The Pyramids of the Cold Section 17 • The Smiter Medjed nobody can see
Publié par Bruno Coursol dans The Pyramids of the Cold v2 le
Medjed is an ancient Egyptian god mentioned in the Book of the Dead, who is described as the "Smiter" (le "Cogneur", le "Frappeur"). Because of his ghost-like portrayal in some illustrations on the Greenfield papyrus (without any mouth or nose), Medjed has earned great popularity in modern Japanese culture, including as a character in video games and anime. Medjed is "invisible" and can't be seen, though belonging to the "House of Osiris". Draw of Medjed by Di (they-them) at https://commons.wikimedia.org/wiki/File:Medjed.svg
The Pyramids of the Cold v2 (May 2023) • Part C: the impactor of the Great Pyramid of Giza
Section 17 • The Smiter god "Medjed" nobody can see
In summary: I didn't really think I would be able to find any evidence supporting the idea discussed in previous Sections, that the Eyes of Horus are actually all about the missing parts of Horus' face. If the nose and the mouth of Horus are missing, it is only because they are metaphorical representations of the impactor and the opening of the inclined well of the Great Pyramid of Giza. More importantly if these elements are both missing, it is because they were completely hidden inside the wooden fixed caisson of the Grand Gallery, when the Great Pyramid was in operation.
When the act of towing was performed in the Grand Gallery, or when the impactor was released into the slope so that it could ram into the inclined well waters, no one could have seen them: the impactor and the "mouth" of the well were invisible.
But I was wrong: ancient Egyptians really did represent the exact same face, showing only the eyes, and with the nose and the mouth missing. They represented this in a late and very obscure deity, named Medjed, described as "the Smiter", an ancient Egyptian god commanding Hapi, hence the waters from the Nile, and who belonged to "the House of Osiris". Medjed was also "invisible": he couldn't be seen by anybody.
In other words, Medjed is a perfect representation of what I've been describing in this study: the operation of an impactor that would have been completely invisible when ramming into waters originating in the Nile river, because moving inside a wooden fixed caisson. An impactor which would have had all its ramming power nested into the Osiris granite stone.
Medjed is a representation of the impactor; another one, just like the Apis bull or Horus the elder, but this time it is not just about the force and energy of the bull, nor it is about the speed of a flying falcon: this time, Medjed is all about the impact itself and the fact that he, as the deification of the impactor of the Great Pyramid couldn't be seen.
In this Section, we'll learn more about the fixed caisson, and in particular that it had been deified like everything else related to the operation of the Great Pyramid: the caisson of the Grand Gallery is the Tree of Life. This is why Isis, who is the deification of the impactor's Hauling rope (the One who is "saving" Osiris, the central rope), is known to be the goddess of the Acacia Tree of Life: because, when Isis and the impactor were connected to each other during the Hauling process, they were both moving inside the caisson.
Isis is the Lady of the Acacia Tree of Life because as a rope, she was relentlessly moving inside the wooden caisson of the Grand Gallery.
Talking about trees, we'll also see some representations that have been made of the Sarcophagus of the Great Pyramid, when it was operated as a biosand "earth" filter for water softening and microbial treatment that was necessary to reduce salt encrustations during the evaporative cooling process. The palm Trees in the famous "drinking water" and "kissing the earth" scenes in the tombs of Irynefer and Pashedu, are metaphoric representations of the operating of the Sarcophagus that produced drinking water at a very slow rate, just like the palm tree does.
Sheet 76 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus". 950 BCE to 930 BCE, 21st or 22nd Dynasty. Picture courtesy of the British Museum, but not available as of today: https://www.britishmuseum.org/collection/object/Y_EA10554-76
17.01 Medjed is the "Smiter": the ancient Egyptian version of what I've been calling the "impactor"
We've seen in previous Sections that the impactor has been deified in many very different representations, each one of them focusing on one or some of its particular aspects (Sections 23 and 24):
• The hawk or falcon (Horus) is about the speed acquired during the descent
• The Apis bull is about the force and the water projections both frontwards and backwards
• The ram's horns are about the impact itself, the ramming
Medjed, as the "Smiter" is also evidently about the ramming but with the "invisible" and "unseen" touch that is due to the central fixed wooden caisson. We'll see further in this Section that this wooden caisson had been deified into the Tree of Life, and that if Isis is represented many times inside the Tree, visible or "invisible", it is because Isis is the representation of the impactor's Hauling rope.
Just like Medjed, Isis was moving inside the fixed caisson; and just like Medjed, Isis could also have been invisible.
"Spell 17 of the Book of the Dead mentions, amongst many other obscure gods, one Medjed (meaning "The Smiter"), in the following line: "I know the name of that Smiter among them, who belongs to the House of Osiris, who shoots with his eye, yet is unseen." https://en.wikipedia.org/wiki/Medjed
"E.A. Wallis Budge translated the corresponding passage in the New Kingdom Papyri, known as the "Theban Recension of the Book of the Dead" as follows: I know the being Mātchet [Medjed] who is among them in the House of Osiris, shooting rays of light from [his] eye, but who himself is unseen. He goeth round about heaven robed in the flame of his mouth, commanding Hāpi, but remaining himself unseen." https://en.wikipedia.org/wiki/Medjed
17.02 The "Smiter" Medjed impactor ramming into the waters of the well
During the entire process of Hauling, the impactor had been seen as Horus the child, just waiting to grow and release all the potential energy mostly nested into the Osiris stone. Horus the child becomes Horus the elder at the exact moment of its release: Horus "the Elder" is the deification of the impactor of the Great Pyramid gaining speed and energy into the steep slope of the Gallery.
In some ways, the "unseen Smiter" Medjed deity, could be described as the deification of Horus the elder at the exact moment of the impact with the waters of the well.
Sheet 12 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus". 950 BCE to 930 BCE, 21st or 22nd Dynasty. Picture courtesy of the British Museum (©Trustees of the British Museum): https://www.britishmuseum.org/collection/object/Y_EA10554-12
17.03 The Medjed deity in the Greenfield Papyrus
Following excerpts (adapted), are from "Medjed: from Ancient Egypt to Japanese Pop Culture", by Rodrigo B. Salvador (Staatliches Museum für Naturkunde Stuttgart. Stuttgart, Baden-Württemberg, Germany), a very interesting article on Medjed that I strongly recommend: https://jgeekstudies.org/2017/08/15/medjed-from-ancient-egypt-to-japanese-pop-culture/
"The main source of knowledge on Medjed is the so-called “Greenfield Papyrus”, where he appears twice. If the name of the papyrus seems a little awkward, that is because it is common for ancient Egyptian artifacts (especially papyri) to be named after the collector who owned it during the heyday of Egyptomania. In this case, this particular papyrus belonged to Mrs. Edith M. Greenfield, who donated it to the British Museum in 1910. The curator’s comments on the online collection of the British Museum summarizes it nicely:
“The ‘Greenfield Papyrus’ is one of the longest and most beautifully illustrated manuscripts of the ‘Book of the Dead’ to have survived. Originally, over thirty-seven metres in length, it is now cut into ninety-six separate sheets mounted between glass. It was made for a woman named Nestanebisheru, the daughter of the high priest of Amun Pinedjem II. As a member of the ruling elite at Thebes, she was provided with funerary equipment of very high quality. Many of the spells included on her papyrus are illustrated with small vignettes, and besides these there are several large illustrations depicting important scenes.” British Museum (2017)
The Greenfield Papyrus dates from the historical period known as New Kingdom, possibly from the end of the 21st Dynasty or the beginning of the 22nd, around 950–930 BCE (British Museum, 2017)."
Banebdjedet wielding a scepter of the Was-sceptre, Djed, and Ankh. From the Tomb of Mentuherkhepeshef in the Valley of the Kings. Photograph thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/3331554556/in/photostream/
Ram fighting on Wikimedia Commons thanks to Brahim Djelloul Mustapha: https://commons.wikimedia.org/wiki/Category:Ram_fighting
17.04 Medjed the Smiter is having all his force because of Osiris as Ram-headed Banebdjedet
Osiris as Ram-headed Banebdjedet is "the One who is giving Life, Power and Force to Ra"… and it is all about impact ramming. "Throughout the day, Ra sailed across the sky in his barge and then descended down into the underworld at night. The sun barge now transformed into the evening barge known as the Ship of a Million Souls […] Ra at this time becomes merged with Osiris, the judge of the dead, and Osiris is seen as the “corpse” and Ra as the “soul” of the single deity Ra-Osiris."
Medjed is described as the "Smiter" and "belongs to the House of Osiris" because of the Ram-headed Banebdjedet.
17.05 Medjed's "House of Osiris" is the hollowed out cavity of the wooden impactor to accommodate the Osiris stone
The part mentioning the fact that Medjed "the Smiter" belongs to the House of Osiris is priceless, because it is talking about the cavity in which is perfectly nested the Osiris stone.
The House of Osiris, is actually not a very difficult metaphor to decipher, because it is simply referring to the location where is standing Osiris; and we already know that Osiris, as the Osiris granite stone, was perfectly nested inside the wooden part of the impactor. Most probably the lower end of the wooden cradle had been hollowed out so that the granite stone would perfectly fit in.
It means that this hollowed out cavity inside the wooden part of the impactor, which is Ra, is the "House of Osiris".
It also means that Medjed is a particular aspect of Osiris: it is about its capacity to hit and smite, first the air then the inclined well waters. Medjed is taking all his smiting force and energy into the Osiris stone.
17.06 The linen mummy bandages origin in the Osiris stone protection wrappings
I've already mentioned the fact that the linen mummy wrappings or bandages, were originating in this particular assembly of the granite stone with the wooden cradle.
I didn't take into consideration the fact that the impactor was endlessly immerged into water, and that consequently the interior of the wooden cradle would have been exposed to constant humidity; it would have obliged to completely wrap the Osiris stone into thick layers of linen, just so it didn't move and damage the hollowed out cavity. Wet granite is very slippery.
Detail of the sheet 76 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus": https://en.wikipedia.org/wiki/Medjed
17.07 The release of the impactor: when Horus the child is becoming Horus the elder
On this draw, is represented the entire sequence of the release of the impactor, from its locked position at the top of the Grand Gallery. The famous "worshiping" gesture is only about pushing and putting the Osiris stone "Smiter" into motion, and the birds on the left side of the image are the demonstration of the successful release: the bird is first walking on the ground, before taking off into the sky.
In other words, the scene is describing the moment where Horus the child becomes Horus the elder: when the impactor is gaining speed and energy into the slope of the Grand Gallery.
17.08 The representation of Medjed, first resisting the push
The scene is particularly interesting, because it first shows Medjed resisting the push: his feet are in opposition with the direction of the push; but when the bird is taking off, the bird goes in the same direction than the push.
Femmes en Haïk and Haïk porté par des femmes à Alger by Mus52: https://fr.wikipedia.org/wiki/Ha%C3%AFk_(v%C3%AAtement)
17.09 It is possible that the Haïk is originating in the Eyes of Horus (highly hypothetical)
Finally, this idea of hiding completely one's face and showing only the eyes, is reminding me of the Haïk, the traditional women's garment that is worn in the Maghreb region and that only let the eyes of the women visible.
Is it possible that the Eyes of Horus would be the origin of the Haïk? If it is, it would mean that the Haïk would be originating in the attempt to reproduce the missing parts of Horus' face, so that only the eyes are visible.
"There were about 1,000 graphemes in the Old Kingdom period, reduced to around 750 to 850 in the classical language of the Middle Kingdom, but inflated to the order of some 5,000 signs in the Ptolemaic period. Antonio Loprieno, Ancient Egyptian: A Linguistic Introduction (Cambridge: Cambridge UP, 1995)." In "Notes and references" at https://en.wikipedia.org/wiki/Egyptian_hieroglyphs
17.10 Ancient Egyptians maybe really called Medjed "the impactor"
At this point I need one more time to emphasize the fact that despite what every egyptologist is claiming, we do not understand the full meaning of every single hieroglyph; and for one particular reason: if you are wrong in the overall context of what you are trying to decipher, you will get wrong translations.
The entire process of deciphering ancient Egyptian hieroglyphs is based on the discovery of the Rosetta stone, a stele which was erected after the coronation of King Ptolemy V and was inscribed with a decree that established the divine cult of the new ruler, in three languages: the top and middle texts are in Ancient Egyptian using hieroglyphic and Demotic scripts respectively, while the bottom is in Ancient Greek. https://en.wikipedia.org/wiki/Rosetta_Stone
This gave to Champollion the opportunity to start deciphering the hieroglyphic text, but the context was political.
And the problem is that most of the important texts about ancient Egypt are directly referring to the scientific knowledge and technological accomplishments of the time; whether it occurred in temples, mastabas or great pyramids.
Ancient Egyptian temples were temples of knowledge, temples of learning and temples of experimentations.
At the time of the Old Kingdom, it was about 1000 different signs that were used, but I'm not sure it includes every variants of each sign; but I'm sure it doesn't include the color in which it had been painted, or if it was written from left to right or from right to left.
Anyway, I don't understand why 1000 different hieroglyphs were used in the Old Kingdom, and more than 5000 in the Ptolemaic period, if these signs were just about consonant syllables (as an extremely quick summary of the writing deciphering, I know). On the above screen shot from Wikipedia, it is explained that ancient Egyptians (mostly) used hieroglyphic signs to determine consonants like "st", "wsjr" or "htm"; and that each individual or combined sign just wasn't meaningful at all. At least when we are reading modern rebus, we do care for the meaning of each sign.
Maybe Medjed wasn't called the "Smiter", but really "the impactor".
Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.
The Pyramids of the Cold v2 (May 2023) • Summary and full Table of Contents
Part A • The evaporative cooling process
Part B • The inclined well of the Great Pyramid (Bes, Taweret, the girdle stones, the draining of the well...)
Part C • The composite impactor of the Great Pyramid (Horus, Ra, Osiris, Medjed, Sobek...)
Section 13 • The wooden and stone composite design of the impactor: Ra and Osiris
Section 14 • The endlessly immersed Osiris stone and the seed metaphor
Section 15 • The Anubis sledge and the bobsled mask
Section 16 • The sledge runners of the impactor: Thoth
Section 17 • Medjed: the smiter nobody can ever see
Section 18 • The Apis bull and the ramming impactor's metaphors
Section 19 • The crocodile god Sobek impactor (more or less) floating in the waters of the well
Section 20 • The Obelisk and the Benben stone rising from water
Part D • The Grand Gallery of the Great Pyramid: the Sacred "sloping paths" of the "Cavern of the act of Hauling"
Part E • The biosand filter Sarcophagus of the Great Pyramid for water treatment: softening and microbial stability
Part F • Chemical manufacturing and industrial cooling before the Great Pyramid (disc of Sabu, Solvay process in the Red Pyramid...)
Part G • The impact of the Great Pyramid on the whole ancient world (Thor, the Churning of the Ocean of Milk, the Emerald Tablet)... and Kebechet: the goddess of cooling water
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