It symbolized power and authority. Two ankhs are seen in the hands of Ptah above, although sometimes one encircled the head of the was. These were symbols of life. Taken together, the triad showed the creative and sustaining powers of Ptahand was later used with Osiris or other gods by the New Kingdom. The bull sacrum signified by the djed was not the only relation Ptah had to these creatures. In his home city of Memphis, a sacred bull known as Apis was worshipped since the First Dynasty.
The purported son of cow goddess Hathor , the bull was also seen as a herald of Ptah followed by Osiris and Atum in later history. The Memphites sought a calf with special features in its patterning indicative of its godly status. These included a triangle on the forehead, a scarab marking under the tongue, the wing of a vulture on its back, and a crescent moon on the right flank.
The entity it portrays is known as Ptah-Sokar-Osiris , a syncretic funerary deity. Two ostrich feathers, representing maat the ancient Egyptian concept of order and truth , appear above his head, along with two horns and a sun disk. This triad was popular from the Late Period c. Previously mentioned associations include the creator of all the gods including other creator gods like Atum , Apis as an intermediary, consort of Sekhmet a lion-headed warrior goddess of healing who later absorbed aspects of Bast , and father of Nefertem the first light of creation and the smell of the blue lotus and Imhotep architect of the Pyramid of Djoser.
He also took on the roles of Bes consort of Bast , Tatenen deity of the primordial mound of earth , and even some aspects of the sun gods Ra and Aten during the Amarna period. From Osiris to Ra and Atum, there seemed no god too prominent to escape the spreading influence of Ptah! By Kristopher Henke BA Anthropology in-progress Kristopher Henke is a writer, editor, and anthropology major with a passion for history, archaeology, and linguistics.
He specializes in the myths, inventions, and ideas of the Ancient Near East and the Greco-Roman world, but has also worked on Native American interactions on the Plains, Norse myths, and prehistoric migrations.
She was also wife to Osiris, god of the underworld, and bore him a son, Horus. Her cult subsequently spread throughout the Roman Empire, and Isis was worshipped from England to Afghanistan. Isis was often characterized as a moon goddess, paralleling the solar characteristics of Serapis. She was also seen as a cosmic goddess more generally. Who was Ptah wife? Why is Ptah green? Is Ptah the creator God?
What color is Ptah? What is seth the god of? How old is Ptah? What planet is Ptah? French Egyptologist Jean Yoyotte proposed a convincing theory that this group of statues was the stone materialization of a Sekhmet ritual to pacify the goddess, neutralize her fearful aspects and attract her beneficial qualities.
Yet in an age when aesthetics were critical to worship, even Amenhotep III, the king who ordered the statues, does not display a similar number of effigies. If such a large number of statues were mentioned only in texts, Egyptologists likely would not believe they existed. Missions led by Betsy Bryan of Johns Hopkins University re-displayed dozens of statues along the temple's courtyard walls.
On the Nile's other bank, excavations led by Hourig Sourouzian revealed another large series of Sekhmet statues around the solar court of Kom el Hettan. So many large statues also demonstrate a rare royal commitment to many trained sculptors. The size and quality of the sculptures is striking, given that smaller effigies might have accomplished the same goal.
Although the size and proportions vary slightly, these hundreds of statues precisely render a wild feline expression and details such as mustaches, radiant hair, wig strands, nipple flowers and bracelets on the wrists and ankles. If the creation of these statues is by itself extraordinary, their successive lives reveal fascinating practices about images during pharaonic civilization.
With their original viewing perhaps meant to be limited, several of the statues were moved, re-displayed in various temples and sometimes re-inscribed - notably for Ramses IV and Sheshonq I. Sekhmet's statues were even re-displayed without being finished or inscribed, as in the temple of Ptah in Karnak, where the standing statues of Sekhmet now in Turin's Museo Egizio were found.
Many Sekhmets left uninscribed, unpolished or without carved details have been found with complete statues, which suggests that the two types were considered to carry the same level of effectiveness. Their perceived power must have been a factor for those who defaced or destroyed these effigies, perhaps in the late antiquity. She was considered as the daughter of the sun god Ra , wife of creator God Ptah and mother of Nefertem or Mahees. Bast had transformed from a lioness warrior deity into a major protector deity represented as a cat.
Bast or Bastet was Goddess of cats, protection, joy, dance, music, family, and love. The cat goddess Bastet represented both the home and the domestic cat and the war-like aspect of a lioness. Her name was associated with the lavish jars in which Egyptians stored their ointment used as perfume. Bastet thus gradually became regarded as the goddess of perfumes, earning the title of perfumed protector. According to ancient Egyptian mythology, she was credited with killing the Evil Serpent god Apep.
Nefertem- nefertem was described as the son of creator god Ptah and Sekhmet or bast. He considered as the god of perfume and aromatherapy. According to some Egyptian myth, nefertem was an aspect of the sun god Ra. Nefertem usually depicted as a beautiful young man wearing a lotus headdress.
And as newborn sun he depicted as a baby sitting in or on a lotus bud.
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