Upon careful measurements and analysis, it was found that although the obelisks appear perfectly square, they are not. Their edges form angles that are slightly out of square, and in a device cut as precisely as an obelisk, this cannot be accidental. Some suggested that this slight angle variation, along with the dimensions of the obelisk and the angles of the pyramidion (the pyramid-shaped top, originally plated in electrum, an alloy of gold and silver), is all calculated according to geodetic data pertaining to the exact longitude and latitude where the obelisk was originally set. This would make the obelisk much more than a simple sundial.
The shadows cast by the pair of unequal obelisks at the entrance to a temple would enable the astronomer/priests to obtain precise calendrical and astronomical data relevant to this given location. Egyptians were then able to coordinate such data with similar readings from other key sites which are also furnished with their peculiar obelisks.
6.8 Statuary Forms
Statuary as Dwelling Images
An image is defined as a physical likeness or representation of a person, animal, or thing, photographed, painted, sculptured, or otherwise made visible.
As discussed earlier in Chapter 2 of this book [The Metaphysical Structure of the Universe], lighter forms of energies/spirits may occupy, at will, a more condensed energy (matter) such as human, animal, plant, or any form.
The spirit/energy matrix that animated the human flesh/ matter at birth and left the body (matter) at death can likewise reside in any other matter for as long as it wants to. In order to communicate with a departed (free) spirit, a dwelling place (a condensed form of energy, possibly matter) is needed, in order for the free spirit to manifest and communicate its will and influence to the living beings on Earth. Neteru (gods, goddesses) and ancestral spirits possessed places in which to dwell, and they were believed to enter and leave their statues at will. Therefore, the Ancient and Baladi Egyptians provide dwelling places for spirits of all kinds in the form of statues and amulets.
Neither the Ancient Egyptian nor their Baladi descendants believed in the divinity of their statues. These objects are simply local residences. A spirit (energy matrix) can live anywhere, and in anything. The thing itself, the material itself, is nothing more than a medium. The user makes a clear distinction between a certain material object and the spirit, for the time inhabiting it.
For this reason, nothing is too small or too ridiculous to be considered fit for a spirit’s local residence; for when the spirit is supposed to have gone out of that thing (vacates it) and definitely abandons it, the object itself is discarded and thrown away as useless.
Personal Statuary Images
The Egyptians prepared a figure or statue of the deceased person, taking great pains to give it all the characteristics of the deceased so that the ‘Ka’ might recognize it as an image of its body and be pleased to enter into the figure and take up its abode there. As such, these ‘Ka statues’ acted as the temporary host/dwelling/residence of the individual’s migrating soul [Ba] which can come and visit it with the proper rituals at specific times of the year.
These personal images were placed in some safe place in the tomb—in the so-called serdab (the word signifies ‘cellar’). As it was not possible to have a serdab in a grotto tomb, the statues of the deceased were placed in a niche of the furthermost chamber.
Statuary Images in Temples
Several statue types with their corresponding functions—inside the Egyptian temple as well as those placed along the processional ways or before the pylon – fulfilled several functions. Such statues acted as potential ‘hosts’ in which divine forces could reside, with the proper rituals.
Such statues acted also as intermediaries between the people and the neteru (gods, goddesses) in return for pronouncing the name and reciting the offering formula. The most potent of all the statues in the temple was the effigy at the focal point of the temple, representing the ‘Ka’ of the neter [divine force]. The effigy acted as the ‘body’ (being a condensed form of energy) for which the ‘Ba’ comes back to; the ‘Ka’ being the vital force of the spiritual manifestation of the neter [divine force], which is recognized by its ‘Ba’.
Statues and effigies in temples served as dwelling places for the neteru/cosmic energies. These statues were carefully designed to match each neter’s exact replica.
A passage from the stele of King Neferhotep (5,000 years ago) at Abydos describes his plan to seek original information from the archives about the exact traditional form of the statue of Osiris:
I will fashion [him, his limbs-his face, his fingers] according to that which my person has seen in the rolls of his [forms].
Conceptual Cubical Statues
Conceptual-type statues do not represent a specific person, but a certain conception and/or divine powers.
The Egyptian was highly conscious of the box-like structure which is the model of the Earth or the material world. Cube statues are found in the earliest discovered Ancient Egyptian monuments where the form of statuary called the cube statue was common. The subject was integrated into the cubic form of the stone. In some of these cube statues, there is a powerful sense of the subject emerging from the prison of the cube. The statue, as such, signifies that the spiritual principle is emerging from the material world.
The ‘king’—as the divine man [in Christianity: Son of God] – is often shown sitting on a cubic throne or seat, signifying the spiritual principle of domination and triumph over the material.
Other traditions, such as the Platonic and Pythagorean, adopted the same concept of the Egyptian cubic representation of the material world.
Conceptual Statues of Human and/or Animal Forms
So many phrases are being used throughout the world which consistently state that the human being is made in the image of God (a miniature universe) and that to understand the universe is to understand oneself, and vice versa – yet, no culture has ever practiced the above principle like the Ancient Egyptians. Central to their complete understanding of the universe was the knowledge that man was made in the image of God, and as such, man represented the image of all creation.
Animal forms embody certain divine functions and principles, as explained earlier in the discussion about animal symbolism. There were three main representations in such conceptual statuary images. The first and second are animal-headed humans or a pure animal form. The third form is the opposite of an animal-headed human, being that of a human-headed animal/bird—the divine aspect of the terrestrial.
Material Types
The choice of stone type was neither necessitated by economics nor by practical structural consideration. It is believed that each stone type represents specific aspects of the cosmic process. Here are the cosmic representations of some stones:
Alabaster = Air
Sandstone = Earth
Limestone = Water
Granite = Fire
A very common proof of such a choice is that the lioness netert (goddess) Sekhmet statues are made of granite, representing fire.
[See Appendix F—Sculpture—for more elaboration on a few Egyptian sculptures.]
6.9 Roof Forms
To roof the building, the Ancient Egyptians used all types of ceilings that continue to be used nowadays. The type of roof was dictated by metaphysical reasons and not construction practicality.
For various functions, they have used:
1. A Flat roof—supported on a system of beams that are supported on columns or bearing walls
At Zoser complex, the ceiling of the entrance passage simulates a roof of split logs. Similar imitations of organic originals are present in many Egyptian buildings.
2. Gabled roofing
The word gable is of Egyptian origin, which is Gabal, meaning the top/peak of a mountain – i.e. the shape is triangular, as shown above, earlier.
Gabled roofing is found in many monuments of the Old Kingdom, about 4,500 years ago.
3. Corbelled Roofing—a ‘false’ arch/va
ult
This form of stone roofing was like a stepped arch,as found inside the Great Pyramid in two locations:
– as the roof of the so-called Queen’s Room
– as the roof of the Grand Gallery.
This roofing form was also utilized in the earlier Snefru pyramids.
Also, check similar applications in ealier photos in various parts of this book.
4. Arches and Vaulted Ceilings
The Ancient Egyptians utilized arches and vaulted roofs in their buildings since their earliest history. It is a good idea to take a minute to review the actual definition of an arch and a vault.
According to the definition in the dictionary, an arch is a typically curved structural member spanning an opening and serving as a support (as for the wall or other weight above the opening): a) something resembling an arch in form of function: esp: either of two vaulted portions of the bony structure of the foot that impart elasticity to it; b) a curvature having the form of an arch.
The vault is: a) an arched structure of masonry usually forming a ceiling or roof; b) something (as the sky) resembling a vault; c) an arched or dome-shaped anatomical structure; d) a space covered by an arched structure: esp: an underground passage or room.
Arches and vaults are found in all eras in Egyptian temples and other large buildings, being above or below ground.
The vaulted ceiling is a reflection of the netert (goddess) Nut—the firmament – and therefore, burial chambers are vaulted (or gabled, in Old Kingdom).
The earliest stone arch is found in Saqqara. A papyrus that was found in Zoser’s Pyramid Complex (3rd Dynasty) at Saqqara shows the definition of the curve of a roof by a system of coordinates. The vertical lines are shown placed at equal distances from one another, while the numbers indicate their length from an unmarked horizontal level and define the coordinates of a number of points on the curve. This is proof that the Egyptians had a very exact idea of graphic representation at least 5,000 years ago.
And here is the finished product, conforming to its design plan:
In addition to the arch found in Saqqara, many others are also found in and near the pyramids of Giza, 4,500 years ago.
Crude brick arches were commonly used in roofing tombs since its earliest times, at least as far back as 1600 BCE, in Luxor (Thebes). Other arches are found from the times of Tuthomosis III and of Ramses V.
An arch, being of stone, is no stronger proof of its existence than are those of brick at Luxor (Thebes). The principle of the arch is the same, regardless of the material used. Basically, the brick arch (like the stone) radiates to a common center. It is not necessary that an arch should be of any particular material; nor does the arch have to have a keystone to be qualified as an “arch”. Arches, both round and pointed, are found at all eras, without a keystone. The same was the case in Ancient Egypt.
All shapes, types, and materials (brick, stone, etc.) of arches can be found in Ancient Egypt centuries and even millennia before Greek and Roman times.
A vaulted roof is found in the Pyramid of Menkaura in Giza, which is about 4,500 years old.
Another vaulted roof is found in the Pharaoh’s monument, following Menkaura, in the structure called Mastabat-Faroon in Saqqara.
We also find several perfectly-fitted vaulted roofs further south, in the very remote temple in Abydos.
The roof here is formed of single blocks of stone reaching from one architrave to the other which, instead of being placed in the usual manner, stand upon their edges in order to allow room for hollowing out an arch in their thickness.
A perfectly-constructed series of arches or vaulted ceilings at the Ramesseum temple on Luxor’s west bank is 3,500 years old.
The Egyptians used a wide variety of curved roofs.
The arch can be circular or with other variations of curvature. In addition to above examples, here are a few more:
The vaulted ceiling depicted the sky deity netert or goddess Nut, with her arched body.
The above were a general characterization of various shapes and forms. The Egyptian utilized these forms in a wide range, from simple applications to a more stylized application, and in a varying degree of stylization from a simple paintings to body formations. All such stylizations were consistent with the main objective/function and were intended to enhance and amplify each’s function.
6.10 Stylistic Architectural Details
Several stylistic architectural features were also used in Ancient Egypt, such as:
Architrave – The architrave was derived in Egypt from the stone beam, reaching from pillar to pillar in tombs and temples.
Since the 1st dynasty, the smallest private tomb-mastaba has a typical architrave above the entrance doorway.
The stone architrave was used to increase the size of, and add a portico to, their temples.
Square dentils over an architrave were also utilized since Egypt’s earliest history and can be seen in the facade of a tomb at Beni Hassan and pm the ceiling of one of the rock tombs at the Pyramids, imitating the palm beams.
Here it is shown in beautiful detail at the Karnak Temples Complex in Luxor:
Cornice – It was utilized constantly as a significant detail in the design of the so-called False doors which is to be found in every tomb and temple in Ancient Egypt. Notice other features, as well.
Below is a fully painted example from a Saqqara tomb from about 45 centuries ago.
For their devices, the Egyptians frequently selected objects such as the lotus and other flowers, and these, as well as various animals or their heads, were adapted to form a cornice, particularly in their houses and tombs, or to decorate fancy articles of furniture and dress.
Torus – The torus has been used in Egypt since its recovered remotest history more than 5,000 years ago, and is shown here as a significant detail of the so-called False Door at every Egyptian tomb and temple.
6.11 Stylistic Ornamentation and Decoration
Many people miss the artistic talents of the Ancient Egyptians by focusing only on the figurative depictions in Egyptian buildings.
Some artistic variations are noticed by some, but even, then we are told that the Egyptians had no imagination and therefore could only imitate nature, such as these palm tree column caps that look like the abundant palm trees in Egypt.
The design patterns in Egypt can generally be categorized as floral, geometric, figurative, or a combination of two or all three.
The figurative patterns naturally dominate temples and tombs; but floral and geometric patterns are abundant.
The Western mind set is obsessed with giving names to every variation of these patterns and to attaching a Greek/Roman adjective to each, despite its pre-existence in Egypt.
The floral type is depicted in a range of plant maturity, from the closed bud to the open blossom.
The temple columns in Egypt were more than supporting structures. Columns are part of the animated organic and living temple.
They appear with closed buds:
and open blossom:
Geometric design patterns are all over, from the starry ceilings.
To all kinds of patterns in tombs and temples everywhere in Egypt— long before they found their way to Europe.
Figurative decorations are found in so many places.
The vulture:
Hethor wearing a sistrum on her head:
The cobra:
A combination of 2 or all three forms of decorations—floral, geometric, and figurative.
Egyptians did not always confine themselves to the mere imitation of natural objects for ornament.
Their ceilings and cornices offer numerous graceful fancy devices; among which are the guilloche (misnamed as the Tuscan border), the chevron, and the scroll pattern.
These items can be seen in a tomb dating back to the 6th Dynasty; they were therefore known in Egypt many ages before they were later adopted by the Greeks and Romans.
Guilloche – The most complicated form of the guilloche
covered a whole Egyptian ceiling more than a thousand years before it was represented on those comparatively late objects, found at Nineveh.
A Chevron is a type of ornament also commonly found in Ancient Egypt.
The Scroll is also found in Ancient Egypt.
Colors
Color was an essential part of Egyptian architecture.
No one who understands the harmony of colors will fail to admit that the Ancient Egyptians perfectly understood their distribution and proper combinations.
But the choice of colors—just like everything else—reflects the Egyptians’ deep metaphysical understanding of the significance and energy of each color, and various colors are derived from a combination of basic colors.
The ceilings of Egyptian temples were painted blue and studded with stars to represent the firmament (as in early European churches); and on the part over the central passage (through which the king and the religious processions passed) were vultures and other emblems; the winged globe always having its place over the doorways. The whole building, as well as its sphinxes and other accessories, was richly painted.
Chapter 7 : The Primary Geometrical Shapes/Forms
The Ancient Egyptian Metaphysical Architecture Page 7
