Continued from Page 36 ANCIENT PHYSICS
experience, and does so through the unique quantification of its qualities. This cosmic and anthropic “new science” understanding of man puts forth the same principles that were built into the architecture of Luxor’s Temple of Amun-Mut-Khonsu.
The temple was not about the piety of a man but our solar legacy as the philosophical “Divine Man” portrayed in the great statues of Ramses—the birth of the sun. The temple was (and is) a form of communication, a lesson, and at its core its builders’ philosophy is carved in stone. Amun, Mut, and Khonsu were not “gods” in the Western religious sense, but principles that form and explain the nature of mankind as coherently as such an abstract subject can be explained. The definition of man and the story of the human experience were built into the temple architecture. Physically, the temple describes the structure of man, from the im- portance of the femur in the creation of blood cells, to the role of the pineal gland in the brain. Spiritually, the temple conveys life’s cosmic drama and man’s spiritual im- mortality. Amun was the “Hidden One” or the “Invisible One,” best described today as the Western concept of God, omnipotent and omnipresent, or, from a scientific view- point, the energy field that pervades all that
exists. From the an- cient Egyptian point of view, Amun was self- created, the creative power and source for all that exists. Mut, which means “mother,” was Amun’s cosmic wife and the mother of the “Son” Khonsu, who rep- resented the king.
boros was first fashioned as a symbol, but it is one of mankind’s most ancient
Uroboros, ancient symbol of the serpent devouring its tail
ones.
However, the kingship of Khonsu was not a physical king- ship but refers to a cosmic (or spiritual) ruler made flesh through the principles of nature. Thus, Khonsu the King represents the essence of mankind—the archetypal “Man”—and essence of all who ever lived, is alive now, and will live in the future. Khonsu, by being associated with Re and Thoth, represented the essence of life’s en- ergy and man’s wisdom and knowledge, where mankind is a consequence of the uni- verse’s evolution culminating in the phys- ical endowment of the universe’s self- perception. In myth, Khonsu was a lover of games but was also the principle of healing, conception, and childbirth. Literally, he was “the king’s placenta.”
Just as the ancient Uroboros—the cir- cular serpent biting its tail—symbolizes cy- clicality, through our modern scientific en- deavors we have come full circle in understanding ourselves. No one knows for sure in what culture or at what time the Uro-
Plato tells us in the Timaeus that since nothing outside of the serpent existed, it was self-sufficient. Movement was right for his spherical structure, so he was made to move in a circular manner. Thus, as a result of his own limi- tations, he revolves in a circle, and from this motion the universe was created. From Egypt’s Ptolemaic period, the artist who drew the “Chrysopoeia [gold making] of Cleopatra” wrote within the circular serpent: The All Is One. Thus, the serpent is the an- cient Egyptian symbol depicting self-creation and the source of life: “It slays, weds, and im- pregnates itself,” writes Erich Neumann in The Origin and History of Consciousness. “It is man and woman, beginning and con- ceiving, devouring and giving birth, active and passive, above and below, at once.” For the ancient Egyptians, the Uroboros— the serpent—represents the creative principle of the cosmos, as well as the cosmos itself. Since the serpent’s form is singular, without appendages, but has a forked tongue and forked penis, its form is an apt symbol of creation’s initial movement from an undiffer- entiated state into a world of multiplicity, a movement from one to two. Schwaller refers to this as the “Primordial Scission.”
64 ATLANTIS RISING • Number 85
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