As I was coming back into my physical consciousness - on Sunday morning - I saw the image of a 'cobra' staring me in the face.
It was a cobra of many colors - not like theones depicted in books. Its energies were friendly - its 'hood' extended outward. The image told me I must go on an adventure having to do with the symbology of this reptile. Did I say reptile? - as in Reptilians - as in reptilian aliens and related mythology I had been dealing last week?
The image of the cobra transformed into that of a Pharaoh - (the headdress) - then into the sphinx.
Once again my soul wanted me to take me on a sacred journey. And so I began my research . . .
In Chinese Mythology 2001 is the Year of the Snake! Other years - 1917, 1929, 1941, 1953, 1965, 1977, 1989, 2001
sexual symbol, or a symbol of temptation
In ancient times snakes were associated with Goddess, rain and fertility symbolism.
The snake sheds its skin and grows new skin; shedding the old, new growth.
Despite most people's immediate impression that a snake is a phallic symbol, in ancient times snakes were associated with Goddess, rain and fertility symbolism.
In Eastern Europe during the time period of 6500 - 3500 b.c.e. Snake and Bird Goddesses were often combined into one figure, though not always. Both were associated with the Great Cosmic Egg, from which came forth the Universe. Symbols associated with these Goddesses were parrallel or zigzag lines, dotted bands (like a snake's skin), meander shapes, and mazes. These symbols are also associated with water and rain, making these deities ones which brought the rains in times of drought. Such symbols appear on pottery more often in the areas where rain was scarce. The caduceus of Mercury/Hermes is thought to be, among other things, the representation of the Egg-creating Snake God and Goddess.
The snake is also associated with psycho-sexual energy. The Tantriks refer to the "Kundalini Snake", which is coiled three and a half times around the base of a person's spine. This is not literal truth, but an image of the sexual energy which starts at the base of the spine and coils upward during specific Layayoga exercises.
Breasts are symbolic of fertility and nurturing but are also a symbol for rain, again making the connection between Water and Life. The Snake Goddess figurines from Crete show a woman with elaborate skirts and headdress who is bare brested and clutching a snake in each hand. It may well be that Crete was the inheritor of the Snake/Bird Goddess symbolism that existed in Eastern Europe a millennium before. Avebury and its nearby mounds and dolmens make the shape of a snake guarding a Cosmic Egg, which contains two circles representing Day and Night (i.e. Time) with the breast-like Silbury Hill not far away; again, more symbols regarding creation, rain and fertility, concepts very much related in the ancient mind.
Snakes also represent rebirth as they shed their skin, becoming new again. The Worm Oroborous - (the famous picture of a snake eating its tale) - is one representation of this.
The Snake Dance uses this symbolism. It the Dance of Life, of the twining strands of DNA, of Creation, bringing rain and new growth to the Earth.
In Hinduism the cobra is associated with Lord Shiva the 'Creator'. The cobra, a symbol of fertility, is often shown together
with Shiva in stone sculptures and paintings.
The Cobra as an Egyptian Symbol - Uraeus
The cobra was a symbol of upper Egypt. Cobra was the symbol of the Pharaoh. The cobra was used for the low g in hieroglyphics. The cobra was also on the double crown of Egypt. Cobras were a sign of new life and resurrection.
The cobra was almost always portrayed rearing up and with its hood dilated. The Greek word uraeus is typically used to describe the cobra in this pose. The word may have its origins from the Egyptian words which meant she who rears up. The species of cobra represented as the uraeus is the Naja haje.
The king is portrayed wearing the royal nemes headcloth, the royal beard and the double crown, symbolizing his rule over Upper and Lower Egypt. The royal uraeus on his forehead protects him against all evil.
The uraeus was a symbol for various things from early times including: the sun, Lower Egypt, the king and a number of deities.
Ancient Egyptian Dynasties
This picture of me was taken in 1989 during a regression
into my past lives. It was taken in my home using infra- red film.
Additional images can be found here.
Please place pointer over my image.
Notice the stones on my forehead and chest area.
This image was not intentionally set up this way.
This represents the Urim and Thummim -
the head dress and breastplate worn by the gods incarnated as humans.
Uraeus is a mythic Egyptian snake. This painting symbolizes the power of the original snake well known by so many cultures The snake is also a symbol of transformation and evolution. The snake finds its place in the human body in the spine. The spine is most important as a nervous center but as a carrier of spiritual energy too, called by some oriental people Kundalini.
The uraeus is a rearing cobra that connotes protection. The uraeus was associated from as early as the predynastic Period with the Delta region, or Lower Egypt, and was featured prominently above the brow on the royal crown or the royal head cloth. The uraeus is often combined with the sun disk.
The cobra, with its dilated hood framing the disk of the sun, was said to represent the fiery eye of Re. The two symbols were also
depicted with various solar-linked deities, in particular Sekhmet, who is represented in
the exhibition as a lion-headed goddess carrying the solar disk and uraeus above her
head. The uraeus in its protective function is often incorporated
into scenes from the Book of the Dead, associating uraeus with the underworld.
Uraeus Symbol at Djoser's Step Pyramid in Saqqara, Egypt
The uraeus is a symbol of kingship in Egypt represented by a cobra in an upright position worn
as a head ornament or crown. The symbol protected the king and was an agent
of his destructive powers, spitting fire and associated with the goddess Wadjit.
The Uraeus - From Kircher's Oedipus AEgyptiacus
The spinal cord was symbolized by a snake, and the
serpent coiled upon the foreheads of the Egyptian
initiates represented the Divine Fire which had crawled
serpentlike up the Tree of Life.
According to the Story of Re, the first uraeus was created by the goddess Isis who formed it from the dust of the earth and the spittle of the sun-god. The uraeus was the instrument with which Isis gained the throne of Egypt for her husband Osiris.
As the sacred creature of the Delta city of Buto, the reptile was known by the same name. She soon became an emblem of all of Lower Egypt. The uraeus was often depicted with the vulture Nekhebet who served the same function for Upper Egypt. Together they symbolized the unification of the two lands. The creatures also appear together in the pharaoh's nebty or 'Two Ladies' name.
The cobra was also called the 'fiery eye' of Re. Two uraei were sometimes depicted on either side of the solar disk.
A gilded wooded cobra called netjer-ankh ("living god") was found in the tomb of Tutankhamon. It is representative of the cobra's associations with the afterlife. In funerary works, the cobra is often depicted spitting fire. Two cobras doing just that were said to guard the gates of every "hour" of the underworld. During the Late Period, uraei were also shown towing the barque of the sun in funerary papyri. In all of these examples, the cobra's protective nature is clearly demonstrated.
The cobra was also representative of various deities such as Neith, Ma'at, and Re.
The Great Pyramid
The antechamber to the King's Chamber is highlighted by the blue circle. This small but very
important room can be linked to the ancient ceremony of 'opening of the mouth'. Rather than being lowered
as a 'last line of defense' against intruders, the portcullis stones may have been ritually opened during the
ceremony of activating the deceased pharaoh's spiritual components.
At the top of the ascent of the Great Pyramid's Grand Gallery, the path of the corridor becomes constricted
as it enters into the antechamber to the King's Chamber. In the anatomical model guided by the Egyptian
canon of proportion for the human figure the Great Step at the south end of the Grand Gallery coincides with the juncture of the shoulders and the base of the neck.
The north wall of the antechamber is positioned to indicate the lower line of the jaw, providing an indication that this area within the pyramid may have pertained to the rituals performed in the ceremony of 'opening of the mouth'.
Two of the several instruments employed in this process of magically activating the ka�and
the ba of the deceased pharaoh were the sebur and the urheka.
The design of the handles of both of these devices appears to have been inspired by the
curvature of the spinal medulla as it passes through the vertebral canal. The enlarged end
of the urheka is comparable to the human brain stem.
The inclusion of an uraeus (enraged cobra symbol) on the 'head' end of some representations of the urheka demonstrates that
this tool was used to magically activate the Eye of Horus, which is the psychic energy field focused at the center of the brow.
Unlike the rather elegant appearance of the urheka, the adze-like, utilitarian design of the
sebur signifies that this tool was symbolically representative of forcefully breaking open a
previously sealed aspect or component of the deceased's spiritual body. That a forceful, as
opposed to gentle, intent was involved in the ritual use of the sebur is clearly emphasized
by the presence of an iron cutting edge mounted with bindings onto the wooden handle.
In Old Kingdom Egypt, iron was very rare and highly valued because of its strength and hardness.
Two of the
several magical tools used
during the ceremony of 'Opening of the Mouth'.
The urheka is on the left and the sebur is on the right.
Given this backdrop, the seemingly incongruent design features of the antechamber to the
King's Chamber coalesce into a consistent theme. In this regard, for every design element in
the portcullis arrangement of the antechamber which is supportive of the mechanical closing
of the passageway there is a feature which obviates the functionality of the scheme.
clearly evident in the discrepancy between the design of the east and west walls of the
chamber, the equivalents of polarized reference points of birth and death. While the west
wall appears to allow for the closure of the passageway the east wall lacks the features
needed to make the setup mechanically viable.
Underscoring this motif of inconsistency, the
masonry of the antechamber is a composite of white limestone and red granite. White
limestone may be seen as representing the brilliant light of the noon-time sun while red
granite is indicative of the darkening glow of the setting sun. In this reading, the design of
the antechamber encapsulates the symbolism of a convergence of opposites, an ineluctable
crossing point between states of being.
Contrary to the problematic and unconvincing assertion that the antechamber's portcullis
stones were intended to be lowered as a 'last defense' against tomb robbers, I submit that
they were intended to be raised or possibly even ritually broken open while in a lowered
position. This opening would have taken place during the ceremony of 'opening of the
mouth', comparable to and perhaps even simultaneously with the symbolically forceful acts
involving the sebur tool.
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