It’s sacred only in the sense that scientific investigation inevitably leads to an understanding of Man and Divinity and a unique knowledge of ‘Self.’
For example, the king’s diadem, with its serpent and vulture, symbolized the principles of life and form. The serpent represented the concept of the Source for all that exists and its manifestation as the cosmos; and the vulture, man’s spiritual immortality. Like a spirit, the vulture, soaring high in the sky, escapes this world to an existence beyond the bounds of Earth. Thus, the pharaoh’s diadem symbolized man’s kingship in a cosmic sense and the mystery of life’s essence, where the mystery is the reality of Cause and Effect. This mystery, which defines the human experience, is abstract but operates through the concrete court of three dimensions to create another abstraction—what we experience as consciousness and self-perception
This cosmic and anthropic ‘New Science’ understanding of Man puts forth the same principles that were built into the architecture of Luxor’s Temple of Amun-Mut-Khonsu.
The temple was not about the piety of a man, but our solar legacy as the philosophical ‘Divine Man’ portrayed in the great statues of Ramses – the birth of the sun. The temple was (and is) a form of communication, a lesson, and at its core its builders’ philosophy is carved in stone. Amun, Mut, and Khonsu were not ‘gods’ in the western religious sense, but principles that form and explain the nature of mankind as coherently as such an abstract subject can be explained.
The definition of Man and the story of the human experience were built into the temple architecture. Physically, the temple describes the structure of man, from the importance of the femur in the creation of blood cells, to the role of the pineal gland in the brain. Spiritually, the temple conveys life’s cosmic drama and Man’s spiritual immortality. Amun was the ‘Hidden One’ or the ‘Invisible One,’ best described today as the western concept of God, omnipotent and omnipresent, or, from a scientific viewpoint, the energy field that pervades all that exists. From the ancient Egyptian point of view, Amun was self-created, the creative power and source for all that exists. Mut, which means ‘mother,’ was Amun’s cosmic wife and the mother of ‘the Son’ Khonsu who represented the King.
However, the Kingship of Khonsu was not a physical kingship but refers to a cosmic (or spiritual) ruler made flesh through the
principles of nature.
Thus, Khonsu the King represents the essence of mankind – the archetypal ‘Man’ – and essence of all who ever lived, is alive now, and will live in the future. Khonsu, by being associated with Re and Thoth, represented the essence of life’s energy and Man’s wisdom and knowledge, where mankind is a consequence of the universe’s evolution culminating in the physical endowment of the universe’s self-perception. In myth, Khonsu was a lover of games, but was also the principle of healing, conception, and childbirth. Literally, he was ‘the king’s placenta
Just as the ancient Uroboros – the circular serpent biting its tail – symbolizes, through our modern scientific endeavors we have come full circle in understanding ourselves. No one knows for sure in what culture or at what time the Uroboros was first fashioned as a symbol, but it is one of mankind’s most ancient symbols.
Plato tells us in the Timaeus, since nothing outside of him existed, this serpent was self-sufficient. Movement was right for his spherical structure, so he was made to move in a circular manner. Thus, as a result of his own limitations, he revolves in a circle, and from this motion the universe was created. From Egypt’s Ptolemaic period, the artist who drew the Chrysopoeia (gold making) of Kleopatra wrote within the circular serpent: The All Is One. Thus, the serpent is the ancient Egyptian symbol depicting self-creation and the source of life: “It slays, weds, and impregnates itself,” writes Erich Neumann in The Origin and History of Consciousness; “it is man and woman, beginning and conceiving, devouring and giving birth, active and passive, above and below, at once.”
The Western world view has a long history of separating the physical from the conceptual; the scientific from the religious. So together, spirituality and technology appear contradictory. This contradiction, however, is based on a naïve and exoteric view of ‘spirit’ and ‘technology.
The most interesting question is, where does our ability to observe and perceive come from? According to physicists, it comes from an event called “state vector collapse” where all possible states of the system (the universe) collapse into a single observed state.
The desire to know inspires us, and the ever increasing level of knowledge and technology has allowed us to reach new depths in understanding our state of existence. But what might have inspired the ancient Egyptians? Schwaller de Lubicz believed that ancient Egypt was the legacy of a technical civilization for which there is no history or knowledge of in today’s world, a civilization for which spirit and technology were integrated into a worldview that embraced life’s mystery. For me, it is this technical and spiritual legacy that is so evident in the art and culture of ancient Egypt
The spiritual technology of ancient Egypt expounds upon the works of Schwaller de Lubicz and tells the untold story behind the birth of the Western religious tradition. The Egyptian Mysteries, as they were called, inspired greatness in men who instilled the concept of the Anthropocosm into our own sacred literature, and it is the same philosophical understanding of nature that is at the forefront of today’s “new science”; whether symbolized by the Uroboros or Schrödinger’s wave equation, human consciousness exists as a local manifestation of a self-perceiving universe.
The Chinese underwater city of Shi Cheng
Out of interest; Petra, Jordan – Is it an ancient Shiva Temple complex?