Welcoem to posts!!
in the future - u will be able to do some more stuff here,,,!! like pat catgirl- i mean um yeah... for now u can only see others's posts :c
THE ANCIENT AETHIOPIANS OF HELLENISTIC GREECE, ZUES AETHIOPS & THE AETHIOPIAN SEA
The ancient Aethiops, a term used by the Greeks to describe peoples from a vast region that included not only modern-day Ethiopia but also parts of the The Sahara, Sahel, Libya, Sudan, and inner Africa in general, held a pivotal role in both Greek history and mythology. This broad geographical designation reflects a cultural perspective that encompassed diverse societies and traditions, intertwining with the rich tapestry of Greek mythology. The word "Aethiops" (Īį¼°ĪøĪÆĪæĻ) is derived from Greek roots meaning "burnt face," likely referring to the dark melanated complexions of the people from these regions.
One of the most fascinating figures in this mythological framework is Memnon, the legendary King of Aethiopia. Memnon is renowned for his exceptional prowess in battle and his role in the Trojan War, where he fought valiantly for the Trojans against the Greeks. He is also celebrated for his divine parentage, being the son of the goddess Eos (Dawn). Memnon's narrative symbolizes the valor and nobility attributed to the Aethiops in Greek thought, embodying a fusion of African heritage and Hellenistic storytelling.
Another important figure in this mythological landscape is Andromeda, whose tale is intricately linked to both Memnon and the broader narrative of Greek mythology. Andromeda, the daughter of King Cepheus and Queen Cassiopeia of Aethiopia, was famously chained to a rock as a sacrifice to the sea monster Cetus. Her eventual rescue by Perseus not only emphasizes themes of bravery and heroism but also highlights the cultural intersections between the Greeks and the Aethiops, as Andromedaās Aethiopian lineage brings her story into the realm of African heritage.
The connection between these figures is further enriched by the concept of Zeus Aethiops, representing a divine aspect associated with the Aethiopian people. In some myths, Zeus is depicted as an Aethiopian, forging a bond that transcends geography and ethnicity. This relationship illustrates how the ancient Greeks viewed the Aethiops not merely as distant others but as integral participants in their mythological narratives, often embodying virtues such as strength, wisdom, and resilience.
Zeus Aithiops, āthe Glowing or the Blackā, was a surname of Zeus, under which he was worshiped in the island of Chios. (Lycophron, Cass. 537, with the note of Tzetzes.)
Source: www.theoi.com/Cult/ZeusTitles.html#:~:text=AE%E2%8ā¦)
The interplay between ancient Africans and Greek mythology underscores a complex and nuanced relationship. While the Greeks often portrayed African characters through the lens of their societal values and norms, they simultaneously acknowledged the depth and richness of African cultures. This recognition is evident in the reverence shown to figures like Memnon, who stands as a testament to the heroic qualities attributed to the Aethiops.
The ancient Aethiops and their connections to figures like Memnon, Andromeda, and Zeus Aethiops reveal a fascinating intersection of cultures within Greek mythology. These narratives highlight the valor of the Aethiopian people and signify a broader engagement between ancient Africans and Greek civilization, contributing to a shared mythological heritage that transcends borders and celebrates the human experience across time and space.
A notable quote about Ethiopians from a Greek source can be found in Herodotus, the ancient Greek historian. He describes the Ethiopians in Histories:
"The Ethiopians are the most pious of all menā¦They are the most just of all men; they are the ones who have the most respect for the gods."
This quote reflects Herodotus' view of the moral and spiritual qualities of the Ethiopians.
Herodotus, Histories, Book 3, Chapter 17: This section contains Herodotus' reflections on the Ethiopian people and their practices.
Key Points About Herodotus' Views on Ethiopians
1. Cultural Distinction: Herodotus noted that the customs and practices of the Ethiopians differed significantly from those of the Greeks and other neighboring societies. He observed their unique rituals, such as their methods of worship and their social structures. He described the Ethiopians as exceptionally tall and handsome, often emphasizing their striking physical characteristics. This admiration reflects a broader Greek fascination with the diversity of human forms and the idea of beauty.
2. Geographical Context: Herodotus often placed the Ethiopians in the context of the known world, identifying them as inhabitants of a vast region that extended south of Egypt, west into Libya and the Sahara and south into the unknown regions of Africa which the Greeks called Aethiopia. The Sahara was only an impenetrable boundary to Europeans, and was traversed by ancient Africans since the desertification of the Green Sahara. Herodotus recognized their importance in the ancient world as a neighboring civilization.
3. Divine Favor: In some passages, he suggested that the Ethiopians were favored by the gods, illustrating a belief in their superior qualities. This is seen in his accounts of their interactions with other cultures, such as the Egyptians.
4. Interactions with Other Cultures: Herodotus recorded various interactions between the Ethiopians and the Kemetyu (ancient Egyptians), noting trade and cultural exchanges. He portrayed the Ethiopians as noble warriors, particularly in the context of conflicts with the Kemetyu.
Overall, Herodotusā writings provide a glimpse into how ancient Greeks viewed the Ethiopiansānot just as distant others, but as a complex society worthy of respect and admiration. His accounts contributed to a broader understanding of African cultures in the ancient Mediterranean world.
The Aethiopian Sea
Historically, the Atlantic Ocean was sometimes referred to as the "Ethiopian Sea," particularly in ancient texts and maps. This naming reflected the geographical understanding of the time, where the ocean was associated with the regions inhabited by ancient Ethiopians, especially along the coasts of West Africa. The term highlights the interconnectedness of ancient civilizations and their interpretations of the world around them, illustrating how cultural and geographic perspectives shaped the names of significant bodies of water.
The term "Ethiopian Sea" holds significant historical and cultural relevance, particularly in the context of ancient geography and the understanding of the world. Here are a few key points about its significance:
Cultural Context: The term reflects the ancient civilizations' perceptions of geography, where names were often derived from the peoples and cultures that lived nearby. The association with Ethiopia (often used to refer to a broader region in Africa) emphasizes the cultural connections between the peoples along the African coast and those of the Mediterranean world.
1. Geographical Understanding: In ancient maps and texts, the "Ethiopian Sea" often referred to areas not just in the Atlantic but also in the surrounding waters, including parts of the Indian Ocean. This highlights how ancient civilizations viewed bodies of water as interconnected, rather than distinct entities.
2. Historical Usage: The term appears in works by classical authors, such as Herodotus and Ptolemy, who documented their explorations and encounters. Their descriptions contributed to the collective knowledge of geography in the ancient world, influencing later cartography.
3. Colonial Perspectives: During the so-called "Age of Exploration" and subsequent colonial periods, European powers redefined geographic names, often disregarding indigenous terms. The shift from "Ethiopian Sea" to the modern nomenclature reflects broader changes in power dynamics and cultural perceptions.
4. Modern Legacy: While the term is largely obsolete today, its historical usage serves as a reminder of the rich tapestry of human understanding of geography and the importance of recognizing diverse cultural perspectives.
Overall, the term "Ethiopian Sea" encapsulates a blend of cultural identity, exploration, and the evolution of geographic nomenclature over time.
ā¢ ā¢ ā¢
Ethiopia is more important than you think, Short Film:
Learn about Zeus Aethiops, a surprising testament to the ancient spirituality and the revered African deities, illustrating the profound influence of Ethiopian culture in classical mythology. These narratives not only reflect the cultural identity of Ethiopia but also the resilience of African civilizations against the tides of history, including their resistance to colonial forces.
WATCH NOW: https://www.youtube.com/watch?v=IIWja...
Know Thyself Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
219 - 3
THE FEARLESS CROCODILE RIDERS OF DANDARAH
Ancient Kemet (Egypt) was a civilization deeply intertwined with the natural world that surrounded it. The Nile River, the lifeblood of the land, played a crucial role in the daily existence and spiritual beliefs of the Kemetic people. Among the intriguing manifestations of this connection was the practice of crocodile riding, a unique aspect of Ancient Kemetic culture.
The Nile River was the heart of the Nile Valley Civilization of Ancient Kemet, providing sustenance, transportation, and fertile soil for agriculture. Its annual flooding, which deposited nutrient-rich silt onto the riverbanks, was both a blessing and a defining feature of the civilization. The Kemetic people saw the Nile as a manifestation of the divine, linking their spiritual beliefs with the riverās life-giving waters.
The Tentrytae tribe from the Kemetic city of Dandarah, were crocodile riders of Upper Kemet from the modern day regions of Aswan, and were a select group of individuals who held a unique and respected position in society in the priesthood of Sobek at the Temple of Kom Ombo. These individuals, often belonging to the priestly class, displayed a remarkable connection with the Nileās most formidable inhabitant: the Nile crocodile. The art of crocodile riding went beyond mere spectacle; it was a ceremonial act that symbolized the mastery of the Nileās unpredictable nature and the Kemitesā ability to coexist harmoniously with the natural world.
Central to the practice of crocodile riding was the veneration of Sebek, the crocodile deity. Sobek was depicted as a crocodile-headed man or as a crocodile with a solar disk on its back, symbolizing the connection between the deity and the Nileās life-giving waters. Sobek's significance extended beyond his fearsome appearance; he represented balance, protection, and fertility. The reverence for Sobek and the practice of crocodile riding highlight Ancient Kemetās profound spiritual connection with nature. This connection can be observed in various aspects of Kemetic spirituality:
Divine Manifestations: The Kemites perceived the natural world as a manifestation of the divine. The Nile, as a vital source of life, was considered a gift from the gods. Sobek personified the natural worldās intricate balance and the ability to navigate its complexities. Nature served as a rich source of symbolism and mythology. Animals, plants, and natural phenomena were imbued with spiritual significance. These symbols were integrated into rituals, art, and daily life to honor and connect with the divine forces at play.
The Kemetyu were imbued with a sense of Cosmic Harmony. Kemetic spirituality emphasized the interconnectedness of all existence. The Nileās rhythm, the changing seasons, and the movement of celestial bodies were seen as reflections of cosmic harmony and divine order. The Nileās flooding was celebrated through festivals and rituals that aligned with its natural cycles. These practices were expressions of gratitude and recognition of the sacred bond between humans and the natural world. This practice not only symbolized the harmonious relationship between the Kemites and their environment but also exemplified their reverence for the Crocodile Neteru Deity, Sobek.
The Nile River was not merely a geographical feature; it was a divine manifestation that sustained the civilization physically and spiritually. Through crocodile riding and the veneration of Sobek, the Kemites showcased their reverence for natureās complexities, its rhythms, and the harmony that could be achieved through understanding and cooperation with the natural world.
This profound bond between Ancient Kemet and nature remains an enduring testament to the civilizationās holistic approach to spirituality and its recognition of the sacred forces that shape our existence.
Source: www.afrikaiswoke.com/crocodile-riders-of-the-nile-ā¦
Description:
The statue depicts a member of the Tentyritae tribe, who live on an Island on the Nile in Upper Kemet (Egypt), as described by Pliny the Elder in Natural History. A man placed with its legs upwards, and chest resting upon the back of a Crocodile.
The Negro in Greek and Roman Civilization' (Baltimore, 1929), 104, cat. no. 229; F. M. Snowden Jr., 'Blacks in Antiquity' (Cambridge, Mass. 1970), 166, fig. 107
Location: www.britishmuseum.org/collection/object/G_1805-0703-6
Date: Alexandria 280 230 BC
Production Date: 1st Century BC
Findspot: Found/Acquired: Rome
Europe: Italy: Lazio: Rome (province): Rome (city)
Materials: Marble
Dimensions: Height: Height: 75 cm. Length: Length: 38 cm
Registration number: 1805,0703.6
The Fearless Crocodile Riders of the Nile | Documentary:
https://www.youtube.com/watch?v=ow4vU...
Know Thyself Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
245 - 12
A YOUNG AKHENATEN
The 18th Dynasty of Ancient Kemet was full of intrigue. Some of the most famous pharaohs come from this period. Akhenaten is perhaps one of the most infamous.
In the 4th year of his reign (c. 1350 BCE), Akhenaten claimed that a vision sent by his deity, Aten, the only Neter (deity) he acknowledged, led him to a large tract of land on the Iterus's (Nile) east bank. In a political power move, Akhenaten decided to move Kemet's capital to this tract of land and began the construction of a new city dedicated to Aten.
Akhenaten named the city Akhetaten. In the modern-day, we refer to it as Amarna. This city was a unique cultural landscape that was used only for a short time during Akhenatenās 17-year reign. Today, Amarna is the perfect snapshot of life during Akhenatenās time; a nation torn by the new ideas of an enforced monotheism and break from traditional norms. It is also one of the most complete examples of an Ancient Kemetic city ever discovered.
Source: collections.louvre.fr/en/ark:/53355/cl010009624
Date: Amenhotep IV AkhƩnaton, 1352-1335 BCE
Time Period: 18th Dynasty
Place of discovery: Tell el-Amarna, Upper Kemet
Location: Louvre Museum
"King of Upper Kemetā¦Beautiful is the Ka-Soul of Ra who appears in Waset"
Check out Know Thyself Apparel:
www.knowthyselfinstitute.com/shop
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
311 - 12
THE MEDJAY: GUARDIANS OF NILE VALLEY CIVILIZATION
The Medjay were originally a semi-nomadic people whose homeland was in the eastern desert in Nubia, ranging from Kemet (Egypt) to the Red Sea. They are mentioned as early as 2400 BC, when Kemetic texts recorded them as warriors serving within the Kemetic military, the police force as well as administrators within the Government. Later ancient texts also document their presence as soldiers at fortresses built along the Iteru (Nile) in Ta-Nehesy (Land of the Nubians). Their role serving as forces of authority was so enduring that by the time of the New Kingdom the name Medjay had become synonymous with the word for police. The Medjay's closet living ancestors are the Beja and live in the Sudanese states, around Port Sudan, River Nile, Al Qadarif and Kassala, as well as in Northern Red Sea, Gash-Barka, and Anseba Regions in Eritrea, and southeastern Egypt.
The first mention of the Medjay in written records dates back to the Old Kingdom, when they were listed among other Nubian peoples in the Autobiography of Weni, who was at the time a general serving under Pepi I Meryre (reigned 2332ā2287 BC). During this time the term "Medjay" referred to people from the land of Medjay, a district thought to be located just east of the Second Cataract in Nubia. Nubia was referred to as Ta-Seti, meaning "Land of the bow", by the Kemetyu (ancient Egyptians) and the people there were renowned for their military skills, particularly as archers. Ta-Seti was both the name for Nubia and the name of the first nome of Kemet which was a Nubian province often called Yebu or Elephantine to the Greeks (modern day Aswan).
The Inscription of Weni: Weni the Elder was a court official of the 6th dynasty (Old Kingdom ca. 2332ā2283 BC). Part of the inscription is carved on a monolithic slab of limestone which formed one wall of his single-room tomb-chapel. It reads:
"When his majesty took action against the Asiatic Sand-dwellers, his majesty made an army of many tens of thousands from all of Upper Egypt: from Yebu (Aswan) in the south to Medenyt in the north; from Lower Egypt: from all of the Two-Sides-of-the-House, and from Sedjer and Khen-sedjru; and from Irtjet-Nehesy, Medja-Nehesy, Yam-Nehesy, Wawat-Nehesy, Kaau-Nehesy; and from Tiemeh-land.
His majesty sent me at the head of this army, there being counts, royal seal-bearers, sole companions of the palace, chieftains and mayors of towns of Upper and Lower Kemet, companions, scout leaders, chief priests of Upper and Lower Kemet, and chief district officials at the head of the troops of Upper and Lower Kemet, from the villages and towns that they governed and from the Nehesy (Nubians) of those southernly lands. I was the one who commanded them while my rank was that of overseer of 'royal tenants' because of my rectitude, so that no one attacked his fellow, so that no one seized a loaf or sandals from a traveler, so that no one took a cloth from any town, so that no one took a goat from anyone. This army returned in safety, It had ravaged the Sand dwellers' land."
During the Second Intermediate Period (1650ā1550 BC), Kemet was weakened by the immigration of the Heqa Khaseshet, an Asiatic people known to the Greeks as "Hyksos" or the "shepherd kings", from the near east who invaded and established a dynasty in Lower Kemet and the Delta, keeping the nation divided for several centuries. Both the First and Second Intermediate Periods were known as dark ages within Nile Valley history. It was Ahmose I who was finally able to expel the foreigners in the Delta, unite the country and establish the 18th Dynasty which ruled over all of Kemet, beginning the New Kingdom period in 1550 BC. The Medjay were instrumental in his campaign as well as future campaigns which would solidify the divine authority of the Wa-Setian Kings of the south over Lower Kemet and the Delta region and expelling the foreigners.
"I sailed north to my victory to drive back the ASIATICS, my courageous Army in front of me like a flame of fire, with the Bowmen of the Medjay upland of our encampment ready to seek out the Asiatics." - Stela of King Kamose, 17th Dynasty.
By the Eighteenth Dynasty during the New Kingdom, the Medjay were an elite paramilitary police force. Archers formed the core of Nehesy (Nubian) armies that vied with Kemet for control over parts of the Nile valley, conquered Kemet in the 8th century BCE and expelled the Libyan usurpers.. Nearly a century later they would ally with the Kushites and Upper Kemites to confront the troops of the Assyrian empire. The skill of Medjay archers made them valued members in the military forces of other lands. Kemetic texts as early as 2400 BC note Nehesy in Kemetyu armies having military alliances. Representations of Medjay warriors appear in Kemetic tomb models, reliefs, and paintings in all periods of ancient Egyptian history. Nubian archers also served as warriors in the imperial army of Persia in the first millennium BCE and their presence in Persia was documented on a relief from the Apadana palace (c. 500 BC) where it shows a Kushite delegation into Persia during the ruled of Xerxes I.
The Medjay were known for their long bows. Assyrians nicknamed them the āpupil smitersā not only were they known for shooting out the eyes of their target from a distance but they also mastered the "Double" tap where they would fire off two arrows in rapid succession. Kushite arrows were also often poisoned-tipped. One historical source notes:
"So from the battlements as though on the walls of a citadel, the archers kept up with a continual discharge of well aimed shafts, so dense that the Persians had the sensation of a cloud descending upon them, especially when the Kushites made their enemiesā eyes the targetsā¦so unerring was their aim that those who they pierced with their shafts rushed about wildly in the throngs with the arrows projecting from their eyes like double flutes."
- Jim Hamm. 2000. The Traditional Bowyer's Bible, Volume 3, pp. 138-152.
After they defeated the Assyrians apparently the Assyrians began to hire regiments of Kushite Soldiers on contingency and the legend of the Medjay's was known globally. When the Arabs invaded Nubia around 7 century AD they gave the Nubian army the nickname āarchers of the eyesā and they too also feel victim to the pupil smiters. The Nubians constituted an "African front" that barred Islam's spread, along with others in Central Asia, India and the Anatolian/Mediterranean zone. Whereas the Islamic military expansion began with swift conquests across Byzantium, Central Asia, the Maghreb and Spain, such quick triumphs were stopped dead in their tracks at the Sudanic border.
Source: www.worldhistory.org/image/15338/model-of-nubian-aā¦
New Insight into Nubian Archers:
www.knowthyselfinstitute.com/library/4d2f2c17-3b2fā¦
Black African Origins of Ancient Egypt | Documentary
https://www.youtube.com/watch?v=zYnUa...
Visit our Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~35th & 36th Principals of Ma'at
268 - 24
RELIEF OF MESHWESH KING OF THE DELTA: IUPUT II
Iuput II was a ruler of Ney-ta-hut later known as Leontopolis to the Greeks, a city in the Nile Delta region of Lower Kemet. He reigned during the 8th century BC, in the late Third Intermediate Period. luput II was a Nwst (Pharaoh) of the 24th Dynasty. The 23rd and 24th dynasty's of Kemet was a regime of Meshwesh Libyan kings, who ruled Upper Kemet between 880 and 734 BC. Iuput II was one of Kemet's rulers of Libyan origin who was forced to submit to the Kushite ruler King Piye when Piye came to the defense of Kemet around 728 B.C. On this unusually large faience plaque, perhaps from a shrine, his facial features, proportions, and attire closely resemble those on monuments of Piye in Kush and of Piye's successor Kushite kings in Kemet.
During this time period there was a split between Upper and Lower Kemet. Iuput was an ally of Tefnakht of Sais who resisted the military campaign by the Kushite king Piye against Lower Kemet and the Libyans. Iuput II ruled during a chaotic time of the Third Intermediate Period when several kings controlled Lower Kemet, including Osorkon IV at Bubastis and prince Tefnakht at Sais.
After Piye's Kushite/Upper Kemite coalition defeated Tefnakht's army and conquered Lower Kemet around Year 20 of his reign, the Nubian king permitted Iuput II to remain in power as a local governor of Leontopolis according to his Victory Stela from Jebel Barkal.
The stylized relief shares elements which reflect the art reminiscent of the Old Kingdomāearly New Kingdom, as well as similarities with Kushite iconography.
"The Brooklyn Museum plaque is peculiar because it depicts Iuput II in a style which differs a lot from the standards of the Third Intermediate Period: instead of having a long-legged, slender figure, Iuput is shorter and more muscular, a proportion which is reminiscent of the Old Kingdom art" - Robins, Gay (1994). Proportion and style in ancient Egyptian art. Austin: University of Texas Press. pp. 256ā257
Considering the Kushites self proclaimed connection with the Old Kingdom, this may suggest the Meshwesh tribes of Libya and the Kushite tribes of Nubia may both share connections with the Old Kingdom Kingship and may share common culture and lineage spanning the millennia.
His strong African facial features, tropical body proportions and tightly coiled hair are indicative of his Black African ethnic make up and are reflective of the indigenous peoples living within "the vicinity" of Ney-ta-hut of Lower Kemet in the Delta region during the 23rd and 24th Dynasties. His crown with Uraeus is eerily similar to that worn by the Kushite Kings of Napata except for the fact the Kushites Kings wore two Uraeus's on their crown.
Brooklyn Museum: www.brooklynmuseum.org/opencollection/objects/3669
DATES ca. 754-720 or 715 B.C.E.
DYNASTY: Dynasty 24th to Dynasty 25th
PERIOD: Third Intermediate Period
Visit the Know Thyself Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
213 - 8
NILOTIC ORIGINS OF HIEROGLYPHICS (MEDU NETER)
Although the ancient Kemetyu language, falls into the modern language family of Afro-Asiatic, there is nothing Asiatic about it. It was created in Africa, by Africans...Asiatics played no part in its creation. There are 5 languages in the āafro-asiaticā language group. Berber, Hamitic, Oromic, Chadic, and Semitic. All of them evolved in Africa except Semitic which is the youngest language. They all evolved from the African Medu Neter known as hieroglyphics.
Mdw Ntchr known today as hieroglyphs was the writing system of ancient Kemet (Egypt). The translation of the two words means: sacred script or divine word. According to Historian Dr. Theophile Obenga, "Egyptian Hieroglyphic Writing is the oldest writing system in the world dating to the age of African antiquity as far back as 3400 BC when the Pre-Dynastic Nubians of ancient Egypt developed the Medu Neter writing system in the Nile Valley during the era of Kemetic Civilization."
Diodorus Siculus made the claim that the Hieroglyphs were actually an Ethiopian script, which was held sacred by the Egyptians and was learned and transmitted only within the priestly families of Egypt. Among the Ethiopians the script was so common that most Ethiopians knew how to read and write in hieroglyphs. Here is the excerpt:
āWe must now speak about the Ethiopian (Nubian) writing which is called hieroglyphic among the Egyptians, in order that we may omit nothing in our discussion of their antiquities.ā
- The Library of History of Diodorus Siculus Vol II, Book III
Source: penelope.uchicago.edu/Thayer/E/Roman/Texts/Diodoruā¦
Egyptian scholar Gamal Mokhtar argued that the inventory of hieroglyphic symbols derived from "fauna and flora used in the signs [which] are essentially African" and in "regards to writing, we have seen that a purely Nilotic, hence African origin not only is not excluded, but probably reflects the reality".
Ancient Civilizations of Africa Vol 2 (Unesco General History of Africa (abridged)) (Abridged ed.). London [England]: J. Currey. 1990. pp. 11ā12.
Some scholars in the past suggested the Medu Neter was developed in the Levant by Semitic people. Although these theories have long been put to rest in academic communities some still repeat these long outdated notions. EW Budge, like Egyptian scholar Gamal Mokhtar agreed in a Nilotic origin, denoting or belonging to a subgroup of Nilo-Saharan languages spoken in Egypt, Sudan, South Sudan, and Kenya.
"It is impossible for me to believe that Egyptian is a Semitic language fundamentally. There are a very large number of words that are not Semitic and were never invented by a Semitic people. These words were invented by one of the oldest African people of the Nile valley of whose written language we have any remains. Their home lay far to the south, and all that we know of Predynastic Egypt suggests that it was in the neighborhood of the Great Lakes."
- EW Budge, Hieroglyphic Dictionary, Dover, 1920
It is pretty safe to say that the Gyph for "face" in the Medu Neter language confirms the Nilotic origins put forth by Budge, Mokhtar and others.
Visit our Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~35th & 36th Principals of Ma'at
296 - 77
RECONSTRUCTING AFRICA'S CLASSICAL CIVILIZATION: UNVEILING THE HIDDEN FACES OF ANCIENT KEMET (EGYPT)
The history of Ancient Egypt, indigenously known as Kemet, has often been obscured and misrepresented, leading to a pervasive myth that disconnected its civilization from its ancient African roots. In recent years, efforts to rectify these misconceptions have gained momentum, exemplified by the groundbreaking work of reconstruction artists such as Nidia Senegal and The Kings Monologue (TKM). Their reconstructions of ancient African monarchs challenge the long-held narratives perpetuated by mainstream media and academia, which have frequently overlooked or marginalized the African identity of this remarkable civilization.
For over a century, depictions of Ancient Kemites, falsely labeled as "Egyptians" have often been Eurocentric, presenting them in ways that align with a more Eurasian aesthetic rather than their true African heritage. It is essential to not only show a more realistic and authentic representation of ancient Nile Valley Africans but also to remember and reconnect with its indigenous names and move away from the more recent colonial names and language that was forced upon this ancient civilization and designed to conceal their true identity. This "whitewashing" has contributed to a skewed understanding of the culture, achievements, and identity of the people who inhabited the Nile Valley. Senegalās work is pivotal in dismantling these stereotypes, offering a visual and historical representation that aligns with the evidence of the indigenous African origins of these ancient peoples.
Senegalās reconstructions serve not just as artistic expressions but as powerful statements that push back against a narrative that has long been accepted without question. By providing a "like for like" comparison of her work against traditional depictions, she invites audiences to reconsider preconceived notions about the Ancient Kemetyu. This engagement fosters a deeper appreciation for the rich history of Africa and highlights the significance of acknowledging and celebrating the continent's contributions to global civilization.
In conclusion, as more voices like Nidia Senegal's emerge, the dialogue surrounding the origins of Ancient Kemet is evolving. The challenge to century-old media narratives is not merely an academic endeavor; it is a necessary step toward reclaiming the true heritage of Kemet and celebrating the richness of African history. As we confront and dismantle these myths, we open the door to a more inclusive understanding of our shared past.
Egyptian born Egyptologist, Professor Fekri Hassan speaks on this very issue in this short statement:
"Egypt is situated where African cultural developments conjoin, mingle, and blend with those of neighboring cultures of southwest Asia and the Mediterranean. Yet, Egyptology, through its Euro-centered perspectives, has generally been lax in exploring and valorizing Egyptās African origins.
This not only leads to theoretical shortcomings but also to serious ethical ramifications undermining efforts for a new world of justice, equity, and fraternity. Keeping with the way our world is changing and given our role as socially responsible scholars, Egyptologists need to engage in emphasizing the grounding of Egypt in African cultures and its interaction throughout its history with African cultures. This would be a first step in reconsidering the sociopolitical biases that not only isolate modern Egypt from its ancient past, but also reorient Egyptology to deal with intercultural dynamics and to become actively engaged in the current struggle to combat racism and inequities, a key component of the Sustainable Development Goals.
Professor Fekri Hassan taught in the Department of Anthropology at Washington State University. He was an advisor to the Ministry of Culture of the Arab Republic of Egypt from 1988 to 1990. Beginning in 1994, Dr. Hassan held the chair of Petrie Professor of Archaeology at the Institute of Archaeology, University College London. He served as editor of the African Archaeological Review, contributory editor of The Review of Archaeology, and honorary president of the Egyptian Cultural Heritage Organisation. He is currently the Director of an innovative cultural heritage management program in lāUniversitĆ© FranƧaise dāĆgypte.
Dr. Hassan received his B.S. and M.S. degrees from Ain Shams University and his M.A. and Ph.D. from Southern Methodist University. Source: www.nilevalleycollective.com
Reconstructions created by Nidia Senegal:
FB: www.facebook.com/nidia.senegal
IG: www.instagram.com/nidiasenegal
The Kings Monologue: Reconstruction artist Nidia Senegal is challenging the status quo with her groundbreaking reconstructions of the ancient African monarchs of the Nile Valley. Join me during this like for like comparison of our work and how it's becoming impossible to not agree with the indigenous African origins of Ancient Egypt (Kemet).
Our reconstructions are breaking 100 years of MEDIA lies:
https://www.youtube.com/watch?v=AMwsu...
"King of Upper Kemetā¦Beautiful is the Ka-Soul of Ra who appears in Waset"
Visit our Online Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
352 - 33
QUEEN AHMOSE NEFERTARI
Ahmose-Nefertari was the first Queen of the 18th Dynasty. She was a daughter of Seqenenre Tao II and Ahhotep I and the great royal wife of Ahmose I. She was the mother of king Amenhotep I and may have served as his regent when he was young. Ahmose-Nefertari was deified after her death.
Ahmose-Nefertari was born during the latter part of the seventeenth dynasty, during the reign of her grandfather Senakhtenre Tao I. Her father Seqenenre Tao II fought against the Hyksos and may have lost his life during a battle. He was succeeded by Kamose. It is possible that Ahmose-Nefertari married Kamose, but no evidence exists of such a marriage.
After the death of Kamose the throne went to Ahmose I. Pharaoh Ahmose was very young and queen-mother Ahhotep I served as regent during the early years of his reign. Ahhotep would have taken precedence at court over her daughter Ahmose-Nefertari, who was the great royal wife. Ahmose I became the first king of the eighteenth dynasty, a pharaoh ruling over a reunited country.
Ahmose Nefertari was the first queen to hold the important office of āGodās Wife of Amunā, effectively establishing her as the joint head of the priesthood of Amun. Ahmose set up a stele in the temple of Amun at Karnak which functioned as a legal decree establishing not only the office of Godās Wife but endowing it with lands and goods in perpetuity. She outlived her husband, and her son (Amenhotep I). Although her sonās successor, Tuthmosis I, was probably not related to her he established a statue of her in the Nsut Towi, known today as the Temple of Karnak. We donāt know when she died. The only reference to her passing is an undated stele fragment which refers to an undated time
āwhen the Godās Wife Ahmose Nefertari, justified with the Great God, Lord of the West, flew to heavenā¦ā
Reconstruction by: youtube.com/@kingmono
šµššŖ š¹ Hotep Be at peace
Know Thyself Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
239 - 10
MENTUHOTEP II THE GREAT UNIFIER AND BLK AFRICAN PHARAOH WHO EXPELLED THE ASIATICS
Mentuhotep II, also called Nebhapetre, king of ancient Kemetās (Egypt's) 11th Dynasty who, started as the ruler of the southernmost regions of Kemet in about 2008 BC, and reunified the country by defeating his rivals in Lower Kemet. He ushered in the period known as the Middle Kingdom (1938ā1630 BC).
In the 14th year of his reign, Kemet had became a fractured nation due to successive raids in the Delta via the Levant. Mentuhotep launched a drive against Heracleopolis in an attempt to eliminate foreign influence and reunify the country. Not much is known of the war, but the Wasetians (Thebans) were aided by a change of rulers in the enemy capital of the Delta, and, by 1968 BC at the latest, Mentuhotep had captured Heracleopolis and reunited the nation. In subsequent years, fighting continued in the north against the Bedouin of the Arabian Peninsula and the Hycksos of the Western Asia, who habitually raided the delta region.
THE ASIATIC INVASION OF ANCIENT KEMET:
www.facebook.com/knowthyselfinstitute/posts/472939ā¦
To consolidate the unification, Mentuhotep received the submission of Middle Kemetās local governors, most of whom he left in office, thereby establishing a series of powerful provincial families during the early Middle Kingdom. Waset (Thebes), located in the southern most regions of the nation became the national capital, and Mentuhotepās loyal supporters received the key government posts; he also accepted partisans of the defeated Heracleopolitans who demonstrated loyalty and pledged featly to his new order.
The reunification of Kemet under Mentuhotep II ushered in a new sense of security throughout the country and established Kemetās Middle Kingdom, an era that was to become a golden age for artistic and literary creation and a truly revolutionary period in regard to religion and Kemetic principals. The art of the Middle Kingdom betrays a wide range of visual uses of the past and, although the Memphite traditions of the Old Kingdom were briefly renewed, the kings of the 11th Dynasty tended to favor the Wa-Setian (Theban) traditions they had developed during the First Intermediate Period.
Mentuhotep's reunification was followed by great expansion in trade and building. At Waset he built a magnificent temple and tomb complex. The hills around the monument were honeycombed with the tombs of his officials. He built temples at numerous Upper Kemetic (Egyptian) sites, but little survives of them today. Much of what he built was destroyed by the later Sais chieftains of the Delta, Assyrians and Greek mercenaries who formed alliances and together waged war against a Kushite/Kemite coalition and destroyed the Temple of Karnak at what is known as the "Sacking of Thebes." He died about 1957 BC, leaving a reunited and prosperous kingdom to his successor, Sankhkare Mentuhotep III. Tradition accorded Mentuhotep II an honoured place with Kemetās other great unifiers, Narmer of the 1st Dynasty, Ahomse I of the 18th, and King Piye of the 25th.
QUEEN ASHAYET:
Ashayet or Ashait was a queen consort, and wife of Mentuhotep II in the 11th Dynasty. She shared a tomb with four other women in their twenties and a young girl, Henhenet, Kawit, Kemsit, Sadeh and Mayet three of which were her sister wives. The shrines and burials were found in Mentuhotep II's Deir el-Bahari temple complex. Her titles were: King's Great Royal Wife, Priestess of Het-Heru (Hathor), Great of Kas, Foremost in her places, and Lady of Dendera.
The nine shrines in total were built in the First Intermediate Period, prior to Mentuhotep II's reunification of Kemet (Egypt). She and three other women of the six bore queenly titles, and most of them were Priestesses of Het-Heru (Hathor). The location of their burial is significant to their titles as Priestesses of Het-Heru as the cliffs of Deir el-Bahri were sacred from the Old Kingdom onwards.
The artwork is a facsimile created by Charles K. Wilkinson in 1926 from the original painting on the inner, front side of the sarcophagus of Aashyt. In the image it depicts the Priestess Queen Ashayet on her throne smelling a lotus, and being presented with various offerings by her royal servants. The women on the right sitting on her throne is one of her various sister wives.
QUEEN KEMSIT:
Kemsit was a Kemetic Queen and royal Priestess of Het-Heru and royal consort of Menuhotep II of the 11th Dynasty. Her tomb and decorated chapel were found in her husband's Deir el-Bahari temple complex, behind the main building, along with the tombs of her five other sister wives.
Most of them were priestesses of Het-Heru, so it is possible that they were buried there as part of the Neter's (Goddessās) spiritual followers, and they were most likely daughters royal of nobility. Her titles were: King's Beloved Wife, Priestess of Het-Heru and King's Ornament.
QUEEN KAWIT:
Kawit was an ancient Kemetic queen consort, and a lower ranking wife of Neswet (Pharaoh) Mentuhotep II of the 11th Dynasty. Her and decorated chapel was found in her husband's Deir el-Bahari temple complex, behind the main building, along with the tombs her five sister wives. The queen was also depicted on reliefs in the funerary temple of her husband Mentuhotep II. These depictions are today heavily destroyed, but it seems that she appeared in a scene showing a row of royal women.
Her titles were: King's Beloved Wife, King's Ornament, and Priestess of Het-Heru. She and three other women of the six bore queenly titles, and most of them were priestesses of Het-Heru, known to the Greeks as Hathor, so it is possible that they were buried there as part of the goddess's cult, but it is also possible that they were the daughters of nobles the king wanted to keep an eye upon.
Reconstruction created by: youtube.com/@kingmono
Black African Origins of Ancient Egypt | Documentary
https://www.youtube.com/watch?v=zYnUa...
"King of Upper Kemetā¦Beautiful is the Ka-Soul of Ra who appears in Waset"
Visit the Know Thyself Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
244 - 24
KHNUM: NETER (DEITY) OF THE ITERU (GREAT RIVER, NILE)
Khnum, also spelled Khnemu, is an ancient Kemetic Neter of fertility, associated with water and procreation. Khnum was worshipped from pre-Dynastic time and was represented as a ram with horizontal twisting horns or as a man with a ramās head. Khnum was believed to have created humankind by molding them from the rich black soil of the Nile river like a potter; this scene, with him using a potterās wheel, was depicted in later times. He was the Neter of the island of Abu (Elephantine), near present-day AswÄn, and was known as the lord of the surrounding First Cataract in the southern most regions of the land. At Abu he formed a triad of deities with the goddesses Satis and Anukis. Khnum also had an important cult at Esna, south of Waset (Thebes).
The Neteru (Gods) of Ta-Netjer, "Land of the Gods" Located in so called "Sub-Saharan" Africa
Khnum was thought to control the Nile inundation, and he embodied the dangerous but life-giving power of this annual flood. As a creator deity, he shaped people and animals on his potter's wheel and put life and health into their bodies. He was also one of the chief deities of the First Cataract.
In an inscribed stele found on one of the small islands Khnum is described as the only god that has power to unbolt the doors and release the flood from the caverns. Her name meant, "Pourer" or "Shooter" and was originally written with the hieroglyph for a linen garment's shoulder knot; this was later replaced by Anuket's animal hide pierced by an arrow. She was also known by epithets, such as "Mistress of Elephantine" and "She Who Runs Like an Arrow", thought to refer to the flowing river current.
His consort, Lady of Elephantine, Satis, was shown as a mature woman wearing a version of the crown of Upper Egypt decorated with antelope horns. As a war goddess, Satis protected Kemet's southern border. Her daughter or maybe junior consort to the male god, Lady of Nubia, Anuket, was shown as a young woman wearing a feather headdress. Her sacred animal was the gazelle, a creature admired by the Egyptians for its delicate beauty.
Both goddesses are called daughters of Ra and in the myth of the return of the Distant Goddess, the Eye of Ra, the older goddess represents the ferocious aspect of this goddess whereas the younger goddess represents the pacified form of the Eye goddess. The older goddess was the warrior while the younger was one of the foster mothers of every Egyptian king, her breast milk nourished and healed.
Hymn to Khnum
To Khnum who sits at the potterās wheel, I offer my praise.
O ancient self-created one who ruled at Abu,
river-master, high of plumes, yours is the stone
within the earth, the silt of the Nile, the flood
that nourishes the field. Friend of the crafter,
the builder, the miner, yours is the work
of the artisan, O granter of resources,
granter of skill, yours is the gift of a dextrous hand
and an artistās eye. We are as you have made us,
O Khnum, with your blessing of body and breath;
our worth and our substance are within us, unique and innate.
O shaper of humanity who molds us, one by one,
from clay, each fashioned with art and with care;
water-bearer, father of fathers, you of the rippling horn,
for our lives and our existence we thank you.
Artist: Sanio Digital Art
"King of Upper Kemetā¦Beautiful is the Ka-Soul of Ra who appears in Waset"
Follow our YouTube Channel:
youtube.com/@knowthyselfinstitute
Visit our Virtual Museum:
www.knowthyselfinstitute.com/museum
"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at
259 - 26
š Eye Am One with Spirit
Peace family, and welcome to the channel. Magnum OpusĀ® presents Know Thyself Institute YouTube channel. On our platform we share the brilliance of Nile Valley Culture and reveal the hidden faces of ancient Kemet . Knowledge, wisdom, and understanding are the pillars on which we stand, and it is these core principles which influence and shape our content. Join us as we connect with Africas classical civilizations and correct the historical record.
š - Know Thyself
Powered by Magnum Opus | Master Your CraftĀ®
Know Thyself Institute:
www.KnowThyselfInstitute.com
www.facebook.com/knowthyselfinstitute
Magnum Opus Films:
www.MagnumOpusPublications.com