Bes : the wedging block that was immobilizing the Taweret block
This post is the continuation of the Taweret post and will focus on the wedging block that immobilized the Taweret block "the Lady of the Well", the granite plug #3 that was sealing the inclined well.
That wedging block was represented and deified into Bes, the dwarf deity.
"Bes (also spelled as Bisu), together with his feminine counterpart Beset, is an ancient Egyptian deity worshipped as a protector of households and, in particular, of mothers, children, and childbirth. Bes later came to be regarded as the defender of everything good and the enemy of all that is bad." https://en.wikipedia.org/wiki/Bes
The inclined well of the Great Pyramid of Giza
The inclined well of the Great Pyramid of Giza
Hatshepsut’s birth scene, from Édouard Naville "The Temple of Deir el Bahari" (London, 1896), vol. 2, pl. 50. Image courtesy of the University Library Heidelberg : The Ebony shrine, northern half of the middle platform.
https://digi.ub.uni-heidelberg.de/diglit/naville1896bd2/0050
The Hatshepsut’s birth scene, from Édouard Naville "The Temple of Deir el Bahari"
I really didn't expect to find any kind of proof that would validate the fact that the Taweret block was maintained in its position for the time being of the operating of the Great Pyramid, by a wedging block , but not only the immobilized Taweret/Bes scene is that proof and Bes that particular wedging block, but also we have to note the position of that scene within the entire relief : it is located at the very end of the story.
Whatever the story is exactly, the scene showing that Taweret was blocked by Bes is at the very end of it.
We can imagine 2 different approaches :
1 • Time related approach : the story ends up when it is time for Bes to break and stop immobilizing Taweret. It would be the end of the operating period of the pyramid.
2 • Space related approach : this is a plan of the entire ascending passage that starts with the Grand Gallery and the 4 crewmembers of one hauling beetle, and end with the Taweret/Bes couple at the bottom of the flooded part of the first ascending passage : the inclined well.
Between the 4 crewmembers and the Taweret/Bes couple, there is a bizarre empty space, but again it can be interpreted with both approaches : time and space related.
[Bes] 1 • Bes is always depicted facing forwards to show he will not be moved
Bes depicted facing forwards is the main characteristic to understand about him.
In the previous post about Taweret, I suggested the idea that the bottom of the inclined well was sealed by the granite plug that is today at the beginning of the ascending passage and that this block (plug #3) was set higher in the passage : the ascending passage was not completely flooded.
That granite plug #3 has been deified into goddess Taweret, that had been called "the Lady of the Well" by ancient Egyptians themselves. I also suggested that, during the operational period of the well, that Taweret granite plug was maintained in its position by a wedging block that would have been set in the floor of the well, between the G8 and G9 girdles.
Bes is that wedging block.
This Bes block was designed to fight the pressure of the water of the well. It was designed to immobilize the Taweret block.
This is why Bes is depicted facing forwards. Bes' posture is saying : I'm invincible, I'm unmovable. Nothing will pass through me.
On the Hatshepsut’s birth scene, the rectangular block that is immobilizing Taweret, is purely metaphorical : that is actually Bes himself that is blocking her.
Image of the All Blacks, performing the "Kapa o Pango" (a pre-match haka) at the rugby world cup 2011 New Zealand / Argentina, thanks to Jean-Francois Beausejour : https://commons.wikimedia.org/wiki/File:Rugby_world_cup_2011_NEW_ZEALAND_ARGENTINA_(7309674588).jpg
[Bes] 2 • Bes' posture and the Māori ceremonial dance Haka
This is certainly not by accident that there is a perfect match between Bes's posture and the attitude of rugby players performing the famous Māori ceremonial dance Haka.
Both Bes and the Haka performers are saying the exact same thing : "you will not pass through me, I won't move."
The thing is that the posture similarity is not the only one : even the stories sound familiar.
Ancient Egyptians were engineers, transforming (hot) warm and dry air into cold air. That was the all point of the known part of the Great Pyramid : creating cold air for "sun god Ra".
This is an excerpt from the Wikipedia's page on the Māori ceremonial dance Haka :
"According to Maori scholar Tīmoti Kāretu, the haka has been "erroneously defined by generations of uninformed as 'war dances'", while Māori mythology places haka as a dance "about the celebration of life". Following a creation story, the sun god, Tama-nui-te-rā, had two wives, the Summer Maid, Hine-raumati, and the Winter Maid, Hine-takurua. Haka originated in the coming of Hine-raumati, whose presence on still, hot days was revealed in a quivering appearance in the air. This was the haka of Tāne-rore, the son of Hine-raumati and Tama-nui-te-rā. Hyland comments that "[t]he haka is (and also represents) a natural phenomena [sic]; on hot summer days, the 'shimmering' atmospheric distortion of air emanating from the ground is personified as 'Te Haka a Tānerore'".
https://en.wikipedia.org/wiki/Haka
Of course, even if Māori mythology perfectly borrowed god Bes from ancient Egyptian religion, they also adapted everything around him to create their own mythology.
But still, this is amazing to see they are still referring to a Sun god, including "rā" in his name, or even the idea of hot and cold air (summer and winter). Maybe the reference to a "quivering appearance in the air" is about the creation of the evaporative cold itself...
Also, the Māori name haka itself sounds pretty similar to the ancient Egyptian word for "magic" heka, and the name of the god of magic himself "Heka".
About the Egyptian god Heka : "Heka was the deification of magic and medicine in ancient Egypt. The name is the Egyptian word for "magic". According to Egyptian literature (Coffin text, spell 261), Heka existed "before duality had yet come into being." The term ḥk3w was also used to refer to the practice of magical rituals". https://en.wikipedia.org/wiki/Heka_(god)
The "throat slitting" gesture done by the Māori Haka performers, has been completely misunderstood, because it really is a "throat slitting" gesture! But it is absolutely not a provocation towards adversaries : it is a gesture towards themselves.
By "throat slitting" themselves, the Māori Haka performers are only replicating the gesture that Bes is doing by holding his knife over the head, as a metaphor of the breaking off of his upper part. Haka performers are only cutting off their own heads : there is no taunt of any kind towards their competitors in that gesture.
The "throat slitting" gesture done by Haka performers really is about throat slitting, but it is about themselves
Another strong similarity is the famous "throat slitting" misunderstood gesture that the Haka performers are doing at the very end of the "Kapa o Pango".
"Kapa o Pango" concludes with a gesture which, according to Lardelli, represents "drawing vital energy into the heart and lungs". The gesture has been interpreted as a "throat slitting" gesture that led to accusations that "Kapa o Pango" encourages violence, and sends the wrong message to All Blacks fans." https://en.wikipedia.org/wiki/Kapa_o_Pango
If Lardelli is wrong about his interpretation of the "throat slitting" gesture, nethertheless it is absolutely not a violence reference aimed to Māori competitors. Once again, the Haka performers are reproducing the story of the drainage of the inclined well of the Great Pyramid of Giza : during all the performance they are showing their strength, they are saying that they will not move an inch, that nobody will pass through them, but at the end, they let it go and they are using the exact same knife metaphor that the one used for Bes. Knives and "throat slitting" are metaphors for the breaking off of the wedging block.
Bes, the temporary wedging block was responsible of the draining of the well, he took all the water out of the well and he was worshiped as the god who was responsible of getting all demons out of households.
When Haka performers are "throat slitting" themselves, they are considering their adversaries as demons who should only stay away from their part of the field. That is the real profound meaning of the Haka.
To summarize :
• Haka performers are reproducing the holding posture of Bes : "I'm unmovable, you won't pass through me".
• Haka performers are reproducing the tongue out of Bes : the water reference.
• Haka performers are reproducing the cutting off of their upper part : the release of the Taweret block, the end of the story and the end of the performance.
Don't ask me why and how Māori people did, in some ways, honor and celebrate the ancient Egyptian religion, but the facts are here : the Haka is referring to the Great Pyramid and the draining of its inclined well.
Please note that when represented with 4 knives and the Sa symbol, Bes is not facing frontwards anymore : his holding posture has been broken off by the knives. We'll see farther down this post that the Sa symbol is the representation of the drain hole of the well.
Above Bes-image on the right, from the right panel of triptych on footboard of bed (CG 51109) in KV46. Figure uploaded by Kasia Szpakowska, © Felictas Weber : https://www.researchgate.net/figure/a-Bes-image-from-right-panel-of-triptych-on-footboard-of-bed-CG-51109-in-KV46-b_fig2_312627388
Stela of the God Bes, 4th century B.C.– A.D. 1st century, from the Metropolitan Museum, New-York : https://www.metmuseum.org/art/collection/search/547866
Dancing Bes and Beset, ca. 664 BCE–ca. 331 BCE, from the Allard Piersonmuseum, Amsterdam and posted on livius : https://www.livius.org/pictures/a/egypt/dancing-bes-and-beset/
Egg-shaped bell EA6374 from the British Museum : https://www.britishmuseum.org/collection/object/Y_EA6374
Relief or Votive Plaque of the God Bes A48 from The Barnes Foundation collection. 664–30 BCE, Limestone with red and black pigment : https://collection.barnesfoundation.org/objects/6670/Relief-or-Votive-Plaque-of-the-God-Bes/
[Bes] 4 • Bes grabbing the snake in his left (West) hand
In many representations, god Bes is depicted having a firm grasp of a snake, with his left arm. If we look closely to the stela from the MET and the relief from the Barnes Foundation, we can see that the head of the snake is pointed to the same place : a hole where his penis should be.
Because snakes are representations of water, the meaning of this aspect of Bes can be reconstructed : Bes, is catching the water and redirecting it towards the drain hole. And because the left arm is also somehow, the West arm, it also refers to the fact that what I called "the breach" in previous posts, was actually a drain hole located on the West side of the well.
"Bes was a household protector, becoming responsible – throughout ancient Egyptian history – for such varied tasks as killing snakes, fighting off evil spirits, watching after children, and aiding women in labour by fighting off evil spirits, and thus present with Taweret at births."
The draining of the well is the origin of the main metaphor about why Taweret was worshiped as the goddess of childbirth : the water breaking.
[Bes] 5 • The knife over Bes's head = breaking off the wedging block upper part
We've already seen in the posts about Dendera and Apep, that when ancient Egyptians represented knives in their religious scenes, it wasn't about killing anything or anybody.
Knives mean separate. Here, a better term would be "breaking off". When Bes is holding a knife over his head, it is the representation of the breaking off of the upper part of the wedging block.
[Bes] 6 • The breaking off of the wedging block and the release of the Taweret sealing block. Knives = CUT, BREAK
This is breathtaking to think that during the entire operating of the Great Pyramid, the Taweret block was actually only maintained in position by a temporary wedging block (first above image). Its release is what is depicted on the center images.
Like in other occasions, ancient Egyptians used many different ways of depicting this release :
In the lower center image, we have Bes holding the knife over its head to represent the fact that the fragile upper part of the temporary wedging block had to be broken off : the metaphor is directly referring to the original wedging block. In other words, by lifting up the knife over his head, Bes isn't trying to cut the plumes of his headdress, he is just cutting off his upper part.
But on the upper center image, the metaphor is much more elaborate : it’s a metaphor on another metaphor. Bes is the metaphor of the wedging block, and by cutting off every single arm and leg, the other metaphor is that he isn't able to hold Taweret anymore. The most important thing about Bes is his "holding" posture with strong arms and legs, but if you take these elements out of the way, if you cut out his limbs, there is no "holding" posture possible anymore : the Taweret block is then released.
On this incredible picture, the wedging block is actually represented twice : not only we have the original design of the real block, but we have also its metaphorical representation in the god Bes. Image courtesy of Dosseman, from Two Bes-shaped legs for a bed, wood, New Kingdom : https://commons.wikimedia.org/wiki/File:Allard_Pierson_Museum_Bes_Legs_for_bed_7603.jpg
[Bes] 7 • The actual original design of the wedging block
More than just being able to validate the couple Taweret/Bes as the 2 blocks sealing the inclined well, we can do even better and have a pretty good idea of the real design of the Bes wedging block, thanks to the "Two Bes-shaped legs for a bed", at the Allard Pierson Museum and Knowledge Institute in Amsterdam, Netherlands.
As I have already said, the simple solution that I came up with, is most certainly wrong or at least incomplete.
The major problem is that the little imprint in the floor of the well between G8 and G9 is located against the West wall. If my idea was correct, this imprint would have been located right in the middle of the width of the well, so that there wouldn't have been any force applied against the wall.
Obviously, something is missing, and the wedging block was only part of the solution, but at least, we can start with something and we now also have what is most probably very close to the real original design of that wedging block : a very large base (A) that would have anchored the block into the floor of the well, and a very fragile protruding upper part (B), that was immobilizing the Taweret block, but which was also ready and easy to break on demand.
Detail of Statue of the half-god Bes photographed by Sandstein. Limestone, Amanthus (Cyprus), Roman copy of the Archaic style. Istanbul Archaeological Museums, inv.no. 3317 T : https://commons.wikimedia.org/wiki/File:IAM_3317T_-_Statue_of_Bes.jpg
[Bes] 8 • The drain hole of the well and the water plumes
We've already seen that the flail was actually made of water, and this is the same thing here with Bes' plumes : they aren't feathers but water plumes, and they are getting out of the drain hole that is often represented onto Bes' head.
On the above photographs, the question is : are we looking at the drain hole from the inside or from the outside of the well ?
Also you'll note on the first photograph, that the hole in Bes' body is entirely passing through the statue.
Tut's State Chariot at the 2010 Tutankhamun Exhibition in Hamburg, thanks to Hendrik Plank : https://www.flickr.com/photos/7501487@N08/4489917981/
[Bes] 9 • The facetious metaphoric use of the well water draining power by King Tut on his State "Ferrari" Chariots
King Tut died around 18 or 19 years old, and he was not different from kids of the same age today : the same way they are putting hot rod flames stickers on their beloved cars, King Tutankhamun did the exact same thing on his State Chariots.
Except it wasn't flames stickers he put on his chariot, but representations of Bes. Because Bes was a metaphor of the draining of the well, it was associated with the power of the water gushing out of the drain hole.
If protective figures like figureheads on sailing ships are always set at the prow for obvious reasons, the "jet reactor-like" protruding elements under the representations of Bes, are for what it's worth, set at the exact perfect location where a couple of metaphorical pump-jets generating a "magical thrust power out of water" would be installed today : the closest to the axle and the center of gravity of the chariot.
King Tut wanted to get this power for his chariot. So yes, in some way King Tut invented the first metaphorical "pump-jets".
How about that !
Of course, what I'm saying is gonna (one more time) make some people have big laughs or heart attacks…
So, to please everybody, I am gonna give another very soothing excerpt from Wikipedia's page on Bes, just to ease everything up a little bit. Here it comes, from https://en.wikipedia.org/wiki/Bes, and in its context :
"Bes (also spelled as Bisu), together with his feminine counterpart Beset, is an ancient Egyptian deity worshipped as a protector of households and, in particular, of mothers, children, and childbirth. Bes later came to be regarded as the defender of everything good and the enemy of all that is bad."
I hope everyone feels better now, everything is back on the proper tracks.
These excerpts are coming from an article written by Rossella Lorenzi / Discovery Channel and available on nbcnews : https://www.nbcnews.com/id/wbna38545625
"According to Bela Sandor, professor emeritus of engineering physics at University of Wisconsin at Madison, King Tut's chariots surpass all monumental structures of the pharaohs in engineering sophistication."
"There is no evidence of chariot racing from that era, but these chariots have many technical features that imply a pedigree based on racing," Sandor said."
"In a study on the chariots' engineering, Sandor concluded that the vehicles were the earliest high-performance machines, boasting a complex suspension system of springs and shock absorbers. They even featured wheels with aircraft-like damage tolerance."
"They were the Ferrari of antiquity. They boasted an elegant design and an extremely sophisticated and astonishingly modern technology," Alberto Rovetta, professor in robotics engineering at the Polytechnic of Milan, told Discovery News."
King Tut's chariots were all about performance, based on both real and metaphorical technology.
Details of a protective sculpture of the god Bes on one of King Tut's six chariots (18th dynasty, New Kingdom Egypt), photographed by Mary Harrsch at the Discovery of King Tut exhibit at the Oregon Museum of Science and Industry in Portland, Oregon (2016) : https://www.flickr.com/photos/mharrsch/44741722010/in/photostream/ and https://www.flickr.com/photos/mharrsch/33783844026/in/photostream/
Detail of Bes and the drain hole (with the snake in an improperly position, facing front), thanks to ©flydime and posted on flickr : https://www.flickr.com/photos/flydime/3940873078/
The snakes next to Bes's heads on King Tut's chariots
Just next to the Bes representations on the back of King Tut's chariots, we can see snakes. These snakes are explaining that water was gushing out of Bes's heads. Remember : snakes are representations of the water from the annual inundation of the Nile, and they were created by Hapi.
Stela for a lion god with Bes and Beset, limestone, Roman Period (NCG 314), photographed by Dosseman : https://commons.wikimedia.org/wiki/File:Allard_Pierson_Museum_Bes_and_Beset_stela_7605.jpg
Cosmetic Container in the Form of a Bes-image, 525–404 B.C. Accession Number: 1989.281.94 from the Metropolitan Museum of Art, New-York : https://www.metmuseum.org/art/collection/search/544908
Soft tissue reconstruction of a Paleolithic hunter (homo sapiens) with a spear-thrower and spear (Cro-Magnom 1, Les Eyzies de Tayac, France). Natural History Museum, Vienna (Austria). Photographed by Wolfgang Sauber : https://fr.vikidia.org/wiki/Homme_de_Cro-Magnon#/media/File:NHM_-_Homo_sapiens_Modell_1a.jpg
[Bes] 10 • The archaic look and the animal skins
In the above relief showing Bes and Beset, one important thing to note is that both are set inside grottos. These grottos are referring to the grottos of the Great Pyramid : the grotto next to the well-shaft and the cavity supposedly digged by the Caliph Al Mamoun.
These grottos explain why Bes was represented wearing animal hides.
Ancient Egyptians were looking at their ancestors, exactly the same way we do ourselves today : they were imagining them with an archaic kind of "animal" look, wearing animal hides and living into grottos.
Because the draining of the inclined well started and finished into grottos, Bes as a metaphor of that draining was depicted exactly like these ancestors, having a very archaic look and wearing animal skins.
[Bes] 11 • Bes as a dwarf because of the grotto
We've seen in previous posts that it is in the grotto of the Great Pyramid of Giza (next to the well-shaft), that was initiated and triggered the breach opening and the draining of the inclined well.
For that to happen, someone had to get to the grotto and secure himself from the inevitable part of the water from the King's chamber tank that would find its way to the grotto : both the King's chamber and the inclined well were drained during this unique operation. Most probably, the Davison chamber was as well drained at the same time.
Whoever was the one who accomplished this task from the shelter in the grotto, he (but it could also had been a woman of course), would have been most certainly chosen for his small size.
He could have been a dwarf, but it is also possible that the dwarf reference is only another metaphor for the small size of the person who did the job.
[Bes] 12 • The Demons and the Party
"He scared away demons from houses, so his statue was put up as a protector. Since he drove off evil, Bes also came to symbolize the good things in life – music, dance, and sexual pleasure." https://en.wikipedia.org/wiki/Bes
One of the most important things about Bes concerns demons and what we could summarize as "partying".
If Bes was "scaring AWAY demons" and "DROVING OFF evil" is clearly referring to the fact that he was actually the one who THREW OUT all the waters of the well, the "partying" thing is completely different in the interpretation.
The draining of the well was the very last stage of the Great Pyramid operating : it was its conclusion. And what do we do today in this situation ?
Yes, we party !
Magical stele (detail), Egyptian, Late Period, 26th–31st dynasty, c. 664–332 BCE. Limestone. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Gerhardt Liebmann, 1991.642 : https://harvardartmuseums.org/article/a-salve-for-your-snake-bites
[Sa symbol] 1 • Taweret is protecting the drain hole but she is also ready to open it
Taweret is often represented with the Sa symbol pressed onto her belly, like on the above image of a magical stele : it shows that Taweret is protecting the Sa symbol. But here, she also has a knife in her hand : she is also the one who can destroy it.
Taweret is both protecting and ready to destroy the Sa symbol.
[Sa symbol] 2 • The Sa symbol is the drain hole of the well
The fact that Bes and Taweret are the only deities associated with the Sa symbol could only mean that this symbol is a representation of the breach itself.
On the above first images of Taweret, we can see that the Sa symbol is hiding a "pouring hole" that is strongly suggesting the draining of the water. On the last image of Taweret, she is depicted giving birth to a snake, meaning : to water.
Also, it is known that "the loop of the Sa symbol was believed to represents the mouth of a fish giving birth to water". Source : https://www.landofpyramids.org/sa-symbol.htm
Draw of a relief on the North wall of the Gate of Hadrian with a representation of the Nile god Hapi, crouched in his cave and surrounded by a serpent, Isis temple at Philae, Egypt : https://fr.wikipedia.org/wiki/Fichier:Hapy_Philae.JPG
How to Catch a Snake : https://www.wikihow.com/Catch-a-Snake
[Was Scepter] 1 • Dominion over water : the Was Scepters are representations of the Girdle Stones
The Hatshepsut’s birth scene relief turns out to be a real gold mine, because not only we can validate the Bes and Taweret interpretation, as well as the understanding of the Sa symbol, but we can also decipher another symbol from this relief : the Was Scepter.
On the left side of the Bes and Taweret scene, we can see the Sa symbol flanked by 2 Was Scepters. These scepters are not randomly positioned : they are both turning their faces towards the Sa symbol. They are flanking the Sa symbol and looking right to it like it was their baby. Don't you think the Was Scepters have a very touching/loving/amusing kind of look, facing the Sa symbol ?
Well, I do, and I also think that somehow, the Sa symbol really is their little baby !
We've just seen that the Sa symbol was a representation of the drain hole of the well, and we also know that this drain hole was set in between 2 particular girdle stones : G8 and G9 (more information on that matter, on previous posts).
What it means is that the Was Scepters are representations of the girdle stones.
And it makes perfect sense. We know that snakes were representations of the water used to power up the Great Pyramid, so what better way of representing the control over that water, than by the control over snakes.
If Was Scepters are very much looking exactly like snake handling tongs, it is because they really are snake tongs. Except of course these snake tongs are actually metaphors.
Ancient Egyptians didn't want to talk about the control they had over snakes, but over the "magical" pressurized water of the well : they wanted to talk about the containment of the waters of the well.
This idea of having power over snakes that would be associated with the Was Scepter, is exactly what is saying the second above image. Both hands are doing the same thing : the firm grip on snakes (control over snakes) on one hand is equal to the Was Scepter hold in the other hand.
Also, from Wikipedia's page on the Was Scepter : "Was sceptres were used as symbols of power or dominion, and were associated with ancient Egyptian deities such as Set or Anubis as well as with the pharaoh. Was sceptres also represent the Set animal. In later use, it was a symbol of control over the force of chaos that Set represented."
This "force of chaos" is the pressurized water of the well.
Was Scepter from Djoser's Step Pyramid, now at the Imhotep Museum, part of a doorway with blue faïence tiles from beneath the Step Pyramid, thanks to kairoinfo4U : https://www.flickr.com/photos/manna4u/5260508828/
[Was Scepter] 2 • The containment of the pressurized waters of the well and the sequential ejection
The idea that Was Scepters are representations of the girdle stones of the Great Pyramid and metaphors of the containment of the waters of the inclined well, is exactly what is suggested by the above images from Djoser's Step Pyramid where a Was Scepter is "holding tight" something in his hands. That something, with no particular shape, is water.
Djoser's Was Scepter is constraining that water with one arm, and at the same time he is redirecting some of it with the other arm. The weird "scorpion" shape element with its 2 cuffed arms is representing the small amount of pressurized water getting out of the well towards the horizontal cooling passage.
Also, we've already seen that the Step Pyramid was involved in a cooling process : "Of course, Imhotep is most famous as the builder of Djoser's unprecedented step pyramid complex, called the "The Refreshment of the Gods.” Source : https://www.arce.org/resource/search-imhotep-tomb-architect-turned-god-remains-mystery
Again, the idea that the Was Scepter is a metaphor for some liquid in motion is already known :
"De Lubicz via Paul LaViolette speaks of the was as "a living branch that conducts nourishing, vivifying sap, fluid that ascends..." and even found some was scepters "made from the living branch of a tree that had been cut so as to include a section of the lower source branch as well as two offshoots coming from its upper end". (Genesis of the Cosmos, page 30)". Source : http://www.joanlansberry.com/setfind/earlywas.html
Isis-knot Amulet https://www.brooklynmuseum.org/opencollection/objects/4131 and Tyt-Amulet from the Brooklyn Museum : https://www.brooklynmuseum.org/opencollection/objects/3994
[Sa symbol] 3 • The Tyet "girdle of Isis" knot is the drain hole in its closed and locked position
The interpretation of the Sa symbol being the drain hole is actually incomplete : because it is known that the loop was "giving birth to water", it would be more appropriate to consider the Sa symbol as the drain hole in its opened position, as are suggesting its opened legs.
It would mean that ancient Egyptians had most probably also represented the drain hole in its closed position, when the girdle stones would have completely sealed the hole.
And that is precisely what they did : the Tyet Isis knot is the drain hole in a closed position.
The above Tyet amulet from the Brooklyn Museum, is even showing the girdle stone representation itself : that is the inverted U shaped element that we've already seen in the relief of Apep being restrained by these same girdles.
We don't have to be fooled by the fact that on the Apep relief, the legs of the girdles aren't the same length : this is only the result of the perspective that used the artist to represent kind of a 3D effect.
Also : "The tyet (Ancient Egyptian: tjt), sometimes called the knot of Isis or girdle of Isis, is an ancient Egyptian symbol that came to be connected with the goddess Isis." https://en.wikipedia.org/wiki/Tyet
The restraining of Apep in the above relief from Ramesses KV19 tomb, is another representation of the containment of the inclined well pressurized waters. Once pressurized and contained into the well, a small amount of the "powered" waters can be redirected towards the evaporative cooling passage.
Very quick abstract of the study
Ancient Egyptian pharaohs used chemistry and physics to legitimate themselves as kings of Egypt, and they forged an entire religion for that matter : gods were self-glorification metaphors of their scientific accomplishments. The end game of this technological program was the Great Pyramid of Giza where evaporative cooling was engineered in the known part of the pyramid, using the power of water, most probably as suggested by the strong ammonia smell in the Red Pyramid, to cool down chemical manufacturing of sodium carbonate and sodium bicarbonate. At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs.
Ancient Egyptians were the first civilization to master a Solvay-like process for sodium carbonate manufacturing, long before it got reinvented in the 1800's in Europe. The key elements of that process is the temperature control of the chemical reactions (the cooling), and the dome shaped plate necessary for the counterflow chemical reactions to occur in an efficient way, and that plate is precisely what is the disc of Sabu.
If mastering the Solvay-process was important, it actually looks like the cold was the most magical phenomenon worshiped by ancient Egyptians, as suggested by Akhenaten and Nefertiti who represented themselves as Shu and Tefnut, the deities that combined together were creating the evaporative cold (Shu = dry warm air, and Tefnut = spat water).
Also, the very first pyramid complex, the Step Pyramid of Djoser, was called "the refreshment of the Gods".
God of magic Heka's role was "to proclaim the pharaoh's enthronement"
The idea that pharaohs used scientific knowledge to legitimate their position as Kings of Egypt, is exactly what is said about the ancient Egyptian god of Magic, Heka (ḥk3w).
"The Old Kingdom Pyramid Texts depict ḥk3w as a supernatural energy that the gods possess. The "cannibal pharaoh" must devour other gods to gain this magical power. Eventually, Heka was elevated to a deity in his own right, and a cult devoted to him developed. By the time of the Coffin Texts, Heka is said to have been created at the beginning of time by the creator Atum. Later Heka is depicted as part of the tableau of the divine solar barge as a protector of Osiris capable of blinding crocodiles. Then, during the Ptolemaic dynasty, Heka's role was to proclaim the pharaoh's enthronement as a son of Isis, holding him in his arms."
Source : https://en.wikipedia.org/wiki/Heka_(god)
Of course, you'll have noted that Heka is holding snakes : Heka's magic was coming from snakes, meaning that magic was coming from water. Snakes = water.
Remember, Atum is the representation of the small amount of pressurized water coming from the inclined well. Atum is liquid water ready to be transformed into vapor and this is this transformation that is creating the evaporative cold.
When it is said that "Heka existed before duality had yet come into being", the duality is about water. Duality is about liquid water and evaporated water that are engaged into the water cycle depicted into the famous Geb, Shu and Nut scene.
The duality of water phases
Geb and Nut are set in positions that are suggesting the cycle of water between its two "dualities" : the liquid phase and the vapor phase. By transforming from the first to the second one, evaporative cold is created, by "magical" manifestation.
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Apis was the most important bull deity of ancient Egypt. The Apis bull was originally a god of fertility, worshiped as early as the First Dynasty (c. 3150 - c. 2890 BCE) in ceremonies known as The Running of Apis, but veneration of the bull in Egypt precedes this time, and so it is thought that Apis may be the first god of Egypt. Source : worldhistory.org
In this post, we are gonna get deeper into the representations of the hauling gantry beetle that was operated in the grand gallery of the Great Pyramid of Giza, as well as the representations of the impactor.
Finally, I'll decrypt a representation of what is probably the most "unbelievable" part of my theory : the draining of the inclined well preceding the shutdown procedure of the pyramid, a formidable event that has been personified by ancient Egyptians in the childbirth goddess Taweret (also Tawaret).
First of all, a very quick abstract of the theory
Ancient Egyptians used chemistry and physics to legitimate themselves as kings of Egypt, and they forged an entire religion for that matter : gods were only representations of their accomplishments in what we call today Low Technology. The end game of this scientific program was the Great Pyramid of Giza where they engineered evaporative cold using the power of water, most probably (as suggested by the strong ammonia smell inside the Red Pyramid), to cool down counterflow reaction units for the manufacturing of sodium carbonate and sodium bicarbonate (Solvay process).
At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs.
Section 1 • The hauling gantry beetle and the impactor
Wall relief detail of the Theban Tomb TT60, located in Sheikh Abd el-Qurna, part of the Theban Necropolis, on the west bank of the Nile, opposite to Luxor. TT60 is the burial place of a woman called Senet. She was related to the ancient Egyptian Vizier Intefiqer (mother or wife). It is one of the earliest burials in the area. Intefiqer was Governor of the city (i.e. Thebes) and Vizier of Senusret I in the 12th Dynasty. Source : https://en.wikipedia.org/wiki/TT60
Image source : osiris.net, chapter 3 "Osirian terrestrial rites" (zone 19). https://www.osirisnet.net/tombes/nobles/antefoqer/e_antefoqer_03.htm
Theban hypogeum tomb of Senet and Antefoker TT60. Image dgd_XIX posted on osiris.net : https://www.osirisnet.net/popupImage.php?img=/tombes/nobles/antefoqer/photo/antefoqer_ndgd_XIX.gif&lang=en&sw=2560&sh=1440
I've been puzzled for some time about these black wooden sarcophagus of Yuya and Tjuyu (Tuya), because some of them were showing 4 characters on each side, while other ones were showing 5 characters. Also the sarcophagus of Yuya doesn't even have a bottom floor : the inner coffins are put directly onto the floor. How strange is that!
I was puzzled because I was only thinking about only one structure : the hauling beetle, and I didn't understand all these differences in their design.
And then I understood (or I think I did!), these 2 sarcophagus weren't representations of one structure only : one was a representation of the hauling beetle, but the other one represented the impactor.
The hauling beetle, if I'm correct, was operated by 10 people (5 on each ramp), but the impactor was only moved by 8 of them (4 on each ramp). The 2 extra crewmembers weren't inside the beetle because they had to operate the latch bolts and the ropes when the beetle was coming back up.
The speed of the impactor
Also, we need to talk about the "spoiler like" design of the top part of the sarcophagus of Tjuyu. Until now, I didn't try to evaluate the maximum speed gained by the impactor in its descent towards the inclined well, but maybe we should, because maybe this "spoiler like" part is really a spoiler.
With absolutely no evidence at all, let's say with pure instinct, I'd say that the maximum speed of the impactor would have been maybe close to 60 or 65 km/h, but again, this is only guesswork (that would be around 40 miles per hour).
Ptah-Sokar-Osiris figure from the Louvre in Paris (top right image), Numéro principal : N 3512. Source : https://collections.louvre.fr/en/ark:/53355/cl010018325
The Sokar latch bolt representations
Left image from Kairoinfo4U from the tomb of Irynefer TT 290 at Deir el-Medina. The squatting falcon Sokar is a metaphoric representation of the latch bolts of the Grand Gallery : the cow Hathor looks like it is gonna run over the falcon, exactly like the towing scarab would do on the latch bolts. Source : https://www.flickr.com/photos/manna4u/11433106165
KV 11: Ramesses III, side chamber, Image # 21077. Left : Apis bull deity on his feet. Right : goddess cow Hathor, laid on the ground. Image from ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department : https://thebanmappingproject.com/index.php/images/21077jpg
The cow = the Hauling Beetle and the Apis Bull = the impactor
I've been thinking for a while now about the bulls and cows meaning. But here again, ancient Egyptians didn't make it easy to decipher.
For example, on the relief in TT290 tomb, we have the cow, laid on the ground (like the Hathor cow), who is clearly representing the hauling scarab running over the Sokar latch bolts. In TT290, cow = hauling beetle.
Also, like we'll see at the end of this post on the relief in KV17 showing Apis and Taweret, that the Apis bull is representing the impactor that is gonna trigger the draining of the well (even if for the occasion, the impactor is just the granite block without the wooden float). In KV17, the Apis bull = impactor.
And this is counterintuitive, because I would have think that the hauling beetle, with its 8 crewmembers on their feet, would have been represented into the bull, also on his feet, not into a cow laid on the ground.
But apparently, the angle of consideration about the impactor, is all about its power, hence the bull.
Mythological confirmation of Apis = the impactor
"In ancient Egyptian religion, Apis or Hapis, alternatively spelled Hapi-ankh, was a sacred bull worshiped in the Memphis region." Source
"As reported by Plutarch, the Mnevis bull was second only to the Memphite Apis bull in importance. Similarly to the Apis bull, the Mnevis bull's movements were thought to be driven by divine will, and used as an oracle. The priesthood of Mnevis also went as far as to claim that Mnevis was none other than the father of the more famous Apis."
"The Mnevis bull was entitled to two concubines, more precisely two cows representing Hathor and Iusaaset…" https://en.wikipedia.org/wiki/Mnevis
These excerpts could validate the previous assumptions :
1 • For example it is said that "Similarly to the Apis bull, the Mnevis bull's movements were thought to be driven by divine will."
"Divine will" could mean "by itself" or more literally "by the force of god(s)", and that is precisely what would have look like the impactor which was descending the slope of the Grand Gallery by itself, and getting back up to the top of the Gallery by the force of the 8 hauling beetle crewmembers : 2 times the Four Sons of Horus gods.
2 • Also, like I've suggested in the above top-view drawing of the Grand Gallery, the impactor was powered by a hauling beetle that was actually made of two connected gantries, one on the East ramp and the other one on the West ramp. And that is precisely what is describing the following excerpt : "The Mnevis bull was entitled to two concubines, more precisely two cows representing Hathor and Iusaaset…".
It would mean that the cow Hathor was one of these gantries, and Iusaaset the other one.
On the above drawing, I've set Hathor on the West ramp and Iusaaset on the East ramp, but this is purely arbitrarily.
The Ptah-Sokar-Osiris figures representations of the impactor and the hollow underneath the Sokar squatted falcon
These Ptah-Sokar-Osiris figures really show the original purpose of the Sokar falcon representations as latch bolts. Also, these squatting falcons aren't just put onto the figurine base, as we can see on the figure from the MET : they are sometimes put on a sliding board and most of the time, the falcon covers a hollow in the wooden base. Most probably this sliding movement to put the falcon into place on the figurine base is a reference to the sliding movement of the towing scarab itself on the hollow section rails, and the hollow itself is a reference to the hollow in the wall where the latch bolt would be pushed by the scarab progression.
These hollows are the 25 pair of niches of the eastern and western walls of the gallery.
Ptah-Sokar-Osiris figures from the National Museums Liverpool, World Museum (left), 332 BC - 30 BC, Accession number 56.21.601 : https://www.liverpoolmuseums.org.uk/artifact/ptah-sokar-osiris-figure-17 and from the Metropolitan Museum of Art at New-York (center), Accession number 86.1.88a–d : https://www.metmuseum.org/art/collection/search/551504
The crucial importance of the triangle shapes on the Apis bull : the latch bolts
"The bull was selected, after a careful search, based upon its appearance: it had to be black with a white triangular marking on its forehead, another white marking on its back in the shape of a hawk's or vulture's wings, a white crescent on its side, a separation of the hairs at the end of its tail, (known as the "double hairs") and a lump under its tongue in the shape of a scarab. If a bull were found with all of these characteristics, it was instantly recognized as Apis, of course, but even a few or one would suffice. A white marking in the shape of a triangle on the forehead and the scarab-shaped lump under the tongue were often enough for the bull to be chosen." Source : worldhistory.org
Statue of Apis Bull on a sled, Egyptian Museum, Cairo, posted on http://www.globalegyptianmuseum.org/detail.aspx?id=15258
Top : The Fitzwilliam Museum, Cambridge
Bottom : Footboard of wood, from cartonnage coffin or mummy-case, depicting the Apis bull carrying the mummy of the deceased, named as Pamiu, striding over the desert towards a pyramidal tomb: Ancient Egyptian, from Thebes, Upper Egypt, 3rd Intermediate Period, 22nd Dynasty, Osorkon III, 790-762 BC. https://www.nms.ac.uk/media/1152942/coffin-footboard.jpg?mode=pad&width=700&height=525&bgcolor=000&rnd=132558070280000000
The sequential progression of the towing beetle in the worshiping of Apis
"On feast days, festivals, and other special events like a king's coronation, the bull was turned loose in a special chamber with different gates leading from it. Symbols and foodstuffs were placed on the other side of the chamber's gates, and people would ask questions regarding the future while the bull was led into the room. Whichever gate the bull chose to go through would provide an answer to the people's questions.
Once the oracle had been given and interpreted by the priests, the bull was allowed to roam at will within the enclosure while the people knelt before it in worship."
Horsepower draw : https://en.wikipedia.org/wiki/Horsepower#/media/File:Imperial_Horsepower.svg
The horsepower metaphor versus the bullpower metaphor
It is funny to draw a parallel between modern engines and the hauling beetle of ancient Egyptians : while we are today measuring the power of our motors in horsepower, because we chose to use the horse draft metaphor, they used the bull metaphor to represent the strength and the power of the impactor.
Of course, for ancient Egyptians, it just didn't make any sense to make a difference between the hauling beetle and the impactor, in term of power. It was the same thing. The beetle just transmitted its power to the impactor, hence the metaphoric representation of the impactor into a bull.
The Apis bull, in a statue from the Detroit Institute of Art (663 and 525 BCE) : https://www.dia.org/art/collection/object/apis-bull-44022
The falcon wings representation of the latch bolts
We've seen that most of the time, the latch bolts were represented in simple triangular shapes, but here, the metaphor is way more elaborate : falcon wings are used, and I must admit that the similarity between the wing and the latch bolt is incredibly close.
On this particular relief of Mehuret as a cow, please note how precise and clear is represented the Sokar falcon head, blocking the cow progression. Underneath the falcon head is supposed to be a hollow where the falcon head will insert itself for the cow to pass through.
Original rope of the Solar Barque of the Great Pyramid of Giza : https://fr.wikipedia.org/wiki/Corde_(outil)#/media/Fichier:Cordes-originales-barque-kh%C3%A9ops.jpg
Menat necklace from Malqata at the Metropolitan Museum of Art, New-York (left and center) 1390–1353 B.C. New Kingdom, Dynasty 18. Reign of Amenhotep III, https://www.metmuseum.org/art/collection/search/544509
The bulls and cows are not only representing the impactor and the hauling beetle, but they are also showing other attributes which were associated to these elements :
1 • The Menat necklace and the original ropes of the Grand Gallery
The small beads of the Menat necklace are (most probably) a direct reference to the original ropes which were connecting the impactor and the hauling beetle to the axle beam.
Api or Hapi (Apis, Taureau Consacré a la Lune)", 1823-25. Printed material. Brooklyn Museum : https://www.brooklynmuseum.org/opencollection/archives/image/55326
Wadi Hammamat stone reliefs representing the ancient Egyptian god Min and revealing the real nature of the flail (nekhakha), Dynasty 17. Photographed by Kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/25999304796/in/photostream/
2 • The flail and the water splashes
This element will most probably cast some serious doubts, because we've already seen in a previous post that the flail was also about water.
In the drawing made by Champollion of the Apis bull, it is really not difficult to imagine that water is passing through both the snake and the flail. Many people will (one day) agree on that.
There is no problem to understand that the snake is a representation of the pressurized water that was created in front of the impactor and resulting in its collision with the waters of the well (the primordial waters, Nun). The impact creates chaos and eject some water, under pressure (Atum) to the fog nozzle.
The flail is the one which is gonna cause disbelief, because I think that it is representing the water splashes that followed the impactor descent. The impactor sledge runners would have had to be constantly maintained wet, and if its speed was about between 60 and 65 km per hour (about) 40 miles per hour, water splashes would have been inevitable.
I'm conscious though, that this kind of affirmation about the water splashes will make a lot of people to laugh ; but I can't blame them, they've been fed for so long with so many cute stories, talking about good and evil, about family relationships between gods, about how important it was for ancient Egyptians to live in perfect balance in life, etc.
Ancient Egyptians were so much than that, and first of all, they were very facetious.
The temples of ancient Egypt
Do you really believe that the biggest "temples" were for worship?
Do you know that the biggest temples employed "tens of thousands of people" and that they had their own sailing ships to get materials abroad?
What do you think, let's say that 50.000 people were doing in these "temples" all year long?
These are some clues : scientific and technological university studies, research application centers, "religious" artists, physical training, etc.
"Temples were key centers of economic activity. The largest required prodigious resources and employed tens of thousands of priests, craftsmen, and laborers." Source : https://en.wikipedia.org/wiki/Egyptian_temple
Ancient Egyptian temples were the heart of the technological efforts for chemical manufacturing. It was in these temples that everything about this scientific program was elaborate. In these temples, the disc of Sabu was designed to achieve the most effective counterflow reactions, a Solvay-like process was developed and the evaporative cooling was mastered.
So many different impactor representations
All the above images are representations of the impactor and the pressurization of the water of the well : its general shape (Ptah-Sokar-Osiris figure base), the granite weight block ("Imhotep's block", most probably the subterranean recess block), the Apis bull and the ram's horns (the force of the impact), the crocodile (the way he is getting into the water) and the weight upon Apep by the sycamore tree, legs or entire human bodies.
Section 2 • Taweret : the "Lady of the Well"
In this section we'll see how the Apis representation of the impactor is linked to the most important block of the inclined well, the block that sealed the well : the Taweret block, "the Lady of the Well", also "the Big One", the "Great One" and the one "Who Releases the Water"
The 14 girdle stones of the inclined well... and why everybody forgot the 10 most massive of them
Contrary to what seems to suggest all the ascending passage drawings we can find on the internet and mentioning the girdle stones, there is not just 3 or 4 of these huge blocks in the passage. Actually, the entire passage, from the G4 girdle (the lower of the usual girdles) to the lower part of the passage (right to the connection with the descending passage), is nothing else than 100% girdle stones.
The fact is that when the Edgar brothers tried to understand the function of these girdle stones back in the early 1900's, they couldn't make any sense of them all. They were only interested in finding distances between blocks in order to associate these distances to Bible or other historical events. They were able to do that with G1, G2, G3 and G4 ; but girdles G5 to G14 are completely pressed against each other and they couldn't measure anything so they didn't talk about it much (and that is precisely what they wrote themselves in their book).
Since, everybody did the exact same thing and G5 to G14 were completely forgotten.
In italic, are excerpts from "Great Pyramid Passages, Volume 1, by John and Morton Edgar 1910", sections 460 to 470.
Source : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n239/mode/2up
Section 462, talking about the girdle stones : "Before leaving home we had recognized the importance of the three upper ones as marking important dates in the Law Dispensation".
Section 467 : "Those Girdles which lie lower down the passage than the three just described, are all in contact with one another".
Section 468 : "it would seem that the stones which form the Girdles here were originally built in solid, end to end, after which the bore of the passage was cut through them. Above the fourth Girdle, however, there can be no doubt that the passage was constructed in the usual way, i.e., that the floor was first laid, the walls erected at the proper distance apart on the floor, and the roof- stones then placed on top of the wall-stones".
We forgot precisely the more protected part of the ascending passage, and focused ourselves with 3 or 4 minor girdles. How do you want to understand anything about this passage by doing so?
If you want to understand the girdle stones layout, you need to understand that the passage was flooded and that the girdles were acting as an integrated strapping of the well, exactly like wine barrel metal hoops.
The pressure inside the well was maybe, or probably, perfectly distributed on all its surface by a another complete wooden casing, that would have allowed the well to be waterproof. It is possible though, that the seals between the blocks were sufficient enough so that no casing was needed. Probably another copper pipe was fixed on the floor of the well that would have allowed some of its water to be injected into the entry of the horizontal cooling passage.
The lower end-to-end girdles are arranged in 2 sets with different orientations
When you look attentively to the drawing of the Edgar brothers (plate CXXVIII), showing the girdle imprints on the floor of the passage (red and green short lines), you can see something absolutely amazing : these girdle stones were arranged in 2 sets of girdles, and that these 2 sets were positioned at a different angle to the vertical axis.
This particular layout reveals a dormant breach, just waiting to be opened up, and it is located right where the Al Ma'mun cavity has been digged.
The breach opening for the shutdown procedure of the pyramid
The 2 sets of girdles with different orientations are opening up to reveal a dormant breach. More amazing is that at the exact location where the breach is positioned, we can find a tiny squared imprint in the floor with a granite plug still stuck inside, and on the other side of the wall is the huge Al-Ma'mun cavity, leading to the subterranean part of the Great Pyramid.
My guess is that this particular layout was designed to drain the well for the shutdown procedure of the pyramid : a small granite block would have been positioned in the small imprint (colored in blue on the drawing), placed against the wall, directly next to the dormant breach.
This is Petrie talking about the part just ahead (south) of the granite plugs : "The present top one is not the original end ; it is roughly broken, and there is a bit of granite still cemented to the floor some way farther South of it". Source : The Pyramids and Temples of Gizeh par W. M. Flinders Petrie. Chapter : Ascending Passage, page 21.
When time has come to shut the pyramid down, the impactor is lifted up to the top of the grand gallery one last time, unless this time there is no float anymore. When the impactor is released and enter the inclined well, it doesn't pop back up to the surface but sink to the bottom of the well with high velocity. When it hits the granite plug block n°3 that was dormant all along by this small granite block in the imprint, it opens the breach and all the water is drained trough the cavity of Al-Ma'mun.
The draining of the well was necessary in order to empty completely the pyramid of all its content. More about it farther below, same post (dormant breach, little imprint, draining of the well into the cavity of Al-Ma'mun...).
Remember : snakes are representations of the water used to power up the pyramid and the cooling process.
The restraining of Apep is the containment of the pressurized waters of the well
If this new scenario is right about the wedging block and the upper granite plug originally set inside the G8 girdle stone, it would also explain better than I've did before the relief of Apep being restraint by 5 elements. It is possible that these 5 restraining element are the girdles G4, G5, G6, G7 and G8.
These 5 girdles are the only ones which are not positioned perpendicularly to the longitudinal axis of the passage ; they are tilted on a vertical axis.
Also the 3 girdles on top of them aren't complete girdles : G1, G2 and G3 are only half girdles assembled in pairs. These 3 girdles are made of 6 blocks.
The draining into the cavity of the caliph Al Ma-moun
The thing is that the epithet "the Lady of the Well" seems contradictory with "She Who Removes Water". If the well reference is to be taken in an academic interpretation, Taweret shouldn't be associate with the removing of water, but its accumulation, storage or distribution.
Taweret shouldn't be associated with the idea of "removing water" i.e. "getting rid of water".
Except she does, and my theory explains it perfectly.
At the end of the period of operation of the Great Pyramid, the inclined well had to be drained out of its water, because all the equipment had to be taken out of the pyramid : the copper plate cold exchanger from the Queen's chamber, all the equipment of the Grand Gallery, etc..
And their only chance to do it, was to use the inclined well as a passage out of the pyramid.
And for that to happen, they had to drain the well : they had to remove the water, and redirect it towards the subterranean chamber using the cavity supposedly digged by Al Ma-moun
Ancient Egyptians were the ones who digged this cavity, as well as the "forced passage".
Photograph source : "Great Pyramid Passages, Volume 1, by John and Morton Edgar 1910"
The destiny of the granite recess block
If the above scenario is correct, the recess block (4) would have taken place just next to the upper granite plug (3). When all the water has been evacuated, the breach would have been enlarged and the recess block would have been pushed in the cavity as well, in order to have the maximum empty space for an easy removal of the equipment.
However, I must say that the chances that this particular draining scenario is correct, are in my opinion pretty low. But maybe it is a good start.
Taweret and the water breaking metaphor
The draining of the inclined well would have result in a huge amount of water gushing out of the bottom of the well after the upper granite plug had moved down and revealed the breach. The metaphor with the water breaking is the origin of the Taweret goddess of childbirth.
"In Ancient Egyptian religion, Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.[...] She commonly bears the epithets "Lady of Heaven", "Mistress of the Horizon", "She Who Removes Water", "Mistress of Pure Water", and "Lady of the Birth House" [...] The name "Taweret" (Tȝ-wrt) means "she who is great" or simply "great one". Source : https://en.wikipedia.org/wiki/Taweret
As clearly said by Anneke Stracke in her thesis "The Hippopotamus of Deir el-Medina", goddess Taweret was clearly associated with water :
Excerpt from page 30 of her thesis : "Of the twelve objects within this catalogue that include hieroglyphic epithets of Taweret… three of them make clear mention of her role as a goddess of water. While it is not unthinkable that a hippopotamus goddess should be associated with water, it is still quite unusual that a quarter of all epithets of the goddess which survive from Deir el-Medina feature this role so heavily. The epithets preserved in Deir el-Medina refer to “the pure water”, “lady of the well” and “Taweret, who is in the midst of the purification waters of Nun”. https://studenttheses.universiteitleiden.nl/access/item%3A2624829/view
In short, some of Taweret's epithets are : "the Lady of the Well", "the Big One", "the Great One" and "She Who Removes Water", and she is referring to the upper granite plug (block #3).
In other words, Taweret is the upper granite plug : "The Great One", "The Big One", "The Lady of the Well" and "The One Who Removes Water".
Top : Api or Hapi (Apis, Taureau Consacré a la Lune)", 1823-25. Printed material. Brooklyn Museum : https://www.brooklynmuseum.org/opencollection/archives/image/55326
Bottom : KV 11: Ramesses III, side chamber, Image # 21077. Image from ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department : https://thebanmappingproject.com/index.php/images/21077jpg
The representation of the inclined well in Rameses III KV11
The above relief in the tomb of Ramesses III KV11, not only is depicting the equipment of the Grand Gallery, but it is also representing the inclined well itself.
On the right image, we've seen that it is water that is passing through the flail : they have represented this water flow with what could be interpreted as (huge) liquid droplets. And these exact same water droplets are also represented on the weird central drawing, showing an inclined element from which a snake is getting out.
Thanks to Champollion's drawing, we also know that these same exact water droplets were also passing through the snake. We already knew that snakes were water metaphors, but here we also know that the water was in movement.
In other words, on this relief of KV11, we have the entire operating system that was creating the pressurized water :
• the impactor : the Apis bull
• The hauling beetle progression powered by the latch bolts (plus the impactor water splashes) : the cow
• The inclined well and its small amount of ejected pressurized water : the snake.
And we also know, that this particular snake is Atum (details in previous post).
The 2 granite blocks used for the Great Pyramid inclined well operation :
• Left : the upper granite plug that sealed the bottom of the well and was deified in Taweret, the goddess of childbirth who was also called "the Big One" and "the Lady of the Well"
• Right : the subterranean recess block that was most probably inserted inside the impactor
The completely worn out upper granite plug is Taweret : the "Lady of the Well"
If you compare the two blocks appearing on the above photograph from the Edgar brothers, you can immediately see that if the lower block (this is the middle plug #2) looks like new, this is not true for the upper block that appears completely worn out.
Also its upper face looks curved, like something was stuck to it, but maybe this is only an illusion.
This Taweret block had a story completely different from the other granite plugs. The only logical explanation about the fact it appears so worn out, is that this block, and only this one, did moved or should I say forced its passage, on a short distance. It only could have been on a short distance, because many Egyptologists said that farther away up, the dimensions of the ascending passage wouldn't allow the block to pass through.
It is important to say that this upper block #3 would have only move a few meters and that it would have been most probably forced to do it by the huge pressure caused by the "explosive" opening of the King's chamber : if I am right about this, the man inside the grotto, not only triggered the last release of the impactor, but the impactor itself triggered the opening of the chamber.
Amulet of the Goddess Taweret 48.1555 from the Walters Art Museum, Baltimore : https://art.thewalters.org/detail/11051/amulet-pendant-of-taweret/
Blue glazed steatite figure of Taweret and a snake EA11862 from the British Museum : https://www.britishmuseum.org/collection/object/Y_EA11862
Taweret : the "Lady of the Well" and "She who Removes water"
EA11862 from the British Museum is a very unusual figure that is depicting Taweret "giving birth" to a snake. To my knowledge, this is the only representation of Taweret associated with a snake.
We've seen in the previous post that snakes in ancient Egypt, were representations of the water from the annual inundation of the Nile : the very first snake is created by Hapi himself (relief of the Philae temple).
Here, with Taweret, we have the representation of the "last" snake, so to speak : Taweret is the representation of the draining of the inclined well that preceded the final shutdown procedure of the Great Pyramid.
Another outstanding figure of Taweret is the amulet 48.1555 from the Walters Art Museum, in Baltimore : it is the only figurine I know of Taweret that is revealing that the Sa sign is actually set on the figure so it is hiding from view a "secret pouring hole".
The Sa symbol is hiding the "secret pouring hole" of Taweret
The amulet of the Goddess Taweret 48.1555 from the Walters Art Museum, in Baltimore is outstanding : it is the only one figurine I know of Taweret that is revealing the Sa sign is actually hiding from view its secret : a pouring hole, that is representing the original breach for the draining of the well.
"The loop of the Sa symbol was believed to represents the mouth of a fish giving birth to water as the the fruitfulness and life of the country." Source : https://www.landofpyramids.org/sa-symbol.htm
Also, the idea of pouring liquid "through" Taweret is perfectly known and accepted : "There were even vessels in the shape of the goddess, with a hole in one of her nipples for pouring. It was thought that she would assign magical protection, when accompanied with a spell, to the milk poured through these vessels." Source : http://www.touregypt.net/featurestories/taweret.htm#:~:text=Taweret%20(Taueret%2C%20Taurt%2C%20Toeris,mother%20and%20her%20newborn%20child.
So if you add up the snake/water and the secret pouring hole to the understanding of Taweret, then you can decipher the relief from the KV17 burial chamber relief of Seti I :
Burial chamber relief, tomb of Seti I, KV17 in the Valley of the Kings. Photograph thanks to kairoinfo4U : https://www.flickr.com/photos/manna4u/36500349182/
Section 3 • The draining of the inclined well
This section explains how ancient Egyptians used the Taweret block to expose the breach.
The falcon headed man pulling the rope
The first thing to see on that KV17 relief, is that the Apis bull is blocked in his progression by what looks like kind of a paper clip : the bull's third hoof is stuck by this paper clip like element.
But this situation is not permanent : if the falcon headed man pulls down the rope he is holding to, then we can easily imagine that the paper clip thing flattens itself… and the Apis bull gets released.
The movement of Apis then pulls the 2 ropes on his back, and the element stuck into the ground gets out… and the "secret pouring hole" of Taweret is revealed.
The water flow can now start.
This scenario, I've already described it when I was talking about the necessity of draining the inclined well at the end of the period of operation of the Great Pyramid, so that all the equipment was evacuated.
What I said, is that this operation was triggered from the grotto, and that the draining occurred in a very particular location inside the well, resulting into the fact that the lower girdle stones were set into 2 different orientations in a vertical plane, opening up a dormant breach between the G8 and G9 girdle.
The falcon headed man laid flat on the ground and on his back... in the grotto
If someone triggered the last impactor release from inside the grotto, he would have been laid flat on the ground, right behind its opening and on the raised floor of the grotto.
If we look closely, we can even see that the grotto of the Great Pyramid is also suggested around the falcon headed man… unless it is pure coincidence that the ropes are drawn the way they are, forming a perfect virtual enclosure around him.
The release of the impactor by a slide bolt latch ?
In previous posts I've suggested the idea that once at the top of the gallery, the impactor had to be blocked in place before being released into the slope for another descent, and I've imagined that maybe another latch bolt was used for this purpose.
But maybe another kind of mechanism was used, and if I'm saying that, it is because the "paper clip" like element on Seti's I tomb is very much looking like a perfect slide bolt latch.
It is easy to see that if the falcon headed man pulls down the rope, this "paper clip" element instantly flattens itself and the bull can move again. The question is to know if this element was only metaphorical on the relief or if it also was inspired by the real thing.
"Great Pyramid Passages, Volume 1, by John and Morton Edgar 1910" page 276 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n285/mode/2up
The shelter in the grotto
This Great Pyramid grotto thing reminds me of the Geb, Shu and Nut scene, where nothing can be understood without having water in mind.
Nut cannot be understood without water, as the similarity with Tefnut's name ('tf'= to spit and 'nwt'=water) and the water pot emblem of Nut can suggest.
The exact same way, to understand the design of the grotto, you do need to add water.
More precisely, the grotto has been designed fearing water : the grotto is a shelter from water coming down the vertical well shaft.
This is the reason why there is a deep hole in the floor to accumulate the water and preserve the upper part of the grotto.
This upper part has another particular design : its end part has been set the further away to the doorway as possible ; the doorway East wall protecting the very last end of this upper part.
This is a perfect design of a shelter, the further away from the doorway in an elevated section with a protective retention basin at the entrance.
The reason of the shelter
This shelter indicates that water was supposed to come through the well shaft ; so now there is another problem : where did the water could have come from?
I see 3 possibilities : the King's chamber main water tank, the Davison chamber and both chambers.
The draining of the inclined well
In my opinion, the opening of the dormant breach was done by releasing the impactor one last time, without the wooden part that served as a float for its recovery from the well after the impacts, cycle after cycle.
The last voyage of the impactor was most probably done using only the granite weight (most probably the one found in the recess of the subterranean chamber) and it somehow triggered the opening of the breach by breaking a small granite stone that was set inside the little imprint, precisely between G8 and G9. If I remember correctly, this little imprint is still filled today with the lower part of that small granite "chock block".
Ancient Egyptian god Sobek as a Nile crocodile with ram's horns. Both of these attributes are referring to the impactor of the Grand Gallery which was plunging into the waters of the well like a crocodile and ramming into them with tremendous power.
The crocodile putting its weight upon Taweret and forcing her to move
In this Apis and Taweret relief from the tomb of Seti I, we've just seen that Apis is a representation of the recess granite block of the impactor, released from the top of the Grand Gallery, and that Taweret is representing the upper granite block that was sealing the bottom of the well.
This Taweret sealing block was forced to move, a few meters only to reveal the breach, and that it was the recess granite block that (somehow) triggered the movement.
On the relief, this particular part is represented in the crocodile putting its weight upon Taweret.
We've already seen this weight metaphor about Apep and the pressurization of the water of the well : the sycamore tree, the men or just legs are putting weight on Apep, and they are doing this vertically. The only goal was to put pressure.
Here, with the crocodile, the pressure is made to trigger the movement of the Taweret block, and the crocodile isn't put on top of her head but one her back, like you would do to push someone forward : you push hard on his back.
The crocodile is also a metaphoric representation of the impactor
It is interesting to see that the impactor was represented in many different ways, depending on the context, and the angle of vision necessary to the narrative.
• The sycamore tree, the men and the legs are representations of the weight of the impactor and the induced pressure.
• The calves (bulls and cows) and the rams (horns) are about the shock, the impact, the collision with the waters of the well.
• The crocodiles are about the way that the impactor was getting into the water and stayed underwater for a short period of time, before getting back onto the shore.
Sobek illustration thanks to Jeff Dahl : https://en.wikipedia.org/wiki/Sobek#/media/File:Sobek.svg
Crocodile image thanks to ninfaj and posted on flickr
Ram fighting, National Games, Shahrisabz, Uzbekistan : https://commons.wikimedia.org/wiki/File:Asrlar_Sadosi_2008c.jpg
Image of Basque ram fighting : https://fr.wikipedia.org/wiki/Combat_de_b%C3%A9liers#/media/Fichier:Aharitopeka.jpg
Very quick abstract of the theory : ancient Egyptians used chemistry and physics to legitimate themselves as kings of Egypt, and they forged an entire religion for that matter. Gods were representations of their accomplishments in technology. The end game of this scientific program was the Great Pyramid of Giza where they engineered evaporative cold using the power of water, most probably (as suggested by the strong ammonia smell inside the Red Pyramid), to cool down counterflow reaction units for the manufacturing of sodium carbonate and sodium bicarbonate (Solvay process).
At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs.
The Dendera Light Bulb created by the lotus flower is depicting the fog of microdroplets in the evaporative cooling passage
1 • the small character holding the left Dendera Lamp Bulb, with his arms in the air, is Shu, the god of dry warm air and fogs
2 • the snake in the Dendera Light Bulb is Atum, and we've already seen in the previous post that Atum was the deified representation of the Apep small amount of pressurized water coming from the inclined well
3 • the bulb is supposed to be the womb of Nut, who is not the goddess of the sky but the goddess of the water in the sky (= moisture, hence her water pot emblem, details in previous post)
4 • Tefnut is the goddess of spat water and 5 • the "life-force" aspect of Atum is supposed to be transmitted through Nefertem
Nefertem : the mediator in which Atum is passing through
Excerpt from Michael J. Masley : "Meeks points out that the relationship between the sun and the lotus-Nefertem is well attested in the Pyramid Texts but the birth of the sun-god in the lotus blossom is known only after the Amarna period. Pyramid Texts Spell 249 (Pyr. § 266a): xa (wnjs)| m nfr-tm m zSSn r Srt ra “Unis will appear as Nefertem, as the lotus at the sun-god’s nose” corresponds to the image of the Egyptian deities giving life (anx) to the nose of the king and thus the life-force of the creator god Atum is transmitted to the sun-god Re through Nefertem. As such, Nefertem is a mediator that connects the two great gods."
Source : https://www.facebook.com/groups/619881488204420/permalink/639962346196334/
Dendera Light relief photographed by kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/14525094039/
The shower head like lotus seed head
These images of sacred lotus are probably more than I did before explaining the reason why the lotus, or "sacred lotus" has been chosen by ancient Egyptians as a metaphoric representation of the fog nozzle of the Great Pyramid.
Not only the lotus seed head looks like a perfect shower head, but the inside of the lotus root is also showing many tubes. Most probably this is purely metaphoric, and the real fog nozzle was like I've already suggested before, very close to the design of a modern firefighter fog nozzle, with many "teeth" that would have been represented into the petals of the lotus flower.
Left image : Nelumbo nucifera seed head. https://www.wikiwand.com/en/Nelumbo_nucifera
Right image : lotus root internal structure. https://fr.wikipedia.org/wiki/Nelumbo_nucifera#/media/Fichier:Lotus_root.jpg
Precision about the interpretation of the ancient Egyptians gods
When, for example, I am describing Shu as "the god of dry warm air" and Tefnut as the goddess of "spat water in the form of droplets", this is not coming directly from academic views.
It is the result of finding the real hidden meaning of these deities in between tons of useless information that had been added overtime and storytelling worshiping.
It is like having a car covered with tons of snow and try to identify the model anyway, or like slowly digging out irrelevant dirt to reveal a genuine artifact that was forgotten for thousands of years.
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Atum "defeating" Apep, the ancient Egyptian great serpent god of Chaos of the Underworld, as explained by scholars. Atum is also frequently represented as a snake and his real meaning is that he is a portion of Apep. Atum is a metaphor of every buckle of the coiled snake Apep : a small amount of Apep, a portion of its water.
It is the association of dry warm air (personified in god Shu) and spat water in the form of droplets (personified in goddess Tefnut), that is producing the fog of cold in the horizontal passage of the Great Pyramid of Khufu
Center relief from the Tomb of pharaoh Ramses I. Thebes West, near 1307 BC. https://en.wikipedia.org/wiki/Apep#/media/File:Apep_1.jpg
The secret real meaning of Atum defeating Apep : the creation of Atum himself
1 • The theoretical part : "Atum is said to have ascended from chaos-waters with the appearance of a snake."
2 • The illustration : the relief depicting Atum "defeating" Apep, the ancient Egyptian great serpent god of chaos of the Underworld (above photograph), in the Tomb of pharaoh Ramses I, Thebes.
If Atum emerged from chaos waters, and is looking to Apep without doing anything to him (no knife and no blood), what is Atum doing is looking back at himself : Atum is looking at where he is coming from.
Apep is the chaos waters and Atum is made of that water.
This idea that Atum is actually made of water is reinforced by his representation in an human form with the skin painted vivid blue (above right photograph).
Also, it is said that "Atum was […] the first being to emerge from the darkness and endless watery abyss that existed before creation" . "Darkness" and "abyss", would be very appropriate talking about the inclined well, where Atum is coming from.
Atum is the representation of the small amount of pressurized water ejected from the inclined well
Among all gods, Atum really is of great importance, and some would say he is the most important of all, the first creation god as explained by every scholar.
My theory explains why he was so important, why he was seen as the first god of creation.
Just think of "cold production" when you read "creation" in academic articles and everything will come into place : Atum, as the small amount of pressurized water ejected from the waters of the inclined well, was the last step of the process, just before the creation of the cold.
Excerpt from Wikipedia's page on Atum : https://en.wikipedia.org/wiki/Atum
"Atum was a self-created deity, the first being to emerge from the darkness and endless watery abyss that existed before creation. A product of the energy and matter contained in this chaos, he created his children—the first deities, out of loneliness. He produced from his own sneeze, or in some accounts, semen, Shu, the god of air, and Tefnut, the goddess of moisture. The brother and sister, curious about the primeval waters that surrounded them, went to explore the waters and disappeared into the darkness."
Atum had in him, all the energy of the inclined well waters and all the energy of the impactor that constantly rammed into the well. This is only because the small amount of water representing Atum, was under pressure, that the fog of microdroplets could have been created ; hence the reference to the fact that Atum created Shu and Tefnut from his own sneeze or his own semen.
And all that vocabulary, about energy, creation, liquids under pressure and water is present in every description of Atum we can find. The only reason why it doesn't matter that Atum created Shu and Tefnut from his own sneeze or his own semen, is because it is only a metaphor referring to the spray of a liquid under high pressure.
Atum represented in an human form (left) and as a snake in snake coffin artifacts from the Brooklyn Museum : Snake Coffin Accession Number 36.624 (center) and Snake Coffin (Atum) Accession Number 16.600 (right).
Atum ascending from the chaos waters
"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."
"Early myths state that Atum created the god Shu and goddess Tefnut by spitting them out of his mouth.[…] Other myths state Atum created by masturbation."
Of course, the "chaos waters" are directly referring to the pressurized waters, after they have been hit (rammed) by the fall of the impactor.
The constant reference to the day cycle is a little more tricky to understand : the cycle is not about the Sun, but about the impactor getting in and out of the well. The real cycle is about the operating of the impactor. When it got into the well, it was like going into the night and when it got back into the Grand Gallery, it was like going back into the day, into light (whether it was light from the Sun or from lamps).
Atum, the first creation god, father of Shu and Tefnut, was also represented as a snake
Atum was the first creation god of ancient Egypt and the father of Shu (the god of dry and warm air) and Tefnut (the goddess of spat water and humidity).
During the Amarna period, if Akhenaten and Nefertiti represented themselves precisely in these two particular deities while all the other traditional gods were banished, it is because they wanted to be associated with the creation of the most magical part of the Solvay process : its evaporative cooling.
Snake representations of ancient Egyptian gods are about water
One of the most recurrent appearances in ancient Egyptian religion is about snakes : they include the snake in the Hapi's cavern, the great serpent god of the Underworld Apep (Apophis) and the most important of all : Atum.
Additionally to the fact that the waters of the Nile river would exactly look alike a snake from the distance, 3 things can tell us that snakes were representations of water : 1 • Hapi (god of the flood of the Nile) in his cavern, creating a snake with water , 2 • The snakes represented with the "water ripple" hieroglyph as their body, and 3 • The boats moving on snakes
Isis temple, North wall of the Gate of Hadrian with a representation of the Nile god Hapi, crouched in his cave and surrounded by a serpent, Philae, Egypt : https://fr.wikipedia.org/wiki/Fichier:Hapy_Philae.JPG and http://www.temples-egypte.net/philae/hadrien/paroiNord/registreMilieu.html#B1
[Snake = Water] 1 • Hapi in his cavern creating the very first snake out of water
On the left image above (from the Philae temple), Hapi (in his cavern) is depicted creating the very first snake that referred directly to the Great Pyramid. As seen in the previous post, that cavern is a representation of the King's chamber, the main water tank of the pyramid. The fact that Hapi was the god of the annual flood of the Nile, indicates that the water used in the pyramid was coming from the Nile : it wasn't rain water like a first thought it was. It also mean that the pyramid could only have been operated during the flood season.
Wall relief of Apep cut into pieces, temple of Edfu (author : Rémih, on Wikipedia). Serpent artifacts from the Louvre Museum, with the body of the snake taking the shape of the "water ripple" hieroglyph sign. Inventory number E4851. https://collections.louvre.fr/en/ark:/53355/cl010038229
[Snake = Water] 2 • The snake "water ripple" hieroglyph shaped body
The snake artifact E4851 from the Louvre Museum, is showing a unique design : the tail of the snake is nothing else than a continuous succession of "water ripple" signs, clearly highly suggesting that the snake is actually made of water.
Most probably, the "water ripple" sign and the representation of Apep with multiple cuts, as shown on the wall relief left photograph above, together, one above each over, is actually representing the same thing : the "water ripple" sign is the representation of Apep being cut, over and over again.
[Snake = Water] 3 • The boats sailing onto snakes
As seen on this representation of Seth attacking Apep, the body of Apep is actually fully supporting the barque. Apep is painted in blue, and his body is also suggesting the waves : the barque is sailing onto the snake representation of Apep.
Conclusion : snakes = water (used to power up the pyramid and coming from the annual flood of the Nile).
[Pressurization of the inclined well] 1 • The Sycamore tree putting its weight upon Apep
I know that the myth about Atum says he is a self-created god, but this part is incorrect : when Atum is represented in front of the great coiled serpent Apep, the real meaning of the scene is about his creation.
Both Apep and Atum are snakes, and both are water metaphors.
Once the waters of the well (represented by Nun, the primordial waters) get hit by the impactor (represented by the Sycomore tree putting its weight upon Apep), the well is pressurized and a small amount of water is ejected towards the horizontal passage and the fog nozzle.
That small amount of pressurized water is Atum.
The misleading puzzle pieces
What is interesting to see, is how hard it is to decipher ancient Egyptian metaphors. For example, the sycamore tree in the first image is clearly put onto the body of the snake : all the weight of the tree is supported by the snake who is totally nailed on the ground.
Of course, the paw of the cat is also reinforcing this idea of putting weight upon Apep. But this is maybe the only time where the tree is so clearly set : most of the time, the sycamore tree is not onto the snake, but just next to it (photograph on the right, above).
Of course, the fact that the sycamore tree isn't onto the snake but just next to it doesn't matter if you know the real story.
Image on the left : the snake god Nehebkau (also spelled Nehebu-Kau), Spell 87 from the Book of The Dead. https://en.wikipedia.org/wiki/Nehebkau. Center : The Spearing of Apep (From the Papyrus of Nekhtu-Amen).
[Pressurization of the inclined well] 2 • The legs onto or under the snake
It is the same kind of association with the legs and the snakes : legs are also referring to the weight that is putting pressure upon snakes (upon water), whether they are onto the snake, or under the snake, like with Nehebkau (above).
It is amazing and fascinating to see that logic can be completely forgotten and different pieces of the puzzle voluntarily misplaced. This treachery obviously has the only intent to give us misleads. The positions of the legs under the snake and the Sycomore tree just next to Apep instead of onto Apep, in many representations are precisely that : misleads.
One could try to decipher the serpent walking on human legs, forever, he'll never understand the trick : the real meaning of the legs are about pressure upon something. Legs should be represented onto the serpent like on the second above image, not the opposite.
Mehen board game photographed by ©Rowan Millar, and posted on flickr : https://www.flickr.com/photos/126337530@N04/28294095688
Atum in front of the coiled serpent Apep : Apep has already been cut multiple times
As we can see on the above image, the character "defeating" Apep is Atum.
This scene is very important because it shows the continuity between these two characters : Atum is actually coming from Apep : Atum is the small amount of pressurized water ejected out of the inclined well by the fall of the impactor.
The first thing to note on the scene where Atum stands in front of Apep, is that Atum doesn't have any knife : Atum is not killing or cutting the snake. Actually, Apep is already cut. That is the meaning of the coils of the serpent : each buckle represent a cycle of water pressurization and ejection, and Atum is a representation of each of these buckles.
The Mehen artifacts, showing a snake that has been cut multiple times in equal size portions, are exactly describing that part of the real explanation of the myth about Apep and Atum.
Wall relief of Apep cut into pieces, temple of Edfu (author : Rémih, on Wikipedia). Ancient Egyptian Mehen board games, showing coiled snakes cut into equal size pieces.
The Mehen game boards are representations of the Great Serpent Apep cut into equal size pieces
This multiple times cutting of the Great Serpent Apep into equal length pieces, is exactly what is depicting the famous ancient Egyptian Mehen board game.
Wikipedia : "Mehen is a board game which was played in ancient Egypt. The game was named in reference to Mehen, a snake deity in ancient Egyptian religion."
The link between Mehen artifacts and Apep cutting : water distribution
1 • The Ballas Mehen was found covering a pot…
Following excerpts are from : Ancient Egyptians at Play, Board Games across Borders. Walter Crist, Anne-Elizabeth Dunn-Vaturi , Alex de Voogt (Bloomsbury Egyptology)
"Of the few boards that have good archaeological provenance, the oldest comes from the late Naqada Tomb 19 at Ballas, now in the Ashmolean Museum (Petrie & Quibell 1896: 42), and dates to the end of the fourth millennium BCE (Rothöhler 1999: 11). Found covering a pot, it was likely a votive representation of a mehen board rather than one used for play, since it was only 10.5 cm in diameter (Kendall 2007: 37), but appears in the form of other full-sized game boards."
2 • And another one was most certainly also a jar lid
"Another mehen game without provenance, now in a private collection, may have been a jar lid much like the Ballas game as it is only 4.5 cm in diameter and unlikely to have been used for play considering it contains 336 very small spaces (Kendall 2007: 37). It depicts a coiled serpent, with a tail and head, much like the others already discussed, but with an important distinction: four holes* were drilled on different parts of the serpent and may have been filled with a colored paste or some kind of inlay, distinguishing those spaces from the others (Kendall 2007: 37)."
*Unfortunately, no picture of this particular Mehen artifact is available ; probably the position of these 4 additional holes could be of some interest.
Were any of the Mehen artifacts designed as game boards?
What we know for sure, is that some of the Mehen board games hadn't been designed to be played with, whether because they are too small, the segments too tiny, or for both of these reasons.
The question is : were any of the Mehen artifacts designed as game boards?
The Great Pyramid of Giza, as a Solvay-like process unit with evaporative cooling for sodium carbonate (natron) and sodium bicarbonate manufacturing.
Ancient Egyptian gods were representations of ancient Egyptians themselves
The most disturbing part of my theory about ancient Egypt, is not the fact that the Great Pyramid of Giza was a sodium carbonate (natron) chemical manufacturing unit that needed to be cooled down by the evaporative power of water, but the fact that every single god worshiped in the temples, were actually representations of the engineering they developed to master this process.
We've already seen that ancient Egyptian gods can be divided into a few groups, depending of the location of the element they are referring to, in the pyramid :
1 • gods referring to the grand gallery : Aker and the Akeru (the axle beam and its support), Sokar (the latch-bolts), etc.
2 • gods referring to the inclined well : Nun (the primeval still waters), Apep (the pressurized waters), etc.
3 • gods referring to the horizontal cooling passage : Atum (the small amount of pressurized water ejected from the well), Nefertem (the high pressure resistant pipe and the fog nozzle), Shu (dry warm air), Tefnut (spat water in form of droplets), etc.
All these gods are referring to the Lower Pyramid, that is the part we know of today, but other gods are referring to the Upper Pyramid were the Solvay process unit was set : Horus, Seth, etc.
Chances are that this Upper Pyramid part is actually the ScanPyramids' Big Void.
Images of creator god Atum as a snake, E0611 © Alexander Ancient Art : https://www.alexanderancientart.com/611.php
On the Alexander Ancient Art artifact E0611, we can note that Atum is wearing a crown with ram's horns (representing the ramming of the well by the impactor), as well as the fog nozzle itself, from which the fog of microdroplets is most probably starting (blue arrow).
Nefertem 'nfr-tm' is related to Atum 'tm'
As everybody knows, ancient Egyptian literature doesn't use vowels (or we are just completely unable to decipher them).
For example Nefertem is only a modern hypothetical construction of the original name spelled nfr-tm. In the same way, the god known today as Atum was actually named tm.
It means, or suggests that Atum 'tm' is actually a particular aspect of Nefertem 'nfr-tm' :
"In Egyptian mythology, Nefertem (also Nefertum, Nefer-Tem, Nefer-Temu) was originally just the young Atum (his name means beautiful Atum, i.e. youthful Atum), at the creation of the world, who had arisen from the primal waters, in the Ennead cosmogeny."
https://academickids.com/encyclopedia/index.php/Nefertem
Nefertem : the ancient Egyptian god of the lotus flower blossom
"Nefertem (Nefertum, Nefertemu) was the ancient Egyptian god of the lotus flower blossom who emerged from the primeval waters at the beginning of time, and a god of perfume and aromatherapy. He may have originally been considered to be an aspect of Atum."
"According to one version of the creation story of the Ennead in Heliopolis, Nefertum (translated as beautiful Atum, or perfect Atum) was born from a blue lotus flower bud which emerged from the waters of Nun at the beginning of creation."
Adapted from https://ancientegyptonline.co.uk/nefertum/
Right : Nefertem emblems from the Louvre Museum : inventory number N 5118 © Musée du Louvre / Christian Décamps : https://collections.louvre.fr/ark:/53355/cl010008518 and ME299 © Musée du Louvre : https://collections.louvre.fr/ark:/53355/cl010337234
Atum passing through Nefertem : the "life force of the creator god Atum transmitted through Nefertem" reference
What I'm saying is that Atum was a representation of the pressurized water ejected from the inclined well, and that it was transformed on the lower platform of the grand gallery into a fog of microdroplets of liquid water inside the horizontal passage. For that to happen, a pipe had to be set on that platform, as well as a fog nozzle.
I'm also saying that these two pieces of hardware were represented into Nefertem's emblems : a pipe and a lotus flower. The lotus blossom being the fog nozzle.
In other words, we can say that Atum (the water) was passing through Nefertem (the hardware).
Amazingly, this idea of Atum passing through Nefertem is already well known :
Excerpt from Michael J. Masley : "Meeks points out that the relationship between the sun and the lotus-Nefertem is well attested in the Pyramid Texts but the birth of the sun-god in the lotus blossom is known only after the Amarna period. Pyramid Texts Spell 249 (Pyr. § 266a): xa (wnjs)| m nfr-tm m zSSn r Srt ra “Unis will appear as Nefertem, as the lotus at the sun-god’s nose” corresponds to the image of the Egyptian deities giving life (anx) to the nose of the king and thus the life-force of the creator god Atum is transmitted to the sun-god Re through Nefertem. As such, Nefertem is a mediator that connects the two great gods."
https://www.facebook.com/groups/619881488204420/permalink/639962346196334/
I've highlighted in bold the important parts of the above text that allows us to understand the fine relation that exists between Nefertem and Atum : they are both connected to the cold production but each one is a very particular aspect of it.
We need to keep in mind that all the efforts on the evaporative cooling, were for one reason only : the chemical "magical" manufacturing of sodium carbonate, the natron that would be used for the mummification of the pharaoh ; hence the reference to the "life-force" and Sun god Re.
The restraining of Apep relief scene from Ramesses KV19 tomb is representing the birth of Atum : the ejection of the pressurized water out of the inclined well.
The restraining of Apep : the containment of the inclined well pressurized waters
We've seen that the Great Serpent Apep was a metaphor of the inclined well waters and that the fall of the impactor into the well pressurized it. The forces at play were so high that not only it was at the origin of some of the more impressive parts of the fights between Ra and Apep (the thunder noises, the rumble and trembling, etc.), but it also put the well on tremendous structural forces. That was the mission of the girdle stones : maintain the structural integrity of the well.
So, when we are looking at the restraint of the Great Serpent Apep, on the above image from Ramesses KV19 tomb, we are looking at the representation of the water that was restrained inside the well. The ropes are representations of the restraint, and the red elements in a inverted U shape, are the girdle stones : the upper girdles are actually 2 U-shaped half girdles stacked on top of each other.
Apep worship : a gradual process of dismemberment and disposal after putting pressure upon Apep
From Wikipedia : "In an annual rite called the Banishing of Chaos, priests would build an effigy of Apep that was thought to contain all of the evil and darkness in Egypt, and burn it to protect everyone from Apep's evil for another year. The Egyptian priests had a detailed guide to fighting Apep, referred to as The Books of Overthrowing Apep (or the Book of Apophis, in Greek)."
"The chapters described a gradual process of dismemberment and disposal, and include : Spitting Upon Apep / Defiling Apep with the Left Foot / Taking a Lance to Smite Apep / Fettering Apep / Taking a Knife to Smite Apep / Putting Fire Upon Apep".
My interpretation is that the rituals practiced by the worshippers of Apep, once a year, were reproducing the operating cycles of the inclined well pressurization : it started with giving water to Apep (the "Spitting upon Apep"), then putting him under pressure, like with the sycamore metaphor on the Tomb of Inherkau TT359 ("Defiling Apep with the left foot"), then restraining him ("Fettering Apep") and finally watching him cut into tiny pieces in the form of flying sparks as a metaphor of the small amount of pressurized water ejected from the well on every cycle ("Putting fire Upon Apep").
Also, the rituals are described as "a gradual process of dismemberment and disposal".
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The Dendera Light
The Dendera Light on the reliefs at the Hathor temple is the fog of microdroplets of the theory
The Dendera Light Bulb / The double outline of the characters offering the cold / The arms and Djed Pillar
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The Dendera Light is a fog of microdroplets that is creating cold from dry warm air by the evaporative power of liquid water. Ra's snake form, Harsomtus, and the lotus flower are representing the liquid water supply passing through the fog nozzle. In this stone relief of the Hathor temple, dry warm air is represented by god Shu holding the fog in form of a light bulb, and the fog of liquid water by ancient Egyptian goddess Nut. The Dendera Light Bulb being described as the womb of Nut.
As we'll see in the section of this post about ancient Egyptian god of the annual flooding of the Nile, Hapi : snakes mean water.
The ancient Egyptian Dendera Light "protective magical energy in liquid form" is the evaporative cooling fog
The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves :
[About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." https://ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-battery-nonsense/
*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkner ; edited by Carol Andrews, 1972."
It also confirms the idea that ancient Egyptian magic was all about physics and chemistry
The field of magical energy in liquid form was qualified as protective, because the evaporative cold was produced to cool down Solvay reaction chambers that would create, from "pure magic" the purest mineral form of natron : the sodium carbonate that would be used for the mummification of the pharaoh.
The known part of the Great Pyramid of Giza was an evaporative cooling unit for a Solvay-like chemical manufacturing of sodium carbonate (purest mineral form of the mummification salt natron), and sodium bicarbonate. The previous post about Akhenaten and Nefertiti, who represented themselves as Shu (the god of dry warm air and fogs) and Tefnut (the goddess of humidity and moisture, meaning : water in form of liquid droplets), explains why the Ankh sign is the representation of the evaporative cold that was stored in the Queen's chamber, the only chamber of the Great Pyramid, located on its central axis, suggesting that this chamber was of some major importance.
The Dendera Light is a representation of cold production from dry warm air by the evaporative power of water
According to academic explanations of the Dendera Light reliefs in the Hathor temple, god of dry and warm air Shu is holding the Dendera Light that is described as the womb of Nut.
"Stone reliefs in the Hathor temple at Dendera in Egypt, depict Harsomtus, in the form of a snake, emerging from a lotus flower (usually attached to the bow of a barge). A variation of this motif, the so-called dendera light, displays Harsomtus in an oval container called hn, which might represent the womb of Nut". https://en.wikipedia.org/wiki/Dendera_light
The so-called "oval container" which "might represent" the womb of goddess Nut, is actually the fog of microdroplets getting out of the fog nozzle and taking the shape of the horizontal passage of the Great Pyramid of Giza.
Additionally to the "protective magical energy in liquid form" described by ancient Egyptian themselves, we can affirm that this oval container is actually made of water for two reasons :
1 • Inside the oval container is a snake, Harsomtus (Sun god Ra in form of a snake), and snakes are representations of water, like suggested by representations of Hapi, the god of the annual flood of the Nile (see farther below the section on Hapi creating the snake in his cavern).
2 • Nut's emblem is a water-pot
Hapi, the god of the annual flooding of the Nile, in his cavern. Isis Temple, Philae Island, Egypt (Source : Rémih on Wikipedia). https://fr.wikipedia.org/wiki/Fichier:Hapy_Philae.JPG
Center : Sixth Cataract in 1908 by Sir Henry Rider Haggard. Right : Second cataract in 1854 by John Beasley Greene. https://en.wikipedia.org/wiki/Cataracts_of_the_Nile
1 • God of the Nile Hapi is the one creating the snakes : Nehebkau, the Great Serpent Apep, Atum, etc.
The academic point of view of the Hapi cavern (Isis Temple on Philae island)
The academic explanation of the Hapi cavern relief of the Philae temple of Isis, is that it represents the cataracts of the Nile. In all honesty, I'm starting to get used to these "scholar" wonderful interpretations, but this one is one of my favorites. I let you judge of the resemblance between Hapi's cavern and the real landscape created by the Nile cataracts…
Line drawing of Hapi, the god of the annual flood of the Nile, from the Travelers in the Middle East Archive (TIMEA). https://fr.m.wikipedia.org/wiki/Fichier:Hapy_(1885)_-_TIMEA.jpg
Hapi is creating the snake of the cavern from the water of the Nile
I didn't really expect to find any proof of the hypothesis that snakes in ancient Egyptian religion were representations of the water used to operate the cold creation in the Great Pyramid of Giza, but it turns out that Hapi in his cavern is actually showing exactly that proof.
As we can see on the images of Hapi in his cavern, the ancient Egyptian god of the flood of the Nile, Hapi looks like he is pouring water inside a cavern kind of "protected" by a snake.
But there is no water inside the cavern and no water getting out of it : Hapi is actually "creating" the snake with the water from the Nile.
That is the proof that snakes in ancient Egyptian religion are really metaphors for water, like I've already suggested in the posts about Apep, Atum and Dendera.
Snakes mean water (from the Nile).
The King's chamber of the Great Pyramid of Giza was the main water tank of the entire operating of the pyramid for evaporative cold production ; for that reason the chamber had to be built entirely with massive granite blocks. https://en.wikipedia.org/wiki/Great_Pyramid_of_Giza#/media/File:Piazzi-plate_13.jpg
Hapi's reliefs : http://www.temples-egypte.net/philae/hadrien/paroiNord/registreMilieu.html
Hapi's Cavern is the King's chamber of the Great Pyramid of Giza
We've already seen in previous posts that the water used to power up the Great Pyramid was coming from the Nile. The fact that Hapi is related to the annual flood of the Nile, suggests that the Great Pyramid was only operated during this flood season.
The Hapi cavern with stone blocks piled up on one another, and Hapi completely imprisoned inside the structure can't be a representation of the cataracts :
"The Cataracts of the Nile are shallow lengths (or whitewater rapids) of the Nile River, between Khartoum and Aswan, where the surface of the water is broken by many small boulders and stones jutting out of the river bed, as well as many rocky islets. In some places, these stretches are punctuated by whitewater, while at others the water flow is smoother but still shallow." https://en.wikipedia.org/wiki/Cataracts_of_the_Nile
The blocks of the cataracts aren't piled up and the water doesn't pass under them ; but this piled up blocks immediately echoes the structure of the King's chamber of the Great Pyramid.
If you look closely, you'll see that proportions and shapes of the King's chamber and the "relieving chambers" are exactly the same. Even the passage between the King's chamber and the antechamber is represented in Hapi's cavern by the lower body of the snake (below its head).
Unfortunately, the line drawing of the relief is in my opinion very badly made : all lines are wrong, so just look at the original stone relief in order to really see the "copy paste" similarities of the two structures Hapi's cavern relief / King's chamber.
These images are representing the 4 steps of the operating of the Great Pyramid of Giza : 1/ the Hapi main water tank of the King's chamber, 2/ the impactor water slide like movement into the central gutter of the Grand Gallery, 3/ the Apep sequential ejection of pressurized water from the inclined well towards the evaporative cooling passage and 4/ the spitting of Shu and Tefnut by Atum. Please read the post about Apep for the details about 3/ and 4/
Snakes resulting of the Hapi's cavern Great Snake : Nehebkau, Kebechet, the Dendera snake, Apep, Atum, etc.
Hapi is pouring water inside the cavern and by doing so, he is creating the snake who is gonna be in many occasions a representation of the Nile water used inside the pyramid.
This Hapi cavern Great Snake will then be depicted as Apep, the Great Serpent of the Underworld as a representation of the waters of the inclined well that also allowed the impactor (the solar barque) to slide down the Grand Gallery's central gutter ; and as Atum, the serpent coming from the inclined well, that created Shu and Tefnut and who was about 200 liters of water ejected from the well every 20 minutes or so.
The vulture on top of the Hapi cavern
This vulture is in all the entire operating sequence of the Great Pyramid, the first representation of the snake eating animal metaphors we've already seen about cats, ibis, crocodile, falcons and mongoose.
The vulture, as a representation of the heat generated by the chemical reactions is waiting to eat the serpent, because the serpent represents the water that is creating the cold.
The vulture eats the snake = The heat eats the cold = The cooling of the Solvay process
"Nehebkau (also spelled Nehebu-Kau) is the primordial snake god in ancient Egyptian mythology. Although originally considered an evil spirit, he later functions as a funerary god associated with the afterlife. […] Nehebkau was ultimately considered a powerful, benevolent and protective deity. In late mythology, he is described as a companion of the sun god Ra." https://en.wikipedia.org/wiki/Nehebkau
The pressurization of the inclined well metaphors by putting weight upon Apep
The first snake created "in the Hapi cavern" was Nehebkau, the primordial snake god who was associated with both Ra and the afterlife because of his role in the mummification process and the operating of the Great Pyramid.
The patchwork of images above is to demonstrate the principal meaning of the serpent in ancient Egyptian religious art : the pressurization of the inclined well by the sycamore wood impactor. That crucial point is represented in many ways, but every time by applying weight on the body of the snake, whether it is the weight of the sycamore tree, the weight of the front paw of the big cat goddess Bastet, or the weight of entire human bodies.
In my opinion, the "walking snake" representations of the primordial serpent Nehebkau, are precisely that : metaphors of the pressurization of the well.
Legs are referring to the weight that created pressure on the snake, whether they are onto the snake (black and white Spearing of Apep drawing, from the Papyrus of Nekhtu-Amen) or below the body of the snake (Nehebkau drawings).
Papyrus mythologique de Tanytamon, Egyptien 172. Bibliothèque nationale de France, département des manuscrits (color and luminosity modified on gimp) : https://gallica.bnf.fr/ark:/12148/btv1b8304598h
The link between the water of the Nile (Hapi) and the Dendera Light womb of Nut : Geb, the "god of the earth"
"Hapi (Ancient Egyptian: ḥʿpy) was the god of the annual flooding of the Nile in ancient Egyptian religion. […] 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." https://en.wikipedia.org/wiki/Hapi_(Nile_god)
In my opinion, Geb is actually a lot more than just a friend, because Geb, as Hapi and Nut, is all about water.
Geb and Nut scene with god Shu in the center, holding goddess Nut : https://fr.wikipedia.org/wiki/Fichier:Geb_and_Nut03.png. Backstroke swimming drawing : https://commons.wikimedia.org/wiki/File:Backstroke_(PSF).png
In the Geb and Nut scene, everything is about water
• Geb (bottom of the image) is swimming on his back (with a nearly perfect match with the backstroke swimming drawings, above)
• Nut (top of the image) is diving into the water
• The 2 solar barques are representations of the ascending and descending impactor inside the Grand Gallery
• Another character is half immersed into the water and is throwing a fishing net, most probably as a metaphor of the solar barque impactor recovery from the inclined well.
Nut and Tefnut as well as Geb and Hapi are all referring to water.
2 • The real meaning of the Geb and Nut scene : the water cycle between liquid and vapor phases
In some ways, even Shu (the god of dry and warm air) is about water :
Geb is shown swimming, that means that he is a representation of water in a liquid form. But in some paintings, Geb is also represented with feathers all over his body. Feathers are the emblem of Shu, so it means that this liquid water is or can be associated with dry and warm air.
The result is Shu represented "separating" Geb from Nut. And we've seen that Nut's emblem is the water-pot, a little container where you can put a part of something, in that case : a portion of water.
"Nut (Ancient Egyptian: nwt), 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."
"Tefnut (tfnwt) is a deity of moisture, moist air, dew and rain in Ancient Egyptian religion."
Wikipedia's page on Nut : https://en.wikipedia.org/wiki/Nut_(goddess) and on Tefnut : https://en.wikipedia.org/wiki/Tefnut
On this scene representing Nut, and contrary to the first one above with Geb and Shu, water is also represented. In the first scene, water is not clearly represented, it is just suggested by the solar boats, the fisherman, the fishing net and the postures of Geb and Nut. Goddess of the sky Nut is clearly diving into the water. Geb is not represented because he is the water. Shu is also not represented because he is the sail of the boat.
Shu is not separating Geb from Nut, Shu is holding Nut in the air : Shu is absorbing moisture and accumulating humidity
In my opinion, that scene of Geb and Nut separated from each other by Shu is actually representing the cycle of water between its liquid form and its evaporated form.
Nut is getting out of the water (her lower body) and then comes back in with her upper body.
So why Nut is described as the goddess of the sky and Geb as the god of the earth ?
We've just seen that Nut and Geb were both representing water, but in two different forms : liquid water (Geb) and evaporated water (Nut). Once you take the water out of the equation, the only elements remaining is the earth (where the liquid water is) and the sky (where humidity and moisture are).
This is why today, egyptologists say that Geb is the god of the earth and Nut the goddess of the sky.
They are just missing the water.
Why nobody is describing the relation of Nut with water despite her water-pot emblem and the name similarity with Tefnut ?
I think the reason is that nobody really wants to talk about the water. It is that simple. But if you do that, not only you can't understand the Dendera Light, but you can't understand "god of the earth" Geb either.
For egyptologists, water doesn't deserve to be studied for anything else but agriculture, even though the expression "the power of water" appears in many occasions in the Book of the Dead, as well as the one we've just seen : "the protective magical energy in liquid form" about the Dendera Light.
If you don't think about water in the famous Geb and Nut paintings where Shu is represented "separating" them both, you can't understand their respective postures.
If you do think about water you understand that :
1 • Geb is swimming : Geb is a representation of liquid water (on earth) = god of the water on earth
2 • Nut is diving into the water from the air : Nut is a representation of humidity / moisture = goddess of water in the sky
3 • Shu (god of dry warm air and fog) is the one receiving / holding / sustaining / supporting that humidity and he is the one separating them both
In short, the Geb and Nut scene is all about the evaporative process that is the motor of the evaporative cooling
No one ever questioned the fact that Nut, the "goddess of the sky" had a water-pot emblem ?
According to Wikipedia's page on Tefnut, 'tfn' means 'to spit : "Literally translating as "That Water",[2] the name Tefnut has been linked to the verb 'tfn' meaning 'to spit'[3] and versions of the creation myth say that Ra (or Atum) spat her out and her name was written as a mouth spitting in late texts [4]". Source : https://en.wikipedia.org/wiki/Tefnut
But according to https://en.wiktionary.org/wiki/tfn, 'tfn' means orphan : "Conventional anglicization: tefen. orphan".
The correct translation for 'to spit' would be 'tf' and not 'tfn' : "Etymology 2 : (intransitive) to spit (+ m: to spit (something) out) [Pyramid Texts, rarely later]". https://en.wiktionary.org/wiki/tf
Tefnut = 'to spit' + Nut. It means that Nut is referring to water
If Wiktionary is right over Wikipedia, that means that Tefnut, 'tfnwt' is 'tf' + 'nwt' = to spit + 'nwt'
If Tefnut means "that water" and is referring to spat water, then Nut 'nwt' is referring to water itself. Hence the water-pot emblem of goddess Nut.
The theoretical evaporative process of the cold production
What is remarkable with the Geb and Nut scene, is that it is a representation of the evaporative process that is producing the cold inside the Great Pyramid.
We've already seen in the first post about the Dendera Light (June 5th 2021), that ancient Egyptians loved to show and explain what they were doing, in their own way of course : they've represented a snake spitting out its venom on one side of a relief, and just next to it, they've represented the Dendera Light with the same snake inside the bulb, and by doing so they were saying that the Dendera Light was created by the venom of the snake, as a metaphor of the spat water getting out of the fog nozzle, under pressure and in the form of microdroplets.
The sociological modern drama interpretation of Geb and Nut
"There is speculation between Shu and Geb and who was the first god-king of Egypt. The story of how Shu, Geb, and Nut were separated in order to create the cosmos is now being interpreted in more human terms; exposing the hostility and sexual jealousy. Between the father-son jealousy and Shu rebelling against the divine order, Geb challenges Shu's leadership. Geb takes Shu's wife, Tefnut, as his chief queen, separating Shu from his sister-wife. Just as Shu had previously done to him." https://en.wikipedia.org/wiki/Nut_(goddess)
My comment : "Best soap ever !"
God of the earth Geb with the head of a snake, and goddess of the sky Nut in the papyrus EA10018,2 at the British Museum : https://www.britishmuseum.org/collection/object/Y_EA10018-2
Geb was seen as the father of all snakes and also referred to water
• This idea that Geb was actually referring to water is reinforced by the fact that water, or absence of water (barren desert, drought…), is often mentioned about him. Excerpts are from : https://en.wikipedia.org/wiki/Geb
"As a chthonic deity, he […] became naturally associated with the underworld, fresh waters and with vegetation."
"Geb could also be regarded as personified fertile earth and barren desert."
This last excerpt is particularly interesting because it says that Geb is representing both the fertile earth and the barren desert, and to get from one to the other, you just need to take out all the water. That is precisely the meaning of the Geb and Nut scene : liquid water evaporating itself into the air (into the sky goddess Nut).
• Geb was the father of snakes and often represented with the head of a snake.
"Geb was frequently feared as father of snakes (one of the names for snake was s3-t3 – "son of the earth"). In a Coffin Texts spell Geb was described as father of the mythological snake Nehebkau of primeval times."
Wadi Hammamat stone reliefs representing the ancient Egyptian god Min and revealing the real nature of the flail (nekhakha), Dynasty 17. Photographed by Kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/25999304796/in/photostream/
Min god page on Wikipedia : https://en.wikipedia.org/wiki/Min_(god)
Water is really everywhere in ancient Egyptian religious art, even in the most surprising places
We've already seen that snakes were representations of the water of the Nile, used inside the Great Pyramid of Giza ; but the flail is also made of water.
In academic representations of the flail that we can find in temples or in other official context, the artists were obviously obligated to follow precise guidelines, but what we would probably call today, ancient Egyptian street artists weren't, and what some of them did carved into stone, is completely out of lines, so to speak.
The reliefs shown here, are coming from Wadi Hammamat and are representing god Min.
"Wadi Hammamat was a major mining region and trade route east from the Nile Valley in ancient times, and three thousand years of rock carvings and graffiti make it a major scientific and tourist site today." https://en.wikipedia.org/wiki/Wadi_Hammamat
The crook and flail on the coffinette of Tutankhamun : https://upload.wikimedia.org/wikipedia/commons/7/7c/Tut_coffinette.jpg
The flail symbol of the kings of ancient Egypt were also referring to water (or saline solution)
So, not only the Wadi Hammamat's reliefs are depicting water / liquid getting out of what really looks like a hollow pipe, but the shape of the flail parts itself is identical to the shape of the Dendera Light, the fog of liquid microdroplets creating the evaporative cold.
What is also interesting to see, is that on these Min representations with erect penis, once again appears the metaphor of a pressurized liquid expelled and projected into droplets.
"The crook (heka) and flail (nekhakha) were symbols used in ancient Egyptian society. They were originally the attributes of the deity Osiris that became insignia of pharaonic authority. The shepherd's crook stood for kingship and the flail for the fertility of the land. [...] Traditionally crossed over the chest when held, they probably represented the ruler as a shepherd whose beneficence is formidably tempered with might." https://en.wikipedia.org/wiki/Crook_and_flail
Wadi Hammamat: Dynasty 11, Nebhepetre Mentuhotep II. Photographed by Kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/25932728632/in/photostream/
On the Wadi Hammamat's reliefs, there is clearly liquid getting out of some kind of pipe, but from that it is still very hard to imagine the exact representation meaning of what we call today a flail.
Is the flail referring to a fog nozzle used to produce cold, or 3 nozzles? Or is it referring to the cooling of the Solvay chambers themselves? Is the liquid getting out of the tube water, or saline solution?
All the posts on the theory of an ancient Egyptian chemical manufacturing quest, and how an entire religion was built to worship and glorify this human, scientific and technological accomplishment : click on "LE BLOG" button
The Dendera Light
The Dendera Light on the reliefs at the Hathor temple is the fog of microdroplets of the theory
The Dendera Light Bulb / The double outline of the characters offering the cold / The arms and Djed Pillar
The Great Serpent Apep (Apophis)
The fight between Sun god Ra and Apep / The restraint of the inclined well waters / The equal length cuts of Apep
The 14 Girdle Stones of the inclined well / The Dormant breach and the draining of the inclined well
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