who ruled ancient Egypt for 20 years, beginning around 1479 BC.
Analyzing a metal can belonging to the famous queen, a team from the Museum of the University of Bonn in Egypt in Germany recently discovered organic remains in it. It is believed that the remains are from incense. The next step will be to try to "reconstruct" the smell, which was probably produced from expensive incense imported from the territory of modern Somalia."
“According to ancient documents, frankincense was extremely valuable in ancient Egypt and was only used in temples and for living gods (such as the pharaoh),” said Michael Höveler-Müller, curator of the Egyptian Museum at the University of Bonn. It was this incense, the researchers suspect, that they found in a filigree vessel with the name of a powerful queen. With the help of X-rays, the remains of a dried substance were found at the bottom of the bottle.
Pharmacologists will now analyze the residues, and break them down into components, in the hope of recovering what was lost."
Researchers from the University of Bonn, Germany, found a highly carcinogenic substance in a flask housed in the University's Egyptian Museum. For a long time it was believed that perfume was kept in this vessel, judging by the inscription that belonged to Hatshepsut.
“After two years of research, it is now clear that this is not the case,” says a spokesman for the University of Bonn.
The ingredients analyzed contained a large amount of benzopyrene, aromatic substances and a highly carcinogenic hydrocarbon.
“Benzopyrene is one of the most dangerous substances we know of,” said pharmacologist Helmut Wiedenfeld. Banned in modern cosmetics, residues of carcinogenic tar can be found in burnt substances and foods such as barbecue, cigarette smoke and coal tar.
Smoke from an incense burner can be blown out in a thin stream.
Video: incense burner with Buddha:
Heavy or cold smoke can be collected in a container.
Video: incense burner fountain:
Smoke may be treated as material by some people.
Video: smoke tricks, guy blows smoke rings:
How did this happen in antiquity? Take, for example, the "Nefer" incense burner (hieroglyph F35), exactly the same one from the museum exhibit at the University of Bonn.
On the left photo there are four "Nefer" in a calm, not working condition, and on the left in work. The ancient artist painted fire and smoke over each "Nefer" in working order.
The whole process of working with the Censer was as follows: lighted incense was placed in the Censer and the Sound was applied to it. The correctness of performance was determined by the reaction of the smoke.
One priest on a wind instrument creates a working frequency, and three other priests work with their voices, performing a mantra (prayer, Om, Te …).
It is curious that the third priest from the edge holds his hands in a characteristic Christian gesture. Who borrowed from whom is not clear.
In their sacred practices, the ancient Egyptians used incense made from lotuses. In a closed room, working with burning cones of incense from the Lotus pomace, after some time, the smoke of the Lotus will no longer breathe. Any person, whether he wants it or not, will smell the lotuses in such a room.
The ancient artists also showed the process of inhaling the scent of the Lotus by placing symbolic Lotus buds in the hands of the characters. This is the same indicator of sacredness: if there is a plot of sniffing the Lotus on a bas-relief or papyrus in a scene, be sure - in this scene we are talking about working with burning incense, and hence with Sound.
Lotus is a symbol of Heaven. And the connection between Heaven and Earth for the Egyptians was the basis of everything. The smoke from the Censer belonged to both Heaven and Earth. It was, according to the priests, both immaterial and at the same time material. In general, it was a kind of Horizon between Heaven and Earth. The horizon itself is a connection between Heaven and Earth, but the Egyptians, for reliability and unnecessary symbolism, tied them with the Knot of Isis. Notice where the Isis Knot is tied - in the middle, between the material cone of incense and the air (Heaven) above the neck of the incense burners (in this case, the hieroglyph F35). This entire scene is called The symbol of Sema-Tawy.
The importance of Lotus incense for the ancient Egyptians is difficult to overestimate. The union between Heaven and Earth (Upper and Lower Egypt) was helped to maintain the Lotus Censer. And this connection was sacred for people. Accordingly, the Lotus, as the providers of the Horizon, firmly entered all stages of the culture of Egypt. They were used as a symbol in architecture, in the visual arts, and in folk crafts.
And, of course, the future priest in his studies relied on the smoke of the Lotus. For example, the eternal disciple of Egypt is young Harpocrates. He was depicted as a tormenting Serpent, and with scorpions and many other animals that react to low-frequency sound. But his favorite pastime is sitting on the Lotus (borrowed from the Buddha?). He usually sits in a very characteristic pose, pointing with his finger to his mouth, so that anyone can understand that he is learning to work with the Voice.
During his studies, the young initiate sits down in front of the censer (and in this case the hieroglyph F35), sets fire to incense and begins to perform a prayer (Om, mantra, Te…). During the generation of the mantra, he goes through the notes (tones), then rising in tonality with a voice, then descending like a ladder (Musical ladder). At the same time, (the Eye of Horus) closely monitors the Smoke from the incense burner (hieroglyph F35), whether he is doing everything correctly. If you get lost, start over. This is how the disciples searched (worked out) their own Te for years.
In the table of contents for almost any scene, the meticulous Egyptians drew which sound detectors the priest would need in order to correctly reproduce the prayer (Te, mantra, Om …) written in this chapter. In this work, they recommended the use of the Serpent, the Feather and the Censer.
Each priest had a whole box of sacred dishes. Incense burners in the form of Helmholtz resonators alone had dozens and hundreds for all occasions. For a successful priest, all the dishes did not even fit into one drawer. I had to start a second and third.
Knowing the love of the ancient Egyptians to put all significant symbols on their heads (Urey in the form of a Snake, Feather, Horn …), and in the case of the Censer, they remained true to their habits.
And who just did not put the Censer on his head! Okay people, okay gods (vibration …). But Aton himself was with an incense burner on his head. Well subordinates, but for YOURSELF!
“The censer is part of a complex of headdress used for portraits of Egyptian kings, decorated in various ways with symbols, floral motifs, and urei. She was also the distinctive headdress of the Palmyrene priests."
These beautiful statues are made by American Indians. In addition to the Incense Burners themselves, depicted on their heads, pyramids of incense also protrude from the incense burners.
All cultures of the world, each in its own way, perpetuated and exalted the Censer. I will no longer be distracted from the history of ancient Egypt, I will only draw attention to the fact that every second Buddha of antiquity was depicted either with a cone or with a cone of incense on his head.
Serapis. He was no longer a young, respectable, respected god in all respects, but he also followed fashion.
Serapis or Sarapis is the Greek-Egyptian god. The cult of Serapis was introduced during the 3rd century BC. by order of Ptolemy I of Egypt as a means to unite the Greeks and Egyptians in his kingdom. God was depicted as Greek in appearance, but with Egyptian attributes. According to its "origin", this deity should have been associated with the gods of the Egyptian pantheon, since in ancient times only that god who had a local origin could have sacred power over a certain territory. That is why the roots of the cult of Serapis go back to the cult of the Memphis Osiris-Apis.
Goddess of Incense Burners - Nephthys.
Nephthys (Nephthys) - administrator of the Centers. Her name means quite specifically, "Lady [Temple] Corps", which links her to her role as priestess. Pharaoh becomes strong for his journey to Heaven, the world of gods (vibrations …) thanks to the assistance of Nephthys.
Nephthys has best fulfilled her role as an important national deity, whose ideal function is to provide powerful aid to her associates in a wide variety of temple cults and makes her a truly “useful” and “irreplaceable” goddess.
Elsewhere in Edfu, for example, Nephthys is a goddess who gives Pharaoh the ability to see "that which is hidden from the moonlight." (Elsewhere at Edfu, for example, Nephthys is a goddess who gives the Pharaoh power to see “that which is hidden by moonlight”).
Well, enough of that.
The most important thing you have already understood, if you see a god or a man with a Pot on his head or in his hands, you will know what this is about. No wonder the Pot is also included in one of the eight Good symbols of Buddhism.
Let's move on to the next element, so it will truly be much deeper and more global than the Pot (Censer). That is to say, let us consider the very essence of the issue of the formation of ancient cultures, the very platform of their views.
Cones (pyramid, hill, cone …) of burning incense (incense) because of their importance, ancient artists depicted on the heads of characters involved in sacred actions. It is clear that in life no one would have thought to hold a burning pyramid of incense on their heads. But somehow it was necessary to convey the Ancient Knowledge to the descendants, and they succeeded in the implementation of such symbolism.
Here the lotus trembles a little at every turn, Here the lotus glistens between the stones, Scented Fruits of the Magic Plant
They gave everyone like ghosts looking.
And everyone who ate listened in the darkness of oblivion, As the murmur of the waves subsided, going far away.
And this is how the lightness of Sound was described:
There is music whose sigh falls softer, Than petals of faded roses
Softer than dew when it shines
Shedding tears on the cliff;
Tender than the light of the lightning falls on the ground, When a thunderstorm sleeps across the sea
Tender than tired eyelashes fall
To tired eyes.
Eyes half closed, how sweet it is to listen to a whisper
Barely ringing stream
And in the eternal half-sleep to listen to the indistinct murmur
An obsolete fairy tale of being.
That lingers in height above the fragrant myrrh
As if for many, many years.
Surrendered to tender and sweet sorrow, Tasting lotus day after day
To watch how the wave flies in the azure distance, Curling with foam and fire.
Primary hill, Benben, Omphalos, the navel of the earth, the universal egg, lingam, stupas in Asia, Pyramids (all over the Earth), a bump on the Buddha's head, cones - they all trace their ancestry from a small pyramid, a pinch of incense. Could that ancient priest, who built the very first mound of incense, imagine what chain of colossal events he launches into the future?
“Omphalos stones are believed to allow direct communication with the gods. Holland (1933) suggested that the stone was hollow to allow the intoxicating vapors to be breathed into Oracle to channel through it. (Omphalos stones were believed to allow direct communication with the gods."
It looks funny how people who do not remember their history and do not know the true meaning of ancient symbolism are trying to use the symbols of ancient culture. It turns out, as they say, neither to the village nor to the city.
The US dollar tried to cling to history through the Pyramid. Not only is the Eye of Horus (?) Drawn in the Cone of Incense (Benben) looking into nowhere (in the Egyptians, the Eye of Horus always indicates what to look at), but the Cone itself as a symbol in the scientific and technological age is nonsense. In the world of high technology, somehow it doesn't fit to bow to the pyramid of incense.
Power (or sovereign apple) in the Russian Christian tradition symbolizes the Kingdom of Heaven, in medieval painting and icon painting, Jesus Christ or God the Father was usually depicted with a power.
Ankh - air above, Earth below. Power …? Why turn Heaven and Earth upside down? At the cross, so in general the Circle (Sky) was "lost", only the Cross - the Earth remained. That is, lost touch with Heaven?
The entire "religion" of the ancient Egyptians turned out to be simple PHYSICS. The only one written in the original figurative language.
In the pictures of the Egyptians, everything is simple - sing the Mantra, dig a stone with a shovel. But no. In fact, everything turned out to be not so simple. It took the experimenters 1.5 years to select the first resonant frequencies and their combinations. But then, as soon as this was done, several people at once were able to repeat this experience without difficulty.
Sergey Baldenkov from Novokuznetsk was the first to achieve success in processing stone with sound waves. Not the Chinese, not the English, not the Arabs … - but our Russian guy.
And do not be confused that S. Baldenkov decided to transmit frequencies by wire, and not by air - what era, such instruments, plus, less disturbance to neighbors.
And even if Sergey's successes are counted in millimeters and centimeters of "molten" stone - Moscow was not built right away. The main thing is that the result IS, and the path is correct.