Temple of Luxor NFT (further Egyptian explorations, a community endeavor)

  • The Crowning Temple of Luxor

  • Invocation of Seshat for the energetic reconstruction and integration of the Temple
  • Crowning ceremonies in the passage for the ruler to rule
  • The royal insignia, wealth and luxuries of Pharaonic Egypt
  • A personal-environmental synergistic creation

The NFT comes as both a mandala and an audio, where the audio focuses on the crowning rite of the NFT-bearer; Throned-in-Gold.

The Luxor Temple, the royal complex and seat for the crowning events of the Pharaoh. Being the house for the one quint-essential master, the harmonically ordered temple, filled with portraying inscriptions and statues weaving time and space with the timeless and spaceless etheric teachings of Ancient Egypt and its neter.

“Neter means ‘principle of life’ , and the Temple is its house.”

Although the temple was not dedicated to a single, nor family of neteru (deities), the succession of the Theban triad of Amun, Mut and their inheriting son Khonsu be representative to the passage of succession, leading up to the royal crowning of the ruler taking place in the house of one’s master. This is the temple where the Pharaohs be seated on their throne, where initiations fulfill, encircle and bind the beginnings and ends of one’s journeys.

Through this NFT; the intention set is the synergizing interplay of this harmonically in-tune crowning; of spiritual excellence as much as the perfected nature of human endeavors and creations, resulting in a masterful display and dominion of life on its own and for oneself.

Envisioned through the lens and measurements of our modern times, meanwhile being seen through timeless senses, we’re here incorporating the harmonic perfection to one’s soul, body and mind. Highly developed on-site research work have displayed the universal as much as the human teachings of the divine soul, body and mind. Which here will be incorporated for our own temple, our own bodies and being in whole, for one’s own passage of succession leading up to the fulfilling crowning of oneself.

This creation leads up to an energetic blueprint of the Luxor Temple, itself an architectural blueprint of most excellent degree, both considering Divine Human oneself, so as the architectural wisdom of the stone walls and pillars fitting and filling space with teachings of the timeless.

The energetic blueprint, gets applied and imprinted on both its representations;

  • The imprint of divine self, for one’s inner temple. Displaying the reflections of the temple.
  • The imprint of divine self, for one’s environmental temple. Infusing our surrounding space with the reflections of the temple.

Both incorporations in accordance to the original representation of the Luxor Temple, set in ancient times with timeless endeavors.

With these imprints, the inner and outer world gets harmonically influenced, dancing in synergy while giving interactive life to the causes and effects expressed in life, uplifting vibrational states of the surroundings portraying one’s inner states of upliftment.

We’ll let this Hymn to Hathor, mother of Sekhmet and consort of Ra, inspire and influence our understandings of the potentialities arisen;

Hymn to Hathor

The Book of Coming Forth By Day (The Book of The Dead))

Blue-lidded daughter of dawn, golden lady of the mountains, carrier of her father’s wisdom, let an old man rest in your arms. Let him look last on love’s face, breathing love’s breath. I live in light a million years. The sun rises or sets now, it matters not. Here is ecstasy in death and certainty in life. We are Gods in the body of God, truth and love our destinies. Go then and make of the world something beautiful, set up a light in the darkness.

A few ideas of the (limitless and infinite) possibilities the temple will bring the wearer of its NFT;

  • A portal to Luxor Temple and it’s wisdom and teachings (such as symbols, seasonal cycling being displayed and taught, in connection to cosmic/astrological realizations and integrations.
  • A passage of succession to the crowning of oneself (micro as macro, singular as plural).
  • A harmonic interweaving of soul, body and mind, synergistically interweaving the inner with the outer in mutual excellence.
  • A harmonious awakening of the five bodies, through the tap in and connection to the quint-element, the essence of one’s master being housed in one’s temple.
  • A conceptual understanding of sacred teachings and the wisdom of empty space, opening up and connecting new cognitive, energetic and etheric pathways while reawakening dormant innate ancestral knowledge seated within.
  • A personal adytum, as well as the connection to the adytum of Luxor. Incapsuled in luxuries decorations and singing harmonies, and too with the sacred shrines (energetic concept of sarcophaguses/housing for the neteru (deities).

(In the temple, only the Pharaoh (oneself) had access to the adytum, a communicatory room with the neteru through the sacred shrines).

The Temple of Luxor, is according to tradition accompanied with the welcoming invocation of Seshat, daughter of Thoth and Ma’at and Goddess of Scripting, Mathematics, Building, Planning and Architecture, as well as Astronomy and Astrology.

Following with the temple, is the master architect Seshat; here invoked to plan, build and integrate one’s own house for one’s master. Seshat, as well given the epithet 'She Who Inscribes Hymns and Prayers To The Heart of The People", will also do just so; inscribed and applied to ones own walls and pillars, being the projection of ones temples reflections.

  • ’Stretching the Cord’ ceremony, invoking Seshat for measurements of architectural profile, both practical/functional but also incorporating it’s symbolic meaning.
  • The seed stone of Min, inscribed by Seshat to infuse the raised temple with the seeds of wisdom from it’s preceeding temple, now being the foundation for the new

A relief from the back of the throne of a seated statue of Ramesses II depicting the Egyptian goddess of writing, Seshat. 13th century BCE, Luxor Temple, Egypt

Also included be the embodiment of associating emblems, insignia, treasuries, jewelleries and the abundant wealth of the Royal Pharaonic Kingdoms represented in and by Luxor.

Royal Emblems of Pharaonic Egypt

An energetic reconstruction of ancient Egyptian emblems of the royal temple. For the portaled owners of the Luxor-NFT to be crowned on throne, in true spirit of ancient Egypt. (click on the text for more info)

Royal Crowns of Pharaonic Egypt

crowns ancient egypt

Hedjet (the white crown of Upper Egypt)
The white and tall hedjet crown, was worn by rulers of Upper Egypt, protected by mother-vulture Nekhbet.

Deshret (the red crown of Lower Egypt):
The red crown was worn by rulers of Lower Egypt, the Nile delta-area of the north, protected by the raising cobra, Wadjet, who is often depicted on the forehead of this ruling crown.

Pschent (the double crown of unified Egypt)
The pschnet, combining the red crown of lower egypt and the white crown of upper egypt, symbolizes the unification of the two lands of Egypt, under one and the same ruler.

Double Crown of Unified Egypt

Khepresh (the blue crown)
Khepresh, often worn by the ruler when going into battle, grew it significance over time, until it eventually got adopted as the main crown of the pharaoh, by the later stage of the 18th dynasty, being portrayed on prominent pharaohs such as Amenhotep III, Akhenaten and Tutankhamun.

Nemes
The nemes headdress was, although worn by rulers, not an official royal crown. The nemes, made of fabrics falling down the back of the head behind the shoulders, and two drapers falling in front of the shoulders, is nowadays heavily associated with Tutankhamun.

Left: Hatshepsut; portrayed as a sphinx while she is wearing the nemes headdress*
Right: Tutankhamun with the nemes headdress

Royal Scepters of Pharaonic Egypt

Was Scepter
The iconic was scepter, a symbol for power, authority and dominion. Held by gods and kings, with examples found dating all the way back to the first dynasty.

The scepter, branching off to two branches before setting on ground, holds authority to the holder; the leader being the uniting and mediating discernment between the two paths.

was sceptre

From the Pyramid Texts:
“Sit on the throne of Osiris, your Ames Scepter in your hand, so that you give orders to the living, your Lotus Scepter in your other hand, so that you give orders to those whose seats are hidden (the dead).”

The Ames Scepter (The Royal Mace)
Originally a functional weapon, which with time grew in symbolic value, symbolizing the might of the pharaoh. The bearer of the ames scepter was believed to confer invincibility, while crushing ones enemies.

Pharaoh Thutmose III claimed:
“It was my mace which felled the Asiatics, it was my Ames scepter that struck the Nine Bows” (the traditional enemies of Egypt)"

Wadj Scepter (The Lotus Scepter)
The wadj scepter, also known as the ‘sekhem scepter’, is closely associated with Sekhmet but also held by pharaohs, and high officials. The scepter, symbolizing the vigor and power derived from it’s name and association with the lioness goddess.

It is said, that the bearer of the wadj scepter, could commute and command with the dead. Therefore, the wadj scepter was used in rites for the deceased, as offerings for the ka before Anubis and Osiris.

Royal Insignia: The Crook and the Flail of Pharaonic Egypt

The heqa and nekhakha, most prominent emblems of the royals and of the deities of ancient Egypt, despite it’s humble display. On their own, together, and synthesized in their crossing. Historians are still not in line and agreement of the symbolic meanings behinds these emblems. Within this energetic approach, we tap right into the essential symbolic language and it’s energetic transmission, without the lenses of our times.

In genera and simplified, the interaction of the crook and the flail, is of royal significance, where its synthesized value displays the balancing act of encouragement and to restrain the shepherd’s flock, provided by the ruler.


Tutankhamun’s sacrophagus, displaying the nemes headdress and the symbolic crossing of the heqa and the nekhakha

Heqa (The Crook)
The heqa scepter, closely associated with the king and also known as ‘the shepherd’s crook’, signifies the charged duty of the pharaoh to rule.

The crook was also used as an hieroglyph, to phrase ‘to rule’ or ‘ruler’. The heqa scepter was frquently held by Osiris, being one of his emblems together with the nekhakha (the flail), forming a very usual crossing for the royal ancient Egypt.

Nekhakha (The Flail):
The nekhakha, with practical function to goad livestock, is too a most-significant royal symbol. First a symbol of the fertility of Osiris, but later attributed by the pharaoh and crossed with the heqa, to become the pharaonic insignia. With the heqa displaying authority and rulership, the nekhakha, a symbol for fertility and encouragement, aspects of the bull, opposes the more restraining symbolic value of heqa, the crook.

The flail was also used in agriculture, as a threshing tool to separate grains from husk, with symbolic qualities of the ruler’s discernment, to sift and siever.

Gods portrayed with the flail raised (with the right arm), was of most significance of fertility and masculine sexuality, also aspects contributed to the bull. The bull was often portrayed with a flail on its back.

“The only extant pharaonic examples of both the crook and flail come from the Tomb of Tutankhamun. Their staffs are made of heavy bronze covered with alternating stripes of blue glass, obsidian and gold, while the flail’s beads are made of gilded wood.”


nekhakha (flail), heqa (crook) and the wadj scepter

Royal Ribbons of Pharaonic Egypt

The Bull’s Tail
Adopted at a very early stage, alrady in the pre-dynastic Egypt, the ribbon hanging from the back of the pharaoh, was also in relation to the bull. This emblem symbolized the significant strength and procreative powers of the ruler, who also wore epithets such as “Strong Bull” and “Mighty Bull”.

The Royal Aprons of Pharaonic Egypt

Extract from ‘Temple of Man, pg. 354)’

Geometric Study of the Royal Apron of Pharaonic Egypt

"…The royal apron is a magnificent illustration that helps us to understand what our word symbol, so imperfect, wishes to express…
…the geometry of the royal apron… represents a living, moving geometry. Its shifting on the coordinates (the canevas) modifies, by illustrating them, the values of the numbers by connecting these different values to each other. The typical form is the transformation of the ratio 3:4 (hypotenuse 5) and into 1: √ Φ (hypotenuse Φ)"
Extract from ‘Temple of Man, pg. 354)’






Jewelleries of Pharaonic Egypt

Energetic profile of Jewelleries and Wealth of Pharaonic Egypt; energetically incorporated and integrated, essentially and conceptually (click for more info)

In 1922, archaelogist Howard Carter found the untouched tomb of Tutankhamun, located in the Valley of the Kings in Luxor. A unique happening, being able to document the treasuries of Pharaonic Egypt before any massacring plundering that had plagued other sites of the ancients treasures.

Some of the treasures were clearly made for King Tut, while some were obviously crafts of the pasts that had been passed through the proceeding reigns of Egypt.

This unique happening, has lead to a lot of ancient Egypts treasuries are being associated with Tutankhamun, but one can rest assured that the golden wealth of ancient Egypt, has been prominently displayed and appreciated throughout all the Egyptian dynasties and kingdoms.

The Brooch of Tutankhamun

The Brooch of Tutankhamun, with a 26+ million years old piece of Libyan Desert Glass

Description on the Brooch of Tutankhamun

“When Carter entered the tomb for the very first time and asked if he could see anything, he famously responded: ”Yes, wonderful things.” Tutankhamen’s burial chambers were filled with statues made of ivory, items made of gold and precious jewelry. In a treasure chest, Carter discovered a large pectoral, a breastplate decorated with gold, silver, various precious jewels and a strange gemstone, that the pharao wears across his chest. The breastplate shows the god Ra as a winged scarab, made from a yellow-green gemstone, carrying the celestial bark with the Sun and the Moon into the sky.”

“In 1998, Italian mineralogist Vincenzo de Michele analyzed the optical properties of the gemstone in King Tut’s breastplate and confirmed that it was indeed a piece of Libyan Desert Silica Glass, as the material is nowadays called. Libyan Desert Glass consists of almost pure silicon-dioxide, like quartz, but its crystal structure is different. It also contains traces of unusual elements, like iron, nickel, chromium, cobalt and iridium. It is among the rarest minerals on Earth, as it is found only in the Great Sand Sea north of the Gilf Kebir Plateau, one of the most remote and desolate areas in the Libyan Desert.”

“…However, it remains unclear where the impact crater associated with the Lybian Desert Glass is located, even if radiometric dating suggests that the impact happened around 28 to 26 million years ago.”

“…It seems that the piece used for the scarab was discovered by chance or maybe an exotic gift. It remains the only known example where an Egyptian artist used this mysterious material.”

The Diadem of Tutankhamun

Description on the Diadem of Tutankhamun

Here is the description of Tutankhamun’s diadem given by Howard Carter, who discovered Tutankhamun’s tomb.

… a magnificent diadem. completely encircling the king’s head–an object of extreme beauty and of simple fillet type. It comprises a richly ornamented gold ribbon of contiguous circles of carnelian, having minute gold bosses affixed to their centres, and… bordered with a lapis lazuli and torquoise coloored glass pattern… with, at the back, a floral and disk-shaped bow… inlaid with malachite and sardonyx… from which hang two ribbon-like gold appendages similarly decorated. On both sides of the fillet are appendages of a like but nroader kind, and having a massive pendant uraeus attached to their front margins [which encircle the ears]. The back pendant ribbons, and the side appendages… are hinged to the fillet, and were thus adaptable to the weig over which the diadem was worn.

The insignia of northern and southern sovereignty of this diadem… were found lower down, separate, and on the right and leght thighs respectively. and as the king lay within the sacrophagus, east and west–his head towards the west–the uraeus of Buto being on the left side [therefore to the north] and the vulture of Nekhebet to the right [at the south], the signia took their coorect geographical position, as did also those emblems on the coffins. Both of these golden emblems of royalty have grooved fastenings on the back, into which fit corresponding T-shaped tongues upon the diadem. They are thus novable and could be fitted on to whatever crown the king might have worn.

The golden Nekhebet, with obsidian eyees… is a remarkable example of the fine metal-work. The shape of the head [and its particularities] make it quite clear that the bird, representing te Upper Egpytian goddess, was the Vultur auricularis…

This diadem must have had a very early origin, inasmuch as it seems to have derived its name Seshnen and the form from the circlet-ribbon worn on the by men and women of all classes, as far back as the Old Kingdom, some 1500 years before the New Empire. Moreover, there is evidence enough to show that we may consider it to be among ancient Egyptian funerary appurtenances, since it is to be found mentioned among the coffin texts of the Middle Kingdom, and diadems of this kind are known to have been found thrice in connection with royal burials once analagous, but not identical, at Lahun, among the jewellery discovered by Professor Sir William Flinders Petrie of a Princess Sat-hathor-unmut of the Middle Kingdom; and twice in the royal Theban pyramid-tombs of the Seventeenth Dynasty–one upon a burial of an Antef, the other mentioned in connection with the Ancient Egyptian plunderers of the burial of Sebek-em-saf.

It is again appropriate to observe that the uraeus carries the sign of Neith on its chest, and by its undulations the serpent divides the brain and continues to play its dualizing role.

The Khepera-Pectoral of Tutankhamun

kheper-egyptian-scarab

Tutankhamun; Neb-Kheperu-Re, The Lord of Worldly Manifestation, beloved of Sekhmet: Crystal-Scarab Pectoral, Reconstructed by Khnum, Written in the Flames of Sekhmet

Khnum, Creator of all Bodies, restructures and imprints the pectoral to it’s interactive energy structure. Khnum, with his spiraling horns, integrates negentropic interaction to it’s living body, He is the sculptor of us all, after all. Before breathing life into his craft, Seshat inscribes the most beautiful hymns and prayers of original source, which Sekhmet transforms into fruition. A process continuously ongoing, creating shine of what’s been the old. The scarab takes flight in the breeze released from Khnums lungs. One can direct the scarab to one wherever, and let it may rest on your upper chest, or spread the wings on One’s back. The morning hug, enfolds all curse which go bust, encircled for the new buzz. Tell it wishes of beginnings and dreams of tomorrow, blessings and greets of the now, dung will be nurture for the seeds. Make it spread and fly by breathing light to the flight. Sekhmet ignite the scarab kite. The living quasi-crystal scarab fly with One, in sight and might. Rolling the Sun’s red morning Light in One’s foresight, brith goes ignite from the dark night. Smite and blight go light so bright with height of might, when scarab’s buzzing night ignite. With colors of the rainbow, and shine from Her Eye-sight.

The Falcon-Pectorals of Tutankhamun


The Ankh-Mirror of Tutankhamun

Tutankhamun Mirror
The ankh-mirror of Tutankhamun is here energetically approached for it’s mirroring and balancing symbolic value. Inspired by ‘The Mirror NFT’, the mirror, when intention is set, will highlight one shadows and inertia, to bring the flow of life-force and the balancing resolution incorporated in the ankh-symbol.

Alabaster Jar of Tutankhamun


This is an alabaster jar of Tutankhamun, symbolizing the unification of Lower and Upper Egypt, by intention utilized energetically as the container for ones daily replenishing intake of unifying liquids.

Gold Bangle of Tutankhamun

A gold bangle of Tutankhamun, encrusted with lapis lazuli.

Tutankhamun Gold Bangle

Description on the Gold Bangle of Tutankhamun

The small circumference of this bracelet suggests that it was made for Tutankhamun when he was a child. Nevertheless, it agrees very closely in size with the bracelets that were placed on the forearms of his mummy and were though by Carter to have been worn by the king in his lifetime. It was found in the cartouche-shaped box that contained several other objects, including the fine pair of earrings which also seem to have been personal possessions.

The bracelet’s central feature is a gold openwork scarab encrusted with lapis lazuli. On each side is a narrow raised band composed of gold, lapis lazuli, turquoise, quartz, and carnelian inlay, bordered on the inner edge with gold granules. The bands are continued on the back of the hoop. Two identical botanical ornaments flank the scarab, each consisting of a mandrake fruit supported by two poppy buds, with gold marguerites filling the interstices between the stems of the mandrake and the buds. The yellow and green colors of the mandrakes are painted at the back of the translucent quartz inlay. Both the hinge and the fastening are made of interlocking cylindrical teeth held together by long gold pins, the hinge pin being fixed and the other movable."

The Sacrophagus of Tutankhamun


“Die to come alive” in your self-ruling strive, within one’s sacrophagus. A beautiful place to rest and put your dwellings to test for the ruler of self’s quest. Harmonically balanced, with royal elegance of excellence supreme. With the royal insignia crossing to and through one’s heart-space.

The Mask of Tutankhamun

The Eye Mask of Lapis Lazuli


It is said that Cleopatra used the finest grains of lapis lazuli around her eyes as a beauty routine. The grained crystal, can also be found around the eyes of Tutankhamun. Lapis Lazuli, was strongly connected to the starry heavens with in it’s navy-colored gold-speckled appearance. The crystal was also associated with Ptah, and his dreaming of the universe turned into creation, an epithet shared with Tutankhamun, titled “Lord of Earthly Manifestations”.

The Restimg Eye Mask of Starry Heavens

Summary

Lapis Lazuli, in ancient Egypt connected to the Heaven, as much as Ptah, consort of Sekhmet. From it’s many forms and for it’s many uses, a color reminiscnet of a starry night sky with it’s gold-speckled indigo-navy.

One of it’s less known applications, which might be cause of its luxurious nature, are those of Cleopatra. Said to, on daily routine, spread the finest grains of lapis lazuli around her eyes. Maybe so, by Tutankhamun to, as lapis lazuli was spreaded and drawn around the eyes of his sacrophagus. One can only imagine the piercing beauty of the shade, as much as it’s harmonizing healing powers and beauty of constellating core structure, that of the Heaven, Nut Herself. That of Ptah, the Divine Creator,
conosrt of Sekhmet-Bast’

Approached energetically, one can just by simple thought with set intention, wear this Eye Mask. With eyes mediating between reflect and project of the starry night skies, and to speak the divine word.

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To display the excellence of this divine complex, included beneath (as in the concepts formation) are blueprints, drawings and photo plates from-site, with the intention to draw inspiration (and conclusions) of the harmony generated and transmitted in-site.

Temple of Man, Vol. II, Luxor Blueprints

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Temple of Man, Vol. II, Luxor Photo Plates

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Temple of Man, Vol. II, Luxor Drawings

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Hymns of Luxor; Hymn to the Sun

Summary

Salute to Amun when he rises as Horus at the eastern horizon by Amun’s master of the works Suti, and by master of the works Hor. They say:

"Homage to you who is the perfect Ra of each day, who rises each morning without respite, and who is the Khepri burdened with work. We have your rays in our eyes and are not able to perceive them. The most pure gold is not comparable to your splendor. Carver whom you carved yourself, you have cast your own body. O sculptor who has never been sculpted. You who are done in your species, you who travel over the heights of eternity, and under whose Image are the ways of millions, such is your splendor, such is the splendor of the firmament; your colors are more brilliant than its colors.

When navigating you traverse the heavens, all men contemplate you; you continue (under the earth as well) hidden to their eyes. You present yourself in the morning as a daily task. The navigation of your barque is impeccable, under Your Majesty. In a short day you devour a space of millions of hundreds of thousands of miles. Each day is for you but a moment, and after traveling through it, you retire. In the same way you accomplish the hours of the night. You carry out this course without respite from your efforts.

All eyes see by your grace; and they cease to see when Your Majesty is retired. You put beings in movement in order to emerge. Your rays create the morning; they open the eyes that awaken. You lie down in the regions of Manu, and at the same instant they sleep as if they were dead.

Homage to you, Disk [Aten] of the day, who has created humans and who has given them life. Grand falcon of speckled plumage who has come in order to raise himself up by his own means, appearing of his own accord without being put in the world. Horus the elder who is in the middle of the celestial Nut, for whom gestures of joy are made at the rising as at the setting.

Founder of what produces the ground, Khnum. Amun of humans, who carries along with him the inhabitants of the Two Lands, from the greatest to the smallest. Beneficent mother of the Gods and of men, patient and untiring worker when he makes them in incalculable number. Valiant herdsman who leads his beasts; their shelter, he who gives them life.

He who hurries, he who runs, he who accomplishes his revolutions, Khepri of the illustrious birth, raising his perfection in the belly of celestial Nut, giving light to the Two Lands from his Disk [Aten], the primordial of the Two Lands, who created himself and who saw himself while he was creating himself.

Unique master, who reaches the extremity of the earths each day, viewved by those who circle on them, emerging as a figure who contemplates from on high what passes during the day. He composes the seasons with months, sets the atmosphere ablaze to his liking, makes the freshness of the air to his liking. He causes the human body to extend or to retract. The whole earth gesticulates like the monkeys who awaken at his rising each day to salute him."

The master of works, Suti, [or] the master of works, Hor, he says:

I am master in your Apit and director of works in your official sanctuary, which your son has made whom you love, the master of the Two Lands, Nebama’atre, gifted with life. My master has confided in the direction of your monuments, knowing my vigilance. I have been an energetic master in what concerns your monuments, having done things in conformity with your desires, because I know that you take pleasure in the observances of Ma’at. You make great he who practices it on earth; and, as I have practiced it, you have made me great. You have accorded me favors on earth in Karnak, because I take part in your retinue when you show yourself in public. I am an equitable man who has a horror of injustices. There is no man who prides himself on words of a liar, and in particular my brother, my double, with whom I share opinions, because he came of the belly (at the same time as me) on this blessed day.

The director of Amun’s works in Luxor, Suti [or] Hor [he says:]

WHereas I am the master in the west, he is tmaster in the east [and vice versa]. We are to direct great monuments in Apit, to the south of Thebes, city of Amun. Allow me to grow old in your city, to act bu ruling myself according to your perfection, to be at the west place of the heart’s peace. That I may be united with the favorites, continuing my way in peace. Give me a soft wind at the time of boarding, and may I receive the headbands of the day of the wag festival.

Temple of Man, Vol. II, General Views on Temple of Luxor, RA Schwaller de Lubicz.

Summary

The architectural or pictorial inscription of the pharaohs has no more an immediate, didactic goal than does the apple tree, the fruit of which is an apple and not a peach. The inscription is the description of the phases of knowledge, that is, of the cosmic geneses, expressed in radiant forms, speaking simultaneously of all aspects, from the physical to the spiritual.

At first glance, the architecture of the temple of Luxor is disconcerting. From the south sanctuary to the north pylon the axis continually deviates. Nearly every enclosure on the plan is irregular, what seems to be square has a rhomboidal form; the space between columns sometimes enlarges in the direction of the sanctuary, thus modifying the effect of perspective. Furthermore, the entire construction is executed in several phases. We could call the temple of Luxor a parthenon on the basis of its kinship in principle with the Parthenon of Athens. Its preferred designations is “theogamic” temple; but it is actually, in the profound sense of its consecration, the true Parthenon, that is, the temple dedicated to the spiritual conception of Man.

Even though they never acquiesced to aesthetic considerations, but only to the reality of the symbol, the pharaonic builders always adchieved masterpieces of harmony, even in the intentional deformities and distortions required to create symbolic and geometrical precision.

For them nothing was sensual, and this shocks our Western aesthetic sense. All becomes didactic, of an esoteric character, through the correct symbolique; it is a teaching for the understanding for the pure intellect, which no explicit word can describe.

We have a great many proofs that nothing in their work was the result of negligence, chance, or personal fantasy, enough to cause us to look for the hidden meaning under apparent disorder. To avoid this research would be miss the point of archaeology, which is to learn what the past to teach us, not to impose our own concepts on the Ancients.

The temple of Luxor can be compared with a Gothic cathedral. But in Christian architecture one must not confuse the basilica with the cathedral taken in the sense of the “high place of the teaching.” Karnak is the royal temple of synthesis, Luxor is the cathedral of high teaching.

The general plan is the cathedral corresponds to a precise canon: two towers, a narthex, a nave triple in principle with seven windows, and on the walls of which would later be drawn the Stations of the Cross. Then comes the transept and the entrance proper to the sanctuary.

The choir, separated from the transept by the rood screen, is itself divided according to the importance of the worship, with the altar being the table of daily sacrifice, and the repository carrying the Sacred Host in its silver, moon-shaped barque. In churches with the privilege to celebrate the papal mass, the bishop has his throne behind the altar, hidden from the public. It is there that he celebrates the sacrifice, as in the Holy of Holies (as in the case in Orthodox worship).

The arrange of the temple of Luxor is idnetical to that found in the canon of the Gothic cathedral. A double pylon here replaces the two towers; the court of Ramesses is the narthex; and the two rows of seven high columns with opened corollas together with the two side aisles, the walls of which are decorated with bas-refliefs depicting the procession of the barques, form the nave. After the nave with the two rows of seven columns comes the peristyle, jutting out to the east and west, forming a cross (the transept), then comes the covered temple and its striking parallel with the choir of the cathedral.

The high altar, here represented by the naos that contains the sacred barque (symbolizing the lunar crossing) is found in the choir proper, room VI, with rooms IV and VIII taking the place of the front choir. Originally, the room for the naos did not connect to the rooms to the south.

The side chambers, linked by room XII, recall the ambulatory around the choir; the twenty-seven small chapels opening onto the chambers indicated above would correspond to the “radiating chapels.” Finally, the central sanctuary room I, where the statue of Amun is found, is located in the place of the apsidal chapel.

The old tradition required the choir to be separated from the transept by a rood screen, and the ambulatory itself could be closed by decorative works such as wrought-iron grills, tombs, and so on. At Luxor there is no connection except for the central door opening into room VI, between what we call the “choir” and the rest of the temple; the chapels destined to receive the barques of Khonsu, Mut, and the king are only connected with the great hypostyle hall. It is thus these last chambers, along with room VII and the two small adjoining chambers, that would constitute the rood screen of the cathedral.

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congratulations on your debut, sensei :)

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Congratulations Sensin!!!

Well done and super beautiful. It feels powerful yet cozy!!

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Amazing concept @sensin-sensei :clap::clap::clap:

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First and foremost, a thank you to @El_Capitan_Nemo that I’ll let echo in its infinite form through universes corridors.

I wish to include the participants in this greeting of most significance, participants that have followed along, sculpting while shifting in this incredible journey deriving from related endeavors sprung by the end of last year. The project was initiated as a form of curiosity, to explore something wished for greater conceptualization and understanding among us. Slowly and subtly the concept have formed, in an environment oozing magic start to finish, an initiation continuously ever-on-going from here. Thank you for coming with, thank you for staying with, and most-especially, thank you for bringing your crafting hands to our seated table.

From here, we will continue our journeys but let us not forget to sit back and relax on the fulfilling of this endeavor.

I humbly absorb your greetings as I too pass on the congratulated messages to us all, a blessing by itself just to be here, realizing dreams as well as realizing self in company within this warmth of surrounding dreamers.

Pleased and honored,
:sparkles:

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Yes, Congratulations on leading on your first amazing project, Sensei! :heart:

We all found out this afternoon that the Beautiful, Hypnotic audio that accompanies this NFT is Sensei’s creation, with Captain’s special touch! Quite the listening experience!

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Congrats @sensin-sensei this looks really awesome :clap:t3:

I forgot you make music as well :grin:

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:pray:

The hierocryptic :sweat_smile: side of self told the group not so much more then to sense in this picture


It came through as a soothing and suiting companion to the audio’s gentle crowning strive, too placed in water in the midst of waves of rays
(personal impression)
:infinity: :classical_building: :crown: :classical_building: :infinity:

Maybe (surely) in a not so distant future, our creations can merge for Captain’s anchored touch in sparkles :confetti_ball:
Hereby seeds have been planted (and I do admire your work)
:classical_building::seedling::four_leaf_clover::deciduous_tree::classical_building:

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An enjoyment to read. Creative.

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An aerial photo of Luxor Temple, Egypt.
Photo: Travel Egypt Guide

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Collecting light - Inside the Karnak temple in Luxor, Egypt. Photo: Guillaume Roche

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Hello welcome to the forum

Have you read the entire original post as well as the first post in the thread? Everything you need to know is there…

(This NFT only works for people who own the NFT legitimately, not from 3rd part websites like YouTube or other forums/discord chats)

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This extract is a sequel of the preceeding post of The Alchemical Brothers

Personal note;
The Temple of Luxor’s NFT entered it’s (anthropocosmic) designing stages after absorbing and digesting the (abundant) published works of de Lubicz. Every illustration from the opus ’Temple of Man’ was shared in the submission, and can be publicly viewed in the 2nd post of this thread.

In 1934, the Lubiczs set out on the Mediterranean on a hydrodynamic yacht designed by Schwaller. In the same year they settled on the Spanish island of Majorca in a hospice dating to the time of Ramon Lull (1232-1315), and a period of isolation ensued. In 1936 however, with the outbreak of the Spanish Civil War, the Lubiczs were forced to move on and their affinities drew them to Egypt, where they would remain for the next fifteen years. In Egypt, Schwaller had a crucial impression that crystallised the connection between Egyptian civilisation and the Pythagorean-Hermetic tradition, thereby bringing his alchemical quest directly into contact with its perceived Pharaonic sources.

The experience occurred in 1936 in the tomb of Ramses IX, where Schwaller beheld an Osirian mural depicting Ka-Mut-Tef, the ‘bull of his mother’. Here the Pharaoh is shown as the hypotenuse of a right-angled triangle, simultaneously embodying both the masculine-generative and the feminine-gestative power of the cosmos. This theme—in which an ‘agent’ becomes both the father and mother of itself, lay at the very heart of his alchemical metaphysics—the Trinitarian theory of sulphur-mercury-salt. From that moment on, Schwaller knew he had found the true symbolique of his magnum opus: Le Temple de l’homme (The Temple of Man, 1957-8), a work that gestated over a dozen years of on-site measurement, decipherment and study of the temple of Amenemopet at Luxor, Upper Egypt, confirming for Schwaller that this lineage was indeed the font of the Hermetic, Pythagorean and alchemical tradition of which he was already a seasoned—and practicing—adept. In order to devote himself to this tradition, Schwaller and his entourage set themselves up in a wing of the Winter Palace on the Nile at Luxor—where, over a period of twelve years, he was able to live in daily contact with the Egyptian temples.

Kamutef (‘the bull of his mother’), Tomb of Ramses IX. Reproduced from R. A. Schwaller de Lubicz, The Temple of Man: Apet of the South at Luxor. Rochester, Vermont: Inner Traditions International, 1999. In this image, Schwaller saw the Pythagor…
Kamutef (‘the bull of his mother’), Tomb of Ramses IX. Reproduced from R. A. Schwaller de Lubicz, The Temple of Man: Apet of the South at Luxor. Rochester, Vermont: Inner Traditions International, 1999. In this image, Schwaller saw the Pythagorean principle of tri-unity. In Egyptian theology, ka (‘bull’, ‘spirit’) indicates the active masculine force in the triad; mut, the ‘mother’, represents the feminine receptive force; while the child or son represents the product. The paradox that binds the three aspects of this lineage into a triangular unity lies in the fact that the son, by recapitulating (indeed reincarnating) his father, becomes thereby the bull (spirit and inseminator) of his mother. In short, he is the father of himself. Rather than being a simple ‘product’, he exists both in a primary state, ‘before’ the separation or differentiation into gendered polarity (male-female) and in an ultimate state, ‘after’ the two poles have been differentiated and then recombined (the alchemical conjunctio or cohabation).

Schwaller’s alchemical reading of the French cathedrals—long understood as architectonic images of Christ—Hermetically disposed him to approach the New Kingdom Egyptian temple as a codification of the incarnation of god as man—the mystery of the anthropocosmos. Against the fine grain of conventional Egyptology, Schwaller provided an elaborate symbolic reading of the temple of Amenemopet. He maintained that the foundational teaching underpinning every symbolic detail of the temple, governing and shaping its entire structure at every level, from its foundation and its axes to its material substances and its form, was ‘the doctrine of the anthropocosmos’. In no uncertain terms, Schwaller calls the temple at Luxor ‘the temple of man’. This is not merely because the structure of the temple could be correlated with the biometrical proportions of the royal corpus—the image of the pharaoh—but because the Egyptian divine temple itself, like the pharaoh, is the structure that supports the incarnation of divinity. The temple of man corporifies the divine functions or principles (neteru), both as a physical edifice created according to divine proportions of gnomonic growth, and literally through the embodiment of the divine in man, which was in fact the raison d’être of Luxor temple. For Schwaller, human physiology is a physical product of metaphysical principles; as such, the organs of human perception, from the physical to the subtle, are at the same time the instruments of divine self-perception. Overall, Schwaller emphasised how a profound anthropocosmic philosophy was encoded in every physical aspect of the construction of the Egyptian divine temple, and, more than this, that a profoundly intuitive, arational intelligence, superior to our own divisive rationalism, lay at the heart of Egyptian civilisation.

These views clashed dramatically with the attitudes of contemporary Egyptology. Despite this, the sheer gravity of Schwaller’s research and the compelling originality of his interpretations attracted a significantly high calibre of support from both the academic and artistic communities. Schwaller’s key associates during this period became known as Le Groupe de Louxor (not to be confused with the Hermetic Brotherhood of Luxor). Among others, Luxor Group was comprised of Egyptologist Alexandre Varille, Architect Clément Robichon, and the official guardian of the Valley of the Kings, Alexandre Stoppeläre. The Groupe de Louxor supported and participated with Schwaller in the generally unknown but virulent polemic that transpired during this period between the ‘symbolist’ approach to Egyptology (represented by Schwaller and Varille) and the hostile climate of conservative Egyptology headed by the highly influential Catholic abbot, archaeologist and Director of Egyptian Antiquities in Cairo, Étienne Drioton. In 1949, avant-garde dramatist and filmmaker Jean Cocteau entered this milieu and, perceiving the significance of the symbolist method, popularised de Lubicz’s cause in the French literary media. Figures such as André Rousseaux, Raoul Jahan, Pierre Rambach and François Hébert-Stevens followed suit, and as a result of this, Schwaller would be invited to present at André Breton’s Congrès de Symbolistes (1956-1959) upon his return to France. Although scholars such as Arpag Mekhitarian called for a balanced appraisal of the actual evidence to resolve the impasse, the appeal was treated with a front of silence. Ultimately, despite being reviewed and published in the most prestigious of Egyptological journals, Schwaller’s work was tacitly ignored by mainstream Egyptology.

Tragically, in 1951, Alexandre Varille died in a car accident, and without the support of their chief academic spokesperson, the symbolists were forced to secede. Notable works published by the symbolists during this period include Varille’s Dissertation sur une stèle pharaonique (Dissertation on a Pharaonic Stele, 1946), alongside two short works by Schwaller: Le Temple dans l’homme (The Temple in Man, 1949), a short ‘preface’ to the three-volume magnum opus of 1957; and Du Symbol et de la symbolique (On Symbol and Symbology, 1951) in which Schwaller articulates his concept of symbolique.

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:face_with_monocle: After reading this I find myself so grateful for having been included in this Luxor Group. Thank you (again) @sensin-sensei :sparkling_heart:

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