Can a long-lost Egyptian colossus save ancient Heliopolis?

By Garry Shaw 21 March 2017

Earlier this month, news of the discovery of a colossal statue of an ancient Egyptian king took the world by storm. Working deep in a water-logged pit, a joint team of Egyptian and German archaeologists discovered the eight metre-high colossus broken into two large pieces: a torso and lower part of the face, with a part of the pharaoh’s false beard present, and the top of its head, wearing a crown. These pieces have now been lifted to the surface, and taken for conservation at the Egyptian Museum in Cairo, where they will be temporarily displayed. Afterwards, the statue will be exhibited at the Grand Egyptian Museum, currently under construction at Giza and scheduled to open in 2018. Though early reports indicated that the quartzite colossus might have been erected under the famous King Ramesses II (c. 1279–1212 BC), it has since been shown to bear the name of King Psamtik I (c. 664–610 BC) of the Late Period – an arguably equally important pharaoh, though lacking the star power of the earlier, better known ruler.

The colossus was discovered in Matariya, a northeast suburb of Cairo. Now a densely packed area of apartment buildings, for thousands of years it was part of one of ancient Egypt’s greatest cities, better known today by its Greek name: Heliopolis, ‘City of the Sun’ (not to be confused with modern Heliopolis, a couple of kilometres to its east). From the beginning of Egyptian history, ancient Heliopolis was the main centre of Egypt’s sun cult, where priests worshipped the god Re, and developed myths proclaiming his temple to be built on the first land that rose from the floodwaters after creation. Ancient descriptions and depictions present it as a city of statues, obelisks (two of which are now in London and New York), sphinxes, shrines, large and elaborate temple complexes, housing, fields and farms, connected to the Nile by canal. It was a place of learning, where astronomical observations were made. Such was the city’s prestige that occasionally the office of high priest of Re was held by a royal prince.

Its Reign Was Long, With Nine Lives to Start

‘Divine Felines: Cats of Ancient Egypt’ at the Brooklyn Museum

By HOLLAND COTTER
Published: July 25, 2013

(Photocredit: Suzanne DeChillo/The New York Times)
At left, “Face of Sakhmet,’ from around 1390-1292 B.C.; right, “Recumbent Lion,” in limestone, from 305-30 B.C.

If your dream of heaven is eternity spent with the pets you love, “Divine Felines: Cats of Ancient Egypt” at the Brooklyn Museum is your exhibition. All of its 30 objects, sifted from the museum’s Egyptian collection, are of cats, big and little, feral and tame, celestial and not. Whether cast in bronze or carved in stone, their forms were to outlast time, and so they have.

Although it’s often assumed that the domestication of cats began in Egypt, archaeology suggests that Mesopotamia was the place. And despite the feline presence in religious contexts, Egyptians didn’t worship cats per se, but created gods that had their physical features, their expressive moods and their near-supernatural intelligence.

Ancient Egyptians took the supernatural seriously.

It was, for them, reality. The path between life on earth and life in an earthlike place beyond was continuous. The sun traveled it every day, moving across the sky from east to west, dropping from sight to continue its circuit through the netherworld, then turning up on earth again.

Horus, The Hawk-headed God

(Sometimes Heru, or in compounds Hor-, Har-, Her-) Among the most ubiquitous of Egyptian Gods, Horus embodies kingship, victory, righteousness, and civilization. Horus is depicted either as a hawk-headed man or as a hawk, probably a peregrine falcon, except when he is depicted as a child (Harpocrates) in which case he is depicted anthropomorphically. From the earliest period, the king of Egypt was identified to some degree with Horus, and each pharaoh bore a ‘Horus name’ to which was later added a ‘Golden Horus name’. The Eye of Horus, known as the ‘Sound Eye’ or wedjat, from the word w-dj- (cf. Wadjet), meaning healthy, flourishing, or prosperous, or, as a verb, to proceed or attain, ranks as one of the most important and recognizable symbols in Egyptian religion. The typical consort of Horus is the Goddess Hathor, whose name means ‘House of Horus’. (In magical contexts, however, Tabithet and/or similar Goddesses may be his consort.)

The two primary aspects of Horus from which the rest can be derived—not as an historical matter, but for conceptual purposes—are Haroeris and Harsiese. The former is the Hellenized phonetic rendering of the name Hor-Wer, ‘Horus the Elder’ or ‘Horus the Great’, the latter the phonetic rendering of Hor-sa-Ise, ‘Horus son of Isis‘. Haroeris is conceived as the sky, with the sun and the moon as his right and left eyes respectively, but we may regard forms of Horus which strongly emphasize his solar aspect (often expressed by fusion with Re, on which see below) as pertaining generally to this side of his character. This aspect of Horus is relatively autonomous in relation to the Osirian mythos and may represent the form of Horus worshiped in the earliest period before he was fully incorporated into the Osirian narrative, if indeed there ever was such a time. The purpose of drawing such a distinction is not to make this claim, but simply to facilitate the analysis of the many aspects in which Horus is manifest. Harsiese, by contrast, is the son of Isis and Osiris, who, with his mother’s help, vindicates his father (hence he is called Harendotes, from the Egyptian Hor-nedj-atef[-f], ‘Horus-savior-of-[his]-father’) and is awarded the cosmic sovereignty after a lengthy conflict with his uncle Seth. This conflict, in which Horus receives constant assistance from Isis, is fought on many levels—magical, juridical, cosmic, medical—and is, aside from the conflict between Re and Apophis, the principal symbol of conflict as such in Egyptian religious thought. When Egypt’s pharaoh strives against enemies foreign or domestic, it is as Horus against Seth; when a person suffers from an illness or from the poison of a snake or scorpion, the spells which are applied identify the sufferer with Horus and the forces against which s/he strives with Seth. Animal products offered up to the Gods, because of the violence involved in their production, are linked to the recovery of the Eye of Horus stolen by Seth in the form of a wild animal (paradigmatically an oryx). When Horus and Seth fight, Horus receives an injury to his eye, Seth to his testicles (see, e.g., BD spell 99, “O Ferryman, bring me this which was brought to Horus for his eye, which was brought to Seth for his testicles.”)