The Ancient Egyptian Metaphysical Architecture Read online

  Osiris Temple at Abydos

  This well-preserved temple at Abydos has an unusual L-shaped plan. This work is dated to Seti I (1333–1304 BCE) and was completed by Ramses II (1304–1237 BCE).

  Points of interesting harmonic proportion include:

  1. The harmonic design took into account the shift of the lateral part of the L-shape. The basic scheme is continuous throughout the main body and lateral part of the plan.

  The temple outline plan consists of a square topped with three 5:8 Neb (Golden) rectangles and the rear lateral section is one 5:8 Neb (Golden) rectangle of the same width as the main portion.

  2. A series of significant points are determined in the main body, beginning at the rear wall of the sanctuaries. The distances coincide with the numbers of the Summation (so-called Fibonacci) Series [3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610,…] up to 233 cubits, which determines the front alignment of the two enclosures in the forecourt.

  It is noteworthy that the subsequent number of the series, 377, determines the total length of the temple if the lateral portion of the L-shape is stretched out to the axis of the outer gateway opening on to the lateral part.

  Tomb of Ramses IV

  The tomb of King Ramses IV (1163–1156 BCE) in the Valley of Kings at Luxor (Thebes) has the following interesting harmonic features:

  1. The tomb OPQR contains a triple sarcophagus. The tomb itself was dimensioned on a projection of the geometry of this triple sarcophagus.

  2. The innermost sarcophagus ABCD is in the form of a double square—the holiest of sacred enclosures.

  3. The middle sarcophagus EFGH is in the form of a 5:8 Neb (Golden) rectangle.

  4. The outer sarcophagus IJLM has two 5:8 Neb (Golden) rectangles IJKN and NKLM each of which is equal to the middle sarcophagus EFGH.

  11.6 The Last Native Egyptian Pharaoh

  Khnum Temple

  This temple was erected by the last Egyptian Pharaoh, Nectanebo II (360-343 BCE) at Elephantine, and was enlarged during the Ptolemaic and Roman era. The temple shows that even at the end of Egypt’s dynastic history, the general layout followed a well-defined harmonic scheme. The temple has points of interesting harmonic proportion, such as:

  1. Prior to the Ptolemaic era, the temple’s width was established as 55 cubits at its rear. The length was extended during the reign of Egyptian Nectanebo II to 89 cubits, with 8 significant points corresponding to the numbers of the Summation (Fibonacci) Series. Then later during the Ptolemaic rule, the row of columns in the vestibule was built at the 89 cubit length so that the scheme of the harmonic diagram is a square 89 topped with a 5:8 Neb (Golden) rectangle. With the later additions of a rear enclosure, forecourt, and pylon, the total length amounts to 233 cubits, with an intermediate significant point evident at 144 cubits from the rear end to the alignment of the forecourt before its final arrangement.

  2. All the above critical distances (such as 55, 89, 144, and 233) are clearly numbers from the Summation (so-called Fibonacci) Series [3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610 …].

  3. This shows that temple construction in ancient Egypt, even during foreigners’ presence, was based on purely ancient Egyptian design criteria (as is obvious in the earlier works in Ancient Egypt) and was subsequently copied by others.

  11.7 Restorations During Greco-Roman Period (332 BCE – 395 CE)

  Several Ancient Egyptian temples were restored during the Greco-Roman period. The restored temples show consistent compliance with the Egyptian canon of proportion that has been utilized for the prior several thousand years.

  A clear example comes from texts inscribed in the crypts of the temple of Hathor at Dendera which was rebuilt during the Ptolemaic Era based on drawings dating back to King Pepi of the 6th Dynasty (2400 BCE). The drawings themselves are copies of pre-dynastic documents.

  The text reads:

  The venerable foundation in Dendera was found in early writings, written on a leather roll in the time of the Servants of Horus (= the kings preceding Mena/Menes), at Memphis, in a casket, at the time of the lord of the Two Lands… Pepi.

  It is evident that restoration work done during the Greco-Roman period was done according to Ancient Egyptian knowledge.

  11.8 Miscellaneous Items

  General

  Harmonic design was not restricted to the large ancient Egyptian architectural buildings, but was used in the smaller structures and elements such as capitals and stelae, as well as in graphic compositions and statuary which are all constituent parts of the whole building.

  The pectorals and other magic amulets found on mummified Egyptians have been geometrically analyzed. They all show various configurations of harmonic proportion, which demonstrates the unity of Egyptian sacred geometry from the largest to the smallest sacred object.

  We shall present a few examples of smaller (relatively speaking) items, such as:

  – Capitals of Columns

  – Stelae

  – Pylons

  – Doorways/Gateways

  Capitals of Columns

  The design of capitals in Ancient Egypt was based on 1:2, 1:4, and 5:8 Neb (Golden) triangles. The following are three types of Egyptian-designed capitals:

  1. The papyriform capital—from Ramses III Commemorative Temple (Medinat Habu), western Luxor. The diameter of the capital is twice that of the shaft or abacus. A 5:8 Neb (Golden) triangle defines the proportions between the widest edge of the corolla, acting as a base, and the third of the five binding rings.

  2. The lotiform or papyriform bud capital—Karnak Temple (ca. 1335 BCE). The constructional diagram for the outline features a square, derived proportionally from the diameter of the shaft by means of a 5:8 Neb (Golden) triangle and giving the height of the trapezoidal cross section of the bud. The widths at the top and bottom of the bud are determined by two 5:8 triangles. It is noteworthy that the decorations of the five rings and the stylized vertical stems beneath have a square outline.

  3. The peculiar inverted campaniform capital of the tent-pole column in the festival hall of Tuthomosis III (1490-1436 BCE) at Karnak has its height determined by the height of the 5:8 triangle whose base equals the largest diameter of the corolla.

  Stelae

  Egyptian stelae from different eras were designed according to well defined harmonic proportions. Examples of the internal panel configurations are:

  1. Stela of King Watchi at Abydos, 1st Dynasty (ca. 3100 BCE).

  A square topped with a 5:8 Neb (Golden) triangle.

  2. Stela 20088 at Cairo Museum, Middle Kingdom (2040-1783 BCE)

  Twin squares.

  3. Stela 20255 at Cairo Museum, Middle Kingdom.

  Twin 5:8 Neb (Golden) rectangles.

  Pylons

  Pylons are a permanent feature of Egyptian temples. An example of the harmonic proportion of an Egyptian pylon is located at the Temple of Khonsu (ca. 1330 BCE) at the Karnak Temple Complex. The unique harmonic proportion of this 19th Dynasty pylon was noted in The Description of Egypt [Part III, page 57], written during Napoleon’s time.

  The whole width is divided into three parts: M + m + M. The portal takes up the middle part of the width, and there are pylon towers arising on both sides of the portal.

  Whole width = B

  Whole height = H

  Width of the Pylon-Tower = M

  Width of the portal/gate = m

  Opening of the gate, height = h

  Opening of the gate, width = b

  Points of interest in the harmonic proportion are:

  1. The ratio of total width to total height (B/H) = 1.618. That means that the pylon forms a vertical Neb (Golden) rectangle.

  2. M/m = 1.618, i.e. the ratio of the width of the pylon to the width of the portal is the Neb (Golden) proportion.

  3. Each pylon-tower is a golden rectangle in the vertical plane (H/M = 1.618)

  4. The relationships between B, H, M, and m are:

  B x 0.618 = H

  B x 0.6182 = M

&nbs
p; B x 0.6183 = m

  Doorways/Gateways

  In Ancient Egypt, doorways were built with or without a pylon on each side.

  A few examples from different periods show that the simple design of Egyptian doorways conforms to a harmonic analysis. The relationships between the openings and the doorjambs were harmonically proportioned. The height of the aperture and the full height were also harmonically designed.

  Points of interesting harmonic proportions are:

  1. The overall outline in the vertical plane is the double-square, 1:2 ratio [H=2B]

  2. The opening width is based on a square inscribed within a semi-circle, the typical Ancient Egyptian way of proportioning a root-five rectangle. Thus, the thickness of the doorjamb is 0.618 the width of the opening.

  3. The height of the aperture (h) = 3.1415 = pi

  The typical Ancient Egyptian doorway layout incorporated both sacred ratios pi and phi, as shown and explained above.

  The incorporation of both sacred ratios was intentionally utilized 4,500 years ago in the construction of the masonary pyramids of Egypt. [For details, read Egyptian Pyramids Revisited by Moustafa Gadalla.]

  Part III : The Spirited Communications

  Chapter 12 : The Animated Metaphysical Images on Walls

  12.1 The Active Dynamic Design

  As we have shown above, Ancient Egyptian temples were meant to generate energies and were designed accordingly and built according to active dynamic design principles. We have also shown the overall telescopic configuration of the Egyptian temple with jointing patterns in order to ensure the flow of energies.

  We have also shown the Egyptian application of dynamic design on the configuration and layout of the ‘symbolic’ characters of depictions on the walls of Egyptian tombs and temples.

  In this chapter, our focus will be on the metaphysical meanings of such depictions.

  The walls of the Egyptian temple were covered with animated images—including hieroglyphs—to facilitate the communication between the micro cosmos and the macro cosmos. The inscriptions and illustrations on the temple walls have deep mystical meanings known only to certain enlightened people. The carvings were of ritualistic value.

  12.2 The Pictorial Images’ Metaphysical Significance

  A picture is worth a 1,000 words—and by extension, several thousands of sounds. A picture represents a concept/idea and not a single letter/sound.

  We say “picture this” or “imagine that”, for images are representations of concepts and ideas beyond words. The picture conveys information more efficiently than letters/words.

  Pictorial images are the (metaphysical) language of the mind/intellect/divine.

  Human beings process information received from the five senses to the brain through visualized images. As such, pictorial images represent scientific/metaphysical realities as the ultimate medium for the human consciousness that interprets, processes and maintains the meanings of such images.

  Modern science concurs that a series of images are processed in the consciousness the same way as dream processing.

  [For detailed information about this subject, read The Egyptian Hieroglyph Metaphysical Language, by Moustafa Gadalla.]

  12.3 The Wealth of Knowledge in the Egyptian Pictorial Formations

  A symbol, by definition, is not what it represents, but what it stands for; what it suggests. A symbol reveals to the mind a reality other than itself. Words convey information; symbols evoke understanding.

  A chosen symbol represents that function or principle on all levels simultaneously, from the simplest, most obvious physical manifestation of that function to the most abstract and metaphysical. Without recognizing the simple fact about the intent of symbolism, we will continue to be ignorant of the wealth of Egyptian knowledge and wisdom.

  In Egyptian symbolism, the precise role of the Egyptian ideograms was revealed in many ways: by dress, headdress, crowns, feathers, animal, plant, color, position, size, gesture, sacred object, or type of symbolic equipment (e.g., flail, scepter, staff, ankh).

  Symbolism is reflected in form, size, location, materials, color, number, etc.

  This symbolic language represents a wealth of physical, physiological, psychological, and spiritual data in the symbols/signs.

  Man’s depiction signifies The Universe—The Divine and Earthly Realms

  So many phrases are being used throughout the world which consistently state that the human being is made in the image of God (i.e. 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.

  Consistent with such thinking, a depicted human being represents both the universe as a whole as well as the human being on Earth. The difference between the two will be explained below.

  As stated earlier, the oldest discovered records from the 5th Dynasty show that the highest defined point along the vertical axis is the hairline of the person’s head, when presented in the earthly realm.

  Egyptian figurations carefully mark—with a headband, crown, diadem, or joint—a dividing line for the top of the skull of the earthly man, thus separating the crown of the skull. The height of the body was measured exclusive of the crown. The illustrations show the earthly man as always higher than the divine aspects. A clear example is found here in this Ancient Egyptian papyrus with a grid system, where a human is higher than the neter (god) Thoth.

  It should be noted that the depicted neter (god) Thoth illustrates both the vertical (18-grid squares) and the horizontal stretched arm-span (fathom) measuring 22-square grid.

  The representation of the neteru (gods/goddesses) and/or human beings in the afterlife are shown on an 18-square grid for the full height to the top of the head. The choice of the number 18 is very significant and is consistent with all other Ancient Egyptian aspects. In the Unas Funerary (so-called Pyramid) Texts, the Divine Man (King) is generated from 2 x 9, (i.e. 18) divine units:

  The King [symbol of the Divine Man]came forth from between the thighs of the two divine Nines.

  The difference in the height between the two realms reflects the Ancient Egyptian’s deep understanding of the physiology and role of humans on earth.

  The removal of this part of the human brain leaves man alive, but without discernment; hence with no personal judgment. The person is in a vegetated state, living and acting only as the executant of an impulse that he receives, without actual choice. It is like a person in a coma.

  The earthly being must use his cerebral instrument to choose his actions. These actions will be in agreement or at variance with natural harmony. If, during his/her earthly life, the actions are not harmonious with nature, s/he will reincarnate again to the earthly realm, to try another time.

  When earthly man has developed his consciousness to the utmost perfection, he will no longer need his cerebral instrument.

  Animal Symbolism

  The Egyptians’ careful observation and profound knowledge of the natural world enabled them to identify certain animals with specific qualities that could symbolize certain divine functions and principles in a particularly pure and striking fashion.

  When we talk about loyalty, there is no better way to express loyalty than with a dog.

  When we talk about the protective aspect of motherhood, there is no better way to express it than with a lioness.

  This symbolic expression of deep spiritual understanding was presented in three main forms. The first and second are animal-headed humans, or a pure animal form. The third form is the opposite of an animal-headed human. In this case, we have a human-headed bird—that is the Ba—representing the body soul hovering over the body.

  The depiction of the Ba, then, is the divine aspect of the terrestrial.

  Animal Headed Images

  An animal
-headed human figure/image represents a particular function/attribute in its purest form. When an animal-headed figure/image is presented, it conveys that particular function/attribute in the universe—being depicted in human form—consistent with the theme that man is the image of the whole creation. Animal-headed human images represent the divine forces which the Egyptian called Neteru (gods, goddesses). They are manifestations of the divine energy in the universe.

  [For more details about the cosmic functions of the neteru (gods, goddesses), read other publications by same author, especially Egyptian Cosmology and Egyptian Divinities.]

  Accessories, Emblems, Color, etc.

  In Egyptian symbolism, the precise role of the neteru (gods/goddesses) are revealed in many ways: by dress, headdress, crown, feather, animal, plant, color, position, size, gesture, sacred object (e.g., flail, scepter, staff, ankh), etc. This symbolic language represents a wealth of physical, physiological, psychological, and spiritual data in the presented symbols.

  Action Forms—Body Language