Symbolism of mythological scenes in the art of Ancient Egypt Automatic translate

The art of Ancient Egypt is a powerful system of visual images filled with deep symbolic meaning. Mythological scenes depicted in temples, tombs, on papyri and household items carried vital information about the Egyptians’ ideas about the universe, divine order and life after death. The symbolism of Egyptian art evolved over thousands of years, creating a complex visual language that conveyed fundamental religious and cosmological concepts. An analysis of these symbols reveals to us the complex system of beliefs of the ancient Egyptian civilization and allows us to study their worldview in greater depth.

The Role of Symbols in the Worldview of the Ancient Egyptians

Symbols in ancient Egypt were not just decorative elements or artistic devices – they constituted a complex language through which communication between people and gods was carried out. In a society where literacy rates were relatively low, visual symbols played a key function in conveying religious concepts and mythological stories. A simple peasant who could not read texts could “read” a story depicted on a temple wall thanks to the universality of symbolic language.

Egyptian artists rarely sought to depict reality realistically. It was much more important for them to convey conceptual, symbolic content related to religious dogmas and mythology. The canonicity of images ensured the accuracy of the transmission of sacred concepts and their immutability over the centuries.

Symbolism permeated all aspects of Egyptian life, from monumental art to everyday objects and jewelry. Amulets in the form of sacred symbols were worn to protect against evil forces and illnesses. Furniture, mirrors, cosmetic vessels – everything was decorated with symbolic images associated with certain deities or magical powers.

Symbolism was especially prominent in funerary art, which is not surprising given the Egyptian belief in life after death. The walls of tombs were covered with scenes showing the soul’s journey through the afterlife, and sarcophagi were decorated with protective symbols that would help the deceased safely reach the Fields of Ialu, the Egyptian paradise.

Cosmology and the order of the universe in Egyptian symbolism

The ancient Egyptian view of the cosmos was reflected in numerous symbols and mythological scenes. The central concept was Maat, the divine order opposed to chaos. The goddess Maat, often depicted with an ostrich feather, personified truth, justice, and cosmic harmony.

The Egyptian model of the universe was an ordered structure, with the sky (goddess Nut) separated from the earth (god Geb) by the air god Shu. This scene, often depicted in art, demonstrated the basic cosmological concept of the division of the upper and lower worlds. The underworld, the Duat, also had a complex structure with different regions and gates through which the soul of the deceased had to pass.

The solar cycle occupied a special place in Egyptian cosmology. The daily journey of the sun god Ra on his boat symbolized the eternal order of the universe. In the morning, Ra was reborn in the east as Khepri (often depicted as a scarab), reached the zenith as Ra at noon, and descended in the west as Atum to make a dangerous journey through the underworld at night.

The symbolic image of Ben-ben, the primordial hill that emerged from the primordial waters of chaos Nun, reflected Egyptian ideas about the creation of the world. This symbol materialized in the form of pyramidions - pyramid-shaped stones that crowned obelisks and pyramids. The obelisk itself also had a deep cosmological meaning, symbolizing the rays of the sun reaching the earth.

The main symbols of Egyptian mythology and their meaning

Among the many Egyptian symbols, some had special meaning and were regularly found in mythological scenes. Such symbols were often combined into groups, enhancing the magical effect of the image.

The ankh is one of the most recognizable Egyptian symbols, a cross with a loop at the top. It symbolized life and immortality. In numerous frescoes and reliefs, the gods extend the ankh to the pharaoh’s nose, symbolically giving him the breath of life. Some researchers associate the ankh’s shape with the union of male and female principles, associating it with the fertility of the Nile. The ankh was also called the "key of the Nile," associating it with the annual floods of the river, giving life to the Egyptian lands.

The Djed Pillar symbolized stability and strength. It was associated with the god Osiris and represented his spine. This symbol was often depicted on sarcophagi and amulets to ensure stability in the afterlife of the deceased. The ceremony of "raising the Djed Pillar" was an important ritual symbolizing the resurrection of Osiris and the stability of the state.

The Eye of Horus (wadjet) served as a powerful protective symbol. According to myth, Horus lost an eye in a battle with the evil god Seth, but the eye was later healed by the god Thoth. The Eye of Horus symbolized healing, sacrifice, and protection from the evil eye. Its image was often used in amulets and jewelry to protect against illness and evil forces. Interestingly, different parts of the Eye of Horus were used in mathematics to represent fractions when measuring the volume of grain and ingredients for medicines.

The scarab was a symbol of the god Khepri, the morning aspect of the solar deity. Watching scarab beetles roll dung balls, the Egyptians saw in this an analogy with the movement of the sun across the sky. Scarab figurines were often placed in tombs as symbols of rebirth. A special category were the "heart scarabs", placed in the place of the mummy’s heart to ensure a favorable outcome in the afterlife.

The Myth of Osiris and Isis in Egyptian Art

The myth of Osiris, Isis and Horus is one of the central themes in Egyptian mythology, often depicted in various forms of art. This story of death and rebirth, betrayal and revenge, love and the afterlife reflected the fundamental beliefs of the Egyptians.

According to myth, Osiris, the beneficent ruler of Egypt, was treacherously murdered by his jealous brother Seth. According to one version, Seth trapped Osiris in a richly decorated chest that was exactly his size, slammed the lid shut, and threw the box into the Nile. The river carried the chest out to sea, where it drifted for a long time until it washed ashore near Byblos, where a cedar tree grew around it.

In art, this episode was often depicted as the scene of Osiris’s imprisonment in the sarcophagus, symbolizing the god’s transition to the afterlife. Artists emphasized the moment of betrayal by depicting Seth in a threatening pose next to the sarcophagus.

Isis, the wife and sister of Osiris, went in search of her husband. Having found his body, she hid it in the swamps, but Seth discovered the sarcophagus and, in anger, cut Osiris’s body into fourteen pieces, which he scattered throughout Egypt. Isis went in search again and collected all the parts of her husband’s body, except for the phallus, which was swallowed by a fish in the Nile.

This part of the myth was reflected in numerous images of Isis in the form of a bird flying over the lands of Egypt. Artists often depicted the goddess with outstretched wings, symbolizing her protective power and tireless quest. Scenes of the reunification of Osiris’s body parts also appear in temple reliefs and papyri.

Isis, with the help of the god of wisdom Thoth and the god of embalming Anubis, resurrected Osiris, making him the first mummy. Although Osiris could not fully return to the world of the living and became the ruler of the underworld, Isis managed to conceive a son, Horus, from him - the future avenger of his father and the legitimate heir to the Egyptian throne.

This part of the myth is reflected in images of Isis mourning Osiris and in mummification scenes where Anubis prepares the god’s body for the afterlife. Isis was often depicted as a kaia bird flying over Osiris’s body and bringing him back to life with the flapping of its wings. This motif emphasized Isis’s magical powers and her role in the rebirth of her husband.

Weighing the Heart in the Context of Egyptian Eschatology

Among the mythological scenes depicted by Egyptian artists, a special place is occupied by the scene of the "weighing of the heart" - a key moment in the posthumous judgment of the soul. This scene, often found in the "Book of the Dead", reflected Egyptian ideas about posthumous retribution and was filled with complex symbolism.

In the center of the composition there were usually scales, on one side of which lay the heart of the deceased, and on the other - the feather of Maat, symbolizing truth and justice. The god Anubis carried out the weighing, and the god of wisdom Thoth wrote down the result. Nearby, the monster Amat was often depicted - the devourer of hearts, ready to swallow the heart of someone who would be unworthy of eternal life.

The heart in Egyptian tradition was considered the center of consciousness and morality, the repository of all human thoughts, feelings and actions. That is why it, and not the soul (Ba), was weighed. If the heart was heavier than Maat’s feather, it meant that the person had lived unrighteously, and Amat devoured his heart, condemning him to eternal oblivion.

The symbolism of this scene is multilayered. The scales represented the justice of the cosmic order, which made no distinction between rich and poor, noble and common. The feather of Maat symbolized the ease of a clear conscience and compliance with divine laws. The presence of Thoth emphasized the inevitability of the verdict being recorded and the impossibility of changing it, and Amat embodied the horror of final destruction for sinners.

Interestingly, some versions of the Book of the Dead contained special spells that were supposed to prevent the deceased’s heart from testifying against him during a trial. Such spells were often written on special scarab-shaped amulets that were placed on the mummy’s chest.

Other deities are often present in depictions of the posthumous judgment, such as Horus, Isis, Nephthys, and Osiris, seated on a throne and ready to receive the acquitted into his kingdom. These figures were usually located at the top of the scene, symbolizing the supreme judgment of the gods over the soul of man.

The Solar Boat of Ra and Daily Rebirth

The journey of the sun god Ra on a boat through the heavenly and underworld worlds was one of the most important mythological concepts regularly depicted in Egyptian art. This scene symbolized cyclical rebirth and the constancy of the cosmic order.

According to Egyptian mythology, the sun god traveled daily across the sky from east to west on his "day boat" Mandjet. In the evening, he transferred to the "night boat" Mesektet, on which he descended into the underworld Duat. There he had to fight the chaos serpent Apop, who threatened to swallow the sun. Having defeated Apop with the help of other gods, Ra was reborn on the eastern horizon, beginning a new day.

This mythological concept was reflected in numerous images on the walls of temples, tombs and papyri. The solar boat was usually depicted as a crescent-shaped boat on which stood the god Ra in his various guises: with the head of a falcon, as Ra-Horakhty, in the form of a man with a solar disk on his head or as Khepri with the head of a scarab. He was often accompanied by other deities, including Isis, Thoth and the soul of the Ba of the deceased himself.

The symbolism of these images is multifaceted. The boat was a means of transport between different spheres of space, linking the world of the living, the world of the gods and the underworld. Ra’s journey symbolized not only the daily cycle of the sun, but also the cycle of life, death and rebirth that every Egyptian followed.

Of particular importance was the depiction of the struggle with Apop, who personified the forces of chaos, constantly threatening the cosmic order. In many reliefs, Apop was depicted as a giant snake, pierced with spears or cut with knives by the gods accompanying Ra. This scene symbolized the eternal struggle of order with chaos, light with darkness, which was resolved every morning by the victory of the sun.

Interestingly, in actual funerary practice, models of solar boats were often placed in tombs, especially royal ones. The most famous example is the boat of Pharaoh Khufu, found at the foot of the Great Pyramid of Giza and now on display in the Grand Egyptian Museum. These funerary boats were meant to help the deceased join the sun god on his eternal journey and thus gain immortality.

Ben-ben and the symbolism of the act of creation

The concept of the Ben-Ben occupied an important place in Egyptian cosmogony and was expressed in various mythological scenes and architectural elements. The Ben-Ben represented the primordial hill that arose from the primordial waters of chaos Nun, on which the creator Atum began the process of creation of the world.

According to the Heliopolitan version of the creation myth, before the beginning of creation there was only the endless dark ocean of chaos – Nun. From these waters Ben-ben emerges – the first patch of solid land. On this hill appears the creator god Atum, who creates other gods and the whole world. In some versions of the myth, Atum himself is identified with the hill, which emphasizes the primacy and fundamentality of this image.

The symbolism of Ben-ben was materialized in specific cult objects – pyramid-shaped stones that were installed in temples, especially in Heliopolis. These stones were considered to be the receptacle of the divine essence and the first places where the rays of the rising sun fell. Over time, the symbolism of Ben-ben spread to the architectural forms of obelisks and pyramidions – stones that crowned the tops of pyramids and obelisks.

Images of Ben-ben often included the sacred bird Bennu, which, according to myth, lived on the primordial hill or sacred willow. This bird, probably the prototype of the Greek phoenix, was associated with cyclical rebirth and solar worship. Some texts claim that the cry of Bennu began time and broke the primordial silence of chaos.

The symbolism of Ben-ben is closely connected with the idea of ​​the cyclical renewal of life, like the annual floods of the Nile, which created fertile deposits on previously dry land. Thus, this symbol combined the ideas of cosmic creation and the annual rebirth of the Egyptian land.

Archaeological finds confirm the importance of this symbol: small models of Ben-ben were used in home sanctuaries, and images of the primordial hill are found on amulets and decorative elements. In temple architecture, the symbolism of Ben-ben was manifested in the gradual increase in floor level as one moved towards the sanctuary, which symbolized the ascent from the mundane world to the sacred, like the rise of the primordial hill from the waters of chaos.

Symbolism of the uraeus as a protective element

The uraeus, a representation of a cobra in attacking stance, was one of the most powerful protective symbols in ancient Egypt, closely associated with royal power and divine protection. This symbol regularly appears in mythological scenes related to the pharaoh and solar deities.

The uraeus was primarily associated with the goddess Wadjet, patroness of Lower Egypt. According to myth, the cobra was given to the pharaohs by the god of the earth Geb as a sign of royal power. The image of the uraeus was placed on the forehead of the pharaoh as part of his crowns and headdresses, symbolizing the divine protection of the ruler and his power over the country.

In mythological scenes, the uraeus was often depicted belching out flames that destroyed the enemies of the pharaoh and the sun god. This fiery force was associated with the scorching Egyptian sun, which burned everything in its path. In reliefs and paintings of the boat of the sun god Ra, the uraeus was often placed on the bow of the boat as protection from the forces of chaos, especially from the serpent Apop.

Interestingly, after the unification of Upper and Lower Egypt, the symbol of the cobra (Wadjet) was supplemented by the symbol of the vulture (Nekhbet), the patroness of Upper Egypt. This combination, known as the "Two Ladies", became one of the five royal titles and was depicted on the double crown of the pharaohs - pschent, symbolizing the unity of the country.

Amulets in the shape of the uraeus were extremely popular among all classes of the population and were considered effective protection against evil, illness and the evil eye. Archaeological finds show that such amulets were made of various materials, from precious metals to faience, depending on the status and wealth of the owner.

In the symbolism of temples, the uraeus was often placed above entrances and windows, creating magical protection against the penetration of evil forces. On sarcophagi, images of the uraeus protected the deceased during his dangerous journey to the afterlife. The power of this symbol was so great that it was preserved throughout the history of ancient Egyptian civilization, from the pre-dynastic period to the Greco-Roman period, practically without changing its meaning and form.

Symbolism of Ka and Ba in ideas about the soul

Egyptian ideas about the human soul were complex and multifaceted, including several spiritual elements, each with its own symbolic representation. Among them, a special place was occupied by the concepts of Ka and Ba – two aspects of the spiritual essence of man, often featured in mythological scenes of the afterlife.

Ka was the life force or energy of a person, a kind of spiritual double that was born with a person and continued to exist after his death. In art, Ka was depicted as two raised hands, reminiscent of the hieroglyph with the same meaning, or as a human figure identical to the deceased. Sometimes Ka was represented as an exact copy of a person, distinguished only by the symbol on the head.

After a person died, his Ka needed food and drink, so offerings to the deceased were a vital part of the funerary cult. Statues in tombs served as receptacles for the Ka, allowing it to continue to exist even if the physical body was destroyed. This concept explains the importance of funerary statues and the practice of placing food (or images of food) in the tomb.

The ba, in turn, represented a more personal aspect of the soul, closest to the modern understanding of the term "soul." The ba was depicted as a bird with a human head, often the head of a deceased person. This symbolism reflected the belief that the ba could move freely between the world of the living and the world of the dead, leaving the body after death but regularly returning to it.

Many images in the Book of the Dead show the Ba hovering over the mummy or the scene of the weighing of the heart, symbolizing the presence of the deceased person at the most important afterlife rituals. After successfully passing the judgment of Osiris, the Ba was to be reunited with the Ka, forming the Ah, a blessed spirit who could dwell among the gods and the stars.

The symbolism of the interaction of the Ka and Ba emphasized the Egyptian idea that true immortality required the preservation of both the physical body (through mummification) and all spiritual components of the personality. This is why tombs provided ideal conditions for this reunification: a preserved body, magical texts, offerings for the Ka, and the ability for the Ba to move freely through special shafts and openings.

Tiet is a symbol of the blood of Isis and protection

The tiet, also known as the "Knot of Isis" or "Blood of Isis", was one of the most important protective symbols, closely associated with the goddess Isis and the feminine aspect of the divine. In its form, this symbol resembled an ankh with its "arms" hanging down to the sides, which emphasized its connection with the life force, but in a specifically feminine aspect.

The name "Blood of Isis" is associated with the menstrual blood of the goddess, which, according to Egyptian beliefs, possessed special magical powers. Mythological texts mention that the Tiet amulet was made of red stone or fabric dyed red, symbolizing this sacred blood. Such amulets had a powerful protective power, especially for women during pregnancy and childbirth.

In a funerary context, the Tiet was often used together with the djed pillar and the ankh, forming a triad of the most important symbols of life and rebirth. If the djed pillar was associated with Osiris and the male principle, then the Tiet represented the female principle in the person of his spouse Isis. Together, these symbols embodied the integrity and completeness of the afterlife.

In tomb paintings and papyri, Tiet was often placed next to the mummy, providing the deceased with the protection of Isis, the goddess who had managed to resurrect Osiris with her magic. The Book of the Dead contained a special spell (chapter 156) that had to be recited over the Tiet amulet, made of red jasper. This amulet was placed around the neck of the deceased to protect him during the dangerous journey through the underworld.

It is interesting that the symbolism of the knot in ancient Egyptian culture had a special meaning, connected with the magical practices of tying and untying. The knot could both bind evil forces and, when untied, release beneficial energies. The tiet, as a special sacred knot, symbolized protection from any harm and provided a magical connection with the goddess Isis, the patroness of magic.

On the walls of Isis’s temples, the Tiet symbol is often found in compositions depicting the goddess protecting her son Horus or restoring the body of Osiris. These scenes emphasized the protective and healing properties of the symbol, its connection with motherhood and rebirth.

Sah and Sopdet - Celestial Symbolism and Rebirth

Star symbolism occupied an important place in Egyptian mythology, especially in the context of ideas about the afterlife and rebirth. Among the many celestial symbols, the constellation Sah (Orion) and the star Sopdet (Sirius), closely associated with the myths of Osiris and Isis, were of particular importance.

Sah was the celestial incarnation of the god Osiris. The Pyramid Texts mention that the pharaoh after death joins Osiris and becomes a star in the constellation Orion. Images of Sah as a human figure among stars are found on the ceilings of tombs and sarcophagi, symbolizing the heavenly rebirth of the deceased.

Orion’s appearance in the night sky was associated with the Osiris rebirth cycle and the Egyptian agricultural calendar. The three bright stars of Orion’s belt were perceived by the Egyptians as a symbol of integrity and stability, like the three pillars on which the sky rests.

Sopdet (Greek: Sothis), the Egyptian name for the star Sirius, was considered the celestial incarnation of the goddess Isis. Its annual heliacal ascent (the first appearance in the morning sky after a period of invisibility) roughly coincided with the beginning of the Nile flood, which marked the beginning of the Egyptian new year. This astronomical phenomenon acquired great mythological significance, symbolizing the tears of Isis mourning Osiris, which caused the Nile to overflow and bestow fertility upon the earth.

In mythological scenes, Sopdet was often depicted as a woman with a star above her head or as a cow with a star between her horns. This symbol was closely associated with rebirth and renewal, as well as with the calendar cycles important to the agricultural civilization of ancient Egypt.

The joint appearance of Sirius and Orion in the night sky was seen as a symbolic reunion of Isis and Osiris, while their periodic disappearance and reappearance was associated with cycles of death and rebirth. On astronomical ceilings in temples and tombs, these celestial bodies were often depicted in the context of scenes of the resurrection of Osiris or the birth of Horus, a symbol of a new cycle of life.

Interestingly, according to some researchers, the location of the pyramids on the Giza plateau may reflect the position of the stars of Orion’s belt, and the shafts in the Great Pyramid are oriented towards key stars, including Sirius and the stars of Orion, indicating the importance of this star symbolism in the architecture and religious beliefs of the ancient Egyptians.

The Feather of Maat and the Concept of Cosmic Justice

The feather of Maat, a symbol of the goddess of truth, justice and cosmic order, played a central role in Egyptian mythology, especially in the context of posthumous judgment and ethical ideas. This ostrich feather, which the goddess Maat wore on her head, became the emblem of the moral code of Egyptian civilization.

In the scene of the weighing of the heart mentioned earlier, the feather of Maat served as a measure of the righteousness of the life lived. The lightness of the feather symbolized the purity of the heart, free from the weight of sins and misdeeds. The heart balancing the feather signified that the deceased lived according to the principles of Maat – truth, justice, harmony and order.

The concept of Maat went far beyond a simple moral code. It was a fundamental principle of the world order established by the gods at the creation of the world. According to Egyptian beliefs, the cosmos was constantly balanced between order (Maat) and chaos (Isfet), and the task of the pharaoh, as the earthly representative of the gods, was to maintain Maat in the earthly world.

Many reliefs depict pharaohs offering a figurine of Maat to the gods, especially the solar deity Ra. This ritual gesture symbolized the ruler’s role as the guarantor of cosmic order and justice. Maat was depicted either as a female figure with a feather on her head or simply as a feather, which emphasized the abstract nature of this concept.

The Book of the Dead contains the Negative Confession, a list of 42 sins that the deceased had to deny before the court of Osiris. These sins included violence, lying, stealing, breaking religious taboos, and other violations of the principles of Maat. Interestingly, the number 42 corresponded to the number of nomes (provinces) in Egypt, symbolizing the all-encompassing nature of the law of Maat.

The feather of Maat was also associated with the breath of life and air – weightless, but absolutely necessary for existence. This connection emphasized the life-affirming aspect of the concept of Maat, which not only determined the fate of the dead, but also regulated the life of the living, ensuring the harmony of social relations and the connection of man with the cosmic order.

Crowns and Regalia of Power in a Mythological Context

Crowns and regalia of power occupied a special place in the symbolism of Ancient Egypt, reflecting not only the political status of their owners, but also deep mythological concepts. Each element of the royal regalia had its own symbolic meaning and was associated with certain deities and cosmological principles.

The Red Crown (Deshret) symbolized power over Lower Egypt and was associated with the cobra goddess Wadjet. This crown had a unique shape with a high back protrusion and a spiral element in front, reminiscent of a cobra’s whisker. In images, gods and pharaohs wearing the red crown represented power over the northern lands of the Nile Delta.

The White Crown (Hedjet) was a symbol of Upper Egypt and was associated with the vulture goddess Nekhbet. Its elongated shape resembled a tall, white, conical headdress. In mythological scenes, this crown was often associated with Osiris as the first ruler of a united Egypt.

After the unification of the country, a double crown (Pschent) emerged, combining the red and white crowns as a symbol of power over all of Egypt. This crown symbolized the harmonious fusion of two lands under the rule of one ruler and reflected the cosmological concept of the unity of opposites. In many reliefs, pharaohs in a double crown were depicted receiving blessings from the gods, which emphasized the divine sanction of their power.

In addition to these main crowns, there were other headdresses with special symbolic meanings. The Atef crown, consisting of a white crown with feathers on the sides, was associated with Osiris and symbolized rebirth and afterlife power. The blue crown (Khepresh) or "war crown" was used in wartime and symbolized the pharaoh as a military leader who embodied the power of the god Montu.

No less important symbols of power were the staff of Heka (shepherd’s crook) and the flail of Neheh, which were often depicted crossed on the chest of the pharaoh or Osiris. The staff symbolized the ruler’s role as a shepherd of his people, and the flail his power to punish and collect tribute. Together, these regalia represented the dual aspect of royal power: protection and domination, mercy and severity.

The Uas scepter with a forked bottom and an animal’s head (usually a dog) on ​​top symbolized power and prosperity. This scepter was often held by gods, emphasizing their divine power. In some cases, the Uas scepter-shaped pillars were depicted as supports supporting the sky, indicating their cosmological significance.

Symbolism of the creation of the world in temple decoration

The theme of creation occupied a central place in the temple decoration of Ancient Egypt, creating a visual embodiment of the cosmogonic myths of various religious centers. Each major temple sought to present its own version of the origin of the world, where the local deity played a major role in the process of creation.

The cosmogonic concept associated with the god Atum (later identified with Ra) was dominant in the temples of Heliopolis. Reliefs and paintings depicted Atum’s emergence from the primordial waters of Nun and his subsequent creative acts. Much attention was paid to the symbolism of Ben-ben and the sacred bird Bennu, which personified the solar energy of creation. Architectural elements of the temple, such as obelisks and pyramidions, themselves symbolized the sun’s rays, connecting the earthly world with the divine.

The central place in the temples of Hermopolis was occupied by images of the eight primordial deities – the Ogdoad, personifying aspects of the primordial chaos. These deities, depicted with the heads of frogs and snakes, symbolized the primordial forces that preceded creation: Nun and Naunet (primordial waters), Huh and Hauhet (infinity), Kuk and Kauket (darkness), Amun and Amaunet (concealment). Scenes from temple reliefs showed how the interaction of these forces gives rise to the cosmic egg or lotus, from which the sun is born.

In the Memphite tradition, reflected in the decoration of the temples of Ptah, the creation of the world was represented as an act of divine design and speech. Ptah, depicted as a man in a tight robe with a staff, Was, created the world by the power of his thought and spoken word. This intellectual aspect of creation contrasted with the more physical conceptions of other centers and found expression in a special symbolism associated with crafts and art.

Of particular interest are the scenes of creation in the temples of the late period, for example, in Edfu and Dendera, where cosmogonic myths are presented in the form of complex symbolic compositions. In the temple of Hathor in Dendera, the ceiling of the first hypostyle hall is decorated with an image of the goddess Nut swallowing the solar disk in the evening and giving birth to it in the morning, which symbolizes the cyclical renewal of creation. Nearby are depicted stars and constellations corresponding to the Egyptian zodiac and symbolizing cosmic order.

An important motif in temple decoration were scenes of the "first time" (sep tepi), the mythological moment of the original creation, which was ritually repeated in temple ceremonies. These scenes often included images of the mound of creation emerging from the primordial waters and the subsequent appearance of the sun, either as a golden disk or as a child-god on a lotus.

Symbolism of protection and rebirth in funerary art

The funerary art of Ancient Egypt is a rich source of mythological symbolism associated with the concepts of protection of the deceased and his rebirth in the afterlife. Every element of the tomb, from architectural features to the smallest details of painting and funerary utensils, was imbued with symbolic meaning.

Sarcophagi and funerary masks display a particularly rich symbolism of protection. The traditional anthropoid sarcophagus, repeating the shape of the human body, was often decorated with images of protective deities - the four sons of Horus (Imseti, Hapi, Duamutef and Qebehsenuef), who protected the internal organs of the deceased, placed in special vessels - canopic jars. The lid of the sarcophagus usually depicted the outstretched wings of the goddesses Isis and Nephthys, protecting the deceased in the same way as they protected the body of Osiris.

The funerary mask, of which Tutankhamun’s gold mask is the most famous example, contained complex symbolism. The gold symbolized sunlight and the incorruptible flesh of the gods, the uraeus on the forehead provided divine protection, and the false beard linked the deceased to Osiris. The blue paint on the headdress and the lapis lazuli inlays were associated with heaven and rebirth.

The walls of the tombs were covered with images that accompanied the deceased on his way to the afterlife. Scenes of offerings provided magical nourishment for the deceased’s Ka. Images of everyday activities - farming, hunting, fishing - magically continued earthly life in the afterlife. Scenes from the "Book of the Dead" served as a guide for the soul through the dangers of the underworld.

A special category of protective symbols were ushabti - small figures placed in the tomb to perform work for the deceased in the afterlife. Their number could reach 365 - one for each day of the year, which symbolized endless service. The inscription on the ushabti contained a spell that was supposed to activate them when necessary to perform work in place of the deceased.

Amulets placed on the mummy and inside the burial shrouds were miniature embodiments of protective symbolism. Heart scarabs, placed in the place of the heart, contained a spell preventing the heart from testifying against the deceased at the posthumous trial. Djed and tiet amulets provided stability and protection from Isis. Amulets in the shape of the Eye of Horus protected against evil forces, and amulets in the shape of a scarab beetle symbolized rebirth, just as the sun is reborn each morning.

Thus, funeral symbols created a complex system of magical protection around the deceased, ensuring his safe passage to the afterlife and a blissful existence in it. Each symbol performed a specific function, and together they formed a complete system that guaranteed eternal life.

The Legacy of Egyptian Symbolism in World Culture

The symbolism of ancient Egyptian art had a profound influence on subsequent cultures, retaining its significance even after the civilization that created it had disappeared. Many Egyptian symbols were adopted by other cultures or inspired the creation of new symbolic systems.

Greco-Roman culture actively borrowed and reinterpreted Egyptian symbolism. After the conquest of Egypt by Alexander the Great and the subsequent rule of the Ptolemies, a syncretic cult of Serapis emerged, combining the features of Osiris and Greek deities. The symbolism of this cult combined Egyptian and Hellenistic elements. The Romans, in turn, transferred the veneration of Isis to their culture, whose images with the sistrum and tiete knot spread throughout the empire.

In early Christianity, some Egyptian symbols found new uses. The ankh, a symbol of life, was adopted by Coptic Christians as a version of the cross. The image of Isis with the infant Horus influenced the iconography of the Virgin Mary with the infant Christ. Even the concept of a posthumous judgment with a weighing of deeds has parallels in Christian ideas about the Last Judgment.

During the Renaissance and the Enlightenment, interest in Egypt led to the emergence of esoteric movements that used Egyptian symbolism. Freemasons and Rosicrucians adapted the symbolism of the pyramids and the Eye of Horus for their rituals. The alchemical tradition turned to the image of the ouroboros – a snake biting its own tail – as a symbol of cyclical processes of transmutation.

Napoleon’s Egyptian campaign and the subsequent development of Egyptology in the 19th century caused a wave of "Egyptomania" that influenced art and architecture. Motifs from Egyptian art penetrated European design, jewelry, and even funerary architecture. Obelisks based on the Egyptian model were erected in Paris, London, Rome, and other cities, becoming symbols of imperial grandeur.

Egyptian symbols continue to be used in modern culture, although often in a transformed form. Hollywood films and computer games exploit images of the ankh, pyramids, mummies, and other elements of Egyptian culture. Jewelry with Egyptian motifs remains popular, as do tattoos with ancient symbols. The Eye of Horus symbol has become part of modern occultism and pop culture, appearing in logos and designs.

Yet modern uses of Egyptian symbols often detach themselves from their original context and meaning. The pyramids are associated with mystical energies, the Eye of Horus with secret societies, the ankh with vampires and gothic aesthetics. Yet this transformation in itself is a testament to the power and resilience of Egyptian symbolism, its ability to adapt to new cultural contexts and continue to inspire the human imagination millennia after its creation.