Wednesday, 31 October 2012

Understanding Soul Anatomy: Part 1

My Soul Anatomy model: the parts you can not see are Sekhem, Khu, and Khaibit


This post is the first of 3 installations on the matter of Soul Anatomy, as understood in Ancient Kemet.


I do not want to elaborate on each component here, but rather introduce the concept (other Kemetics will be well aware of the topic) with an allusion to each.


Almost as a reaction to my last post, please note that this is almost entirely UPG, apart from the fact that the intellectual parts of my understandings so far are largely derived from Padma Eon's "The 9  eyes of light" and Robert Masters' "The Godess Sekhmet". (Interestingly, the former posits 9 components and the latter 5 - I will explore that in the second post on the subject along with greater depth comments about my findings thus far).

 
Khat – the physical body; note this word contains the word Ka and parts of Khaibit

Ka – the body we think of as “me” which is heavily identified with the physical form

Khaibit – the shadow self, can also be thought of as the unconscious or subconscious (Masters calls this “Haidit”)

 

Ba – the Divine Self

 

Ab – the conscience, your justice self, located in the heart

 

Ren – related to sound; the Egyptians equated this heavily with your actual name

Sekhem – the vital force of your being

 

Sahu – a divine body that may be the sum / equivalent of 2 or more others

 

Khu – also written as Akh; possibly the “light body” of various mystery teachings, and perhaps the Holy Guardian Angel


In future posts, I will elaborate on each component including what the hieroglyphs reveal of each, as well as a painting that has been conceived on the subject!




Sunday, 28 October 2012

Unverified Personal Gnosis

Not the first time I have broached this topic, this time I have a little more perspective  about it. And ultimately that’s what it’s all about right? Contemplation, forming an opinion, and not being afraid to let that opinion / theory evolve. This is one of the ways in which I transform.


In a recent post I wondered about varying interpretations of the Gods, and the individual (personal) versus group (religion / organised worship). I explore the differences between faith and knowing in another post under the title “Faith, belief, knowing . . . and where I stand”.


In another recent post I discuss the importance of keeping questions open and yet not denying what we can not at this point prove as “real”.


As I explore these realms further, I focus less on what people are claiming and more on the quality of what has been brought into their lives (or that they have produced) as a result of that UPG or connection to their Netjer. I think this is where the gold is to be found.


I watched the special edition of “Prometheus” last night, and could not wait to see the deleted scenes and alternative scenes. (see this post for my first impression of seeing this film back in June)


The alternative scenes delivered answers that were satisfying on the one hand but subtracted from the wonder and mystery from the original screen release on the other. When it comes to Netjer, I do not think we are going to get the “special edition”. I think it would be like lifting the curtain to a play that was not meant to be revealed until all the actors were in place and the stage lights set – it would feel on a deep level that the authenticity and richness of our lives was somehow undermined, as the magic of the play would evaporate owing to the destruction of the aforementioned fourth wall.


I think there are answers, and there is truth to be realised, but how it manifests and how we make sense of it is hardly going to be found conclusively the words of a blog.

 
I can write on here about which Netjer comes through in my meditations, or how the interactions on a spiritual level are unfolding, but at the end of the day these are personal and relevant to me. If they contain ways for me to do better maat in the world, or to further everyone’s understanding of Netjer, I may post something, but at this time, I have not felt compelled to do so.


What say you on this matter?

 

Sokar sculpture
 

My first "U" post for the PBP 2012
 

Friday, 26 October 2012

Trancing

 
 
I am noticing that progressively with my practice I am going into trance.

It happens when I am preparing for a Working or a Senut, painting, reading magickal texts and spells, and when I contemplate Netjer. The act of bathing in or spraying myself with natron seems to speed the process further. (I relate in this recent post how reading from the Book Of Caverns took me into an "initiation" state).

The feeling is that my vibration, my sense of being, becomes heightened. When I attempted channelling recently the same feeling overcame me, but stronger. It feels like my mundane self lessens somewhat and that a greater sense of my larger self comes into play.

I am beginning to suspect that I slip into trance more often than I am conscious of. Sometimes just reading about Netjer does it.

Bringing a trance state on deliberately has become something I seek toward in order for the magick, the connection, and the art to flourish.

Essential oils help. Most noticeable (in varying combinations / blends) are myrrh, frankincense, sandalwood, patchouli, vetiver and juniper. I mentioned natron above also, which I believe physically changes something in our "energy field" (and most likely Soul Anatomy).

Does this happen for anyone else? I would love to hear of both deliberate and otherwise instances where trancing occurs in your practice.


I am still on board with the PBP, albeit my postings get in late! This is the 2nd "T" post.


Friday, 19 October 2012

Khepera

The sixth (of seven) in my Netjer portrait series.




This painting proved to be one of my most challenging to date owing to the symmetry required for its execution.


I have made some unusual colour choices here, and unfortunately the photographed version of the portrait does not reveal some of the intricacies inherent to the piece. For example, in standing a little ways away from the picture the wig takes on an electric hue, and the interference blue that I used in the black outline of the beetle shell interplays with it.


The antique blue that I have used for the main colouring of the shell was inspired by that colour wig from a beautiful tomb painting of Khepera. The colour was so “Him”, that I wanted to feature it somewhere of prominence in the portrait.

 
The background colour came as a result of a meditation on the portrait as I could not decide which one to use.


Am particularly happy with the colour of the electrum collar, which I have put to use in another painting that I am currently working on also.

Monday, 15 October 2012

Time

The heiroglyph for "Eternity", and the Netjer of the same

 
Time was an important concept to the Ancient Kemetics. Their conception of time is different to ours it seems, I wish I knew why: I do believe it is a key to understanding their unique civilisation and the role they play in our developing and evolving humanity.

Ancient Egypt built their monuments to be enduring and everlasting. The Egyptians themselves referred to their own monuments in this way. By the time of Cleopatra, the pyramids were as old to her as she is to us (by using traditional Egyptological dating of the pyramids anyways).

The Ancient Kemetics measured time by using the stars and dividing them into 12 periods, wenut, which means hour. The Goddess Wenut was rabbit headed (the hieroglyph contains a rabbit too) and there is a wonderful sculpture of her here.

They used star clocks and a simple sighting instrument to do so, and found 36 divisions of the sky – not twelve – as is used in traditional astrology and which was introduced from Babylonia under post Alexander The Great rule. (Modern astrology does however divide each of the twelve traditional signs into 3 decans of 10 days though, I do note).

But they may not have experienced time as we do. The word for hour has the star and the sun disc as its determinative, and is also used in groupings referring to priests, astronomers and workers – those performing a service. Water clocks were introduced later in Egyptian history like the Zodiac. A palm frond – used for counting – is the hieroglyph for year. The glyph for millions, which came to be equated with eternity, features a Netjer with arms raised in the ka gesture and a palm frond on his head.
 

The Netjer Heh, this time depicted holding palm fronds, along with the ankh and the disc of the sun on His head
 
Like the Mayans, the Ancient Kemetics were interested in long counts of time, and there are existing “king lists” that go back beyond what we call Dynastic Egypt a very long way.

It appears that there were two conceptions of time: linear and cyclic, represented by Djet and Neheh respectively. An excellent explanation of these can be found here (with thanks to the leader of the Kemetic Orthodox faith!)
 
 
 
 
Were the Ancient Kemetics and their Netjeru masters of time? Did they inherently understand the true nature of time, as a hand in hand concept that went with their obvious understanding of Soul Anatomy? Did they know something about time that we do not?

We know that the temples and pyramids were meant to last forever, but were the tombs also meant to be discovered to yield their treasure to us in these times (literally and spiritually I mean)?

 
This is my first "T" post for the PBP 2012

 

 

Thursday, 11 October 2012

Spiritual But Not Religious

I have often used the term “Spiritual But Not Religious”, whenever people questioned me about matters of faith, God, and spirituality.

It turns out that the acronym SBNR is getting around now, as evidenced by this article from the Patheos website that I have just read.

The article mirrors my thoughts on the subject, and in fact I love this paragraph:

 
“Those who identify as SBNR often do so as a result of the religious abuse and oppression that they have suffered in the name of God and religious authority. More often than not, the SBNR among us do not “reject” religion as much as we reject dogma. Dogma that has too often been defended and promoted by organized religion. Dogma that has oppressed the weakest among us, dogma that has suppressed the Holy and Divine Feminine making it shameful and wrong. Dogma that has made a mockery of scripture by using it to defend racism, homophobia, sexism and classism. Dogma that has the audacity to put conditions on Grace, Love, Mercy and Salvation which Jesus so freely gave to all. Dogma that helped produce a religious institution so unlike the name and nature of Jesus the Christ, that the Son of Man himself would be hard pressed to recognize it, much less defend it.”

Aside from the JC references, this pretty much sums it up for me.

Now, the spiritual side of my nature – that is a long topic and discussion indeed, and I am certain that my previous posts have already contributed to this!
 

Contemplating my spirituality
 

This post is my second "S" submission for the PBP 2012
 

 

Friday, 5 October 2012

Shoshenq II


The burial mask of King Shoshenq II
 
Shoshenq II was one of 5 (potentially 6) kings during Egypt’s 21st and 22nd Dynastic period (the third intermediate period) that took that name.
 

Many kings of the period had unusual sounding names as they were descended from Libyan tribes. His prenomen was Heqakheperre Setepenre, meaning "The Manifestation of Re rules, Chosen of Re”. It appears that he died in his fifties of a septic wound to the head. It is likely that his tomb was a reburial, as his remains and funerary objects were found within the burial complex of Psusennes I.
 

A side profile of the burial mask
 
I first became aware of this pharaoh when I was hired to work in the gift shop of a touring exhibition of Kemetic artifacts called “Gold Of The Pharaohs”. The exhibition centered on mainly third intermediate kings and a general whose tombs were discovered in Tanis by Pierre Montet.

 
The find was every bit as spectacular as the earlier one of Tutankhamen, but the announcement of the world war eclipsed the discovery, and Montet did not seem to enjoy the same celebrity as Carter and Carnarvon had.
 


I have featured this in a previous post - worth featuring again. Breathtaking.


The exhibition featured a massive photograph as part of the display of the Sokar coffin that the king was buried in – it was originally part of the exhibit that traveled the world but did not make it to Australia. It was my goal in life to see this coffin first hand – as it is my all time favorite Kemetic object.
 
I only recently came across this exquisite piece, having thought I had seen all of the treasure from Shoshenq's burial
 
Whilst King Shoshenq has no claim to fame in Kemetic history that makes him my hero, I absolutely adore his taste in jewellery. The king knew his bling. I intend to fashion my own jewellery in years to come based on and influenced by the sheer magick of the items found in this pharaohs burial. (We know Setken loves his bling: look at this).

 
A pectoral featuring Khepera and two uraei, possibly representing Nekhbet

 Did I make my goal to seeing the silver Sokar coffin for real? Yes. In 2010 when I visited Cairo I got to see it and it was breathtaking!

 
This coffin that honours the Netjer Sokar is my most loved piece of Kemetic art ever I think; this is where King Shoshenq was laid to rest

For more details about research into Shoshenq II’s role amongst the rulers of the third intermediate period, see this Wiki article.





Monday, 1 October 2012

Real

 

I came across an article (it was an entry in his journal actually) from Whitley Strieber that tackles the concept of what is real and what is not, specifically when addressing  inevitable issues that arise when one pursues meditation.

 

I believe that what he has written applies also the pursuit of a spiritual path.

 

The paragraph that had quite an impact on me is this:

 

Even before beginning, though, it is essential to address the question: when I encounter another presence or presences during meditation, is something real happening or is it my imagination? This is a question of a very different kind from normal questions. The question itself is an essential part of the energy of this experience. It cannot be answered in an objective manner. We have to let it remain within us, and come to peace with it. I have been working with this question for many years, and it has become an inexhaustible source of energy for me. It is not there to be answered, but to be accepted, and living with it in this way is powerfully freeing and transformative.

 

I do not think that the mechanics of what we are – humans with a flesh body and a rich range of emotions and spiritual aspirations – can allow us to know an ultimate answer to questions like ”Are the Gods real?”

 

Prayer, meditation, shamanic rituals, and healing can give us a glimpse, but I do not think we will ever be able to prove it. I think this is part of the deal of taking on corporeal form. Maybe, it is Netjer’s way of saying, “Get on with it. Live your life. Experience Us through the wonder of the world”.

 

It appears that I have a talent for channelling. An episode on the weekend has prompted one of my teachers and friends to believe that this is so. My logical mind questions this. In that part of my brain, I feel like I made it all up.

 

But in the part where I can leave the question open, there were some nuggets in there that I think, at the very least, are going to help with me with some spiritual and creative projects. ( I have not yet listened to the recording as I wish to give myself distance before I do).

 

As a result of the channelling, a reconnection with Sobek has been made. Between the still powerful receding full moon, and the images and thoughts of Sobek last night, I could not sleep.

 

But something came out of the meditation I did before bed, and through my restless night. Sobek appears in 3 forms: human, crocodile, and crocodile headed human. This information is generating a new painting, I can feel it. This string of incidents will ultimately lead to a very real manifestation of a painting . . . . and perhaps that is what art is for.

 
To make real the unknowable.
 

 
 
(It is not the first time I have written about Whitley).
 
The entire journal entry from which the paragraph Whitley wrote is here.