Egyptian book of gates pdf

Lower Register, 4th Fig. Upper Register. Tomb of Seti I. Again, they resurrected by the presence of the Sungod to receive the offerings The representation takes advantage of the dangerous qualities of snakes to depict a guardian which protect the bodies while the Ba-souls move to the Field of Rushes to their refreshment or process of resurrection , as it is mentioned in the text We could relate Wilkinson , p.

Tn jwf. Tn sAqw n. Tn osw. Tn jno n. Tn awt. Tn dmDw n. Tn Htp. Tn jm. Nehep is guarding their corpses, but they move to the Field of Rushes, to take hold of their refreshment ; Id. Lower Register, 6th hour scheme.

Iconographic meaning It is easy to relate these snake qualities as guardians as a religious interpretation of these dangerous animals. No wonder they are chosen to play the important roles of defending important deities, such as the Sungod or Osiris, in addition to key locations of the Netherworld, such as in the case of the gates. The space contained within the body of these beings, as long as it forms a circle, creates a clear connection with the cycle of death and rebirth of the sun.

Besides, the presence of snake defenders of the tombs seems to have a key role in the resurrection process of those individuals. Snakes as fiery creatures Fire is one of the most identifiable elements of the BoG. Its connection with some snakes is present both pictorially and textually. This behaviour is reflected in several occasions in the BoG. The lines depicted in front of its mouth suggest that it is spitting.

Thus, it is obvious that it is protecting these gods through fire. Three groups of four enemies of the sun each, are pushed by Horus with a staff towards the snake which spit fire on them. They are tied by the arms as if they were prisoners of war, a usual depiction of the retention and destruction of chaotic forces to re-establish the cosmic order.

Horus establishes a connection between its flame and the eye of Horus, and he identifies the mummiform nTrw Dsry jmyw dwAt m kArw. Tn n anx. Tn r jt. Tn mAa-xrw. This serpent responds to Horus' orders, but the Ba-souls were advised not to approach the snake due to its danger and they can also avoid the fire through offerings to the children of Horus In this case, the depiction shows the gods stand upon the snake's coils.

Unlike the previous example, this snake seems to be, both in text and illustration, controlled as a weapon by the children of Horus. Other examples spitting snakes are those depicted in the gates. Although in some occasions it could be interpreted as an attempt to depict a forked tongue fig.

All the evil attaching is his deeds among the lords of eternity since he left the womb of his mother. Quirke , p. The first lake fig. In decorative versions, such as the tomb wall of Seti I, the lake is painted in red. Over them, twelve mummy-cases with human heads and an ear of barley in front of each one painted green in the tomb of Seti I, and later, yellow. Indeed, barley is represented as a spike M34 , which grow from the flaming waters.

Whereas fire has a destructive aspect, and so is mentioned in the text, barley and the fact those spikes are depicted emerging from the waters, might refer to the dual value of the waters. Indeed, the deities in the Lake of Fire not only are not burning, but they also receive offerings Tn kAmwtt Awt n.

Tn nt S. Tn mw. Tn jwty tAw. Tn jwty hh. Indeed, the 5th hour of the BoHC fig. Besides, there is a mention of the fiery eye of the Sungod in the BoG when the gods of the lake talk to him Middle and Lower Register of the 5th hour. Drawing by A. Shedid - Hornung , p. However, in this case is easy to see an attempt to depict a forked tongue. As with most of the inhabitants of the Netherworld they are reactivated when the Sungod reaches them It seems that, as the case of the latter Lake, it is dangerous for the Ba-souls, since its function is to destroy the enemies of the Sungod through their fiery qualities.

It is not actually depicted. Instead of it there are Nine human-headed Ba-souls, adoring with human hands the Sungod, bowed with a staff at the end of the register Since the island is made of fire, it is established that nobody can approach, even though it is an ideal place for the Ba-souls, which are depicted.

Thus, it is likely working as a protective place, being another example of the favourable qualities of the flaming places for the blessed dead. Tn hh m xftyw. Tn m jryw Dwt r. It is depicted as a red circle filled with waves fig.

Not only the name of these guardians proves the dangerous presence of this fire pit, but the text also specifies that no other being can approach He with fiery face.

The inner circle is painted in red, in a depiction which remembers the Sun disc. One of the few beings which is able to approach this pit is the Sungod, who uses it to punish the enemies of Osiris, although nothing similar is depicted.

Thus, the Fiery Pit could be a sort of Place of Destruction, though there is not an explicit mention about this and some authors, such as Erik Hornung have identified this motive as a reduced depiction of the Lake of Fire, even though there is not an explicit mention at this respect and no mention is done to the beneficial qualities of this pit for the ba-souls.

Tn nsbw. Tn r hAw jartj. Besides, there is a likely connection with the Sun disk, the Sungod himself, and his burial, which is the main topic of this 6th hour and could be associated in part to this pit. Indeed, the Ureaus and its fiery qualities are connected with the body of the Sungod. Guardian upon the doorway. Lower Register. The location and name of this latter is the only clue for understanding its function.

The snake upon the 11th doorway is interesting, since it makes reference to poison, in which fire was likely inspired Iconographic meaning We can assume that the dangerous qualities of fire are connected to the iconography and role of guardians, such as sty fig. It is also present, in a similar way, in those punishers who destroy the enemies of the Sungod, such as xty fig.

Fire is used destroyer of the unfair ones in Earlier compositions, such as the BoHC, in the Lower Register of the 11th hour fig. It seems to be a fuzzy boundary between the protective and damaging qualities of fiery snakes.

Its effect depends on whether one is an ax transfigured blessed dead or a mwt enemy of the Sungod. Apart from this, these beings are often controlled by deities, using them as a sort of weapons, such as in the case of hty. On the other hand, the incense bowl or lamp R7 , is sometimes shown in the Lake of Fire In the Netherworld Books, it is often depicted in a liquid state, probably associated with the poison of snakes.

Spit was also a symbol of creation, since, in the Heliopolitan cosmogony, Atum created the first couple of gods Tefnut and Shu by spiting. Water, among other oils, is often used as a purifying symbol in egyptian rituals such as mummification. That would explain the reason why the qualities of these waters were equated to that of the serpents. They were beneficial to the blessed dead, in addition to providing protection to them against evil entities.

Fire was also used to consume wax figures of animals, simulating a real sacrifice, or the image of the enemies which could be the origin of the destruction of the enemies by fire in the Netherworld. On the other hand, the Island of Fire is sometimes mentioned in Egyptian mythology as the primordial land, from which Ra was born, surged from the primordial waters. In CT36 and CT39, the deceased wished to inhabit this place. BDa also evidences the purifying power of fire, a power linked to the Sungod, whose heat dissipated the darkness The birth of Ra took place daily, and the Lake of Fire is sometimes credited with this role.

For example, in some Fig. Smin, smin opens thy mouth. One pellet of natron. That which Horus spits out is smin. That which Set spits out is smin.

That which the two harmonious gods spit out is smin. To say four times: Thou hast purified thyself with natron, together with Horus and the Followers of Horus. Five pellets of natron from Nekheb, Upper Egypt. BD , Quirke All in all, we can assume an ambivalent meaning of fire in the BoG, being destructive against the enemies of the Sungod but protector and purifying for the blessed dead.

The thermal properties of the sun can be understood as something related to fire and its connection with the uraeus helped to relate its spit to fire, often used by to scare away evil forces Snakes and ropes relationship The iconographic treatment and the context in which snakes and ropes participate evidence a relationship between both elements in the BoG.

This relationship is reflected in the meanings they represent, often similar or identical. Analysing these scenes individually is useful to identify the iconographic relationships between both elements. The Upper Register fig.

Other references to the fields and their measures are done in the 3 first hours of the BoHC, reason why we can think that these scenes of the BoG were based on the BoHC. Tomb of Menna [TT69] [fig. Some indicatives, such as the presence of a mountain of grain in the Middle Register whose shape evokes the sign N27 , the horizon, suggest that these scenes could have a higher semiotic density.

The measuring- rope might be making reference to the fertility of the beyond and the rebirth of the deceased, participating in the production of offerings. Tomb of Menna TT69 , south wing. Tn nwH nDr n. Transliteration and translation from Hornung and Abt , pp. We can find a parallel in the snake of the stela EA from the British Museum fig. The British Museum identified this unnamed snake as the goddess Meretseger which was one of the main funerary deities of the village Nevertheless, the depiction is of a regular snake instead of a raised cobra.

Stela of Paneb, 19th Dynasty. British semiotic density related to the above-mentioned Museum Collection symbolism of the snakes in spiral forms to express protection and cyclic time We could consider this abnormally image as a stylization or a synthesis of the sacred field, endowed with regenerative power and put in connection with the cyclic duration of time from which the deceased benefits, even though it could be interpreted as a version of the goddess Meretseger anyway.

The same meaning may be applied example from the BoG, this time, as benefit to the Akh-souls, whereas time component may be also identified in the 12 carriers, mirroring the 12 hours of the night. The interpretation of this rope as an icon of lifetime is supported by the depiction of the Lower Register of the same hour fig.

This evidences a relationship between the Upper and Lower Register, and perhaps between the snakes and the measuring-ropes, since the snake is provided with the quality of measuring and, likely, regenerating lifetime. The eight deities in front of it are related to management of the destruction of the damned and the measuring of the time Perhaps, as the foremen of the Upper Register, they must organize the tasks of measuring and punishment that this snake carries out on the Place of Destruction.

Other attempts to represent time can be found at the end of the Upper Register of the 6th hour fig. This god is attested in the CT and later in BD99, where he appears as a slept ferryman which must be awaken to cross the waters of the Netherworld. Upper Register, 6th hour, BoG Schema. The decorative examples fig. Thus, it seems that these twelve beings represent the blessed dead or the ba of the Sungod and the double-twisted Fig.

Hornung and Abt qualities which are directly related to the presence of the , p. The twelve stars represent the twelve hours of the night, time in which these individuals transformed. This process of transformation of the blessed is connected to the union of the Sungod with his corpse in a Heliopolitan setting. The luminous union of ba-soul and corpse in this hour triggers a literal re-creation of time, depicted by the double-twisted rope.

This is coherent with the rest of the hour which, as in the same hour in the BoHC, the Sungod unites with his corpse in a Heliopolitan setting Tn mannw j Sdj. Upper Register, 8th hour, BoG Schema.

At the end, these heads are identified with the misteries of the Sungod Meanwhile, the sun cycle is attested and depicted by the spiral shapes. After them, twelve gods carry a long snake Hornung and Abt , pp. This is probably represented by the stars over the snake body, which, again, shows spiral forms, representing the solar cycle, another time concept related to eternity. As the snake of the Middle Register of the 5th hour, it is grabbed by the deities, to prevent this snake from attacking the Sungod when it passes by it The long serpent also shows this spiral shape, evidencing a connection with this concept of rebirth and time regeneration.

On the other hand, the snake is identified as a dangerous creature, although no punishment quality is mentioned. The Chthonic nature of this being could help to HAy msyw msy. Tw sStAyw m jrw. Perhaps, these primordial forces provide the Sungod with the refreshment necessary for his rebirth. The 5th hour represents a third feature of the ophidian iconography in the Middle Register fig. This S form is enlarged in some decorative versions fig.

An equivalent hieroglyphic sign for this form would be F49 , the intestine. Tn nwDy jm. Tn rdyt n. Tn zAw. Tn xpr xprw. Tn xpr Axw. The Metternich Stela fig. On its front, a spell against Apophis can be read: Back, you, Apophis! You intestine of the Sun, you folding of the intestine of the Sun, you folding of the intestines, who has no arms, who has no legs, you have no body in which you have evolved.

You whose tail is long within his cavern, you intestine, withdraw for the Sun! Selket will do magic and deflect your strength. Stop, stop! Reverse through her magic!

Translation by Allen , p. Metternich Stela. Metropolitan Museum of Art [MM Allen , p. Coincidentally many of the representations of snakes in this stele show this characteristic shape.

So, it could be interpreted as a derogatory representation that connect this being with Apophis and the chaotic forces. The big serpent carried by 12 beings depicted in the Upper Register of the 6th hour 35th scene fig. There is also a mention to Apophis which will be later confirmed as the identity of this being.

Those responsible for the destruction of this serpent are 12 human heads depicted on its body, which is said that they will come out so that he perishes, probably swallowing him The fact of emerging and feeding on it perhaps makes reference to the necessary fertile aspect of the chthonic entities which we mentioned above, but, on the whole, this ophidian has a negative aspect in the composition, identifying it with Apophis, enemy of the Sungod, beings punished, probably to protect the Sungod union with his corpse 36th scene.

Tn TAw n fnDw. Tn nj sxt-jArw Tn n. Tn ntyw mAatyw nswt. Tn r onbt wDawt jmyw. Estates belong to you from the field of Rushes. Your [forked sticks] are in the Devourer! Your fetters are on him, until heads emerge out of him when he retreats!

Tn sbj xtw n. Tn aApp pry tpw jmyw. Tn amw. Tn wnm. Tn pr. The rope that tows the solar barque The solar barque, although it is not evident, shows a symbolic relationship between these ropes and certain snakes, since they are sometimes associated with the concept of time to refer to the Sungod's night journey. Indeed, the statements of the Middle Register of the 8th hour mention the necessity of these deities to progress in the Netherworld and the ending offering formula reaffirms their importance.

Besides, it seems that there is a relationship with the serpent rope of the Upper Register, which, as we mentioned above, is related to the hours of the night.

The text is quite clear, mentioned that that this is the rope of the solar barque and that they must tow Re in heaven Thus, in this moment, the boat towing is associated to the rise of the sun. These goddesses are identified as the hours themselves, identified by the stars above their heads, as an element of guidance for the Sungod.

In this Fig. Again, this might be connected to the idea of time gods as guides in the journey. The rise of the solar barque is previously attested in the Lower Register of the 10th hour fig. Eventually, through a close contact, he was able to acquire a job working with Egyptian and Iraqi artifacts at the British Museum. Budge excavated and deciphered numerous cuneiform and hieroglyphic documents, contributing vastly to the museum's collection.

Eventually, he became the Keeper of his department, specializing in Egyptology. Budge wrote many books during his lifetime, most specializing in Egyptian life, religion, and language.

This volume offers a survey about what is known about the Ancient Egyptians' vision of the afterlife and an examination of these beliefs that were written down in books that were later discovered in royal tombs.

The contents of the texts range from the collection of spells in the Book of the Dead, which was intended to offer practical assistance on the journey to the afterlife, to the detailed accounts of the hereafter provided in the Books of the Netherworld.

The author looks closely at these latter works, while summarizing the contents of the Book of the Dead and other widely studied examples of the genre. For each composition, he discusses the history of its ancient transmission and its decipherment in modern times, supplying bibliographic information for any text editions. He also seeks to determine whether this literature as a whole presents a monolithic conception of the afterlife. The volume features many drawings from the books themselves.

This in-depth treatise presents conclusive evidence for an extremely close relationship between ancient Egyptian religious beliefs and the Book of Revelation. Practically all characters, scenes and series of scenes found in Revelation have parallels in mainstream Egyptian sources, including the Book of the Dead, the Amduat, Book of Gates, Book of Aker, Books of the Heavens and others. Parallel characters include Egypt's Apophis as Revelation's Satan while situations and activities in scenes include the judgment scene and singers by a lake of fire.

In order to pass safely through each gate the deceased must name the guardians correctly. This tradition dates back to the Book of the Two Ways part of the Coffin Texts , which recorded seven gates each with three guardians. Although other netherworld books refer to the existence of gates in the underworld, they are nowhere depicted in such detail as the Book of Gates. In early versions of the Book of Gates the fifth hour depicts the judgement hall of Osiris.

However, in the tomb of Seti I the deceased king stands before Osiris, and the emphasis moves from the judgement of the dead to the association between the deceased pharaoh and Osiris. His successors copied this innovation, with minimal changes to the position of the God in the scene. Most versions of the text also include extra texts which refer only to the king — ensuring the status of the deceased pharaoh. Probably the most famous section of the Book of Gates is the text which describes the different races of people.

All races were welcome in the afterworld and all are depicted journeying through its chambers. Because of its similarity to the Amduat, Altenmuller suggested that it was composed some time before the New Kingdom.

Wallis Budge Publisher: Cosimo, Inc. According to Egyptian mythology, the region of Tuat was where the people of this world went after death, and where the Sun God Ra traveled in his boat after dark. A description of this world was inscribed on the walls of tombs. Volume I of the series contains the complete hieroglyphic text and English translation of the Book Am-Tuat. Volume II contains the complete text and translation of Book of Gates, as well as the text and translation of the short form of Book Am-Tuat.

Budge spent all his free time learning and discovering Semitic languages, including Assyrian, Syriac, and Hebrew. Eventually, through a close contact, he was able to acquire a job working with Egyptian and Iraqi artifacts at the British Museum.