Lecture: The Djed

The djed is an ancient Egyptian symbol for stability which features prominently in Egyptian art and architecture throughout the country's history. `Stability' should be understood to mean not only a firm footing but immutability and permanence. The symbol is a column with a broad base which narrows as it rises to a capital and is crossed by four parallel lines. The column and the lines are sometimes brightly painted and other times monochrome. The djed first appears in the Predynastic Period in Egypt (c. 6000-3150 BCE) and continues through the Ptolemaic Dynasty (323-30 BCE), the last dynasty to rule Egypt before it became a province of the Roman Empire.

The djed is often overlooked in Egyptian art, and especially in architecture, simply because it is so ubiquitous; the djed is featured on pillars, tomb walls, architraves (the main beam which rests on pillars), palace walls, sheets of painted papyrus, and especially sarcophagi. Once one is aware of the djed and its importance to ancient Egyptian culture it is impossible to miss. It is a potent symbol associated with the god Osiris and his return from the dead. The symbol has been interpreted to represent different objects such as the god Osiris' backbone, the tamarisk tree which enclosed the god, four pillars rising one behind another, and a fertility pole raised at festivals. `Stability', however, seems to have been its prime meaning and the one which the ancient Egyptians attached the greatest importance to.

MEANING & ORIGINS

The precise origin of the djed is unknown but it was associated with the god Ptah, an early creator god in the Predynastic Period whose attributes were later assumed by the deities Atum and Osiris. According to historian Clare Gibson, the djed was an early phonogram which could also act as a pictogram or ideogram. A phonogram is a symbol representing a sound and a pictogram a symbol for a specific word or phrase while an ideogram is a symbol of a thing itself without reference to words or sounds (such as numerals where one recognizes the symbol 10 as representing a certain quantity). The djed symbolized the spoken word-concept for stability, was the written word for stability, and stood for the concept itself.

THE DJED SYMBOLIZED THE SPOKEN WORD-CONCEPT FOR STABILITY, WAS THE WRITTEN WORD FOR STABILITY, AND STOOD FOR THE CONCEPT ITSELF.

In the Predynastic Period it may have originally been a representation of a fertility pole upon which sheaves of grain were suspended at festivals. This pole may have been a feature of early fertility rituals which eventually came to be associated with the god who made the land fertile. The god Ptah carried a sceptre which combined the djed and the Ankh (symbol of life) and is referenced as "The Noble Djed" in ancient inscriptions. The Djed Pillar Festival was held annually at which an actual djed pillar was built and raised by the local priesthood on the first day of the harvest season. Raising the pillar may have originally symbolized the grains rising from the earth but, in time, came to represent the god Osiris returning from the dead.

With the rise of the cult of Osiris, the djed came to be firmly associated with him and, especially, with the tree of Byblos which enclosed him and the pillar made from that tree. The djed also symbolized the backbone of Osiris in that, just as Osiris rose from the dead, the deceased would rise from their body after death. In the same way that the human backbone allowed one to sit up and stand and walk, the spiritual image of Osiris' backbone would encourage the soul to rise up from the body and move toward the afterlife. The myth of Osiris was one of the most popular in ancient Egypt, especially in the period of the New Kingdom (1570-1069 BCE). The story details the death of the god, his resurrection by his wife Isis, and descent to the underworld to reign as Lord of the Dead.

THE MYTH OF OSIRIS

In the beginning of time, shortly after creation, the gods Osiris, Isis, Set, Nepthys, and Horus were born of the union between Geb (earth) and Nut (sky). Osiris, as the eldest, was given reign of the earth and took his sister Isis as his wife and queen. Set grew jealous of Osiris' success and trapped him in a coffin which he then threw into the Nile River. The coffin floated to the Phoenician city of Byblos where it became lodged in a tamarisk tree by the shore. The tree quickly grew around and enclosed the coffin within it. The king and queen of Byblos noticed the tree and that it gave forth a sweet scent and so had it cut down and brought to their palace to decorate the court as a central pillar.

Isis, in the meantime, had gone searching for her missing husband and finally arrived at the court of Byblos. Disguised as an older woman, she ingratiated herself to the royal family by teaching the handmaidens how to plait their hair and became nursemaid to the young princes. Isis was particularly fond of the younger child, Dictys, and tried to make him immortal by burning away his mortal part in a flame. When the queen found her doing this one night she became upset and Isis threw off her disguise to reveal herself as a goddess. The royal couple begged her mercy for their affrontery and promised her anything she wanted; Isis claimed the tree which held her husband.

She freed Osiris' body from the tree and brought him back to Egypt to revive him but, while she was out gathering the necessary herbs, Set found the body, cut it into pieces, and scattered it across the land. When Isis found her husband had been dismembered she instantly set about collecting his remains with the help of her sister Nepthys. They found all his body parts, except for his penis which had been eaten by a fish, and he was brought back to life. Isis transformed herself into a kite and summoned the seed from Osiris' body by flying around him, drawing the seed into herself and becoming pregnant with a son, Horus. Osiris, since he was not complete, could no longer rule the living and descended to the underworld as Lord of the Dead. Horus grew to maturity and then challenged Set for rule, defeating him and restoring order to the land. The myth illustrated the importance of ma'at(harmony) and the triumph of order over chaos.

"I am He of the Djed pillar 

the son of He of the Djed pillar 

I was conceived in Djedu 

I was born in Djedu"

Hieroglyphic usage

ḏd in hieroglyphs

The djed hieroglyph was a pillar-like symbol that represented stability. It was also sometimes used to represent Osiris himself, often combined "with a pair of eyes between the crossbars and holding the crook and flail."The djed hieroglyph is often found together with the tyet (also known as Isis knot) hieroglyph, which is translated as life or welfare. The djed and the tiet used together may depict the duality of life. The tyet hieroglyph may have become associated with Isis because of its frequent pairing with the djed.

Ceremonial usage

The djed pillar was an important part of the ceremony called 'raising the djed,' which was a part of the celebrations of Heb Sed, the Egyptian pharaoh's jubilee celebrations. The act of raising the djed has been explained as representing Osiris's triumph over Set. Ceremonies in Memphis are described where the pharaoh, with the help of the priests, raised a wooden djed column using ropes. The ceremony took place during the period when fields were sown and the year's agricultural season would begin corresponding to the month of Choiak, the fourth month of the inundation season called akhet. This ceremony was a part of one of the more popular holidays and celebrations of the time, a larger festival dedicated to Osiris conducted from the 13th to 30th day of the Choiak month. Celebrated as it was at that time of the year when the soil and climate were most suitable for agriculture, the festival and its ceremonies can be seen as an appeal to Osiris, who was the God of vegetation, to favor the growth of the seeds sown, paralleling his own resurrection and renewal after his murder by Seth.

Further celebrations surrounding the raising of the djed are described in a relief in Amenhotep III's Luxor Temple. In the tomb in the temple, the scene shows the raising of the djed pillar taking place in the morning of Amenhotep III's third Heb-Sed, which took place in his thirty-seventh regnal year. The scene is described by Sigrid Hodel-Hoenes:

The anthropomorphized pillar stands at the middle left, in a shrine. It has taken the shape of a human body with the djed-pillar as its head; the eyes are udjat-eyes. The hands hold the crook and flail, the usual insignia of Osiris, the god of the dead. On its head is the tall feather crown with the solar disk. The pillar is on a high base reminiscent of the platforms visible today in many temples, on which the cult barks once stood. In front of and behind it are lotus and papyrus blossoms. Beneath the large slab of the base are two tall offering stands – one bears a libation vessel, while flowers have been laid on the other. To the right is the king himself, presenting a generously laid table. Fowl, cucumbers, blossoms, breads, and heads and ribs of beef are all lying on the upper mat, while a cow and an antelope can be seen on the lower one. Beneath these mats are four tall vessels containing unguents and oil, with bundles of lettuce sticking out among them. The vulture goddess, Wadjyt, the Mistress of the Per-nu shrine, has spread her protective wings above the sovereign, with the blue crown on his head.

— Sigrid Hodel-Hoenes, Life and death in ancient Egypt : scenes from private tombs in new kingdom Thebes, p. 222

There is also a scene depicted in the tomb to the right of the above scene which has not been well preserved. Hodel-Hoenes explains that it once showed the pharaoh, accompanied by his queen, using a rope to raise the djed pillar. Three men, probably priests of the temple of Memphis, help him in the process. A fourth priest was seen supporting the pillar. Various offerings were presented before the pillar below the ropes. Both the pharaoh and his queen are each accompanied by four pairs of young women resembling those of the sed-festival. Each of these women is rattling a Hathor sistrum, a musical instrument for percussion with a U-shaped handle and frame seen as resembling the face and horns of the cow goddess Hathor, while holding a menat, a protective amulet associated with Hathor, in the other hand. A line of hieroglyphs running just above the girls' heads in each row of women says, "Children of the king praising (or charming) the noble djed pillar." Hodel-Hoenes interprets this as identifying the girls as the daughters of Amenhotep III.

There are three additional reliefs below these two reliefs. They depict further ceremonies that accompany the erection of the djed pillar, especially games and dances. In one, food-bearers carrying edibles weave between men dancing with heavy steps. A line of singers on the far left seems to sing a short hymn to Ptah, the text of which is written alongside the line. Singing and dancing girls can be seen in the next relief, though Hodel-Hoenes comments on their seeming lack of grace, saying, "only the raised hands and the foot swinging in the air hint at the movements of a dance." The relief also depicts men involved in a boxing match and a cane dance, sports and dances which can still be seen in Egypt today.

The festival of the raising of the djed also involved re-enactments conducted at Denderah, Edfu, Busiris, Memphis, and Philae. But the most elaborate and grand celebration occurred at Abydos, the cult center of Osiris. From around the end of the third millennium BC during the beginning of the Twelfth Dynasty and perhaps as early as the Sixth Dynasty three hundred years earlier, re-enactments of the myth of Osiris and Isis – the deception and murder of Osiris by Seth, the search for Osiris by Isis and Osiris' mummification, funeral and his resurrection were performed. From the late fourth century BC, a recitation of the Lamentations of Isis and Nephthys, a poem describing Isis and Nephthys' search for Osiris, was added to the ceremony on the 25th day of the Choiak month. At the Osiris Temple in Abydos, these re-enactments are described as involving hundreds of priests and priestesses in the roles of the gods and goddesses, with 34 papyrus boats carrying the gods, a sculpture of Osiris inside an elaborate chest, 365 ornamental lamps, incense, and dozens of djed amulets.

Usage as amulets

The djed pillar was often used as amulets for the living and the dead. It was placed as an amulet near the spines of mummified bodies, which was supposed to ensure the resurrection of the dead, allowing the deceased to live eternally. The Egyptian Book of the Dead lists a spell which when spoken over a gold amulet hung around the mummy's neck, ensures that the mummy would regain use of its spine and be able to sit up. It was also painted onto coffins.

Parallels in other cultures

Parallels have also been drawn between the djed pillar and various items in other cultures. Sidney Smith in 1922, first suggested a parallel with the Assyrian "sacred tree" when he drew attention to the presence of the upper four bands of the djed pillar and the bands that are present in the center of the vertical portion of the tree. He also proposed a common origin between Osiris and the Assyrian god Assur with whom he said, the sacred tree might be associated. Cohen and Kangas suggest that the tree is probably associated with the Sumerian god of male fertility, Enki and that for both Osiris and Enki, an erect pole or polelike symbol stands beneath a celestial symbol. They also point out that the Assyrian king is depicted in proximity to the sacred tree, which is similar to the depiction of the pharaoh in the raising of the djed ceremony. Additionally, the sacred tree and the Assyrian winged disk, which are generally depicted separately, are combined in certain designs, similar to the djed pillar which is sometimes surmounted with a solar disk. Katherine Harper and Robert Brown also discuss a possible strong link between the djed column and the concept of kundalini in yoga.

Lecture: The Blue Lotus in Ancient Egypt

Appearance: In Egypt, two native species of lotus grew, the white lotus (Nymphaea lotus) and the blue lotus (Nymphaea cerulea). A third type, the pink lotus (Nelumbo nucifera) was introduced to the country from Persia during the Late period. All three species were depicted in Egyptian art (the pink lotus showed up in Hellenistic artworks), however the sacred blue lotus was the flower most commonly used and the one depicted in the hieroglyph.

Meaning: The lotus closes at night and sinks underwater. In the morning it re-emerges and blooms again. Thus the flower became a natural symbol of the sun and creation. In Hermopolis, it was believed that it was a giant lotus blossom that first emerged from the primordial waters of Nun and from which the sun-god came forth (portrayed in the image at left).

As a symbol of rebirth, the lotus is a fixed part of tomb and coffin decoration, often in combination with the scarab, which has similar symbolic meaning.

The lotus flower flourishes on the banks of the Nile. It opens its large petals with the rising of the sun. To the ancient Egyptians it represented the sun because it banished darkness. The blue lotus was the sacred flower of Hathor, the cow goddess of magic, fertility and healing, representing her powers of healing and regeneration.

This symbol means also the creation and rebirth. Nefertem was the god of healing, medicine and beauty and strongly associated with the lotus and often depicted in Egyptian art with a large lotus blossom forming his crown. The lotus was the only flowering plant in Egypt that bloomed nonstop throughout the year. Held by gods and goddesses near the nose of royal kings, queens and pharaohs as its scent, this flower was believed to be restorative and protective.

The Egyptian Lotus is considered a symbol of Upper Egypt but is also associated with to Heliopolis, in Lower Egypt. The lotus was also closely related to funeral ceremonies and the cult of Osiris.

Depictions of the Four Sons of Horus frequently displayed them standing on a lotus in front of Osiris.

The lotus was commonly used in art as a symbol of Upper Egypt. It was often shown with its long stems intertwined with papyrus reeds (a symbol of Lower Egypt) as a representation of the unification of the two lands.

The primordial hill, known as the Ben-Ben

From Wikipedia, the free encyclopedia

Benben (or capstone) was the mound that arose from the primordial waters Nu upon which the creator god Atum settled in the creation story of the Heliopolitan form of Ancient Egyptian religion. The Benben stone (also known as a pyramidion) is the top stone of the Egyptian pyramid. It is also related to the Obelisk.

Primeval mound

In the Pyramid Texts, e.g. Utterances 587 and 600, Atum himself is at times referred to as "mound". It was said to have turned into a small pyramid, located in Heliopolis (Egyptian: Annu or Iunu), within which Atum was said to dwell. Other cities developed their own myths of the primeval mound. At Memphis the god Tatenen, an earth god and the origin of all things in the shape of food and viands, divine offers, all good things was the personification of the primeval mound.

Benben stone

The Benben stone is an object that is found in the mythology of ancient Egypt. This mythical stone is said to have once been housed in a shrine within the compounds of the temple dedicated to the deity Atum in Heliopolis. The Benben stone is also an architectural term, and is the name given to the tip of an obelisk or the capstone placed on top of a pyramid. This architectural feature is known also as a pyramidion (or pyramidia in its plural form).

In the mythology of ancient Egypt, there are several accounts of the creation of the world. One of these is centred on the god Atum, and had its origins in the city of Heliopolis. According to this version of the creation story, the universe was brought into being by Atum. In the beginning, there was nothing but darkness and chaos. It was out of the dark waters that the primordial hill, known as the Benben stone arose, on top of which stood Atum. As the Benben stone rose from the primeval waters, it has been suggested that this word is associated with the verb ‘weben’, which is the Egyptian hieroglyph for ‘to rise’.

According to another interpretation, the Benben stone was the primeval hill on which Atum first landed. The god looked around, and realised that there was nothing around him but darkness and chaos, and that he was all alone. Desiring companionship, Atum began the work of creation. In some versions of the myth, Atum masturbated, and through this act, created Shu (the god of air) and Tefnut (the goddess of moisture). In other versions of the story, these deities were created by Atum’s copulation with his own shadow. Shu and Tefnut left Atum on the Benben stone, and went away to create the rest of the world. After some time, Atum is said to have grown worried about his children. Removing his eye, he sent it in search of them. Shu and Tefnut returned with their father’s eye, and the deity, seeing his children return, shed tears of joy. These teardrops, which fell on the Benben stone that Atum was standing on, transformed into human beings.

The Benben stone is also recorded to have been a sacred object that was once kept in the special shrine known as the ‘hwt benben’, which translates as ‘House of the Benben’. This sacred relic was the innermost sanctuary of the temple in Heliopolis, where Atum once served as its chief deity. The original cult object is said to have been lost at some point of time in history. Nevertheless, based on pictorial evidence, it has been suggested that this was an upright stone with a rounded top. It has also been pointed out that later on, other solar temples would also have their own Benben stones. For example, the temple of Aten in El-Amarna / Akhetaten, that was built by the 18th Dynasty pharaoh, Akhenaten, during the 14th century B.C., is recorded to have possessed a Benben stone of its own.

Apart from being the name of a cult object, the Benben stone is also used to describe a type of ancient Egyptian architectural element. To the ancient Egyptians, this was known as a ‘benbenet’ (the feminine form of ‘benben’), whereas for people today, the stone is known also as a pyramidion. This term is used to describe the capstone that was placed either on the top of a pyramid or on the top of an obelisk. It has been said that in the case of the former, the pyramidion is often covered with electrum or gold. Examples of pyramidions have survived, and may be found in museums. One, for instance, is the pyramidion that once topped the 12th Dynasty Pyramid of Amenemhat III, which is today displayed in the Egyptian museum in Cairo.

Amun the god of the invisible

Amun (also Amon, Ammon, Amen; Greek Ἄμμων Ámmōn, Ἅμμων Hámmōn) was a major ancient Egyptian deity who appears as a member of the Hermopolitan ogdoad. Amun was attested from the Old Kingdom together with his wife Amaunet. With the 11th dynasty (c. 21st century BC), Amun rose to the position of patron deity of Thebes by replacing Monthu.

After the rebellion of Thebes against the Hyksos and with the rule of Ahmose I (16th century BC), Amun acquired national importance, expressed in his fusion with the Sun god, Ra, as Amun-Ra or Amun-Re.

Amun-Ra retained chief importance in the Egyptian pantheon throughout the New Kingdom (with the exception of the "Atenist heresy" under Akhenaten). Amun-Ra in this period (16th to 11th centuries BC) held the position of transcendental, self-created creator deity"par excellence", he was the champion of the poor or troubled and central to personal piety. His position as King of Gods developed to the point of virtual monotheism where other gods became manifestations of him. With Osiris, Amun-Ra is the most widely recorded of the Egyptian gods.

As the chief deity of the Egyptian Empire, Amun-Ra also came to be worshiped outside Egypt, according to the testimony of ancient Greek historiographers in Libya and Nubia. As Zeus Ammon he came to be identified with Zeus in Greece.

Early history

Amun and Amaunet are mentioned in the Old Egyptian Pyramid Texts. The name Amun (written imn) meant something like "the hidden one" or "invisible".

Amun rose to the position of tutelary deity of Thebes after the end of the First Intermediate Period, under the 11th dynasty. As the patron of Thebes, his spouse was Mut. In Thebes, Amun as father, Mut as mother and the Moon god Khonsu formed a divine family or "Theban Triad".

Temple at Karnak

The history of Amun as the patron god of Thebes begins in the 20th century BC, with the construction of the Precinct of Amun-Re at Karnak under Senusret I. The city of Thebes does not appear to have been of great significance before the 11th dynasty.

Major construction work in the Precinct of Amun-Re took place during the 18th dynasty when Thebes became the capital of the unified ancient Egypt. Construction of the Hypostyle Hall may have also begun during the 18th dynasty, though most building was undertaken under Seti I and Ramesses II. Merenptah commemorated his victories over the Sea Peoples on the walls of the Cachette Court, the start of the processional route to the Luxor Temple. This Great Inscription (which has now lost about a third of its content) shows the king's campaigns and eventual return with booty and prisoners. Next to this inscription is the Victory Stela, which is largely a copy of the more famous Israel Stela found in the funerary complex of Merenptah on the west bank of the Nile in Thebes. Merenptah's son Seti II added 2 small obelisks in front of the Second Pylon, and a triple bark-shrine to the north of the processional avenue in the same area. This was constructed of sandstone, with a chapel to Amun flanked by those of Mut and Khonsu.

The last major change to the Precinct of Amun-Re's layout was the addition of the first pylon and the massive enclosure walls that surrounded the whole Precinct, both constructed by Nectanebo I.

New Kingdom

Identification with Min and Ra

When the army of the founder of the Eighteenth dynasty expelled the Hyksos rulers from Egypt, the victor's city of origin, Thebes, became the most important city in Egypt, the capital of a new dynasty. The local patron deity of Thebes, Amun, therefore became nationally important. The pharaohs of that new dynasty attributed all their successful enterprises to Amun, and they lavished much of their wealth and captured spoil on the construction of temples dedicated to Amun.

The victory accomplished by pharaohs who worshiped Amun against the "foreign rulers", brought him to be seen as a champion of the less fortunate, upholding the rights of justice for the poor. By aiding those who traveled in his name, he became the Protector of the road. Since he upheld Ma'at (truth, justice, and goodness), those who prayed to Amun were required first to demonstrate that they were worthy by confessing their sins. Votive stelae from the artisans' village at Deir el-Medina record:

"[Amun] who comes at the voice of the poor in distress, who gives breath to him who is wretched..You are Amun, the Lord of the silent, who comes at the voice of the poor; when I call to you in my distress You come and rescue me...Though the servant was disposed to do evil, the Lord is disposed to forgive. The Lord of Thebes spends not a whole day in anger; His wrath passes in a moment; none remains. His breath comes back to us in mercy..May your ka be kind; may you forgive; It shall not happen again."

Subsequently, when Egypt conquered Kush, they identified the chief deity of the Kushites as Amun. This Kush deity was depicted as ram-headed, more specifically a woolly ram with curved horns. Amun thus became associated with the ram arising from the aged appearance of the Kush ram deity. A solar deity in the form of a ram can be traced to the pre-literate Kerma culture in Nubia, contemporary to the Old Kingdom of Egypt. The later (Meroitic period) name of Nubian Amun was Amani, attested in numerous personal names such as Tanwetamani, Arkamani, Amanitore, Amanishakheto, Natakamani. Since rams were considered a symbol of virility, Amun also became thought of as a fertility deity, and so started to absorb the identity of Min, becoming Amun-Min. This association with virility led to Amun-Min gaining the epithet Kamutef, meaning Bull of his mother, in which form he was found depicted on the walls of Karnak, ithyphallic, and with a scourge, as Min.

Amun-Ra in hieroglyphs

As the cult of Amun grew in importance, Amun became identified with the chief deity who was worshiped in other areas during that period, the sun god Ra. This identification led to another merger of identities, with Amun becoming Amun-Ra. In the Hymn to Amun-Ra he is described as

"Lord of truth, father of the gods, maker of men, creator of all animals, Lord of things that are, creator of the staff of life."

Atenist heresy

During the latter part of the eighteenth dynasty, the pharaoh Akhenaten (also known as Amenhotep IV) disliked the power of the temple of Amun and advanced the worship of the Aten, a deity whose power was manifested in the sun disk, both literally and symbolically. He defaced the symbols of many of the old deities, and based his religious practices upon the deity, the Aten. He moved his capital away from Thebes, but this abrupt change was very unpopular with the priests of Amun, who now found themselves without any of their former power. The religion of Egypt was inexorably tied to the leadership of the country, the pharaoh being the leader of both. The pharaoh was the highest priest in the temple of the capital, and the next lower level of religious leaders were important advisers to the pharaoh, many being administrators of the bureaucracy that ran the country.

The introduction of Atenism under Akhenaton constructed a monotheist worship of Aten in direct competition with that of Amun. Praises of Amun on stelae are strikingly similar in language to those later used, in particular the Hymn to the Aten:

"When thou crossest the sky, all faces behold thee, but when thou departest, thou are hidden from their faces ... When thou set in the western mountain, then they sleep in the manner of death ... The fashioner of that which the soil produces, ... a mother of profit to gods and men; a patient craftsmen, greatly wearying himself as their maker..valiant herdsman, driving his cattle, their refuge and the making of their living..The sole Lord, who reaches the end of the lands every day, as one who sees them that tread thereon ... Every land chatters at his rising every day, in order to praise him."

When Akhenaten died, the priests of Amun-Ra reasserted themselves. His name was struck from Egyptian records, all of his religious and governmental changes were undone, and the capital was returned to Thebes. The return to the previous capital and its patron deity was accomplished so swiftly that it seemed this almost monotheistic cult and its governmental reforms had never existed. Worship of Aten ceased and worship of Amun-Ra was restored. The priests of Amun even persuaded his young son, Tutankhaten, whose name meant "the living image of Aten"—and who later would become a pharaoh—to change his name to Tutankhamun, "the living image of Amun".

Theology

In the New Kingdom, Amun became successively identified with all other Egyptian deities, to the point of virtual monotheism (which was then attacked by means of the "counter-monotheism" of Atenism). Primarily, the god of wind Amun came to be identified with the solar god Ra and the god of fertility and creation Min, so that Amun-Ra had the main characteristic of a solar god, creator god and fertility god. He also adopted the aspect of the ram from the Nubian solar god, besides numerous other titles and aspects.

As Amun-Re he was petitioned for mercy by those who believed suffering had come about as a result of their own or others wrongdoing.

Amon-Re "who hears the prayer, who comes at the cry of the poor and distressed...Beware of him! Repeat him to son and daughter, to great and small; relate him to generations of generations who have not yet come into being; relate him to fishes in the deep, to birds in heaven; repeat him to him who does not know him and to him who knows him...Though it may be that the servant is normal in doing wrong, yet the Lord is normal in being merciful. The Lord of Thebes does not spend an entire day angry. As for his anger – in the completion of a moment there is no remnant..As thy Ka endures! thou wilt be merciful!"

In the Leiden hymns, Amun, Ptah, and Re are regarded as a trinity who are distinct gods but with unity in plurality. "The three gods are one yet the Egyptian elsewhere insists on the separate identity of each of the three." This unity in plurality is expressed in one text:

"All gods are three: Amun, Re and Ptah, whom none equals. He who hides his name as Amun, he appears to the face as Re, his body is Ptah."

A Leiden hymn to Amun describes how he calms stormy seas for the troubled sailor:

"The tempest moves aside for the sailor who remembers the name of Amon. The storm becomes a sweet breeze for he who invokes His name... Amon is more effective than millions for he who places Him in his heart. Thanks to Him the single man becomes stronger than a crowd."

Third Intermediate Period

Theban High Priests of Amun

While not regarded as a dynasty, the High Priests of Amun at Thebes were nevertheless of such power and influence that they were effectively the rulers of Egypt from 1080 to c. 943 BC. By the time Herihor was proclaimed as the first ruling High Priest of Amun in 1080 BC—in the 19th Year of Ramesses XI—the Amun priesthood exercised an effective hold on Egypt's economy. The Amun priests owned two-thirds of all the temple lands in Egypt and 90 percent of her ships and many other resources.

Consequently, the Amun priests were as powerful as the Pharaoh, if not more so. One of the sons of the High Priest Pinedjem would eventually assume the throne and rule Egypt for almost half a decade as pharaoh Psusennes I, while the Theban High Priest Psusennes III would take the throne as king Psusennes II—the final ruler of the 21st Dynasty.
Decline

In the 10th century BC, the overwhelming dominance of Amun over all of Egypt gradually began to decline. In Thebes, however, his worship continued unabated, especially under the Nubian Twenty-fifth Dynasty of Egypt, as Amun was by now seen as a national god in Nubia. The Temple of Amun, Jebel Barkal, founded during the New Kingdom, came to be the center of the religious ideology of the Kingdom of Kush. The Victory Stele of Piye at Gebel Barkal (8th century BC) now distinguishes between an "Amun of Napata" and an "Amun of Thebes". Tantamani (died 653 BC), the last pharaoh of the Nubian dynasty, still bore a theophoric name referring to Amun in the Nubian form Amani.

Egyptian God Kek Deity of Darkness, Obscurity and Night

O you eight chaos gods, keepers of the chambers of the sky...The bnbn [phoenix] of Ra was that from which Atum came to be as ... Kek, darkness... I am the one who begot the chaos gods again, as Heh, Nun, Amun, Kek. I am Shu who begot the gods.

-- Coffin Text, Spell 76

Kek (also Kuk) is the deification of the concept of primordial darkness (kkw sm3w) in the Ancient Egyptian Ogdoad cosmogony of Hermopolis.

The Egyptians believed that before the world was formed, there was a watery mass of dark, directionless chaos. In this chaos lived the Ogdoad of Khmunu (Hermopolis), four frog gods and four snake goddesses of chaos. These deities were Nun and Naunet (water), Amun and Amaunet (invisibility), Heh and Hauhet (infinity) and Kek and Kauket (darkness). The chaos existed without the light, and thus Kek and Kauket came to represent this darkness. They also symbolized obscurity, the kind of obscurity that went with darkness, and night.

The Ogdoad were the original great gods of Iunu (On, Heliopolis) where they were thought to have helped with creation, then died and retired to the land of the dead where they continued to make the Nile flow and the sun rise every day. Because of this aspect of the eight, Budge believe that Kek and Kauket were once deities linked to Khnum and Satet, to Hapi - Nile gods of Abu (Elephantine). He also believed that Kek may have also been linked to Sobek.

He was the god of the darkness of chaos, the darkness before time began. He was the god of obscurity, hidden in the darkness. The Egyptians saw the night time, the time without the light of the sun, as a reflection of this chaotic darkness.

The characteristics of the third paid of gods, Keku and Kauket, are easier to determine, and it is tolerable certain that these deities represent the male and female powers of the darkness which was supposed to cover over the primeval abyss of water; they have been compared by Dr. Brugsch with the Erebos of the Greeks.

-- The Gods of the Egyptians, E. A. Wallis Budge

As a god of the night, Kek was also related to the day - he was called the "bringer-in of the light". This seems to mean that he was responsible for the time of night that came just before sunrise. The god of the hours before day dawned over the land of Egypt. This was the twilight which gave birth to the sun.

Egyptian God Heh

Ḥeḥ (also Huh, Hah, Hauh, Huah, Hahuh and Hehu) was in Egyptian mythology, the personification of infinity or eternity in the Ogdoad, his name itself meaning "endlessness". His female counterpart was known as Hauhet, which is simply the feminine form of his name.

Like the other concepts in the Ogdoad, his male form was often depicted as a frog, or a frog-headed human, and his female form as a snake or snake-headed human. The frog head symbolised fertility, creation, and regeneration, and was also possessed by the other Ogdoad males Kek, Amun, and Nun. The other common representation depicts him crouching, holding a palm stem in each hand (or just one), sometimes with a palm stem in his hair, as palm stems represented long life to the Egyptians, the years being represented by notches on it. Depictions of this form also had a shen ring at the base of each palm stem, which represented infinity. Depictions of Heh were also used in hieroglyphs to represent one million, which was essentially considered equivalent to infinity in Ancient Egyptian mathematics. Thus this deity is also known as the "god of millions of years".

Origins and mythology

The primary meaning of the term ḥeḥ was "million" or "millions"; subsequently, a personification of Ḥeḥ was adopted as the Egyptian god of infinity. Together with his female counterpart Ḥauḥet, Ḥeḥ represented a member of the Ogdoad of eight primeval deities whose worship was centered at Hermopolis Magna. The other members of the Ogdoad, Nuand Naunet, Amun and Amaunet, Kuk and Kauket, who joined together to create the cataclysmic event that gives rise to the sun and sun god, Atum.

Forms and iconography

Heh

The god Ḥeḥ was usually depicted anthropomorphically, as in the hieroglyphic character, as a male figure with divine beard and lappet wig. Normally kneeling (one knee raised), sometimes in a basket—the sign for "all", the god typically holds in each hand a notched palm branch (palm rib). (These were employed in the temples for ceremonial time-keeping, which use explains the use of the palm branch as the hieroglyphic symbol for rnp.t, "year"). Occasionally, an additional palm branch is worn on the god's head.

In Ancient Egyptian Numerology, Gods such as Heh were used to represent numbers in a decimal point system. Particularly, the number 1,000,000 is depicted in the hieroglyph of Heh, who is position in his normal seated position.

Cult and worship

The personified, somewhat abstract god of eternity Ḥeḥ possessed no known cult centre or sanctuary; rather, his veneration revolved around symbolism and personal belief. The god's image and its iconographic elements reflected the wish for millions of years of life or rule; as such, the figure of Ḥeḥ finds frequent representation in amulets, prestige items and royal iconography from the late Old Kingdom period onwards. Heh became associated with the King and his quest for longevity. For instance, he appears on the tomb of King Tutankhamen, in two cartouches, where he is crowned with a winged scarab beetle, symbolizing existence and a sun disk. The placement of Heh in relation to King Tutankhamen's corpse means he will be granting him these "millions of years" into the afterlife.

The primordial Egyptian Nun

Your offering-cake belongs to you, Nun and Naunet,

Who protects the gods, who guards the gods with your shadows

-- Pyramid Text 301

Nun, also spelled Nu , oldest of the ancient Egyptian gods and father of Re, the sun god. Nun’s name means “primeval waters,” and he represented the waters of chaos out of which Re-Atum began creation.

Nun appearance portrayed as a bearded man or a frog headed man with blue green skin which represents water and wearing the palm frond that symbolized long life, one on his head, and another on his hand. Naunet appearance portrayed as a snake headed woman or as a snake itself. Sometimes, Nun also depicted as man carrying a solar bark on his upraised arms. On the boat standing is by eight deities.

Nun’s qualities were boundlessness, darkness, and the turbulence of stormy waters; these qualities were personified separately by pairs of deities. Nun, his female counterpart, Naunet, and three further pairs together formed the Ogdoad (group of eight gods) of Hermopolis. Various Egyptian creation myths retain the image of the emergence of a primeval hillock formed of mud churned from the chaotic waters of Nun. Since it was believed that the primeval ocean continued to surround the ordered cosmos, the creation myth was reenacted each day as the sun god rose from the waters of chaos. Nun was also thought to continue to exist as the source of the annual flooding of the Nile River.

According to the theology of the Ogdoad the universe was formed from the interaction of eight elements (instigated by one of a number of possible gods including Thoth, Amun, Horus and Ra); water, nothingness or invisibility, darkness and infinity. 

(The Masuline is illustrated as Frogs while Feminine are snakes) 

Water was represented by Nun and Naunet (the female form). 

Although the Egyptians had many different creation myths, they all agreed that the universe came from the primordeal waters of Nun, and many legends suggested that everything would slip back under these waters at the end of the world. 

There were no priests or temples devoted specifically to Nun, but he was represented by the sacred lake of each temple and was frequently referred to in religious inscriptions.

"You [the Eight] have made from your seed a germ [bnn], and you have instilled this seed in the lotus, by pouring the seminal fluid; you have deposited in the Nun, condensed into a single form, and your inheritor takes his radiant birth under the aspect of a child."  

(Edfu VI, 11-12, and Esna V, 263.)

Nun existed in every particle of water and formed the source of the river Nile and the yearly innundation. The god was also associated with the laying of foundations for all temples, possibly because the Egyptians used simple and effective technique which took advantage of the fact that water will always form a horizontal level in order to ensure that the foundation layers of structures were flat.

Nun is often associated with the forces of chaos. When Ra decided that the people were not giving him the respect he was due, it was Nun who suggested that Re should send out his 'eye' to destroy mankind and end the world. 

However, unlike the water serpent Apep (who was the enemy of Ra and a purely destructive force) Nun had a positive aspect. Nun protected Shu and Tefnut from the forces of chaos, as represented by demonic snakes. 

According to one myth it was Nun who told Nut to transform herself into a solar cow and carry Ra across the sky because he had become old and weary.

Nun was represented as a frog or a frog-headed man (as a member of the Ogdoad) but could also be depicted as a bearded man with blue or green skin (reflecting his link with the river Nile and fertility). 

In the latter form he can look fairly similar to Hapi, the god of the Nile, and often appears either standing on a solar boat or rising from the waters holding a palm frond (a symbol of long life) Occasionally he appears as hermaphroditic with pronounced breasts.

In Memphis, Nun was associated with the creator god, Ptah in the form of the composite deity Ptah-Nun. 

Both gods were described as the father of the sun god (Ra or Atum), However, rival priests claimed that Thebes was the place where the primeval mound first rose above the waters of Nun. 

As Amun was both the creator god of Thebes and a member of the Ogdoad they suggested that Nun had been a powerful, but inert force until Amun turned himself into the primeval mound and thereafter created the other gods.

 Naunet and Nun

In the 12th Hour of the Book of Gates Nu is depicted with upraised arms holding a "solar bark" (or barque). The boat is occupied by eight deities, with the scarab deity Khepri standing in the middle surrounded by the seven other deities.

During the late period when Egypt became occupied, the negative aspect of the Nun (chaos) became the dominant perception, reflecting the forces of disorder that were set loose in the country.