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Old 19-11-2009, 03:58 PM   #21
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good thread.

i had a dream about sekhmet, having an altar underneath a church/vatican, what could this mean. there where snakes and people/women on the altar, it was quite scary actually. in it a voice said that i had to balance the kundalini/chakras.

does anyone have any ideas of what this could mean, symbolise etc.
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Celebrations for Sekhmet included wild orgies, which earned her the additional titles of Great Harlot and Lady of the Scarlet-Coloured Garments.
from OP .
This associates with the whore of Babylon who many believe represents Rome and the Vatican .The woman cloaked in Scarlett and purple riding a seven headed beast , Rome being built on seven hills and the church adopting the colors of the previous roman emperors as symbols of authority .
Also early Christian cults drank blood in a vampiric way as they took literally the meaning this is my blood .
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Old 19-11-2009, 04:06 PM   #22
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from OP .
This associates with the whore of Babylon who many believe represents Rome and the Vatican .The woman cloaked in Scarlett and purple riding a seven headed beast , Rome being built on seven hills and the church adopting the colors of the previous roman emperors as symbols of authority .
Also early Christian cults drank blood in a vampiric way as they took literally the meaning this is my blood .
The Scarlet Lady/Lady in Red/Woman in a Red Dress/Whore of Babylon et al. concepts all probably hark back to this hairy chick, methinks.

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Old 19-11-2009, 04:47 PM   #23
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The Scarlet Lady/Lady in Red/Woman in a Red Dress/Whore of Babylon et al. concepts all probably hark back to this hairy chick, methinks.
Lady in red as well associates to the red dress program in the matrix movie ?
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Old 19-11-2009, 04:59 PM   #24
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Lady in red as well associates to the red dress program in the matrix movie ?
Yes, and the little girl in red in Schindler's List, maybe.

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Old 19-11-2009, 08:59 PM   #25
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Good interesting and informative thread, very interesting. I was thinking of the aegis, and wondered if the word 'mantle' is the same thing (can't think of a example to save myself) e.g. 'The Mantle of Power', 'he took on the mantle' etc.
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Old 20-11-2009, 08:02 AM   #26
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....But, one Pharaoh in particular seems to have had an obsession with Sekhmet. Amenhotep III (father of Akhenaten, Dynasty Eighteen) built hundreds of statues of Sekhmet in the precinct of Mut´s temple (known as "Isheru") south of the Great Temple of Amun in Karnak. It is thought that there was one for every day of the year and that offerings were made every day.

http://www.ancientegyptonline.co.uk/Sekhmet.html

So little Barry Soetoro's Dad was Sekhmet's All Time No. 1 fan, it seems.

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Good interesting and informative thread, very interesting. I was thinking of the aegis, and wondered if the word 'mantle' is the same thing (can't think of a example to save myself) e.g. 'The Mantle of Power', 'he took on the mantle' etc.
This is how I like to learn.
Good thinking, you might be onto something there...

mantle
O.E. mentel "loose, sleeveless cloak," from L. mantellum "cloak," perhaps from a Celtic source. Reinforced and altered 12c. by O.Fr. mantel (Fr. manteau), from the L. source. Allusive use for "symbol of literary authority or artistic pre-eminence" is from Elijah's mantle [2 Kings ii.13]. As a layer of the earth between the crust and core (though not originally distinguished from the core) it is attested from 1940. The verb meaning "to wrap as in a mantle" is attested from c.1450.

http://www.etymonline.com/index.php?term=mantle

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Old 20-11-2009, 09:45 AM   #27
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....But, one Pharaoh in particular seems to have had an obsession with Sekhmet. Amenhotep III (father of Akhenaten, Dynasty Eighteen) built hundreds of statues of Sekhmet in the precinct of Mut´s temple (known as "Isheru") south of the Great Temple of Amun in Karnak. It is thought that there was one for every day of the year and that offerings were made every day.
http://www.ancientegyptonline.co.uk/Sekhmet.html
The Temple Precinct of Mut at Karnak
by Jimmy Dunn



Aerial View of the Temple of Mut at Karnak

The temple was primarily built by Amenhotep III but other rulers, from the New Kingdom and into the Ptolemaic (Greek) Period also added and enhanced the temple. Recent excavations indicate that much, and possibly all, of the present precinct was village settlement, until some time in the Second Intermediate Period.

During the reigns of Queen Hatshepsut and King Tuthmosis III, the entire precinct probably consisted of the Mut Temple and the sacred lake, but by Ptolemaic times, it had grown to over twenty acres, including massive mud-brick walls, three large temples, smaller temples and chapels, and housing for priests and others. The Mut Temple was enlarged later in the 18th Dynasty, when the main temple building was completely enclosed by new construction, probably by Amenhotep III. The Mut temple's present second pylon, of mud-brick, dates no later than the 19th Dynasty, and may have replaced an earlier precinct or temple wall. Its eastern half was built of stone late in the Ptolemaic period. The temple's first pylon, also of mud-brick, has a stone gateway built no later than the 19th Dynasty, and displays at least one major repair. This pylon may also replace an earlier northern precinct wall. Parts of the west and north walls of this precinct have been uncovered, including a gate bearing Tuthmosis III's name (possibly usurping that of Hatshepsut), an Amarna Period effacement of the name of Amun and a Seti I restoration inscription. The eastern and southern boundaries of this precinct are as yet undefined.

....



Within the temple, we find a great quantity of statues with the body of a woman and the head of a lion, though many of these statues have been removed and now stand in a number of museums. In fact, most of the statues of Sekhmet that inhabit the museums of the world came from this temple, where it has been estimated that 700 such statues originally stood around three sides of the first court. While mostly identical, these statues of the goddess Sekhmet were dedicated by various individuals, including Ramesses II, as well as the High Priest Pinedjem (who actually ruled southern Egypt) and Henuttawy. However, most bear the name of Amenhotep III. Each of them reveals different inscriptions, such as, "Sekhmet, beloved of Ptah", "Sekhmet, mistress of the western desert", "Sekhmet in the house of Bastet", "Sekhmet the great" and "Sekhmet, beloved of Sobek". Each of these is connected with the myths surrounding this goddess. For example, the first is attributed to Sekhmet as the feminine principle of Ptah. (see Unas Pyramid post earlier in the thread)



Most Egyptologists now believe that most if not all of these statues did not originally stand in this district but rather in the mortuary temple of Amenhotep III on the West Bank. They were probably brought to the Mut precinct during the 19th Dynasty when Mut and Sekhmet became more closely associated and rituals involving both with the Isheru first appear to have gained prominence.

http://touregypt.net/featurestories/templemut.htm




It looks like statues of this lady are still coming up out of the ground. Below is a short clip about the present day archaeological work going on at Amenhotep III's mortuary temple (mentioned above) where it's believed these 700 statues first stood. Barky's Dad certainly had a thing for her...


Saving The Temple of Amenhotep III at Thebes (ft Dr. Hourig Sourouzian)


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Old 20-11-2009, 10:23 AM   #28
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"There I was, alone in an ancient stone room in Upper Egypt, standing in the presence of a goddess. I observed her feminine form closely… and it seemed that I could actually see her breathing. "


— Hank Wesselman, Ph.D.

Encounters on the Shaman’s Path
with anthropologist Dr. Hank Wesselman PhD.
Encounter with Sekhmet


Join A Shamanic Sojourn in Egypt with Hank Wessleman, in 2009 - full information is available at www.greatmystery.org/events/egyptSW.html.

In January of 2003, I led a travel group to Egypt, an extraordinary adventure during which we visited the great sites of antiquity in response to which many of us had strong dreams as well as paranormal experiences. Here’s one of mine to compliment the encounter with the genie that I posted on the Meta Arts site in February 2005 (see their archives.)

January 9—Our guide and Eygptologist Emil Shakar picked us up at our hotel in Luxor in Upper Egypt at 600 AM. It was still pitch dark as we boarded our bus and headed for the famous temple complex known as Karnak. When we arrived at our destination, I could just make out the guards smiling as they recognized Emil and he suavely tipped them so we could enter the site at this early hour.

The temple of Karnak was and is the heart of Egypt. It is one thing to view photographs of this incredible place in oversized coffee table books at our leisure. It is something quite different to actually stand among the silent, massive stone pillars of this site in the darkness before the dawn, surrounded by the soft, warm earthy scent of the desert with the overarching stars as our companions.

This immense temple complex was constructed by its builders on a monumental scale fit for the gods themselves. How it was done continues to invoke a sense of mystery within us as it is doubtful that we could replicate it today, even with all our high technology.

For example, one side of the immense roof that stands many stories above the ground is built slightly higher than it’s opposing side, creating a natural form of air-conditioning in that warm air is drawn upward during the hot time of the day, allowing cooler breezes from the Nile to the west to flow downward. And this was conceived and executed by Egyptian architects and engineers while the peoples of Europe were still living in their barbarian villages far to the north a thousand years before the Greek Civilization arose.

We in the group stood humbled as we tried to take in the site’s full immensity and its power under the desert sky. Karnak, and its compliment the Temple of Luxor, is one of the wonders of the ancient world.

The light was just beginning to show in the east as Emil took us up the main avenue and into the small shrine that he told us was historically used by the Pharaoh to await the rising sun. Having come so early, we were almost the only visitors in the vast complex, and so this event carried a certain specialness… one could almost say ‘holiness.’

As the rising sun cracked the horizon and suddenly shafted across the altar, we felt our connection with eternity affirmed across more than three and a half thousand years… and we felt our unity with the great mystery that spawned us.

After witnessing the eastern light illuminate the altar, Emil led us quickly to the northeastern edge of the huge site, passing a small scrubby sycamore about eight feet tall that is more than 2,500 years old and is still alive. We then headed toward a small stone building housing the shrine of Ptah.

The word “Egypt” means ‘The land of Ptah’. This deity was (and forever will be) the archetypal force of creation who came from the stars and who formed the world by thinking it into being and by speaking it with his words. In his blue aspect—his blue skin or blue cap, Ptah then ruled Egypt for 8000 years according to myth. His consort (or compliment) during this age was (and is) Sekhmet, the great transformational lion-headed goddess.

After Emil greeted the guards and crossed their palms with a modest wad of Egyptian pounds, the iron grate across the unprepossessing shrine was unlocked and we stepped into the small stone building, entering a room in the center of which a raised dais bears a headless statue of Ptah. After taking in this desecrated sculpture, we gazed around at the reliefs on the walls that depict the great architect and healer Imhotep interacting with the deity Ptah, revealing this place to be a locality of initiation for healers.

Emil’s restless eyes darted toward a dark doorway to our right and in a hoarse whisper, he then told us that within this shrine is the only living statue of Sekhmet in Egypt—one that was placed in this crypt by the Pharaoh Thutmoses the Third in roughly 1450 BC. Emil then tipped the guards once again, and the gate across that door was opened, allowing us access to another small stone room.

As the group filed in, a small hole in the ceiling let in a dim shaft of early light from the sky. We stood blinking as our eyes adjusted to the darkness, and then there in the shadows before us emerged a standing black stone image of Sekhmet, a slender female human form complete with her lion’s head on top of which was perched the sun disc, the cobra uraeus before it. From her base to her apex, the goddess seemed to stand a good seven feet tall.

This was a dramatic experience, to say the least, and Emil then closed the door after us, effectively shutting us into the shrine with Sekhmet. There was only just enough light to barely make out the outlines of the powerful figure before us. But as our eyes continued to adjust to the dim light and the sky outside brightened with the dawn, the goddess seemed to magically take on form and density, manifesting herself in the small room and intimidating us into silent reverence for a good 5 minutes or more.

I stood facing her, leaning against the back wall behind the group, taking it all in, and I watched as the group began to respond, their hands slowly coming up and their prayers softly being offered. I considered what Emil had said—that this was the only ‘living’ statue of Sekhmet in Egypt. With that thought, I decided to try to access the expanded state—the same high frequency brain-wave state described in the books of my Spiritwalker trilogy.

There was no problem. As the first ecstatic surge of energy gripped me in its invisible fist and my breath caught in my chest, I reached for those sensations. In response, the power swept into me like a wave engulfing a beach. I stiffened physically, my mind abruptly expanding… and I suddenly felt the goddess’s awareness focused upon me. There was no doubt. ‘She’ was there.

I tried my best to remain still, controlling my tendency to shake by wedging myself against the back wall. The rest of the group was focused on the statue, and so we remained for another five minutes or more. When Emil finally opened the door, I remained propped against the back wall while my fellow travelers slowly completed their rituals and then quietly filed out the doorway.

Finally only I remained.

There I was, alone in an ancient stone room in Upper Egypt, standing in the presence of a goddess. I observed her feminine form closely… and it seemed that I could actually see her breathing. In those moments, I suddenly remembered that I had Jill’s little camera in my small pack, so I asked in a stifled whisper through clenched teeth if I could take her picture.

A brief snort of amusement jolted through my mind… and I felt her agreement. ‘Why not? Everyone else does and none of them ever asks permission.’

My blood was hissing in my ears as I brought the little metal box to my face with extreme effort. No sooner had I snapped the shot than I realized that I had filled her sanctuary with a flash of shattering light. In the shocked darkness that followed, I wondered if this had been appropriate, and almost in response, two words appeared in my mind.

‘Come closer.’

Astonished, I remained rooted to my spot, my back against the stone wall. I glanced to my right and to my left. I was alone with this leonine goddess. Then again, almost impatiently, the words came...

‘Come here…’

There was no denying this summons. Slowly, and definitely reverently, I managed to jump start my legs and feet, and I slowly shuffled forward until we were only inches apart. I stared up into her lion face and I could feel her cool breath upon my skin.

Then her words came one more time… ‘Kiss me!’

Again, I looked around me in the darkness, but I was alone with her. The group was outside the shrine. So I slipped off my shoes and stepped up onto the statue’s base and slowly reached around and took her into my arms, suddenly aware that her breasts had become warm and soft against my chest and that I could feel her breathing.

The New Yorker born ‘I’ who is very much a mainstream scientist was totally flabbergasted at this turn of events, and as my lips brushed across hers, I felt her face stretch thinly into a smile. And in that timeless moment, the room suddenly brightened, filling with a blue neon light. It was if an aperture behind her had opened—a doorway into the sky. Thoughts moved through my mind—hers and mine… thoughts that conveyed the awareness that there is an inter-dimensional portal here in this shrine.

Without thinking, my hand came up and caressed her face and brow, scratching her as I know all cats like to be scratched. She felt organic, furry, with the bones of her skull and the cartilage of her ears very much alive. In response, she pushed her face against mine, butting me with her forehead in a distinctly feline greeting and the cobra on her brow watched me with a flat stare. Did her free hand grasping the ankh come around and clasp me to her chest. I don’t know but it seemed so, or perhaps she generated a force that created this illusion.

In response, the feelings of power soared within me once more, virtually cutting off my breath. As I gasped for air, Sekhmet leaned down and breathed into my mouth, filling my lungs with her HA—her divine lion breath of life. The doorway shimmered behind her and once more her words appeared in my mind.

“You will return to me in your dreaming… in your dreaming while asleep and in your dreaming while awake. And you may use this portal with my blessing, whenever you wish, now that you know that it is here. Perhaps you will call upon me from time to time… I can be of service to you. Until then, may you fare well…” And then almost as an afterthought, “It is nice to see you again.”

I leaned my face against her breasts as a burst of sudden tears came, and then the softness of her breathing slowly stilled and once again she became a stone image. Simultaneously, the blue light ceased to exist and the crypt was once again in shadow.

I hastily disengaged and stepped back, wiping my face, concerned that Emil or one of the group would come in and find me embracing the statue. Yet I was still alone… so I bowed with reverence and digging in my pocket, I pulled out a small blue glass crow bead. I breathed my gratitude and my respect into the hole in the bead with a whispered prayer to her and tucked it into a crack in the wall where no one would see it, my ritual now complete, my offering made.

As I emerged blinking in the light, I saw that the group had drifted back to the sycamore and was taking pictures, and Emil was still joking with the guards. So I strolled slowly past the mute stone walls, alone with my thoughts as I considered what had just taken place.

Now… I have written before in these columns about how the existence of spirits is problematic for us Westerners. We do not live in a society in which connection with spirits is part of our experienced reality on a day-to-day basis. There are, as well, the mainstream philosophical theorists of our time like Ken Wilber and Jurgen Habermas and Jean Gebser who sidestep the whole issue of spirits.

Yet the fact that shamans claim that they are able to come into relationship with spirits and accomplish various things cannot be denied. There exists historical depth for this claim in anthropological ethnography across several hundred years, like it or not… and then there are my own experiences described in my Spiritwalker trilogy…

We discussed the four levels of spiritual unfolding for a Meta Arts column (9/07 in the archives), and we distinguished between magical and mythic belief systems on the one hand and the authentic transpersonal experiences of the subtle and causal realms on the other.

If we were to categorize Sekhmet in a mythic sense, ‘she’ has two polarities. In Egyptian mythology, Sekhmet represents the warrior as slayer in the negative polarity, the goddess of plagues and pestilence and all sorts of nasty stuff (directed at the enemies of Egypt in days gone by of course). Yet in the positive polarity, this leonine female is the warrior as healer—an archetypal force that expresses fierce compassion—a quality that comes through Sekhmet’s willingness to stand with us while we are embodied mortals in the fires of transformation. She offers this so that we may become who and what our destiny holds out to us.

Now—aside from these mythic beliefs (which can be greatly supportive and sustaining in the short term), it is my understanding as one who walks the shaman’s path that this archetypal force called Sekhmet does indeed exist in the subtle realm of things hidden. As such, ‘she’ is one of those dense concentrations of energy plus awareness plus intelligence that possesses certain qualities and abilities that may be of use to us. Indeed, in reviewing her words to me in the shrine, this is what ‘the agreement’ seems to be.

In fact, it may very well be that these deities of Ancient Egypt (and elsewhere) embody and express the myriad aspects of Nature as archetypal forces that have ‘overseen’ the human experiment from the very beginnings of our long journey across eternity. And in this sense, each of us has the potential to be partnered by many such benevolent forces that are hovering just offstage of the human drama, willing to constellate within us and through us to manifest effects that can be truly life-transforming and very far-reaching.

We’re not talking about religion here in which our priesthoods and scriptures demand worship and deference to some monotheistic father figure in the sky. That’s a belief system, and an archaic one at that. We’re talking about authentic transpersonal experience of the subtle and causal worlds in which we can come into relationship with forces that are real. But how those forces are experienced depends on how we, as individuals, are focused.

When we consider the societal games that we all seem to be playing with each other, it could be observed that many if not most of us are anchored in the negative polarity. We may proclaim that we are not… we may say that we are compassionate beings devoted to the greater good, that we pray to God in church or synagogue or mosque… and yet if we achieve success at the expense of others failure, if we injure others with our words or deeds or thoughts, if we operate through competition, coercion, zeal or deception, we are most definitely in the negative polarity.

If on the other hand, we deal with our family members, friends and co-workers through cooperation, persuasion, with compassion and authenticity, our anchor is in the positive polarity. This ‘law of polarity’ is most important because the archetypal forces do not judge us. They simply exist in the spiritual realms and express themselves through us.

And since we live in a world in which the dominant emotion is fear, a world in which the negative polarity is presented to us as entertainment, whether through endless meaningless sporting events (essentially gladiatorial games) or through Hollywood films and television shows focused within the dark side of human nature, it is not too difficult to see how these mini-and macro-epics reinforce that negative polarity in which our anchor rests.

This reveals that the archetypal forces essentially expand our experience of whatever polarity we inhabit.

As I write these thoughts to you today, this amazing quote came into my inbox from some unknown source.

I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field reveals to a man his own folly and despair, and victory is an illusion of philosophers and fools.
—William Faulkner
The Sound and the Fury

Time… one of my spheres of operation as those who have read my trilogy will know.

Thinking back to that encounter in Egypt five years ago now (in time), I spent the rest of that day thinking about this. I visited the Luxor museum in the afternoon where I saw a magnificent black stone statue of the Pharaoh Thutmoses the Third, and as I gazed at his face across three and a half millennia, I wondered if he had had a similar encounter with Sekhmet… if he had also thought about the law of polarity.

Over the past five years, the archetypal force of Sekhmet has come to me many times during the shamanic healing rituals that I facilitate in each workshop. And she is always the black leonine woman who exudes qualities of fierce compassion and dark grace… the warrior as healer.

When I visit the Metropolitan Museum of Art in New York (one of my favorite places), I always walk through the Egyptian collections in that vast building. And there, in the huge room housing the temple of Dendur, brought stone by stone from Egypt, there sits a series of images of Sekhmet, all in black stone, facing the temple. They were brought from the garden of Mut at Karnak.

And although they are not ‘alive’ as was the image in the shrine of Ptah, I sit in contemplation of them for awhile and then I make my prayer to her while holding a small glass bead in my hand… and when the guards are looking elsewhere, I breathe my love for her into the hole in the bead and tuck it into a crack in the image that attracts me. It’s one of my responsibilities… and it’s part of what it means to walk the shaman’s path.

And so until next month, allow me to invoke the spirit of Chief Hale Makua, my great Hawaiian friend… and with his blessing (and his words), I extend to each of you the Light and the Love of the Ancestors, The Source of Life, rejoicing in the Power and the Peace, braided with the cords of Patience, revealing the tapestry of the strongest force in the Universe… your Aloha.

With warm thoughts
—Dr Hank

http://www.greatmystery.org/newslett...k-sekhmet.html
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Old 20-11-2009, 12:30 PM   #29
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Yes, and the little girl in red in Schindler's List, maybe.
I thought of that after i posted . Yes makes sense most of Europe soaked in blood !
Robert Temple , interesting name who wrote the dogon book the Sirius mystery also wrote the Crystal sun around 2000-01 i dont have my copy now but he related a dream of sekhmet he or his wife had in one of the temples in Egypt were he went there the next day and discovered something related to it . Sorry to be so vague , but it links with the sekhmet theme here and temples .
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Old 20-11-2009, 12:47 PM   #30
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I thought of that after i posted . Yes makes sense most of Europe soaked in blood !
Robert Temple , interesting name who wrote the dogon book the Sirius mystery also wrote the Crystal sun around 2000-01 i dont have my copy now but he related a dream of sekhmet he or his wife had in one of the temples in Egypt were he went there the next day and discovered something related to it . Sorry to be so vague , but it links with the sekhmet theme here and temples .
Cool, I'll see if I can track it down somewhere.

I don't know if you read the long post just above yours, about the encounter with the 'living' Sekhmet statue?

Whether or not it happened as described, if the author imagined the whole thing or if he made it all up, the encounter doesn't come across as the wonderful spiritual experience he claims to have had, or is trying to promote, to me at all.

The statue tells him to come closer and to kiss it. Then he becomes sensuously entwined with it while it tells him he'll see her in his dreams - waking and sleeping - from now on, that he has a portal to access her and should call on her because she can 'help him'.

That sounds like freaking demonic seduction and an invitation to be possessed by a cynical and ambivalent entity to me, yet he walks away with stars in his eyes like a lovestruck teenager.

From what I've read in the ancient texts compared to the modern day re-invention of Sekhmet as a loving Mother Goddess, I'm starting to suspect that there's a definite New Age agenda to get people's energy aligned with this figure by making shit up about her nature that doesn't seem to appear anywhere in the old writings.

Bast and Sekhmet are explicitly separate goddesses, and even if Sekhmet were really an aspect of Hathor, worshipping Sekhmet by praising some of the apparently positive qualities of Hathor seems like a very confused - and possibly dangerous - thing to be doing.

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Old 20-11-2009, 12:51 PM   #31
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Lady in red as well associates to the red dress program in the matrix movie ?

Yes, and the little girl in red in Schindler's List, maybe.

--------------------------------------------------------------------------------
Last edited by size_of_light; 19-11-2009 at 10:59 AM

.................................................. ..........................................

The figure of the "little person" in the red rain gear in Don't Look Back serves as a trigger or key. As Wikipedia notes, the "spiraling vortex of coincidences, recurring themes and motifs (light on water, breaking glass, the colour red)...reaches a dramatic conclusion in an old bell tower. John [Baxter, the lead character, played by Donald Sutherland] confronts the mysterious figure in red, realizing too late that his visions were premonitions of a grisly end."

A less well-remembered American remake of The Wicker Man, with Nicolas Cage in the lead, was released in 2006 with the film's tale being set on a private island in Puget Sound, Washington. In this 2006 version, a little girl is seen running around in a red coat. As well, there is a pair of twins, old women, both of whom are blind.

In the feature film Flatliners, Kiefer Sutherland is tormented by a small childlike figure in a red hooded coat in an homage to his father's film.

The theme of the little red-clad Venetian figure is used in a dream sequence in the "Book Clubbin'" episode of television series "Absolutely Fabulous," Series 5.

The Irish feature film Intermission (starring Colm Meaney and Colin Farrell) references Don't Look Back's chase of a small figure in a red coat several times.

Don't Look Back's drowning scene is referenced by the 2005 film The Dark starring Sean Bean and Maria Bello in which their daughter drowns wearing a bright red sweater.

In the 2005 film Hostel, a figure fleetingly glimpsed wearing a red raincoat is pursued through narrow alleyways.

The end chase scene of Don't Look Back is referenced in the 2006 release of Casino Royale where James Bond is pursuing Vesper through Venice while she is wearing a red coat.
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Old 20-11-2009, 01:16 PM   #32
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Good find rebel. The concept of this mysterious, out-of-place female in red crops up in a lot of films, it seems.

Also the story of Little Red Riding Hood is an obvious possible link too.

And how can we leave out this one?


As if that creepy little garden gnome is ever gonna get in her pants!!!

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Old 20-11-2009, 01:24 PM   #33
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Cool, I'll see if I can track it down somewhere.

I don't know if you read the long post just above yours, about the encounter with the 'living' Sekhmet statue?

Whether or not it happened as described, if the author imagined the whole thing or if he made it all up, the encounter doesn't come across as the wonderful spiritual experience he claims to have had, or is trying to promote, to me at all.

The statue tells him to come closer and to kiss it. Then he becomes sensuously entwined with it while it tells him he'll see her in his dreams - waking and sleeping - from now on, that he has a portal to access her and should call on her because she can 'help him'.

That sounds like freaking demonic seduction and an invitation to be possessed by a cynical and ambivalent entity to me, yet he walks away with stars in his eyes like a lovestruck teenager.

From what I've read in the ancient texts compared to the modern day re-invention of Sekhmet as a loving Mother Goddess, I'm starting to suspect that there's a definite New Age agenda to get people's energy aligned with this figure by making shit up about her nature that doesn't seem to appear anywhere in the old writings.

Bast and Sekhmet are explicitly separate goddesses, and even if Sekhmet were really an aspect of Hathor, worshipping Sekhmet by praising some of the apparently positive qualities of Hathor seems like a very confused - and possibly dangerous - thing to be doing.
From what i recal of the sekhmet dream in the book it was to do with light appearing from the statue but dream communication for sure , i will have to get book from library now to re read it . from what i recal it was a blue light he saw must of been the smae temple and statue by the sounds of it .This alos reminds me of Akasha in the ann rice books and movie Queen of the damned . She was a living statue brought back to life and went on a bloodlust killing spree to reign supreme with lestat in place of her king ! The same themes being used her and of course ann rice vampire books blood links .
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Old 20-11-2009, 01:25 PM   #34
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Lady in red as well associates to the red dress program in the matrix movie ?

Yes, and the little girl in red in Schindler's List, maybe.

--------------------------------------------------------------------------------
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.................................................. ..........................................

The figure of the "little person" in the red rain gear in Don't Look Back serves as a trigger or key. As Wikipedia notes, the "spiraling vortex of coincidences, recurring themes and motifs (light on water, breaking glass, the colour red)...reaches a dramatic conclusion in an old bell tower. John [Baxter, the lead character, played by Donald Sutherland] confronts the mysterious figure in red, realizing too late that his visions were premonitions of a grisly end."

A less well-remembered American remake of The Wicker Man, with Nicolas Cage in the lead, was released in 2006 with the film's tale being set on a private island in Puget Sound, Washington. In this 2006 version, a little girl is seen running around in a red coat. As well, there is a pair of twins, old women, both of whom are blind.

In the feature film Flatliners, Kiefer Sutherland is tormented by a small childlike figure in a red hooded coat in an homage to his father's film.

The theme of the little red-clad Venetian figure is used in a dream sequence in the "Book Clubbin'" episode of television series "Absolutely Fabulous," Series 5.

The Irish feature film Intermission (starring Colm Meaney and Colin Farrell) references Don't Look Back's chase of a small figure in a red coat several times.

Don't Look Back's drowning scene is referenced by the 2005 film The Dark starring Sean Bean and Maria Bello in which their daughter drowns wearing a bright red sweater.

In the 2005 film Hostel, a figure fleetingly glimpsed wearing a red raincoat is pursued through narrow alleyways.

The end chase scene of Don't Look Back is referenced in the 2006 release of Casino Royale where James Bond is pursuing Vesper through Venice while she is wearing a red coat.
Yes ive seen all these films strangely even the bond one a firend lent me not my type of movie , but all linked to red coat .The wicker man movie particularly links to sacrifice fertility etc , so yes a good find linked together well done .
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Old 20-11-2009, 03:10 PM   #35
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OK.

So we've got Sekhmet's name appearing as a chief protective spell on the main gable overlooking the entrance to the burial chamber of the Pharoah Unas - the pyramid containing the earliest and oldest known spells in all of Ancient Egypt and the foundation upon which all of it's future religious beliefs were built (including The Book of the Dead).

Sekhmet 'conceived' the king, and a mysterious loincloth ornament which corresponds to the Greek aegis - most likely some kind of animalskin cloak with magical powers - is stated as having given birth to the king.

Skip forward several hundred years to the time of Amonhotep III, apparently the 12th Richest Man in All of History (according to Forbes Magazine), and the father of Akhenaten, whom Michael Tsarion and others assert is the historical figure upon which the Moses myth was built.

Amonhotep III was obsessed with Sekhmet more than any other Pharoah in all of Egyptian history by a long mile and commissioned more than 700 statues in her likeness to preside over his burial temple - the grandest in all of Ancient Egypt.

Additionally, as most people here are probably already aware, there's a strong circumstantial case to be made that Barak Obama could indeed be a clone or reincarnation of Amonhotep III's son, Akhenaten, revived and contrived back into power at this point in history to fulfil the goals of the Atonist cult that he primarily established, and which Michael Tsarion posits is the belief system underpinning the entire Illuminati cause.

We all know how clouded in mystery and deceit Obama's origins are by now - recently articles have been written, and posted here on how the motherfucker appears to have dozens of social security numbers all over America, and of course, no one even knows where the fuck he was born, let alone who his parents were or what training and sponsorship he underwent in his formative years.

Joining all those dots together in speculative (but not at all unreasonable, I think) fashion, let's take an imaginative leap of faith for a while and conceive of and then accept that Obama is a clone or reincarnation of Akhenaten.

If that were the case, maybe Sekhmet would then suddenly become a very important figure for us to study right now, considering what's going on with this bizarre Obama Administration at present, and also taking into account that Sekhmet is the Goddess of Pestilence, Plagues and Disease...

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Old 20-11-2009, 03:26 PM   #36
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never heard of her before, but sounds awfully familiar:

Quote:
And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: and upon her forehead was a name written "Mystery, Babylon the Great, The Mother of Harlots and Abominations of the Earth". And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus [imo victims of rituals]: and when I saw her, I wondered with great admiration. And the angel said unto me, Wherefore didst thou marvel? I will tell thee the mystery of the woman, and of the beast that carries her, which hath the seven heads and ten horns....and the woman which thou sawest is that great city, which reigneth over the kings of the earth... Revelations 17:4-18
by the way the encounter with the guy who kissed her was CREEEPY
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Old 20-11-2009, 03:35 PM   #37
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never heard of her before, but sounds awfully familiar:



by the way the encounter with the guy who kissed her was CREEEPY
We seem to get a really childish, cartoon presentation on what was important about Ancient Egyptian history from the mainstream media, don't we?

Funny about that.

What would you have done if Sekhmet's statue had told you to kiss it?

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Old 20-11-2009, 03:47 PM   #38
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And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: and upon her forehead was a name written "Mystery, Babylon the Great, The Mother of Harlots and Abominations of the Earth". And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus [imo victims of rituals]: and when I saw her, I wondered with great admiration. And the angel said unto me, Wherefore didst thou marvel? I will tell thee the mystery of the woman, and of the beast that carries her, which hath the seven heads and ten horns....and the woman which thou sawest is that great city, which reigneth over the kings of the earth... Revelations 17:4-18
BTW - maybe you've seen her recently and didn't quite realise it

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Old 20-11-2009, 03:50 PM   #39
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BTW - maybe you've seen her recently and didn't quite realise it
hmm, she was awfully furry.....doh!
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Old 20-11-2009, 04:04 PM   #40
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The Mystery of Smenkhkare

Smenkhkare

Smenkhkare (sometimes erroneously spelled Smenkhare or Smenkare and meaning Vigorous is the Soul of Ra) was an ephemeral Ancient Egyptian Pharaoh of the late Eighteenth Dynasty, of whom very little is known for certain. Traditionally he is seen as Akhenaten's co-regent and immediate successor and predecessor of Tutankhamun and is assumed to be a close, male relative of those two kings (either by blood or marriage).

More recent scholarly work has however cast serious doubts on this traditional view and most aspects of this individual's life and position (such as his precise relation to the Amarna royal family, the nature and importance of his reign and even his gender) are now open to question. Related to this is the ongoing debate about whether or not Akhenaten's co-regent and successor are in fact the same person.

Historical context

The scenes in the tombs of Meryre II and Huya (located in the Amarna Northern tombs necropolis) depicting the reception of foreign tribute are the last clear view we have of the Amarna period[3]. The events depicted are, in the tomb of Meryre II, dated to the second month of Akhenaten's regnal year 12 (in the tomb of Huya they are interestingly enough dated to year 12 of the Aten)[4] and show the last securely dated appearance of the royal family as a whole (that is: Akhenaten, his chief-queen Nefertiti together with their six daughters). These scenes are also the first dated occurrence of the latter name-forms of the Aten[5]. After this date the events at Amarna and their chronology become far less clear and it is only with the accession of Tutankhamun and the restoration early in this king's reign that matters become clearer again.

It is precisely in this shadowy late Amarna period that Akhenaten's co-regent and probable immediate successor comes to the fore. Akhenaten is generally assumed to have died in the late autumn of his 17th regnal year (after the bottling of wine in that year). Nefertiti disappears from view somewhat earlier (around regnal year 14), the reasons for this are at present still unclear and under debate (see below), and around the same time a new co-regent is first attested.

Names

Many of the questions and uncertainties surrounding Akhenaten's co-regent and successor revolve around the names attested for this individual (or individuals). There appear two closely similar yet distinct sets of names in the records available for the late Amarna period, these are:[6]

* Ankhkheprure+epithet Neferneferuaten+epithet (sometimes transliterated as Nefernefruaten)
* Ankhkheprure Smenkhkare Djeserkheperu

Both these sets are written in two cartouches. The epithets in the former name-set are desired of Neferkheprure/Waenre (i.e. Akhenaten). The first set of names also sometimes appears in feminine form as Ankhetkheprure Neferneferuaten and sometimes the epithet for the nomen is then replaced by beneficial to her husband. The former set of names appears to be earlier and the association of these names with Akhenaten seems more substantial than is the case for the latter set. Both names are associated with Meritaten as great royal wife[7]. Both sets of names are only poorly attested. To date, no objects other than a wine jar label, six royal seals bearing the names of Ankhkheprure Smenkhkare Djeserkheperu are known and only one named depiction of Smenkhkare along with Meritaten (in the tomb of Meryre II) are known. Some objects with the names of Ankhkheprure Neferneferuaten were reused in the burial of Tutankhamun (see below) and the female variant of these names appears on faience ring bezels.

Because of the presence of the feminine Ankhetkheperure Neferneferuaten the old view that there was only one, male, individual involved who first acted as Akhenaten's co-regent under the name Ankhkheperure Neferneferuaten and, after the death of Akhenaten, succeeded him under the name Ankhkheperure Smenkhkare is now generally discarded. However, several theories have been proposed to accommodate the presence of a woman:

To some the shared prenomen, function and queen indicate that there is only one person associated with these different names and therefore they seek to identify this individual as a female member of the royal family[8]. Others, based on the feminine variety of the Neferneferuaten name on the one hand and the identification of the body in KV55 as that of Smenkhkare (see below), see evidence for two distinct individuals, one female and the other male[9][10][11]. It must be noted however that there is disagreement as to which names belong to each individual (see below).

Identity

Those who see only evidence for one, female co-regent and successor of Akhenaten identify this individual with Nefertiti, drawing attention to the fact that Akhenaten's co-regent's name Neferneferuaten is also an epithet bestowed on Nefertiti earlier on in the Amarna period. They also point out that Nefertiti disappears from view around the same time that Akhenaten's co-regent first appears. And lastly they see further evidence for Nefertiti's elevation to kingly status in the Coregency Stela and several other, unfinished stelae, such as the Pase stela (depicting two figures wearing crowns who are nevertheless identified as a king and queen by the three uniscribed cartouches) and the Berlin 25574 stela (depicting Akhenaten and Nefertiti but with an extra, fourth, cartouche added to indicate two kings rather than a king and queen), and in a scene in Meryre II's tomb in which the figures of Akhenaten and Nefertiti are virtually superimposed over each other (which is interpreted as indicating the oneness of their co-rule). In short, a clear sequence of changing names and functions is suggested: from queen Nefertiti, who later becomes queen Neferneferuaten-Nefertiti, over co-regent Ankhkheprure Neferneferuaten to successor Ankhkheprure Smenkhkare Djeserkheperu[12].

On the other hand, those who identify both a female and male co-regent/successor assume Nefertiti predeceased her husband, based on two fragmentary shabti figures inscribed for her as queen (which might however be votive offerings parralled by similar figurines of Tiye found in the tomb of Amenhotep III and ushabti figures were normally placed in a tomb prior to its owner's death[13]) . As a consequence they identify the female Ankhetkheperure as either Meritaten, who is then assumed to have succeeded her deceased husband Smenkhkare[14][15], or as Akhenaten and Nefertiti's fourth daughter Neferneferuaten Tasherit, who is then seen as Akhenaten's co-regent before the sole rule of Smenkhkare[16]. The male Smenkhkare is seen by them as an older close relative of Tutankhamun and both are usually seen as either sons or sons-in-law of Akhenaten. As was already noted above, the variously attested names are distributed differently between these two individuals: some researchers distinguish between a female Ankhetkheperure Neferneferuaten and a male Ankhkheperure Smenkhkare/Neferneferuaten[17], while others distinguish between a female Ankhetkheperure/Ankhkheperure Neferneferuaten and a male Ankhkheperure Smenkhkare[18][19].

There is also a theory that Smenkhkare was Akhenaten's male lover as well as co-regent, due to images found where a male (believed to be Smenkhkare) was depicted beside Akhenaten in a very similar manner to how Nefertiti was shown in earlier records. Some believe that the figure is meant to be Nefertiti, or one of his daughters who took the place of her mother in the religious and political hierarchy due the necessity of both roles in Atenism (after the theoretical death of Nefertiti), but the manner in which the figure is dressed is not typical of how the females in Akhenaten's family were depicted, and is in fact far more similar to Akhenaten's own garments.

Length of reign

The sole regnal date (year 1) attested for Smenkhkare comes from a jar label for wine from the house of Smenkhkare, this date might however refer either to the reign of Smenkhkare or that of Tutankhamun[20]. The highest known date for Ankhkheprure Neferneferuaten, regnal year 3, is attested in a graffiti in the Theban tomb of Pairi (TT139)[21]. It is however unclear whether this refers to a sole rule or a co-regency.

It is further noted that Manetho's kinglists includes three 18th dynasty rulers named Akenkeres (which might be identified as a Greek rendering of Ankhkheprure), one of which is identified as a king's daughter who ruled for twelve years and a month. It has been pointed out that both the repetition of names and the attested length of reign might be due to corruptions[22] .

Finally it is also possible that the sole rule of Smenkhkare coincided with the beginning of Tutankhamun's reign[23].

Politics

Virtually nothing is known about the politics of Akhenaten's co-regent/successor. It might however be noted that the TT139 graffiti mentioned above makes reference to an active Amun-priesthood, practising in the temple of Ankhkheprure Neferneferuaten (possibly this individual's mortuary temple). This could indicate a first step towards an agreement between the Atenist and traditional religions which would be further consolidated during the reign of Tutankhamun[24].

Dakhamunzu


The Hittite annals known as The Deeds of Suppiluliuma informs us how an Egyptian queen named Dakhamunzu, the widow of her recently deceased husband Niphururiya and without sons, asks the Hittite king Suppiluliama to send her one of his own sons to be her husband and king of Egypt and how, after further negotiations, a Hittite prince (Zannanza) is send to Egypt, only to be murdered en route there[25]. The synchronisation of Hittite and Egyptian chronologies is unclear, but it is certain that the recounted episode must have happened in the late 18th Dynasty of Egypt (i.e. the late Amarna period and its immediate aftermath)[26]. The correct identification of the individuals involved in this episode could therefore possibly cast light on some of the questions surrounding Akhenaten's co-regent and successor.

It is now generally assumed that Dakhamunzu is a Hittite rendering of the Egyptian title ta hemet nesu - the king's wife - rather than the name of a queen. Unfortunately the name of this queen's husband, Niphururiya, might equally be a rendering of the prenomen of either Akhenaten (Neferkheprure) or Tutankhamun (Nebkheprure)[27]. Traditionally identification with the latter is prefered and consequentially Dakhamunzu is identified with his widow Ankhesenamun (later married to her servant Ay). Studies of the chronology of the event suggest however that Akhenaten would be a more likely candidate for Nibhururiya[28][29] in which case the account in the Hittite annals can be seen as either evidence for Nefertiti's continuing importance during the late-Amarna period (in the guise of Smenkhkare) or for Meritaten's role as Akhenaten's co-regent[30]. In the former case it is assumed that Tutankhamun supplanted Nefertiti on the throne after the murder of Zannanza, in the latter case it is believed that Meritaten was afterwards forced to marry her servant Smenkhkare although the possible identification of Zannanza as Smenkhkare is also suggested[31].
[edit] Burial

Evidence relating to the burial(s) of Akhenaten's co-regent(s) and possible successor(s) might be found in two different tombs, both located in the Valley of the Kings

As pointed out above, the reason some scholars distinguish between a male and female co-regent/successor of Akhenaten rests on the identification of the KV55 mummy as that of Smenkhkare. This identification is based on anatomical evidence indicating that the KV55 body is that of a normal male, serologically tested with tutankhamun, coming to the conclusion this mummy and tutankhamun are cosely related, either father and son or brothers. both mummies share the same rare blood type. the k.v.55 mummy has an estimated age of death around twenty to twenty five years, which is seen as being far too young for Akhenaten himself[32]. However, this identification remains problematic in view of the archaeological and inscriptional evidence in this tomb, both of which suggest the body interred in KV55 was that of Akhenaten[33][34].

Because of this the correctness of the age estimates has been repeatedly called into question[35][36][37][38]. An opinion which might find support in the latest analysis of the skeletal remains, indicating an age of death around 35 years (based on dentition) or even later (based on anthropological standards and new X-rays of the long bones)[39] [40]. it must be remembered, that it is very difficult dating a mummies age, and there are many differing opinions on the legitimacy of dating techniques. recent opinion of the mummies' identity being akhenaten is called into question. the mummy shows signs of not reaching full maturity, whereas other parts are said to have become fully mature. we may never be able to prove the age of this mummy at death, but it is probable that the ancient Egyptians who buried (and later desecrated) the body in KV55 believed this to be Akhenaten's[41].

Other than a fragmentary box bearing the names of Akhenaten, Meritaten and Ankhkheprure Neferneferuaten which was found by Howard Carter outside Tutkanhamen's tomb[42], several funerary items originally made for Neferneferuaten were found in this king's tomb. The most notable of these usurpations are the mummy bands and the canopic coffins[43]. It has also been noted that the features of the canopic stoppers and the second coffin do not resemble those of Tutkanhamen and it has been suggested that these too had originally been intended for Akhenaten's co-regent[44].

These objects indicate that this individual's original burial must have been substantial and impressive. More importantly however, it must be noted that all these items are purely traditional in nature. Further evidence for this might be seen in the TT139 graffiti mentioned above[45].


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