On Luxor’s Western Mountains the erosion factors play a very large part in the mountain appearance. The West Bank Mountain exhibits vertical faulting in the upper layers due to instability of the soft Esna shale located at the base of the mountain. Soft grey clay layers are porous and absorb the moisture during floods and rains which causes the water table to rise. When the clay layers absorb the water and the shale begins to swell, the hard layers above the lime stone fractures. Additional erosion caused by wind, sand, and torrential rains rounds and smoothes the vertical fractures giving the mountain a smooth yet uneven surface.
This chapter introduces the appearance of images, called simulacra seen mostly on Luxor’s western mountains. “Simulacrum” is the singular term, and “simulacra” is the plural term. Recognition of simulacra in mountain formations is universal; they are the theme of ancient and modern mythology, fairytales, and rhyme from all over the world. The word simulacrum refers to a representation or an image of something in the observed world. It is an image of something that is vaguely similar to or resembles something else. It occurs when an image is seen in nature that simulates the shape of something else other than what it actually is. The solar-boat appearing on the horizon is in fact an example of a simulacrum because the image looks like a boat but it is really the sun on the horizon. Other well-known examples of simulacra in nature are the temporary images found in clouds that the mind’s eye recognizes as something other than a cloud. The face of a man in the moon and the forms associated with star constellations are also examples of simulacra found in “nature”.
Observations of simulacra seen on the mountains of Luxor go beyond coincidence. The images of simulacra seen in the landscape appear in the form of the ancient Egyptian neteru. To review the term neteru, the word comes from the Egyptian term ntr, which translates to “deities” or “gods.” The term ntr is written out as neter for the masculine principal, neterit for the feminine principals, and neteru for the plural. The Egyptian neteru symbolize aspects of earthly and celestial phenomena, represent the behavior of animals, and represent tendencies of human character. The Egyptian neteru appear as supernatural beings, some human, others as animals, in the form of anamorphic beings, and even symbols. Most neteru have a combination of human, animal, and earthly associations that represent certain aspects of nature.
A startling new discovery of the ancient Egyptian gods in the form of mountain simulacra gives a deeper insight into the ancient belief practice. The simulacra in the scenery of western Luxor redefine the Egyptian neteru as physical images on mountain cliffs. The identification of the neteru in simulacra answers many of the Egyptian mysteries. In this case, the simulacra rock images are directly related to ancient Egyptian mythology, the ancient Egyptian neteru, and the pharaohs and queens of ancient Egypt.
Egypt is literally a land of the gods when the forms of neteru in the mountain landscape are considered. The images are made by shadows and illuminations interacting with the erosion patterns on the mountain cliffs. The landscape challenges one to participate with nature in an ocular event that belongs to the mind’s eye. The rock images of the simulacra as well as the solar-boat image on the contours of the horizons are the keys to understanding the ancient spiritual and philosophical practice. These images in nature were perhaps the original motivations for the belief and the stimuli for particular mythologies.
The sands are clearing away from the mountain bedrock of western Luxor, revealing the magic of vision that was once ancient Egypt. The reason for the use of the word clearing is that by studying the oldest available photographs of the mountains, the images of simulacra still appear. The mountain is seen in the same form as it appears today but with the exception that there is less sand deposited on the limestone surface today than is seen in nineteenth-century photographs. The neteru in simulacra are in need of recognition, identification, and modern interpretation. The visual perspective is simple for those with active imaginations, yet they are not solely imaginary; they can be photographed and identified as specific deities. Open hearts and open minds see well the possibilities that are bound to this hallowed land.
There is one point to be made about the similarities between the simulacra images and the fossils of the mountain. Although very different from each other, they do share commonalities. Both are stone images found in the mountains and both take the form of something familiar in the living world. The fossils are obviously preserved examples of something that was once living in a specific time and place. The simulacra, on the other hand, are not traditionally considered living entities by most people, yet they appear to be somewhat lifelike. The simulacra interact and respond to the light of the day, taking on a life of their own that corresponds to changing shadows and illuminations. Some are born at sunrise, and others pop in and out of view throughout the day as life-giving sunbeams cause them to manifest, transforming them as the sun arches through the hours of the day. The emergence of simulacra conjures a need for reasonable explanations as to why these anomalies exist in the underworld (layers of rock below the horizon). Simulacra create an alternative interpretation of existence that in my opinion the ancient Egyptian mind placed somewhere between life and the afterlife. In my opinion, the phenomenon of Egyptian neteru in simulacra is what the ancient Egyptians were referring to when they referred to certain underworld beings and what the ancient Egyptians believed was an existence if desired in the hereafter.
Without the light of day, oil lamps and torches light would have lit the temples by night, casting a dim yellow glow on the mountain terrain. By changing light properties totally different images of the simulacra appear. The constant state of changing light creates the magic of continuous transformations. The mountain chain is a powerful entity that manifests hundreds of lifelike images. Watching the simulacra change is similar to watching a large movie screen with a hundred different individual shows all playing at once. The simulacra seem to exist in a state of limbo—not quite alive, held captive and earthbound, yet displaying mannerisms and expressions as the shadows change. It is as if another dimension of beings exists who peer from their world into the earth’s plane for brief moments of time.
The attraction and interaction between the simulacrum and the human mind can spin a myriad of possible thoughts. A unification of the human mind and the images of these earth beings present the notion that these beings are entities in and of themselves. Light from the sun, the contours in the earth, and the mind’s eye work together to create a visual experience that is magic, when the mind is magical. Challenging us to be magical and lighthearted in the world is perhaps the most trying task the simulacra have in teaching us about ourselves. The mountain indeed challenges one’s vision to be good natured, to see only the positive and disregard the images that might conjure fear. It is a test of the inner-self, similar to the Rorschach Ink Blot Test, which uses abstract pictures to truly capture unconscious thoughts. The appearances of the simulacra are like miracles that mirror one’s own feelings of either beauty or fear, yet many are clear enough to identify as the ancient Egyptian neteru.
As king, a pharaoh was understood to bring the message of the neteru to the priesthood and the people. It makes sense that a pharaoh’s observation of the sun’s cosmic journey as well as the pharaonic interpretation of the simulacra neteru established the beliefs practices for the society. Pharaoh’s job was to mediate space and time and to interpret the supernatural in order to create a higher consciousness for himself, the priesthood, and the people. The mountainous area of western Luxor, where the simulacra are seen, is clearly an ancient city of temples. In ancient times the people who had access to the western side of Thebes were the royal families, priests, artisans, assistants, and visiting dignitaries, and their families. The simulacra phenomenon most likely played an enormous role in the initiation of the priesthood, whose challenge it was to share a similar vision with the pharaoh. Perhaps the truth was even kept secret from the priesthood and the goal although unknown to them in the search for personal enlightenment, was to find the images for them-selves.
It is interesting that the records of Egypt present the neteru as hearing, seeing, and interacting with the living world. This is not too surprising since the neteru are physically present in simulacra form. Pleasing the gods through good behavior and serving the gods in the temples were responsibilities of the priesthood, and this is one particular place were the priests and royalty served for thousands of years. The gods on the mountain then, as it seems the ancient Egyptians interpreted them, were of the living world and existed in a higher, immortal state of being. The simulacra that face the temples in the east from the high cliffs of the Western Mountain oversaw sunrise and the endeavors of the people. The high mountain perspective also allowed the neteru of simulacra to observe the sun’s ecliptic cycles on the eastern horizon. Text from the Book of the Dead, often speaks for the neteru and relates that “they, (the neteru), are glad in its (the sun’s) rising,” as the watchers of time immortal. The lush and fertile fields were worked in the presence of the gods, and temples were built and decorated to honor and acknowledge the simulacra presence in some cases. The rising sun brought a golden glow of morning light to the cliffs of the Western Mountain, and hence, the neteru were reborn daily. The mountain simulacra were reflections of the light of Re, and therefore they were godlike and worked as a channel between the pharaoh and the sun god.
Ancient Thebes was political, theological, and scientific in nature, a sort of pre-Alexandrian society. The schools of the artisans and scribes recorded the theological knowledge on tomb walls and papyrus scrolls. Artisans forged large and small statues in forms of the simulacra gods while the architects and builders measured and constructed temples according to plan …in order to unite heaven and earth. The burial practices on the other hand, were a mixture of symbolic images and processional movement with intentions of uniting the deceased with the sun god and the hereafter. One part of ritual practice was that of making and placing ushabtis (small funerary figurines) in mummy wrappings and tombs. The ushabtis were usually in the form of the neteru who served as guardians against the enemies in the Duat. These small images of the gods ensured rebirth by providing proof that the simulacra gods were recognized and that the names of the deities were known while passing the gates of the underworld. The ushabtis, then, were representations of the simulacra and aided in recognition of certain mountain forms so that personal visions could be shared. In my opinion, the schools of the priesthood taught the phenomenon of the celestial heaven as well as the apparitions of the earthly plane.
The simulacra that overlook the beautiful Nile Valley have endured the test of time. Their presence on the mountain after all this time makes them witnesses to all the glory and defeat that has come to pass in this location. The revival of the ancient Egyptian monuments brings with it a renaissance and appreciation for heaven and earth. The bigger picture and true conceptions of ancient Egypt will redefine its place in the world view of history. The landscape and images of simulacra provide a new perspective and fresh understanding where the creative dream-world inside the mind takes flight. Many Egyptian gods have been identified in the landscape of the West Bank Mountain. The introduction of rock simulacra is presented by identifying specific neteru who work together in mythology and are located within the same mountain space.
The Hall of Ma’at
A new theory regarding the simulacra reaches beyond individual simulacra images seen in cliffs. The new theory actually plays into a theory that is based in theological practices of the time in a place called the Hall of Ma’at. The theory begins with an observation I made in March 2000. The day went something like this:
I had spent the day touring the West Bank, photographing and searching for simulacra mountain images. I was specifically looking for the deity Ma’at because she is my favorite deity, yet she eluded my quest. After the day of touring, our group went to the East Bank hotel for showers and rest and returned to the West Bank that night for tea and music. The rooftop restaurant had a beautiful view of Hatshepsut’s Temple at that time and the Deir el Bahari mountain cliffs. I could not believe how the day’s simulacra were no longer seen and how instead, by the artificial lighting of the night, new and beautiful images of simulacra had appeared everywhere. Standing out more than any other image on the mountain was the lovely image of the goddess Ma’at towering above Hatshepsut's Temple. I stood there alone, amazed, just looking at her. I was nearly in shock, trembling yet so thankful and amazed to actually find her after I had traveled so far. I had no idea how profound her image would be. It is the huge centerpiece in a myriad of forms above the temple. A million thoughts raced through my head at the sight of her. My first thought was that if Ma’at resides here, above Hatshepsut’s temple, then maybe Deir el Bahari is the Hall of Ma’at. According to the Book of the Dead, Ma’at resides in the Hall of Ma’at. I looked to the group to find someone to share the experience with and asked my fellow travelers if they saw it too. The image of Ma’at they could indeed see and then people started pointing out other images that even I had not noticed.
Fig. 88 The cliffs of Deir el Bahari
I felt excited that I had found Ma’at and I wondered how long she had waited for someone to notice her. It was a very heartfelt, personal moment for me as I connected with the mountain in the night. I imagined what Deir el Bahari must have looked like in ancient times, realizing the magnitude and true nature that ancient Egypt still has to share with us. Finding Ma’at, however, was not the end of my journey, and because the surrounding environment indicated that this could really be the Hall of Ma’at, I set out to research the mountain and look for the other neteru that played a role in the judgment ceremony. It took a year or so, but eventually the judgment ennead became apparent. It has taken me many years to learn to correctly record my findings and to get the photographs I needed in order to share the vision. Feeling quite confident in the research I am pleased to introduce the Hall of Ma’at at Deir el Bahari.
Fig. 89 Cliffs above Hatshepsut’s Temple
Fig. 90 Hatshepsut’s Temple and the hillside of Deir el Bahari at night (Photo by George B. Johnson.)
The judgment ceremony of the deceased took place in a location called the “Hall of Ma’at.” The Hall of Ma'at was also on occasion called the “Hall of Two Truths” and is acknowledged in the records as being part of the Duat. Here the deceased were judged based on their actions while alive. Prior to judgment, confessions were made by the deceased in the presence of Osiris and the judgment assessors, confessions that cleared the conscience before the heart was weighed on the scales of Ma’at. In other words the heart was measured by weight on the scales of justice, and the feather of Ma’at (part of her crown) was used for the counterbalance. The heart had to be as light as the feather in order to balance the scales. After the weighing, if the heart had passed the trial, Osiris granted rebirth. The physical body in the sarcophagus was then taken into the appropriate tomb in the underworld, while the ba and ka (united as the akh) merged with the sun disk on the solar-boat to enter the ethereal world of eternity. The ka, remember, was granted free will to return to the earth by day if desired, and perhaps this is where the simulacra work their way into the belief as returned images of those in the hereafter.
Fig. 91 The funerary vessel showing the separation of body and soul as the chest is taken below the horizon, and the boat above the horizon (Photo by Betty Bennett.)
The judges are depicted sitting with bent knees along the top border of the judgment papyrus (fig.92). Seven assessors present the ankh and seven do not, which reflects a balance in the scale. One interpretation of this can be that what is given is then taken away, leaving no burden on the scales. These assessors are the judges, and all other neteru that take part in the judgment perform the ceremony and represent various aspects of judgment. There are several different renditions of the judgment papyrus, but the gods who perform the judgment remain the same in all versions.
Fig. 92 Replica of the Hunefer Papyrus judgment scene. Original housed in the British Museum.
In order to present the theory for the Hall of Ma’at, the main characters that perform the judgment are defined, and each description is followed by an image of the respective simulacrum as seen at Deir el Bahari. First, however, I will cover the main gist of the judgment myth and briefly list the characters in the judgment papyrus from left to right.
The first judgment character on the left side of the judgment scene is the black jackal, Anubis. Anubis holds the arm of and accompanies the deceased into the Hall of Ma’at. Anubis is responsible for protecting the souls of the dead throughout the entire course of the burial process. From the beginning Anubis oversees the mummification and performs the Opening of the Mouth ceremony, a ceremony that takes place prior to judgment and allows the mummy to take a breath, enabling speech for the confessions. Specifically related to the judgment papyrus, Anubis provides security escort, examines the indicator, and announces the findings. Anubis holds the title of Guardian of Re-steau, Re-steau referring specifically to the doorway of the Duat in the west. As protector of Re-steau, Anubis was often depicted sitting on a temple roof above the door of the Duat.
The second character in the judgment papyrus is Ammit, the devourer. Ammit is a female monster of sorts, and her image is that of three different animals; she has the head of a crocodile, the torso of a lion, and the hindquarters of a hippopotamus. She is seated beside the scales of justice ready to devour the heart if it should be found lacking. Should she devour the heart, the soul no longer exists. She is looking back over her shoulder toward Osiris as if waiting for the final call. It is pertinent to realize that the neterit Ammit only appears in the mythology when relating to the judgment ceremony and the Hall of Ma’at.
A third neter of judgment is Thoth, who stands by the scales in the form of the ibis-headed man-god. His duty in the judgment ceremony is to oversee the weight measurement and make a record of the findings as court scribe.
The fourth neter of judgment is Horus in the form of a hawk-headed man-god who not only presents the deceased to his father, Osiris, but who also mediates between the judges and the soul of the deceased. Horus as the deity of the rising sun and rebirth stands with the deceased to justify a successful rising at dawn.
Ma'at is the goddess pictured at the top of the scale. She presides over the weighing of the heart, playing the role of mediator. Her crown is a feather held on by a cord that wraps around her head. The crown of Ma’at is called the “feather of truth” because the feather of her crown is used as the counterbalance on the scales of justice. During the judgment ceremony, the heart of the deceased must not weigh more or less than the feather and is always depicted in the art as balancing the scale. Ma’at is highly revered, with several connotations associated with her name. She is called “Lady of Heaven” and “Queen of Earth.” She is referred to as “the faithful one to the ways of justice.” She is the personification of truth, balance, cosmic order, and measure. In the judgment hall of the Duat, Ma'at presides over the weighing of the heart as the divine incarnation of justice as the souls of the dead make their confessions. She is the straightforward mediator at the center of the balance and ironically, not a judge at all. She personifies dynamics, as every action has a reaction, every cause an effect. Mythology defines her as not born of any god and names her as having been present in the boat of Re when the sun god sailed for the first time. Ma’at is the one who defines and measures the course of the solar-boat by using the cord of her crown to measure. Ma'at rules everything cosmic: time, seasons, and the setting and rising of the sun. She is known as the daughter and eye of Re and often named in the records as “Ma'at the Beautiful.”
Osiris is also known as Ausar, a name that means "he who is seen." Osiris is known in the text as “Lord of the West,” “Lord of the Duat,” and “Neter of the Underworld and Resurrection.” The myth of Osiris claims he was born of Thebes (modern Luxor). Therefore Thebes is appropriately the earliest cult center for the judgment practice. His role in the judgment is to make the final call for either rebirth or annihilation. Osiris is seen seated in the throne with his arms in the judgment position, holding the crook and flail with fists opposing each other and wearing the Atef Crown, (the white crown flanked by two feather plumes). His body is that of a mummy representing his physical likeness. The likeness is symbolic of spirit enclosed in matter that remains intact even in the hereafter. Behind Osiris are the neterit Isis (his queen) and Nephthys (sister of Isis) who assist and support Osiris in his role.
At the feet of Osiris, the four sons of Horus appear to sit upon the lotus flower, which represents rebirth and creation. The four sons of Horus customarily symbolize the four pillars that support the Duat; they are traditionally thought to represent the four cardinal directions, but may also represent the ecliptic four extremes on the horizon.
Now that the word simulacrum has been defined, the judgment mythology and judgment gods described, a better conception for the judgment deities in simulacra can be realized.
Anubis
Anubis is the first judgment deity to be shown in simulacrum form. According to the records, the location of Anubis is “on the mountain,” which leads us in this case to take the information in the text literally by supporting the appearance of the dog image that can be seen on the mountain above Hatshepsut’s Temple. Depictions of Anubis at times show him on the roof of a temple guarding the doorway below, a doorway that leads to the underworld. The simulacrum of Anubis is similar in that it is located on the mountain directly over Hatshepsut’s Temple, places him above the opening in the back of the mountain, and in alignment with the causeway. Since Anubis is the guardian of Re-steau, (the gate into the underworld), and because he is seen over the consecutive doorways that lead to the third tier and the back of the mountain, the causeway of Hatshepsut’s Temple may have, at one time, tunneled into the mountain, a topic discussed in the next chapter. Anubis proudly poses in dog form on the mountain over the temple roof and is in-sync with the images of Anubis in art.
Fig. 93 Anubis tomb art on the roof of a temple, compare to fig. 94 to find the simulacra.
A second judgment deity, the devouring deity Ammit is located in the same place as Anubis, sharing the same portion of the hillside. The term shape-shifting is used to express the change from one deity to another when more than one image is seen in the same location. Imagination and the mind’s eye play a big part in the shape-shifting phenomenon, as does correct shadowing, and viewing location. It is apparent also that the time of day adds to the magic of the transformation from one deity to another. The Ammit simulacrum is seen both in the day and by the nightlights of the temple at certain times. In simulacrum form, Ammit looks back over her shoulder in the direction of the Osiris simulacrum, just as the judgment papyrus depicts her.
Fig. 94 Anubis simulacrum Ammit
Fig. 95 Ammit art, Ammit simulacrum
Thoth
The simulacrum of Thoth as the ibis is seen in the lower layers of the hillside just below and to the left of Ammit and Anubis. His image is smaller than the other judgment simulacra and seen only at particular times of the day, but the beak, head and draping headscarf of Thoth are clearly seen.
Fig. 96 From left: Thoth art, Thoth simulacrum, Ammit simulacra and art.
Horus
In the judgment papyrus, Horus is seen as a man with a falcon head. The image of Horus in simulacrum appears in this same manner and is best seen while standing in the Hathor Chapel of Hatshepsut’s Temple. The Horus simulacrum is known to shape-shifts into two other images known to the neter; Horus the bird, and Horus the man who avenges his father’s death. The two other forms of Horus are covered in the next chapter. The complicated manner in which the three forms of Horus appear actually works to confirm the simulacra phenomenon, due to the unlikely coincidence of all three forms of Horus being in this one location.
Ma’at
The simulacrum of Ma’at can be best observed at night although occasionally I have been able to make out her outline in the day. She is seen seated in a bent-knee position and wearing the feather of truth as her crown. Her image is huge on the hillside, towering over the mortuary temple below her. The modern lighting provides the means for which she is seen and also simulates oil lamps, torches, and fires that would have lit the temple in ancient times.
Fig. 97a Horus in art (left), Horus simulacrum (right).
Fig. 98 Examples of Ma’at in relief and Ma’at in simulacrum (Photo by George B. Johnson.)
Osiris
On the mountain to the left of all three Deir el Bahari temples is seen the simulacrum of Osiris. In order to see him, the shadowing from the sun must be appropriate. The sun throws the appropriate shadows on the mountain in the early morning and late evening, making certain times of the day best for observations. If there is too much sunlight, the image of the judgment Osiris does not appear at all. The simulacrum of Osiris is very interesting in that its appearance reminds one of the Osiris myths and the many battles between Osiris, the son of good, and his brother, Seth, the son of evil.
Fig. 99 Osiris simulacrum (Photo by Vanda Osmon.)
Fig. 100 Osiris art depictions, in his judgment posture, seated on the throne. Osiris simulacrum (center) (Photo by Vanda Osmon.)
The Enemies
Fig. 101 The enemies of Osiris in sculpture (bottom right) and simulacra.
Other characters who are not part of the judgment ennead but who are linked to the Hall of Ma’at are also mentioned at this time. They are the faces of the enemies of Osiris who were punished after an unfavorable judgment. Wavy haired, bearded men are seen in sculpture and relief-art often portrayed with their ankles and wrists bound together. At other times only the enemies’ heads are portrayed, the result of decapitation. The temple of Medinet Habu provides one example of the enemies’ heads resting on a slab and seen in fig. 101 (lower right). The simulacra of the enemies are identifiable in the mountain cliffs, centered and right of Ma’at.
The following translated text is from the Emerald Tablets of Thoth and beautifully describes the simulacra phenomenon appearing at night.
Then grew in the great space before me, flame after flame, from the veil of the night.
Uncounted millions leaped they before me, some flaming forth as flowers of fire.
Others there were that shed a dim radiance, flowing but faintly from out of the night.
Some there were that faded swiftly; others that grew from a small spark of light.
Each surrounded by its dim veil of darkness, yet flaming with light that could never be quenched.
Coming and going like fireflies in springtime, filled they with space with Light and with Life.
Then spoke a voice, mighty and solemn, saying: "These are lights that are souls among men,
growing and fading, existing forever, changing yet living, through death into life.
When they have bloomed into flower, reached the zenith of growth in their life,
swiftly then send I my veil of darkness, shrouding and changing to new forms of life.
A Reasonable Conclusion
Beyond the presence of the judgment deities in simulacra at Deir el Bahari, other evidence can be provided to establish this location as the Hall of Ma'at. Most significant is the correlation between the simulacra, the mortuary temples, and the Valley of the Kings. From the top of the mountain, the thin mountain wall that supports the simulacra and also separates the mortuary temple from the Valley of the Kings reveals the short distance between the two locations. The narrow ridge that separates Deir el Bahari from the Valley of the Kings illustrates how easy it is to travel from one place to the other by burrowing a tunnel through the mountain. The use of a tunnel in this location is more logical than carrying the shrine and burial objects from Deir el Bahari around the base of the mountain and more practical than lifting them over the mountain.
A local Egyptian legend supports the theory in its claims that a tunnel did at one time exist at Deir el Bahari, which exited into the Valley of the Kings. Several caved-in tunnels along the back side of the mountain cove burrow into the mountain in the direction of the Valley of the Kings. One of these tunnels is located at the back of Hatshepsut’s Temple’s third tier. Another is associated with the first temple built there by Mentuhotep II. Hatshepsut’s Temple is one reasonable place to consider for the location of the legendary tunnel entrance, the most obvious reason being that after the judgment ceremony on the third tier the sarcophagus and funerary objects were taken straight to the valley through the tunnel.
Fig. 102 Deir el Bahari cliff wall that separates Hatshepsut’s Temple from the Valley of the Kings.
It is reasonable to suggest that the judgment ceremony took place here at Deir el Bahari and that it occurred at night after Re passed below the horizon in the solar-boat form. The Ma'at simulacrum appears at night above Hatshepsut's Temple and is illuminated by modern spotlights. Evidence of a light source being used in ancient times is seen on the pillar remains of the Amon-Re Chapel. Holes found on the pillars of the gateway were used to hold torches, and torch damage from the Roman period still exists on the pillars. Earlier dynasties would have used oil lamps for this purpose, and perhaps the Romans continued the illumination practice with torches. It is certainly evident from temple relief depictions that fire was one offering given to the gods. There is however some substantial evidence that a sun temple located on the third tier may have also served for illumination; this open-air chapel is called the “Temple of the Sun”, and even the name of this temple reflects the possibility that a second light source was used to view the godly images. The location of the Sun Temple on the north wall is synonymous with the location of the modern floodlights that so beautifully enhance the simulacrum of Ma'at today. So little is known about this temple and today it is kept under lock and key.
Fig. 103 Entrance to the mountain (Photo by George B. Johnson.)
After the judgment ceremony, and in my opinion, the body of the deceased would have been taken through the mountain and delivered to the Valley of the Kings for burial. The procession would enter the underworld, travel through the mountain, and exit the mountain in the burial valley where a royal tomb had been carefully constructed for this very moment. Eternal comfort and protection in the surrounding tomb with images of painted neteru, reflections of myths and the books of recorded knowledge provided the map for the hereafter and the journey of eternity.
The simulacra gods on the cliffs of Deir el Bahari are watchful of the gate to the underworld (the tunneled mountain pass) in the deities’ domain of Deir el Bahari. The simulacra-enhanced amphitheater of Deir el Bahari faces east with a clear view of the Nile, the eastern temples, and most of the eastern ecliptic range. The northern most view of the eastern horizon is blocked by the curve of the hill, but is visible from the top of the mountain. The rebirth of the sun was revered each morning by the priesthood as the simulacra on the mountain were simultaneously reborn. The life-giving rays of the sun began the illumination and shadowing process as a myriad of images graced the mountain terrain. The West Bank Mountain of Luxor was revered as the holiest of holy places in the New Kingdom’s capital city, and I personally believe it was due to the images of simulacra.
Not living, but still of this world, this mountain expresses itself in images known only as ancient gods and Egyptian ancestors. Held within this mountain are the recorded interpretations of the ancient ones, interpretations of this sacred mountain, and symbolic interpretations of the sun and its motion from one horizon to the other. These are the records of time and the patterns of the celestial spheres that are defined as seasons in previouse chapters. I therefore see no reason why the Valley of the Kings which connects to the Hall of Maat through the now caved in tunnel could not be the fabeled Hall of Records. The mummified remains of ancient royalty were originally sealed in stone as if human fossils had been sealed in time along with the record of time. The records that have been so skillfully preserved by the ancient Egyptians and the dedication of researchers to translate and define these records has enabled the seeker to see Egypt with a new and profound vision that will endure to intrigue generations to come.
The Scale of Cosmic Order
Now that the judgment simulacra have been introduced, two topics already covered need to be reconsidered to show how the simulacra fit into both sun observations and the creation myth.
For one, the view that these deities have of the east from Deir el Bahari places them (specifically Ma’at) in an ideal position for viewing the sun on the eastern horizon. Consider now the attributes given to the goddess Ma’at. She is the goddess at the center of the scales, mediator for balance and cosmic order, and the eye for her father Re (the sun). Ma’at is observing the sun’s journey at the center of the balance. Her line of sight justifies the cosmic order of the sun cycles. The Emerald Tablets of Thoth describes the seen as follows:
Not of this world they,
yet akin to it,
Elder Brothers they,
of the children of men.
Judging and weighing,
they with their wisdom,
watching the progress
of Light among men.
There before them was I led by the Dweller,
watched him blend with one from above.
Another point to consider is one of the versions of creation that describes how the neteru are created and supports the simulacra apparitions on the mountain. In the New Kingdom mythology, Nut’s heavenly body covers Geb. In this version the waters of the abyss recede and the mountain of creation ascends to heaven, again like an island in an endless abyss. The sky (Nut) is no longer alone, for Geb (the earth) now endows the sun with his presence. The two never touch, nevertheless heaven sends nourishing rays of sunlight to the earth, and the earth rises to heaven in appreciation and attraction. The attraction is a frozen state of desire. According to the myth it is this desire and attraction of heaven and earth that creates the deities on the primordial mound. Certain gods, Ma’at being one of them, are said to be self-created. The masculine properties of earth and feminine properties of the sky are polarities that create the atmosphere, and the atmosphere plays a huge part in weathering the mountain by rains and flooding. The moisture whether it is from rains, floods, or the rising water table causes the earth (specifically as mentioned the Esna shale) to swell, which splits the earth forming fractures that are then further weathered by the atmosphere. The interplay between the attraction and separation of heaven and earth has literally caused the simulacra images to self-create. This interaction of heaven and earth is literally what forms and creates the simulacra (or neteru) on the mountains, causing them to manifest self as defined in myth and as it occurs in reality.
Excerpt from THE NATURE OF REALITY AND DIVINE PRINCIPLES
