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May 20 2014

04:53

September 30 2012

05:18
7758 793d

Statua di Ptah (by Gibba Foto)

Reposted bysiriusminervaAncientEgyptian

June 10 2012

06:05
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Statue of Ptah, dedicated by Amenhotep III - 18th Dynasty, New Kingdom

Turin Egyptian Museum

Reposted bybiri biri
06:02
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Chapter IX.
PTAH, THE DIVINE LOGOS.

This interesting deity is considered one of the great primeval gods of Egypt, and from earliest times to the end of the nation his distinctive characteristics appear to have suffered no change. So great was the reverence paid to him throughout the land that the whole country became known as Het-ka-Ptah, “the house of the soul of Ptah,” which by the Greeks was pronounced Aigyptos, and by us “Egypt,” though originally it was only the name of the city of Memphis, the most ancient capital of the nation.

With singular unanimity all the Egyptologists agree that the name of Ptah, (by the Greeks written “Pthah”), can be recognized, letter for letter, in the well known Hebrew verb patach, “to open,” “to begin,” and derivatively, “to carve, to engrave, to make a sculpture.” Each of these meanings thoroughly supports our interpretation of the significance of Ptah, who stands for the idea of Revelation, the Divine Word, the creative Logos which was in the beginning with God. By it were all things made that were made; by it the Infinite created, [in Hebrew bara, “carved”], all things out of His own Divine substance, and by it He opens His Infinity to His human creatures in representative types or letters which in ancient times were carved upon tablets of stone. Ptah is generally represented as a man clothed in a close-fitting garment or mummy shroud, with face and hands bare, while on his head is a skull-cap without any crown or other emblematic ornaments. He is sometimes seen standing, sometimes sitting on an ornamental chair or throne, holding in one hand a roll of papyrus, and in the other a writer’s pen ;* but whether standing or sitting there is always beneath him a kind of pedestal, the name of which is Maat, (= truth), “shaped like a cubit rod which is the sign for truth and just measurement.” (Wiedemann, p. 131.) When standing he holds in his two hands the usual staff, combined with the ankh and a miniature djed-pillar, and at his back there is again the djed-pillar with its three degrees, while from the back of his neck there extends into the highest degree of the djed-pillar the menat, formed like a pendant bell-shaped flower.

Every one of these emblems is full of significance, representing various truths of the Doctrine concerning the Word.

1). The close-fitting garment or mummy shroud represents the letter of the Word, in itself dead, while the naked face and hands represent the internal sense which in places is open even in the letter. The Assyrians and Babylonians in the same way represented the letter of the Word by their god Nebo.** The bald head with the skull-cap again represents the letter of the Word in which, as a whole, spiritual truths are not apparent, (compare the “bald head” of Elisha, who represents the letter of the Word).

2). The papyrus-roll and the writer’s pen speak for themselves as signs of the written Word. The pedestal of “truth” also, is the self-evident emblem of the letter of the Word as the basis of the internal senses. The staff represents the Word as the “firmament” which confirms and supports the interior truth, while the ankh in his hands is the universal emblem of spiritual life and holiness. Thus we find that the Ancient Egyptians were well acquainted with the “New” Church Doctrine that the letter of the Word is the basis, firmament and containant of the internal sense, and that in it the Divine Truth is in its fulness, in its holiness and in its power.

3. The djed-pillar behind Ptah speaks volumes concerning that internal sense behind the letter which is contained in a series of three successive degrees, while the menat, — the emblem of conjunction and delight, — is a symbol of the affection and delight which is extended especially to those who enter into the inmost sense of the Word, — the sense which treats of uses, of goods, of love to the neighbor and to the Lord, and which like a flower exhales the fragrant delight of perception.

Porphyry states that Ptah came forth from an egg which issued from the mouth of Khnum, and the monuments describe him as “the Lord of Truth;” “the very great god who came into being in the earliest time;” “the Father of the mighty fathers; Father of the beginning; he who created the sun-egg and the moon-egg;” he from whose eye the gods came forth, while men came forth from his mouth. Ptah is recognized as the primeval creative power; not such as the sun, for he is never represented with any solar emblems, “but as an abstract idea of intellectual power.” A bas-relief in the island of Philae shows him turning upon a potter’s wheel a lump of clay, or, as others say, a chaos-egg, from which all things were made, just as Khnum, Amon and Ra are represented in the same creative act. But their distinctive emblems show that the One Creator is thus variously represented as to His distinct essentials, just as a Newchurchman might, without contradicting himself, ascribe the act of Creation successively to the Divine Love itself, to the Divine Wisdom, to the spiritual Sun, and to the Word.

Regarded originally as the creative Logos, Ptah became gradually invested with the character of a demiurge and master architect and designer of everything created, as the chief god of all handicraft, the great artificer in metals, as smelter, caster, sculptor and engraver of all forms in the universe. By the Greeks he was identified with Hephaistos or Vulcan, (= Tubal-cain, the “loud-sounding smith,” the “instructor of every artificer in brass and iron”), but Hephaistos was a very subordinate deity as compared with Ptah, and Wiedemann shows that “Ptah has no essential connection whatever with Hephaistos,” (R. A. E., p. 137), unless it be, as he suggests, that the name of Hephaistos was originally derived from Ptah.

Many of the Egyptologists recognize the close relation of Ptah with the Ibis-headed god Thoth. The attributes and associations of the two are, indeed, very similar. Ptah, like Thoth, figures as the scribe of the gods, and like him is called “Lord of maat,” i. e., of “truth.” The goddess Maat, the wife of Thoth, is also said to be the wife of Ptah, and Dr. Budge comes very close to the true interpretation of the two deities when he states that “Thoth was in reality only a personification of the intelligence of Ptah.” (G. E. i:516.) For though both of them represent the Word, Thoth more particularly stands for the understanding of the Word in its interior sense, as is evident from his emblems: the Ibis bird, the udjat eye, the crescent moon, etc. …


*”The writings of Ptah” are referred to in the book of the dead. (G.E. i:502.)
**In Hebrew, nebu, a prophet, from naba, to bubble forth, to utter inspired sentences. The name is frequently used as part of personal names such as Nebuchadnezzar, Nabopolassar, etc.

Outdated in some ways (e.g., ‘anch” and “tet” instead of “ankh” and “djed,” etc), but interesting. It has large, mostly fascinating illustrations, and also seems rather spiritually useful.


(via THE CORRESPONDENCES OF EGYPT by C. TH. ODHNER - THE ACADEMY BOOK ROOM; BRYN ATHYN. PA. - 1914)

Reposted byAncientEgyptian AncientEgyptian
05:47
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Statue of Ptah, dedicated by Amenhotep III - 18th Dynasty, New Kingdom

Turin Egyptian Museum

03:38
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Torino - Egyptian Museum - The God Ptah

Limestone with plaster restoration (head); Temple of Amun, Thebes.

The God grasps simbols “djed” (stability) and “was” (strength). The names of the God and pharaoh appear on the sides of the throne and the hieroglyph for mankind is shown with arms raised in adoration before the ankh-sign of life. The God’s head has been restored in plaster.

The cartouche on our right reads Neb Maat Re - Amenhotep III (the great).

Via Torino - Egyptian Museum - The God Ptah by “Checco”

Reposted bykilljill killjill
03:22
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God Ptah

Sculpture from Thebes (Luxor)
(Turin, Egyptian museum)

The cartouche on our right reads Neb Maat Re - Amenhotep III (the great).

Via Torino - Egyptian Museum - The God Ptah by foreyesonly

03:11
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Torino - Egyptian Museum - The God Ptah

Tonalite, New Kingdom, Dynasty XVIII reign of Amenhotep III (1390-1352 BC). Temple of Amun, Thebes.

Creation was thought to occur through the word of Ptah, whose cult center was in the city of Memphis. Ptah wore mummy wrappings, the close-fitting cap and straight beard of craftsmen and smiths. Ptah holds the hieroglyphic symbols “ankh” (life), “djed” (stability) and “was” (strength). According to the inscription on the base, king Amenhohep III dedicated the sculpture.


Via Torino - Egyptian Museum - The God Ptah by “Checco”

03:04
03:01
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Torino, Museo Egizio, Gott Ptah (God Ptah)

Das 1824 gegründete ägyptische Museum wurde im Zentrum Turins in einem strengen Backsteinpalast aus dem 17. Jh. untergebracht, nachdem Carlo Felice di Savoia eine grosse Sammlung ägyptischer Altertümer gekauft hatte. Die immer wieder ergänzte Sammlung gilt heute als eine der bedeutendsten ausserhalb Kairos, denn sie umfasst etwa 6.500 Objekt in der ständigen Ausstellung und weitere ca. 33.000 im Archiv, die aus konservatorischen Gründen nicht ausgestellt werden können bzw. die nur von wissenschaftlichem Interesse sind. Das Museum wird sukzessive modernisiert und 2006 wurde das ‘Statuario’ mit der Sammlung monumentaler Skulpturen von Dante Ferretti (Oscar-Gewinner als Art Direktor des Films ‘The Aviator’) atemberaubend neu inszeniert. 2010 folgte eine neue eindrucksvolle Präsentation des Grabes des Kha und seiner Frau Merit, das 2008 noch in einem engen Raum untergebracht war.

Dante Ferretti war bei der Neugestaltung des ‘Statuario’ offensichtlich von der biblischen ägyptischen Finsternis inspiriert, denn die Skulpturen stehen in einem komplett in schwarz gehaltenen Raum, in dem Dank der ausgezeichneten Beleuchtung jedes der Exponate besonders eindrucksvoll zur Geltung kommt und selbst kleinste Details hervorgehoben werden.

Der Gott Ptah wurde generell als Mann in Gestalt einer Mumie mit einem engen Gewand und mit einer Kappe dargestellt. Er wurde als Schöpfergott und Schutzpatron der Handwerker und Künstler verehrt.

(via Torino, Museo Egizio, Gott Ptah (God Ptah) - a photo on Flickriver)

Reposted byAncientEgyptian AncientEgyptian
00:58
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This exquisite statuette depicts Ptah standing on a platform shaped as the hieroglyph for Maat. His body is enveloped by a tightly fitting robe leaving exposed only his hands with bracelets on wrists holding a was-scepter; he wears a skull-cap, a broad collar and a pleated artificial beard. The eyelids, brows, collar, bracelets, beard and its strings and the eye and the ear of the finial of the scepter are inlayed with gold. The right, back and left sides of the platform bear a line of hieroglyphs.

Present location STATE HERMITAGE MUSEUM [10/002] ST PETERSBURG, RUSSIA
Dating 26TH DYNASTY
Material BRONZE; GOLD
Technique CASTING BY WAXWORK; INLAID
Height 19 cm

(via The Global Egyptian Museum | Statuette of Ptah)

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